Diana Ross Sings “Home” (A Retrospective)

Diana Ross Home

“Maybe there’s a chance for me to go back…”

There’s no denying that if anyone lays claim to the song “Home,” it’s the great Stephanie Mills.  In 1975, the teenager created the role of Dorothy in Broadway’s The Wiz, shooting to stardom by belting out songs like “Be A Lion,” “Ease On Down The Road,” and the show’s classic 11 o’clock number, “Home.”  Even with eventual popular success as an R&B singer (she beat out Diana for a Grammy in 1982), Mills would remain closely identified with the role of Dorothy — she returned to the stage to perform the part a few times, and even re-recorded “Home” in 1989 and took it to #1 on the R&B charts.

That said, Diana Ross also owns a piece of “Home,” thanks to her starring role in the 1978 film version of The Wiz.  Her raw, emotional performance of the song in the film was a striking departure for the singer; years later, “Inside The Actor’s Studio” host James Lipton remarked of it, “At the end of the film, Dorothy recounts what she has learned in one of the loveliest songs Diana has sung, and in a definitive acting performance.  Students, take careful note.”  Though never released as a single from the film’s soundtrack, Diana chose to perform it often on stage, keeping the song as part of her act well into the 1980s; this resulted in several performances of the ballad being captured on tape and preserved for future audiences.

Because of her powerful reading of the song (it’s a ballad that truly stretches the singer’s range and forces her to do some “belting”) and her obvious fondness for it, “Home” has long been a fan favorite.  In her 1993 memoirs Secrets Of A Sparrow, Miss Ross writes of the song, “…it always brings me back to my beginnings.  It’s a song that reminds me never to lose myself in the brilliance of the lights.  It returns me to my roots” (179).  Here, then, is a look back at some of Diana’s performances of the song; she might not have lost herself in the brilliance of the lights, but when she was at her best performing “Home,” we did.

***

Here I Am: An Evening With Diana Ross (1977 Television Special):  An extremely interesting, pre-The Wiz performance of this song; the inclusion in this special is clearly a promotional “teaser” for Diana’s upcoming film project, which would be released the next year.  Diana’s An Evening With Diana Ross stage show was a one-woman spectacular that would go on to win the singer a Tony award; a double-LP live album was also released, capturing the incredible energy and excitement of the show.  The show’s lineup didn’t originally include “Home” (the song does not show up on the LP), but by the time it was transformed into this Emmy-nominated, 90-minute NBC TV special, Miss Ross was preparing for her role as Dorothy and likely learning the music for the film.  Presented initially as a pre-taped segment here, Diana sings the song as a little girl, out on a street corner and wearing a sweatshirt and pigtails (perhaps an early attempt to battle criticism that she was too old for the Dorothy role?).  Her performance here is completely different from what we’ll ever hear from her again; singing it as a young girl, she delivers the lines in character, appropriating a slight, fragile tone on the song’s opening lines.  Quickly, the music changes, morphing into a Broadway-esque Motown medley (including songs “How Sweet It Is (To Be Loved By You)” and “For Once In My Life”) as Diana and dancers showcase some interpretive moves and “street scene” narration.  The energetic, colorful sequence is an interesting interpretation of the stage show’s “Motown Story” — during which the singer herself performed a lengthy medley of Hitsville classics.  When the dancing finally ends, Miss Ross returns to “Home,” the pre-taped portion dissolving back into footage of the singer performing the song in a theatre.  Now singing as an adult, Diana performs a smooth, velvety rendition of the number, far in contrast to the raw and explosive version she’d offer up in the film.  She almost seems to be feeling her way through the piece here, not yet injecting it with the pure emotion she’d later discover in the lyrics.  Listen, particularly, to her tentative delivery of the lyrics, “…we must look inside our hearts to find…” — she doesn’t seem sure how to sing the words yet, whereas in later performances she’ll seize upon the word “find” as a key musical moment.  Though this isn’t the “Home” Diana fans would became familiar with, it is an interesting early take worth listening to.

Live In Japan:  There is a video floating around the Internet of Diana Ross performing “Home” during her An Evening With Diana Ross World Tour; it’s got Japanese subtitles and was apparently taped during a stop in Japan.  Diana introduces the song by describing the movie, saying “It’s a beautiful fairy tale.  It’s about a girl named Dorothy — me — and her wish to go back home.”  What follows is an absolutely spectacular performance of the song, with Diana looking breathtakingly beautiful in shimmery, draped dress and her hair slicked back into a bun.  She clearly knows the song here; she sings it with the studied perfection of an artist who’s thought about the words and related them to her own life.  The strength in Diana’s vocals is undeniable; her lower notes are full-bodied but relaxed, and her sustained belting on the high notes is as soulful and powerful as she’d ever sounded on stage.  Note the way she reaches even higher than normal when wailing the line, “…it’s real to me…and I’ve learned…” — she is really going for it here.  Diana brings the performance to a smashing conclusion by repeating the final “Like home!” and is greeted by a thunderous crowd reaction.  This isn’t the most easily available of Diana’s “Home” performances, but it’s one of the very best — she’s clearly energized by the song and the optimism associated with her new film project.  It’s worth seeking out.

The Wiz (Original Soundtrack) (1978)[From the original Diana Ross Project review] This is the most famous song from The Wiz; it was the standout from the original Broadway production, and helped make Stephanie Mills (who originated the role of Dorothy) a star.  Mills, incidentally, would record the song again in the 80s and take it to #1 on the R&B charts, and it remains the song most associated with her.  Diana Ross, meanwhile, also appropriated the song into her career and performed it often, notably during the first of her infamous concerts at Central Park in 1983 (she sang it before the rain started falling!).  “Home” is the closing tune on the soundtrack; it’s a classic “11 o’clock number” that provides an emotional climax and ends the musical on a dramatic high note, and Diana Ross’s recording of the song is certainly a highlight of the project.  She takes every aspect of her vocal performances thus far – the rawness, the passion, the strength and power – and pushes each full-throttle here; this is the most natural and unrefined she would ever sound in her career.  She’s not so much singing the song as she is experiencing it; as the instrumental track builds and builds, Diana’s voice gets rougher and rougher, as she growls and belts out certain lyrics (her repetition of the word “real” at 2:50, for example) in a way that’s downright shocking considering this is the same singer whose glossy vocals sold us “Touch Me In The Morning” a few years earlier.  It’s not a classically “pretty” vocal performance, but it’s a captivating one and is one of the most striking vocals of Diana’s career.

Motown Version (Released 2001):  In his 2007 book Diana Ross: A Biography, J. Randy Taraborrelli writes of a planned Motown LP entitled Diana Ross Sings Songs From “The Wiz.”  According to him, “She recorded alternate versions of ‘Home,’ ‘Be A Lion,’ and a new song, ‘Wonder, Wonder Why,’ for this project.  However, they all remained in the Motown vaults” (523).  Though the album was ultimately canned, Diana’s Motown version of “Home” finally surfaced in 2001, with the release of the beautifully-produced The Motown Anthology, a 2-CD collection featuring hits, rare songs, and alternate mixes.  This recording is credited to producer Lee Holdridge (the incredibly prolific composer and arranger) and features a lovely arrangement, taking the drama and whimsy of the film version and mixing in more pop-oriented instrumentation, notably a fabulous acoustic guitar accompanying Diana during the opening few lines.  The vocal performance here is sublime; Diana’s voice is sure and controlled during the opening, her lower notes strikingly husky and appealing.  As the song builds, she retains the sense of wonder she’d discovered as the character of Dorothy, while imbuing the performance with a smoothness and warmth more characteristic of classic Diana Ross ballad work.  She uses her voice in new, interesting ways on lines like “I have had my mind spun around in space” — listen to the slight edginess in her vocal (especially on the word “mind”), a little roughness surfacing just long enough to give the song a sense of realness in the midst of its fantasy elements.  The sustained belting during the final minute of running time is dead-on and impressive; there just a slight wobbliness as she holds “world” for several bars, but she really delivers the lyrics, “…so it’s real…real to me!” from her gut, growling out a few words.  The musical track finally swirls to a delicious close, finishing off a truly strong recording that showcases Diana at a personal peak; it’s a real shame this one was confined to the vaults for so long.  Though The Wiz wasn’t the critical or commercial success anyone imagined it would be, this recording released as a single still could have been a solid hit for Miss Ross; interestingly, the liner notes of The Motown Anthology note it being considered as a single release…in 1981!

Standing Room Only: Diana Ross (1980 Television Special)[From the original Diana Ross Project review]  Speaking of belting…Diana launches into “Home” from The Wiz, in what may be her best live recorded version of the song.  Technically, she is dead-on here; her voice doesn’t sound nearly as wobbly during the climax as it does in other performances of it, and her confidence continues until her very final, “Like home!”  Wisely, the director of the special chooses to keep most of the performance on a tight close-up shot of Miss Ross, and it’s fascinating to watch her appear so emotionally invested in the lyrics.  In incredible contrast to her previous energetic performance, here she creates a visual spectacle just by standing still and singing a great song.

diana (1981 Television Special):  “He calls me D…and I call him Q…I wanna introduce you to Quincy Jones!”  The man who produced the original soundtrack album for The Wiz — the one who pushed Diana to sing, in his words, higher than she’d ever sung — was in the audience the night Diana Ross taped her 1981 CBS television special at the Los Angeles Forum.  After rushing to the stage for a hug, Mr. Jones conducts the orchestra as Diana sings the signature song from the film, resulting in a note-perfect and smooth interpretation of the piece.  The presentation here feels a bit more rushed than usual; Diana, in fact, lags behind the music during much of the song, requiring her to rush certain phrases to keep up.  That said, her voice is still warm and strong on the song’s introduction, and her delivering of the line, “…in this brand new world, might be a fantasy” features the singer in peak form.  She doesn’t quite “go” for the big notes in the way she had during the Standing Room Only special; consequently, this version sounds a little less emotional and more “safe” vocally.  Still, the singer displays some moments of real power — especially on her final “Like home!” — and her stage presence is in full effect; as with the Standing Room Only performance, she creates a visual excitement simply by standing still onstage, and is rewarded with a massive standing ovation.

For One And For All: Diana Ross Live! In Central Park (1983 Television Special):  Diana Ross performed “Home” twice during her historic pair of Central Park concerts in 1983; first during the rain-shortened show, and then again the next day.  It makes sense she’d sing the song in New York, considering it’s the city in which The Wiz was filmed (and that served as inspiration for the movie’s stylized settings).  Diana crooned “Home” during the first concert just minutes before a massive storm moved in; the clouds are clearly darkening around her and wind whips her hair into her face throughout the performance.  Considering she must have been secretly starting to panic inside (conditions were deteriorating fast), she manages a decent performance of the song, if not a particularly fiery one.  She nods to her love for the city by changing the lyrics from “I wish I was back there…” to “I’m here,” and the very next line takes on an unexpected meaning as she sings about wind bending the trees and raindrops falling.  She nails the notes as the song builds toward it’s climax, but she never seems as connected to the lyrics as during previous performances; there’s a fair amount of vocal coasting here, and her face even registers what appears to be a hint of distraction from time to time.  Day two, of course, brought a completely different energy to the song; Diana seems renewed as she sings to the massive crowd under the bright blue sky, and there’s a real determination evident in her face this time around.  She references the events of the day before by again altering lyrics, pointing her finger to the sky as she sings, “Suddenly the raindrops that fall…had a meaning,” and “Sprinkling the scene…made it all clean.”  As she continues, a roughness to Diana’s voice surfaces, completely unsurprising given the fact that she’d spent most the previous evening yelling through a downpour.  Still, she sings through the raspiness, and the emergent raw vocals harken back to her performance of the song in the film; there’s a special, triumphant energy to this performance that — even though it’s not her best — makes it a memorable one.

***

Diana Ross has had so many hits in her career that she genuinely has more than one “signature” song; some might say “Ain’t No Mountain High Enough” is her anthem, others “Reach Out And Touch” or “I’m Coming Out” or even something from her days as a Supreme.  “Home” is certainly not considered a Diana Ross signature, or even essential by many; it is, however, absolutely an important song to her career, and probably to her own life.  For several years, “Home” was a surefire vocal showcase in the singer’s stage act, a real demonstration of the singer’s vastly underrated range.  Listening to (or watching) her performances of the song today remains a powerful experience, and serves as an immediate reminder of her indelible artistry.

Diana Ross Home Central Park

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About Paul

Album-by-album, track-by-track, a look at the entire Diana Ross discography...
This entry was posted in Previously Unreleased Tracks, Soundtrack, Television Special and tagged . Bookmark the permalink.

26 Responses to Diana Ross Sings “Home” (A Retrospective)

  1. If you had to pick a single song to follow through live performances, Home is definitely the best choice. It stands as one of Diana’s most challenging, most rewarding and most elusive songs. It is a favorite among her serious fans, who delight in showing it to non-believers as proof of her vocal powers. It represents her at her most creative and prolific period. Yet, back to its elusiveness, it gave every impression of being a Diana standard, with six years of continuous play, and then disappeared after Central Park? Is there any evidence of Diana singing it after this concert? I can’t think of any other song in her catalog that occupied such a place of importance and then dropped so abruptly. (Even The Boss was sung at least occasionally abroad and is again a big part of her concerts here.) Obviously, she remained fond of it as evidenced by the discussion in Secrets of a Sparrow and her “Ow!”, accompanied by a head shake and frisson of the shoulders on the Actors’ Studio show. But where did it go? And why? Yes, it was one of her toughest songs ever but during the 90s she sang When You Tell Me That You Love Me all over the place. This song is as emotional and vocally challenging as Home. So are Missing You and Mirror Mirror. I did what I could to influence the set list. When I met Diana at the signing of Secrets in 1993 I suggested she reinstate The Boss and I Ain’t Been Licked. She smiled and enthused, “I’d love to put The Boss back in”. Emboldened, I added, “And Home, too”. This time I got a sympathetic yet diplomatic, “Hmmm, that would be a long concert!” Home is surely one of the mysteries for us fans to contemplate. Good work, Paul!

    • Paul says:

      Peter — I agree — other than perhaps “The Lady Is A Tramp,” no song that was a non-single held such an important place in Diana’s stage shows for such a long time. Diana offered up a very scant discussion of her own discography in “Secrets…” — so the fact that she wrote about the importance of “Home” to her speaks volumes. She also put such feeling into her performances — she obviously knew it was a crowd-pleaser. She often seemed to work harder singing that song than she did some of her #1 hits.

      Personally, I’m not aware of any performances of the song post-Central Park. I think she was sure to include it there due to the fact that she was in New York, the place where she’d filmed The Wiz and truly began to find her creative independence. It’s such a shame she dropped it — audiences got a great reminder that she’d sung the song when Melinda Doolittle performed it during “Diana Ross night” on Season 6 of “American Idol.”

      • You are right, Paul. If we go back to the Supremes days, Tramp, Parade and Somewhere all occupy a similar place to Home. But anyone could tell the time had come to pull the first two. As Diana garnered more and more solo hits and associated songs, why would she continue to sing these old show tunes that did not represent successful projects? Somewhere was very meaningful due to the MLK connection but that was not something she could carry forever, either (BTW I’d love your take on the amazing jazz version she did of it at Royal Albert Hall). So there we circle back to the mystery of Home, a song with a lyrics and a theme forever fitting for Diana. It was not a love song so it would never cause schmaltz buildup with Touch Me, Do You Know, It’s My Turn, Endless and, sort of, Missing. I guess you might say If We Hold On Together was Home’s eventual replacement. Compare the lyrics. It’s a similar sentiment of serenity, revery, safety and contentedness. And both were originally from children’s stories. With If We Hold On running regularly from 1989-2000 that leaves only a 6 year gap after Central Park. What do you think?

  2. ejluther says:

    Another great and thoughtful post, Paul – beautiful job!

    • Paul says:

      Thank you! I enjoyed writing this one. I had originally planned to only post about the Motown-version of “Home” featured on The Motown Anthology — but once I started looking back at all of the performances of this great song, I was inspired to do something more thorough. For a non-single, this song certainly got a lot of traction in Diana’s career!

  3. Tony says:

    i love both versions. This song is a brave expression of her talent. She knew it would be hard to perfect ….yet she did. Don’t hate me world …..but Diana’s version is more authentic and real to me than Ms.Mills version. I think Diana felt this song in her core , in her soul! I love this song ….it has always been “my go to” – when i need to centre myself.

    • Paul says:

      Tony — I agree that Diana “felt” this song in her soul — no doubt about it! She was an older, more experienced woman when she recorded it than when Stephanie did, which probably led her to a far different interpretation. She seems to be channeling both Dorothy AND her own life when belting it out in the film.

  4. You’ve outdone yourself on this one Paul in terms of obsessive attention to detail – love it! ‘Home’ has always been one of my favourites of Diana’s – totally agree with you it’s a ‘key text’ for Diana devotees. I first heard it when the Central Park special aired on TV and fell in love with it – the when I eventually saw The Wiz a few years later – boom. She LIVES this one. In the meantime I’d discovered Stephanie Mills’ signature version and although I feel Stephanie ‘owns’ the song in most ways, Diana brings emotional fragility and conviction to it that is utterly compelling – especially in the original soundtrack version (not as big a fan of that studio reworking).

    As no one’s mentioned it yet I think a few of the other ladies that have dared to take on this emotional tour-de-force deserve a shout out here. There’s many but I think the main ones worth drawing people’s attention to are:

    Whitney’s first ever TV appearance (pre debut album) in 1983 – simply stunning and up there with the very best of her televised performances

    Streisand’s mid-80s ‘Broadway Album’ outtake – technically amazing (of course) but a touch too grandstanding for me

    And last but not least as Melinda Doolittle’s take has already been name checked, there’s the great underrated Jasmine Sullivan’s shockingly impressive performance when she was just 11 years old – wow!

    • Ah, Barbra’s version. Now, I’m not one to criticize Barbra. She is my favorite popular singer after Diana, after all. But does anyone else notice that her version sounds a lot like Diana’s? She keeps much of the same pacing, emphasis, riffs and coloration as Diana. And this is a song that seems to invite highly individual interpretations, as we can witness in the other renditions here. As much as I love Barbra and her huge talent, she is something of a monstre sacre and she’s appeared dismissive of Diana over the years. It seems to even the playing field to have this strong suggestion of her listening to and taking direction from Diana’s own enormous gifts.

      • Paul says:

        Peter — it is interesting that Diana/Barbra have really never acknowledged each other publicly over the years — although together they were really trailblazers in the 70s when it came to crossing over the lines between film and popular music. I guess it probably stems back to the Supremes “Funny Girl” album — which Berry Gordy released BEFORE the soundtrack album. I imagine Miss Streisand couldn’t have been too happy about that (although the Supremes album ended up flopping anyway).

        I can’t say I’m a huge fan of Barbra’s “Home” — as I posted in another reply, it feels too stylized to me — all drama, with little real substance behind it. This is not a criticism of Streisand at all — I don’t know much about her career, but I do know she’s an enormous talent. Still, I’m not feeling her interpretation of this song.

    • Paul says:

      LOL Spooky — obsessive attention to detail pretty much describes me — and this entire project! This one was fun to write. The song “Home” took a long time to grow on me. I was pretty dismissive of everything “The Wiz” for a long time, and really didn’t appreciate her raw vocals on it. It wasn’t really until I heard the Motown version that I fell in love with her interpretation of the song — and it was creating this website that made me re-evaluate her work on “The Wiz” and realize what an incredible vocal achievement the film and soundtrack were for her.

      Years ago — right after The Motown Anthology was released — I was playing the Motown version of “Home” for a friend and he remarked how much Diana sounded like Barbra! So, it’s funny for me to listen now to Barbra’s version of the song. I don’t know much about Streisand’s discography, aside from her big hits, so I can’t say I’m too qualified to speak on her interpretation. I will say it feels very stylized to me — big, dramatic, maybe not as emotionally honest as other versions.

      I almost included mention of Whitney’s version in my post — but decided against it. That was certainly an important moment in her career — and yet another nod to the influence of Diana Ross (as much as she might have denied it at the time, and for years thereafter!). Jazmine’s version is exactly what I expected — she is a unique, incredibly talented vocalist who always surprises me when I listed to her music. Songs like “Stuttering” and “Bust Yo’ Windows” are so cutting edge. Wish I could have been in the audience to see this 11-year-old blow it out of the water 🙂

  5. Hi Peter, I just listened to Barbra’s take again after reading your comments. I kind of see where you’re coming from with the pacing, especially in the intro, but I think her emphasis on certain words and general intention in the song is quite different. Who knows but I can’t imagine she’s been studying Diana’s version. In fact for a singer with such an ability for ‘acting’ a song she oddly sounds disconnected from the lyric, like she’s reading it off a score sheet to me. I’m not surprised it was left off ‘The Broadway Album’ when it was released, every other cut is much stronger than this.

    In the great ‘Barbra vs Diana Wars’ (which I tend to think exist more in the heads of observers than the women themselves) I’d say Ross wins hands down on this one, while Streisand’s ‘Heart Don’t Change My Mind’ pummels Diana’s into the carpet. There’s a load more… ‘Stoney End,’ ‘Somewhere’, ‘What Are You Doing The Rest Of Your Life’, all those ‘Funny Girl’ tunes etc to consider too, but maybe that’s for another day!

    • No! I’ll take it on now! Because they both win! I love the Bway Album. Did you ever hear a more beautiful version of “If I Loved You”? What a perfect American Songbook song. And Barbra does the best version ever. “Stoney End”, I kind of edge towards Barbra but Diana is great on it too. Did you ever watch Seth Rudetsky’s YT deconstruction of Barbra’s? It’s very entertaining. “What Are You Doing”–I like both. “Somewhere”–come on, they have both done amazing work on it. Diana with the Supremes and the incredible Royal Albert Hall version; Barbra with the encore of the 1992 concert when she did the “…black, white, gay, straight–equal but not the same” intro. Sigh! “Funny Girl”, that’s a long time ago and good times for both ladies. “Heart”, who cares? Early 90s Adult Contemporary does not deserve our time or consideration. I could go on and on but really it is remarkable to think that two women this talented and towering have existed in our lifetime. We are the richer for having listened to their voices. May they continue!

      • Paul says:

        LOL — what’s so bad about early 90’s A/C???

      • Tony says:

        I am with you on this Paul. Barbra’s version sounds silly to me. She can’t do this song for the same reason Diana can’t do The Way We Were…..some songs are simply an extension of a performers soul. If it is a powerful song it needs to belong to the proper singer. That is what makes it art!

      • Paul says:

        So true. Can’t imagine Diana on “The Way We Were” — I’m sure she could have sold the song fine…but it’s Barbra’s, hands down, and any other voice on it would sound strange.

    • Tony says:

      I actually love the Diana version of Stoney End. I believe it was originally written for Diana…..but Motown went with Ashford and Simpson songs instead. I do agree Hear don’t change …. Goes to Bab’s hands down.

      • Paul says:

        I am totally with you Tony — Diana’s “Stoney End” is as good as that song ever got, in my opinion. She brings such a sparkle to that song — no matter what the lyrics are saying — that it’s an irresistible recording.

      • Stoney End was written by and originally recorded by Laura Nyro, one of the greatest poets and composers of our era. What I love about Diana and Barbra recording Stoney End and Time and Love is it’s the only time my 2 favorite singers meet artistically with my favorite songwriter. And both with thrilling results. Have a listen to Laura’s great “trinity” of albums: Eli and the 13th Confession, New York Tendaberrry and Christmas and the Beads of Sweat. You will recognize some of the songs as hits for the 5th Dimension.

      • Yes, Paul, Stoney End’s lyrics do not exactly represent Diana or Barbra. Barbra herself jokes about “my poor mother worked the mines/I was raised on the good book Jesus”! But they both sold the song through pure talent.

  6. Very well said. Of course they’re both great.

    Love how dismissive you are of ‘early 90s adult contemporary’ – it made me chuckle!

  7. Lawrence says:

    I remember when Inside the Actors Studio used this clip to show what a fine actress Diana is – and I couldn’t agree more! It makes me wish she had done many other films. This is, even though it was never a single, one of my all-time favorite recordings of hers. When I sing it/play it on the piano, I emulate Diana’s version! I heard Barbra’s recently. Technically, it’s fine. But nowhere near as moving as Diana’s, which still gives me chills every time I hear it.

    • Paul says:

      I LOVE that moment on “Inside The Actor’s Studio.” I love seeing Diana’s totally honest reaction to watching the clips again. She had to know what a towering achievement it was.

      • I think in recent years Diana has been very aware of shaping her legacy. You see her reminisce more and speak of the past in detail instead of her long habit of quickly referencing “the good old days”. This is a good idea, especially since Mary Wilson continues to spin things her own way.

  8. Pingback: NEWS: Unreleased Diana Ross “Wiz” LP Coming Soon | THE DIANA ROSS PROJECT

  9. Pingback: Diana Ross Sings Songs From The Wiz (Released 2015) | THE DIANA ROSS PROJECT

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