Ross (1978)

“Wouldn’t it be fine just to believe, wouldn’t it be wonderful…if life were like a song…”

This is arguably the strangest entry into the Diana Ross Motown discography; it’s certainly a confusing album that has inspired much debate amongst fans and critics.  At heart of that debate is one single question:  “What is Ross?”  Is this a new studio album?  Is it a compilation?  Was this a calculated attempt at getting sales and hits…or was it simply a time-filler between Baby It’s Me and the release of The Wiz movie and soundtrack?

The issue here is the fact that the lineup includes new songs on Side A, but Side B is a collection of previously released, remixed songs and tracks from the vaults that had been recorded for other projects.  “Reach Out, I’ll Be There,” for example, is included here — although it had been featured on Surrender in 1971, released as a single, and been a Top 30 hit for Ross!  “Sorry Doesn’t Always Make It Right,” a country ballad released as a non-album, one-off single three years earlier, is also here…even though it would’ve made much more sense as part of her Greatest Hits album in 1976.  The lovely Michael Masser ballad “To Love Again,” meanwhile, had been worked up initially as part of the Mahogany soundtrack sessions, and it would have been a natural to include on the 1976 Diana Ross album in place of some of the weaker choices on that LP.

So what’s the story?  Well…I have no idea.  But the seemingly random lineup does make this album an interesting and challenging listen.  Most of the material here is strong ; songs like “You Were The One” and “Never Say I Don’t Love You” are standouts that are as good as any hits Diana had during the era — both, really, should have been big hits.  But it’s hard to call this a “cohesive” album, especially in light of the fact that it comes on the heels of Baby It’s Me, which is probably the most seemless collection of her career.  So, in the end, it feels akin to albums like 1970’s Everything Is Everything and 1976’s Diana Ross — both more uneven albums that feature dynamite songs alongside some questionable inclusions.


1.  Lovin’, Livin’ And Givin’:   Originally featured as part of the film and sountrack Thank God It’s Friday (a disco-themed movie that starred Donna Summer and introduced her Oscar-winning hit song “Last Dance”), this disco track got a synthesized-remix for the Ross album.  There is no denying that the arrangement here had to be heavily influenced by Summer’s “I Feel Love,” which had hit Top 10 the year before.  That song was a club sensation, and is credited as one of the first to take dance music and marry it with electronic sounds.  Suddenly, “Lovin’, Livin’ and Givin'” — which was intially a much more typical disco track — got as similarly icy, repetative electonic background.  While this may be a case of Motown trying to jump on someone else’s train, it works; the synthesizer track is actually quite good, and matches well with the song and with Diana’s vocal.  She begins the song with a breathy, low-key reading which builds throughout the song; by the end, her voice is spirited and she gets a chance to belt out some pretty good ad-libs.  Because she never really recorded another song like this one, it’s a nice addition to her recording output and remains notable; it’s strange that while Motown released the song internationally, this was never released as a single in the US.  Though it does sound like the earlier Summer hit, it stands on its own and is a good song, and seems like it could have done well in clubs at the time.

2.  What You Gave Me:  This is another case of Diana Ross mining vintage Nick Ashford and Valerie Simpson; this song had been written by the pair and was recorded by Marvin Gaye and Tammi Terrell for 1969’s Easy album.  Though it’s an Ashford and Simpson composition, it was produced in this case by Hal Davis (of “Love Hangover”) — and has been given a full-on disco treatment for Diana.  Coming on the heels of the sleek, modern sounding “Lovin’, Livin’ and Givin’,” this song sounds quite dated; it’s disco in the typical sense of the word, meaning lots of handclaps, strings, and other assorted 1970s instrumental flourishes.  Though Diana gives a nice performance, she doesn’t sound nearly as comfortable as she would the next year on The Boss (which, coincidentally, would be written and produced by Ashford and Simpson).  Though she belts a little toward the end, she never quite sounds like she’s fully pushing herself; this is often the case in her work with producer Davis, who seemed to favor more laid-back vocal work from Diana (and is thus the opposite of her Ashford and Simspon-produced output, especially The Boss, where Diana’s voice is constantly being pushed higher and higher).  This was the sole single released from the album, and only charted in the lower reaches of the R&B listings.  It’s not a bad song, but it’s certainly weaker than the other two new dance songs here.

3.  Never Say I Don’t Love You:  This is an absolutely gorgeous ballad written and produced by Greg Wright; it’s one of the great hidden treasures of Diana’s late-70s album output.  The song is almost as good as the stunning ballad work on Baby It’s Me, it’s shimmering, lush background and vocals just about matching the feel of that superior album.  Diana gives a pretty, delicate reading of the lyric here; her voice quietly rides the melody, never overpowering the words but never sounding thin nor weak.  The song itself is a piece of well-written pop, with a memorable lyric and chorus.  It’s a mystery why this wasn’t released as a single; possible Motown wanted to focus on pushing dance songs for Diana in the wake of “Love Hangover” and her Grammy nomination for “Your Love Is So Good For Me.”  Still, this song is so strong it sounds like it should have been a hit, and it’s a shame that it’s not better known in the context of Diana’s discography.

4.  You Were The One:  Speaking of lost hits…if ever Motown completely botched a chance to have a massive hit on Diana Ross, this was it.  “You Were The One” is, quite simply, one of the best dance songs ever recorded by Diana — a classy, funky club song with the best Diana vocal performance in years.  As with the previous track, this was written and produced by Greg Wright — and again, the song is a perfect fit for Miss Ross.  A popping bassline is the driving heartbeat of the song — much like in “Love Hangover” — and Diana’s voice rides along the beat comfortably until two minutes in, when her voice suddenly soars to a high note on the words “…you were THE ONE…” in a thrilling, soulful moment that foreshadows her elastic vocal work on The Boss.  Unlike this album’s sole single, “What You Gave Me,” this song doesn’t sound like dated disco; it is, for sure, a dance song of the 1970s…but the lush, shimmering feel of the instrumental and the background vocals is more in line with the Richard Perry production work on Baby It’s Me — and this helps the song feel much more timeless than it might otherwise.  Again, this song has “smash” written all over it — it’s stronger and more memorable than “What You Gave Me” and Diana sounds much better.  Someone should be kicking themselves right now for letting this hit get away!

5.  Reach Out, I’ll Be There:  And here’s where Ross gets…strange.  This song, of course, was initially recorded back in 1971, and had been released as the second single from Surrender.  It wasn’t a huge hit, but it did manage to make it to the Pop Top 30; it was slowed down and stretched out in an obvious attempt to replicate “Ain’t No Mountain High Enough,” and while it wasn’t as successful sales-wise, it’s a beautifully done production that was among the best on Surrender (and featured gorgeous vocal work from Diana Ross).  The question is, of course, why is it here?  Did Motown execs decide that since it was left off 1976’s Greatest Hits that it deserved a second life?  Were they trying to capitalize off the fact that Gloria Gaynor had scored a hit with a disco version of the song in 1975?  Or did someone behind-the-scenes just really like the song…perhaps Diana herself?  I’d love to know the answer — but for now, all we can do is judge the song in the context of the rest of the album.  This is a slightly remixed version — there are some minor changes in the instrumental track and it runs a little longer — but Diana’s vocal is the same one used on the earlier release.  Therefore, it’s still a great performance; her voice is crystal clear on the relaxed opening, and soars dramatically during the song’s climax.  The song is also strong enough that it doesn’t sound jarringly out of place coming after the previous four songs, especially given that “What You Gave Me” provides an Ashford and Simpson connection.  For a listener unaware that this is a much older, recycled track, “Reach Out…” would seem like a strong addition to the album.  For fans aware of its history, though, it does feel like an odd inclusion.

6.  Sorry Doesn’t Always Make It Right:  And here comes our second big question mark in a row.  This song had been released as a single back in 1975 but never made it on an album before; it’s a soft, country-styled ballad written by Michael Masser and was a Top 20 Adult Contemporary record for Ross, though it didn’t chart elsewhere.  But even if this had been a bigger hit, it would still be a questionable inclusion, because the style is unlike anything else found on the album.  The tone of “Sorry…” matches well with Diana’s work on Last Time I Saw Him; the title track and album cuts like “Behind Closed Doors” placed Diana in country/pop territory, as does this ballad.  Therefore, it would have been a perfect fit on that album.  By 1978, however, Diana had left her brief foray into country far behind…and she and Masser had worked up for stronger, more contemporary songs together.  Perhaps the most likely reason for including the song here is that in late 1977, Gladys Knight & The Pips had released their version of the song, which rose to the Top 30 of the R&B charts; maybe Motown execs figured they could get some mileage out of it being listed on the back of this LP.  “Sorry…” isn’t a bad song; it features a very pretty, delicate performance by Diana, who sings in a startlingly high register at the beginning, sounding almost as youthful as she had on her earliest Supremes singles.  The track is as well-produced as songs like “Love Me” and “No One’s Gonna Be A Fool Forever” from Last Time I Saw Him — both of which were nice album cuts — again, it would have been a great addition to that album.  Unfortunately, on this album, it does feel out of place; the style doesn’t match with the disco cuts or the smooth pop ballads, and it sounds dated.

7.  Where Did We Go Wrong:  Ross gets back to business with this contemporary ballad co-written by Ron Miller — a “second try,” if you will, since an earlier version had been worked up during the Last Time I Saw Him sessions (but that didn’t make the album).  This 1978 version stands as a fine addition to this album; the instrumental opening is absolutely lovely, and Diana’s voice is smooth and restrained throughout.  There’s a nice, laid-back vibe to the song; it is, actually, quite similar to “Touch Me In The Morning” in sound and structure, albeit more sorrowful in lyric and overall tone (which makes sense, since Miller was also co-writer on that #1 hit).  I think it’s a little too slow to have been a radio hit. but it is a nice album track that merits rediscovery, especially since it’s one of the lesser known ballads of Diana’s late-70s output.  (Note:  This song was also cut by Maureen McGovern for her 1974 Nice To Be Around album).

8.  To Love Again:  This is another lovely Michael Masser production, and was written by him along with Gerry Goffin; it was apparently first worked up during sessions for the Mahogany soundtrack.  The European feel of the song may be a result of that, since much of the movie takes place in Rome; it probably would have fit in well had the soundtrack featured Diana’s voice on more than just the main theme.  The ballad is one of the more unusual of Diana’s career up to that point, thanks to the atypical structure and the interesting instrumental with the very prominent mandolin and accordian.  It does, however, feature a classic Diana Ross ballad vocal performance — which is to say, it has a control and subtlety so skillful that it sounds extremely simple.  This, I think, is a reason that Diana is all too often overlooked as a vocalist; because she doesn’t run up and down the scales here, showing off her range with bombastic gynmastics, the casual listener might mistake her singing for being weak or “limited.”  However — a song like “To Love Again” requires careful, multiple listens; only then is the complexity of Ross’s singing revealed.  Her vocal control during the first minute or so is extremely impressive; she is singing a challenging melody line and is required to hold certain notes and words for several beats at a time, but never sounds like she’s putting any excess effort into her performance.  I’d also say that Diana’s singing of the words “to love again” at 2:19 (when she takes them an octave higher than she had earlier in the song) is one of the single most beautiful moments in a Diana Ross recording; her delicate, crystal clear reading of the words, and her four-note improv following them, combine with the soaring strings of the instrumental track to create a breathtaking musical interlude.  This song stands among the best ballads Diana ever recorded, and is a masterpiece of her Motown days.

9.  Together:  Another holdover from the early 70, this had been the b-side of the “Sorry Doesn’t Always Make It Right” single, but had never featured on a Diana Ross album until now.  The song is a snappy, upbeat pop tune that sounds a lot like the title track on Ross’s 1971 album Everything Is Everything; the version on this album features prominent finger-snapping throughout the track, and is consequently hard to listen to without snapping along to it.  That said, it’s not really a partiulcarly good song; this is probably Diana’s weakest vocal performance on the album, in that there’s a noticeable effort and strain in some of the higher notes and she doesn’t sound as controlled as on the previous track.  The song is also so repetitive that it becomes a little grating on the nerves by the end, and it certainly sounds much more dated than some of the other work on this album.


The highlights on Ross are career highlights for Diana Ross; though only die-hard have likely ever heard the songs “You Were The One,” “To Love Again,” and “Never Say I Don’t Love You,” they are among the best work Diana Ross released in the 1970s.  After several years of relying on the smooth, sophisticated singing she’d perfected in Lady Sings The Blues and on her mid-70s LPs, she’d begun taking chances again on Baby It’s Me and on this album; her vocals are still glossy, but there’s a strength that would emerge full-blown on her work on The Wiz soundtrack later that year, and then again on 1979’s The Boss.  Had the older, outdated songs — mainly “Sorry Doesn’t Always Make It Right,” and “Together” — been left off and replaced with some of the dance tracks that had gone unreleased, this album could have stood alongside Baby It’s Me and The Boss as a 70s classic for Miss Ross.  But even as uneven as the album ended up being, it still deserves wider recognition and a “second life” on CD thanks to some stellar moments.

Final Analysis:  3.5/5 (Great Songs “Together” With Some Weak Filler)

Choice Cuts:  “You Were The One,” “To Love Again,” “Never Say I Don’t Love You”


About Paul

Album-by-album, track-by-track, a look at the entire Diana Ross discography...
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47 Responses to Ross (1978)

  1. wayne2710 says:

    An odd one for sure ! At the time I thought Motown were trying to ruin her career. Over the years I’ve grown to accept it for what it was, but it’s fair to say that it can be passed over by all but the most devoted fans. The mix of Reach Out remains the best released, and the ballads Where Did We Go Wrong , Never Say I Don’t Love You , and To Love Again make the album worthwhile. The cover artwork on the other hand…. well, let’s just be kind and say it was a nice idea but it didn’t quite work ! Shame considering some of the wonderful photo sessions from around this time would have/could have been so much more attractive.

    • Paul says:

      Wayne — this cover fascinated me as a kid, as this was one of the first LPs of hers I ever owned (who knows how I got it, since I wasn’t born until 1980…my parents must have found it somewhere!) — I thought it was so strange. I totally agree with you — with the amazing photo shoots happening in the late 70s, and the fact that she was so strikingly beautiful during this period, why in the world did Motown choose this??

  2. wayne2710 says:

    Now you’re making me feel old Paul ! Kid indeed ! I must have been not far from a kid myself when it was released – if only – HA ! I do remember reading an interview with Diana in which she described the concept of an album cover which turned out to be this, so I guess it’s her own fault. Pity they didn’t use the now classic photo of her with her hands on her head, it might have helped sell the album too.

    • Paul says:

      Wayne — lol — hey, at least you were able to go buy those albums when they were brand new! I’m jealous of that! 🙂 That pic would’ve been a great cover…I agree…

  3. Antje says:

    For whatever reasons, “Ross” slipped out of my attention, maybe it was not even released in my country! So I only got to know it recently, and in my opinion it does not sound outdated at all. As we learnt from the interview in “Rolling Stone” you quoted, most /all of the new tracks were recorded concurrent to “Baby it’s me”.
    Yes, the songs you highlighted are superb. “To love again” sounds like a French chanson, no wonder she is so popular over there.The only track I disagree on is “What you gave me” – I really don’t like disco, but her vocal take is so energetic – a feel-good song. And it is really interesting to compare this version of “Where did we go wrong” – wonderful! – to the earlier one, where in the beginning her voice cracks in a way never heard before or after. Perhaps it was very personal to her.
    In this context I would like to mention her marvellous rendition of “For once in my life”, which must have been recorded at about the same time and is not available on CD so far. Though I find the intro a bit whiny, I absolutely fell for her version, stunning. Should have been a single, too!

    • Paul says:

      Antje — I love “For Once In My Life” too!! I have a feeling a lot of people don’t like it — but there’s something really enjoyable about it — I think it would’ve been a better addition to this album than some of the other tracks…

  4. Lawrence says:

    Hi –
    I never really understood this album – although I was very young when it came out. A few years ago, a friend made me a CDR of it and it seemed like a combo greatest hits/extras CD.

    I guess with Baby It’s Me and The Wiz coming out around the same time, this got lost in the shuffle? Wayne, did you buy this album on LP? I don’t think it’s ever been issued to CD, has it?

    Actually, the “Speaking of lost hits” made me think. Wouldn’t it be fun to make a list of classic Motown album cuts that should have been singles/hits? I’ll start, in order of the album 🙂

    1) Something on my Mind 2) I can’t give back the love I feel for you 3)I love you (Call me) 4) Stone Liberty 5) Leave a Little Room 6) You are Everything 7) After You 8)Too Shy to Say 9) Never Say I don’t Love you 10) It’s my House 11) Tenderness

    PS. If we were including RCA album cuts, I know “Crime of Passion” and “It’s hard for me to Say” would be on the list!!!


    • Paul says:

      Lawrence — your list of “lost hits” is just about perfect in my mind! I completely agree with the tracks you chose, and would add “You Were The One”…”Top Of The World”…”Ain’t Nothin’ But A Maybe” (which could have been a nice R&B hit)…and the Marvin Gaye duets “You Are Everything” and “Stop, Look, Listen.” As for the albums I haven’t posted about yet…I think “No One Gets The Prize” could have been huge had it been released and handled propertly…and maybe “Give Up” from the diana album.

      I totally agree about your 2 RCA choices, too — why in the world didn’t Diana release “It’s Hard For Me To Say,” which could have been a #1 R&B hit?!? I think “Let’s Go Up” should’ve been a big pop hit…and I think “Touch By Touch” could have done well for her, too. Ah…so many great songs that should’ve been hits!!!!!

    • wayne2710 says:

      Hi Lawrence, yes I did indeedy buy this on vinyl first time round, and you are correct, to date it is the only one on Diana’s albums not to have been released on cd. Looking forward to it’s first official appearance on cd in the not too distant future.

      • Lawrence says:

        Hi Wayne –
        Is there word that this will be issued on CD? That would be great!
        Do you have all of Diana’s albums? Which are your favorites?


  5. Lawrence says:

    Thanks Paul! I guess great minds think alike 🙂

    I was trying to limit it to one track from each album – but yes, there are so many under- appreciated gems!

    And there are lots of later day Diana songs that should have been big too…especially on Take me Higher and Force Behind the Power….

    by the way, are you in Los Angeles?

    • Paul says:

      Oh God…you’re so right about “Take Me Higher” and “Force…” those ENTIRE ALBUMS are lost hits!!!! No, I’m not in LA…I’m an east-coaster! 🙂

  6. Lawrence says:

    I grew up in DC and NYC but live in LA. Are you on Facebook?

  7. david hess says:

    I enjoyed your review of ROSS album as probably most fans, and feel it was spot on.i loved NEVER SAY I DONT LOVE YOU / YOU WERE THE ONE/TO LOVE AGAIN/WHERE DID WE GO WRONG. your review was if you read my mind. i wasnt crazy about this album at first but it has grown on me and now it’s a favorite although my cdr opy has all the songs from the 1981 TO LOVE AGAIN album as bonus tracks and i delletted two of the country flavored tracks to make it sound more cohesive. i look forward to the deluxe edition of this album.
    ps. they recently found 4 more tracks by diana from this era in the vaults.
    thanks david

    • Paul says:

      Thanks, David. Wow — they found 4 new tracks?!? That’s awesome! Wish I could have a few days to rummage through the Motown vaults and search for lost treasures myself!!

      • david hess says:

        Paul, yeah ,you and me both. i read they were lookn for a vocal on, DONT LEAVE ME THIS WAS but Diana never completed it, but they found more songs. also she did several tracks with Stevie Wonder that are unreleased..think a deluxe edition of Ross is around the corner

      • Paul says:

        Would LOVE to hear her work with Wonder…

  8. david hess says:

    Paul,yeah and she sings the heck out of a Stevie song. i remember when she sang RIBBON IN THE SKY in central park.i always hoped she would record that one.beautful song.

  9. david hess says:

    paul, you know, i didnt like the cover orignally but it has grown on me as much as the album itself. i think this future expanded collection may have the most surprises since it seems to be the most confusing album with all its previously used tracks??maybe?

  10. spookyelectric says:

    First of all – great blog. Great to see Diana’s musical output getting proper props. Really like the design too.

    Must say, I got hold of ‘Ross’ in the early 80s and never really thought of it as a ‘proper’ album as I was already so familiar with several cuts. ‘Where Did We Go Wrong’ I’d played to death as the b-side of ‘My Old Piano’…

    I’ve got a feeling it’s pretty unlikely Motown will give this the ‘Deluxe’ treatment the way they’ve been working through the rest of her back catalogue. More likely they’ll add the cd-unreleased tracks (the main one being ‘You Were The One’) as bonuses to ‘Baby It’s Me’ Deluxe along with 12″mixes + alternate takes and unreleased tracks from the era.

    The only sense I can make of the ‘Ross’ set in hindsight is Motown originally were considering a mainly disco-orientated album (centred around the Hal Davis + Greg Wright sessions, plus some Holland & Holland productions) and reconsidered – giving over the entire 2nd side of the vinyl to old or previously-shelved ballads.

    Maybe they thought too much disco was too risky for her fan base, or maybe they weren’t convinced of the quality of the tracks – who knows?

    If you check the ‘diana’ Deluxe bonus disc there’s several cuts credited as being unearthed from these sessions, which makes me think the full album could have been side 1 (tracks 1-4) plus:

    5. Sweet Summertime Livin’ (Hal Davis)
    6. For Once In My Life (Hal Davis)
    7. Fire Don’t Burn (Holland & Holland)
    8. We Can Never Light That Old Flame Again (Holland & Holland)
    9. You Build Me Up To Tear Me Down (Holland & Holland)
    10. Share Some Love (Greg Wright)

    The Holland & Holland tracks were at one point going to be issued on the 1982 aborted album ‘Revelations’ which was intended I guess as a spoiler to her debut RCA album.

    • Paul says:

      Thanks, spookyelectric! Glad you found the blog and am excited for your input! I agree with your assumption that Motown had planned for this to be all disco, then reconsidered…and I wonder if it wasn’t the quality of tracks. Although I like certain songs like “For Once In My Life” and “You Build Me Up…” — I wouldn’t consider any of them “lost treasures” or highlights for Diana. Still, there was so many good tracks in the vaults (i.e. the ones left off “Last Time I Saw Him” and “To The Baby”) — why choose those instead of previously-released singles? Very strange.

      I have always assumed there would not be a “Ross” re-issue…mainly because you can get the songs from it on other CDs. I woudn’t be shocked if the album-version “Where Did We Go Wrong” shows up on the “Baby It’s Me” re-issue. But who knows?!?

      • spookyelectric says:

        Agree – it would be good to have the ‘Ross’ versions of ‘Where Did We Go Wrong’ and ‘What You Gave Me’ on CD. I think ‘Baby It’s Me’ maybe the next (and last) Motown deluxe reissue on Diana so let’s wait and see.

        Interesting to hear of Maureen McGovern’s version of the song – I didn’t even know it existed.

        By the way ‘To Love Again’ was also covered by cabaret singer Jane Olivor on her 1980 album ‘The Best Side of Goodbye’ – one of several Michael Masser tunes she recorded. You can check her version on youtube – it’s closer to the ‘french’ version just released on the DR deluxe two disc.

        And ‘Together’ was cut by Stacey Lattisaw on her mid80s ‘I’m Not The Same Girl’ album (suits her better than Diana I think) alongside a few other Masser tunes including ‘I Thought It Took A Little Time’. Thought you might to know!

  11. Pingback: To Love Again (1981) « The Diana Ross Project

  12. chris meklis says:

    The album that leaves me mystified, and not in a good way!
    Firstly there’s something about the cover that I’ve always liked….it’s a nice enough styling of Miss Ross, perhaps not packing a ‘marketing punch’, but attractive all the same- it makes me think of the track “Sweet Summertime Living” which was supposed to be included on this album, which in turn was supposed to be better than final product which ended up being offered to somewhat confused and disappointed Ross fans…

    I would love to hear a behind the scenes story of what went on here, for there were enough tracks recorded to make this a complete original release and not some haphazard end product that doesn’t cohere properly!

    Simply listen to the unreleased tracks (now released on Disc 2 of the “diana Deluxe Disc” which were apparently supposed to be on this record…namely Sweet Summertime Living, You Build Me Up To Tear Me Down, Fire Won’t Burn, We Can Never Light That Old Flame Again et al

    Imagine these together with the other originals and it makes for a far more cohesive and listenable record from start to finish.
    It would have given enough of a nod to the burgeoning Disco of the time whilst still giving Diana the chance to shine on the ballads with some interesting MOR.

    What do you think?

    Also the production of one of my favorite Masser tunes, Where Did We Go Wrong, seems oddly quiet…I actually prefer the other version on Last Time I Saw Him re release, simply because of the sound quality.

    There are some stunners here like You Were The One and Never Say, and I do think that What You Gave Me is fun and really quite listenable and groovy. Love Loving Living Giving- it’s a taste of 1983’s Pieces Of Ice in a strange way!
    To Love Again is something absolutely rare and beautiful, but do not know if it had a place here.

    Oh well, some things we will never figure out!

    Chris x

    • michael says:

      does anyone know exactly WHEN “we can never light that old flame” “fire don’t burn” and “you build me up to tear me down” were recorded? i know they were supposedly done for the ‘ross’ lp, but her voice sounds like it’s from an earlier period (does anyone agree with this assessment) and wikipedia lists these tracks as being recorded from 1975 to 1977 (if you read the entry for the ‘diana deluxe’ cd). very confusing indeed….

      • Paul says:

        Interesting question — and I’m not sure what the answers are. In so many cases Miss Ross seems to have re-recorded her vocals to certain tracks, so it’s hard to say — the tracks may have been recorded in the mid-70s, with her vocals being re-recorded a few years later.

  13. wayne2710 says:

    Andy Skurow has confirmed that we are to get an extended release of Ross (and Baby It’s Me) in 2013 ! Great news

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  15. Konsumers says:

    The lack of success for “You were the One” is still a mystery to me. Even moreso when as i recall it getting regular airplay on R&B radio in NYC at the time. Diana has a catalog of “should’ve-been-hits” In many instances songs that were actually better than the “hits”… This is one of those tunes…

  16. michael says:

    i just posted a new edit i made of this song on youtube, wanted to share with everyone here.
    check it out:

    i’ll be posting many more edits i’ve done, so keep checking!!!

  17. Eric says:

    You know what I agree so much about never say I don’t love you it’s such an amazing song and maybe not a single but definitely one that is the classic song when the best of the 70s soul am yeah The lp wasn’t handled correctly it needed maybe a little bit more new songs should of been added and more soul ballads and not just songs thrown into the mix just to kind of be there it really feels off but it is a good record I do I like the cover has a “Cuban” feel to it!

  18. Paul Hampson says:

    Ross 1978 will be released by Culture Factory on Feb 24 2014 at a bargain price. If the quality matches some of their other reissues I’ll be more than happy.

  19. Pingback: A “Funny” Reissue In 2014? | THE DIANA ROSS PROJECT

  20. davidh says:

    I have to say I think they (Motown) screwed this collection up, but I do like most of the songs. I do agree that Motown lost out on many tracks. so many gems. I always thought YOU WERE THE ONE should have been the single along with NEVER SAY I DONT LOVE YOU…TRUE CLASSICS.
    I like the above mentioned songs that should have been singles….also, THESE THINGS KEEP ME LOVING YOU, MY PLACE,ALL NIGHT LOVER

  21. Over time this has become a favorite record. And while acknowledging the inconsistency of theme somehow this disparate package of tracks kind of just works. Having just found the Oz iTunes had finally uploaded Ross into their library I can finally hear a fab remastering of the LP that is above and beyond my bootleg download and its a revelation to hear La Ross in all her glory and the workmanship around her on each track. Yup absolutely a favorite. 🙂

  22. Pingback: Were You The One? The Top 5 Hits That Got Away | THE DIANA ROSS PROJECT

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  25. david h says:

    just found this on ITUNES…didn’t know it was available for download. I am making my own play list with tracks from To Love Again

  26. david h says:

    wish she would have done more tracks with Greg Wright.maybe there are some gems awaiting to be found

  27. david h says:

    if things go as planned as expanded Ross is coming this year….the success of A GO GO will determine if any additional physical cds are coming or if they will stick with downloads only

  28. Pingback: The Supremes (1975) | THE DIANA ROSS PROJECT

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