were owed monies for creating and recording the original version of the album. In 1989, Rodgers and Ross collaborated on Workin' Overtime (No. 3 US R&B), released upon Ross's return to Motown. Edwards produced the 1984 single, "Telephone" (No. 13 US R&B), from Ross' Swept Away album, released on the RCA label. Rodgers played guitar on the new wave song, "It's Your Move", from the same album. The cover art was photographed by famed photographer Francesco Scavullo. For the shoot, she borrowed jeans from supermodel Gia Carangi. Critical reception Robert Christgau, writing for The Village Voice, gave the album an A- rating. He remarked that "not since Lady Sings the Blues has Ms. R. been forced into such a becoming straitjacket. Her perky angularity and fit-to-burst verve could have been designed for Rodgers & Edwards's synergy – you'd swear she was as great a singer as Alfa Anderson herself. And Nile is showing off more axemanship than any rhythm guitarist in history." In a retrospecive review, Charity Stafford from AllMusic called the album "Ross' best solo record." She found that "Ross sounds more forceful than she had in years. The helium-toned style of her early hits with the Supremes is worlds away from the assertive way she rips into the funky hit "Upside Down." [...] The glossy Chic production might sound a bit dated to some ears, but it's matured much better than many similar albums of the era." In her 2003 review of Dianas deluxe edition, Daryl Easlea from BBC Music wrote: "Diana is an artistic portrayal of complete freedom; Rodgers and Edwards' writing symbolises Ross' breaking free of the shackles of Motown on one level, but moreover, the work has a universality; celebrating gayness, blackness, equality; an album of challenging ideas, friendship and freedom." Rolling Stone ranked the album No. 394 on its 2020 edition of the 500 Greatest Albums of All Time list. Chart performance Partly due to the controversy between Ross, Motown, and Nile Rodgers/Bernard Edwards, Motown released the album without a lead single. This was unheard of, especially for a label like Motown. However, by its 4th week leading into summer, the album was already nearing the top 10. "Upside Down" eventually was chosen by the label and radio programmers. "Upside Down" made a rare vaulted move in its third week from number 49 to number 10. By the middle of summer 1980, Ross chalked