“Every Day Is A New Day” Promo Single (1999)

Every Day Promo Single

“It’s my day…”

1999’s Every Day Is A New Day is an important addition to Diana Ross’s discography for many reasons.  Thematically, it’s an unusual entry; fans refer to it as Diana’s “divorce album,” since the diva was dealing with the dissolution of her second marriage during the recording.  It would also become the final Motown studio album of Diana’s legendary career, something nobody would have expected when it was released.  Despite lagging sales in the United States, it seemed impossible to believe Diana would ever be dropped from the label with which she is so closely identified; however, within a few years, she was.  That said, there was no doubt that the label wasn’t supporting Diana the way fans wanted; not one single was officially released from the album in the US, a sure sign that something was wrong.

While there were no official releases at home, dance clubs picked up the remix of “Until We Meet Again” and carried it to #2 on Billboard’s Dance Music/Club Play chart.  Meanwhile, radio stations were sent a promotional single of the album’s title song, a three-track CD that included two mixes of “Every Day Is A New Day” and a “call out hook” — basically a 15 second snippet for radio DJ’s to talk over.  The album version of “Every Day Is A New Day” runs 5:56 and is the longest song on the album; it is a rich, dynamic piece of neo-soul/jazz that really takes its time.  As I wrote in my post about the album, “Diana Ross is in relaxed voice, displaying some of the most confident vocals of her career; the song’s key perfectly suits both the deeper end of her range and her upper, breathy range, and it allows her to display both impressively.”

Because the song is so relaxed and lengthy, it’s not a surprise that radio would get a shortened version to consider for airplay.  What makes this promo CD so special, though, is that it features a somewhat different vocal (and spoken section!) from Diana Ross on the “Radio Mix” — something many fans would be completely unaware existed.  Because Motown didn’t push the single, radio stations didn’t play it…thus, this interesting alternate version of the song was lost.  It’s not a radically different interpretation; casual listeners might not even hear the differences.  But for fans, it’s a notable find.

***

1.  Radio Mix:  Running 3:53, this is a far shorter version of “Every Day Is A New Day,” and Diana’s vocal here is arranged differently from that of the album recording.  This mix begins immediately with the popping bassline, something that doesn’t happen until 50 seconds into the album version.  Diana ad-libs a bit over the opening chorus, adding a few jazzy flourishes that are new; this is also the case as the chorus is repeated through the song.  The biggest surprise in the song, though, comes toward the end, with the appearance of a full spoken section by Diana.  In a breathy voice, she purrs, “Every day is a new day…you see, I’m gonna be alright on my own.  You don’t wanna talk anymore?  It’s okay…it’s mine…’cause every day is a new day…it’s my day.”  There’s an improvised, confessional sound to this section; it really adds a more personal touch to what already seems like a personal song, and it’s puzzling that it was cut from the longer version on the album.

2.  Radio Edit:  This version runs 4:12, and is a shortened version of the one that appears on the album, with the full extended instrumental intro.  Strangely, although it’s longer than the “Radio Mix” — it does not include the spoken part!

3.  Call Out Hook:  As mentioned before, this is a 15-second song snippet for DJ use.

***

Again, the differences here aren’t major ones; the spoken section on the “Radio Mix” doesn’t radically change the song, nor do Diana’s different ad-libs.  But the fact that this promo CD exists does continue to raise questions about Motown’s handling of Diana’s career in the 90s.  Why did Motown bother producing different mixes of the song and sending it to stations at all?  Did the label ever seriously consider its release?  Was Diana pushing for the song to be released?  Whatever the case, it’s always tempting to wonder what if.  Had “Every Day Is A New Day” managed to procure some R&B airplay, perhaps the fate of the album and Diana’s contract with Motown would have been much different.

Advertisements

About Paul

Album-by-album, track-by-track, a look at the entire Diana Ross discography...
This entry was posted in Non-LP Single and tagged . Bookmark the permalink.

20 Responses to “Every Day Is A New Day” Promo Single (1999)

  1. Lawrence says:

    I’ve never heard the promo single of the album cut. Where are these three versions available?

  2. Tony says:

    I do love this song…..her voice , her tone and breathiness. I am shocked that it was so under promoted here in North America. Was it off the mark of what was being played radio – or did Motown know they were going to drop her from the label and just didn’t bother promoting?

    Nice to hear from you Paul!

  3. TONE B HURT says:

    Hi Paul: I remember listening to the album “Everyday’s A New Day” upon it’s release and loved it. I felt it was very good. Not as cohesive as “Take Me Higher” but very good. I thought the cover photo chosen was too campy and wrong for the cover. Now on a technical standpoint this was the ending of an era of radio-play bridging it’s audience gap. It’s been about youth ever since. And Motown was having a lot of trouble with supporting many of their artists-established or newer. I remember the album being promoted during the broadcast premiere of the tele-movie “Double Platinum” and thought that would help the sales. And on top of that Miss Ross was having tremendous difficulty with Motown during this time. It’s very frustrating trying to deal with a corporation that you’ve help build compromise quality and respect for it’s artists. It was bittersweet for me when she returned to the label right at the time Berry Gordy’s departure-I knew she would not get the support she deserved. They even refused to release her fantastic Christmas album(ultimitely released on Hallmark label). The Motown regime had changed soooo much for the worst. I must say tho her body of work after her return was some of her best!

  4. Tony says:

    Tone!!!!

    I so agree….that despite her lack of support from MOTOWN upon her return, she did some of her best work.

  5. Steve Shifflett says:

    After reading your fascinating review, I went to I-tunes to play the song, and I quickly realized I have the radio edit! Not sure where I got it: I have downloaded lots of Diana’s music. (Don’t worry; I own almost every album and CD that have ever been released by DR&S and Diann.) My actual CD of the album is in a broken disk jukebox; now I have to figure out where it is in the 300 slots and play the album version of EDIAND. I like the radio mix version; I love the spoken parts in all of Diann’s work – starting with Love Is Here and Now You’re Gone.

    • Paul says:

      How funny — wonder where you got it? To be honest, I had the single in my collection for years before I realized it was a different version than the original — I found the single in a used CD store and snatched it up, but never really bothered to listen to it, assuming it was an edited down version with no major differences. What a surprise when I finally put it in my player!

  6. rejon18 says:

    I have so wanted this version. I love the album but i really want this single.

  7. theqhblend says:

    So glad I stumbled onto this page. I am a HUGE Ross fan. This is also one of my favorite Diana records, a return to her soul roots continued from “Take Me Higher.” I’ve blogrolled you and now follow. I’m preparing a post for the 30th anniversary of her “Ross” (1983) LP, I hope you’ll enjoy it when it goes up.-QH

    • Luis Boki says:

      So if “Everyday is a New Day” is effectively Diana’s final studio album (not counting “I LoveYou”), are we happy that she ended up releasing 3 of her best studio albums in the 90s. Personally, “Everyday is A New Day” remains a difficult listening since it is known as “the divorce album”. It is a very well made album, but, the lyrics are just heartbreaking. “Surrender” was also a “dark album”, but, as far as we know, the songs were not personal reflections of what she was going through.
      Losing Arne set her off course for several years. Some of the songs like “Gotta Be Free” and the title cut, leave the impression that “she left Arne”. That was not necessarily how we understood it to happen. Oddly, Arne’s tragic ending gave her a sense of closure she would be incapable of having on her own for perhaps a long time.
      At the end of the day, the 90s saw Diana deliver one brilliant album after the other beginning with my personal favorite, “The Force Behind the Power” and arguably her best live album, “Stolen Moments” which I was so fortunate to attend and be in the audience. Her work was so stellar in the 90s, I almost forget how flawless, “Take Me Higher” really is. (And also her best holiday album, “A Very Special Season”!)

  8. davidh says:

    I think this is my favorite version and song from this album

  9. Luis Boki says:

    Actually, “Everyday is a New Day” did get scattered, light airplay around the country. I saw the actual BDS reports (Broadcast Data Systems-computerized tracking of radio airplay). But, once again, Motown was unsure of what single to work. Almost simultaneously, they sent “Someone That You Loved Before” to Adult Contemporary stations. Not necessarily a bad idea, but, could have been perceived that Motown wasn’t committed to either single. Rightfully, they sent this radio promo CD of “Everyday is a New Day” to R&B stations, that would respond to the Mary J Blige vibe of this single. But a good radio programmer read all the BDS reports I referred to. They would then question their Motown radio rep “why they were getting a different song”. It was easy to understand that an R&B station wouldn’t care as much about a Diane Warren ballad, which sounded like a Michael Masser record. And vice versa, our parents would be listening to the easy listening stations and would be turned off by a Mary J. Blige-sounding record. (The only Mary J. Blige single that got any play on Easy Listening stations might have been “Not Gon’ Cry” because “Waiting to Exhale” was so big at the time. To add injury to misery, Motown radio reps had little or no relationship with their local easy listening stations because besides Boyz II Men around that time, Motown in the 90s was NOT a crossover label. Berry Gordy had built Motown into a multi-format record label delivering Diana Ross, Smokey Robinson and Lionel Richie ballads on the regular. If you were a Motown radio rep in 1997, you hardly knew your local easy listening station person. Somehow by the late 90s, Motown had all but destroyed their “crossover image”. To pull a favor on a new Diana Ross single was a tall order….not when you had Whitney and Mariah delivering huge ballads as well.
    So, while they were well meaning, Motown was no longer the ideal place for Diana. I met the New York radio rep around this time and asked him why if “When You Tell Me That You Love Me” was a worldwide smash, why couldn’t he get that record played in New York. This scholar said that “it was a “pop record” and Diana was not popular. Brain surgeon didn’t understand that a “pop record” also meant “the sound” of the record. There are very few black people in Europe and Asia where that record was a smash. Isn’t that a formidable argument for getting a “pop record” played on stations that appealed to whites?
    Alas, that is perhaps why Motown is a shell of itself today. (Example: India.Arie was first on Motown, then they put her on Universal, now she’s back on Motown. Same for Erykah Badu. How do you rebuild the Motown brand again with soooo many inconsistencies from the label itself?).

  10. Any chance someone who has this radio version can post it on youtube or something? Need to hear!

  11. misterrae says:

    I’ve always been confused about what the singles were from this album – and now I see there weren’t any clear “singles”! Does anyone have a complete list of the different edits & remixes of anything from Every Day Is A New Day? I’m trying to complete my collection and would love to hear this spoken bit!

    • Paul says:

      Hello!

      I think you’ll find just about everything from “Every Day Is A New Day” written about on this blog. The title song was mixed only for this promo single (with spoken passage), and “Not Over You Yet,” of course, got a hit UK remix. “Until We Meet Again” was mixed for US clubs — and there is an alternate mix of “Carry On” that — to my knowledge — was never released (it can be heard, though, in the film Double Platinum.

      There are, of course, also the international tracks written about here, available on EMI editions of the CD. Aside from that — I don’t think I’m aware of any other edits of songs from this release. Hope that helps!

      • dalastyme says:

        Hi Paul… There’s a underground St. Kent Club remix for “He Lives In You” that’s SICKENING!!! Love when mixers work Diana’s vocals ALA “Swept Away”. It runs a ‘lil pass 8 minutes. Why this version was never officially released to the clubs is criminal. It’s time for another Diana REMIXED Vol. 2!!!

  12. ernestortega says:

    Hi Paul! “Every Day Is A New Day”, as a single, did hit any chart? Grettings from Ecuador!

  13. ernestortega says:

    Hi Paul! “Every Day is a New Day”, as a single in the US, did hit any chart? or “Someone That You Loved Before”? Please, let me know. Grettings from Ecuador!

  14. spookyelectric says:

    The single remix now on youtube! Love it.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s