Diana Ross' voice is special. Very special! As Marvin Gaye once put it: "Diana Ross is a fine singer. All you have to do is listen to her Billie Holiday stuff: It's marvellous". No female singer sounded better on the radio in the 60s: Young, fresh, uplifting and yet a sadness underneath. Even more she was a role model for all. Black, white, man, woman. She represented hope for a better tomorrow, and she represented "girlpower" before it became popular and even acceptable. On this collection of some of her greatest and biggest Motown recordings as a soloist, she sings from the top of her unique talent in all genres: from her powerful performance of the gospel inspired Remember Me and her breathtaking and sexy talking on Ain't no Mountain high enough to her mindly swinging and tender reading of Goodmorning Heartache. From her endlessly fascinating and sophisticated singing on Touch Me in the Morning and her spontanuos disco-groove on The Boss to her "spelling" of the word freedom on It's My Turn. Just listen to her six U.S. solo charttoppers and you will hear music that is truly original hit material, music that set the standards for decades and artists to come. My hat off to Motown and Kevin Reeves for treating Diana Ross' gems with care. You should work more for Motown, Mr Reeves - they need you. The sound here is simply the best. (And I just love "the little longer version" of Touch Me in the Morning). I would give this collection another star, had Motown included - U.K. charttopping for four weeks - the sweet "I'm still waiting". It would have been nice to have all her Motown/solo number 1s in one collection. But really: This is the best money can buy.
Diana Ross' voice is special. Very special! As Marvin Gaye once put it: "Diana Ross is a fine singer. All you have to do is listen to her Billie Holiday stuff: It's marvellous". No female singer sounded better on the radio in the 60s: Young, fresh, uplifting and yet a sadness underneath. Even more she was a role model for all. Black, white, man, woman. She represented hope for a better tomorrow, and she represented "girlpower" before it became popular and even acceptable. On this collection of some of her greatest and biggest Motown recordings as a soloist, she sings from the top of her unique talent in all genres: from her powerful performance of the gospel inspired Remember Me and her breathtaking and sexy talking on Ain't no Mountain high enough to her mindly swinging and tender reading of Goodmorning Heartache. From her endlessly fascinating and sophisticated singing on Touch Me in the Morning and her spontanuos disco-groove on The Boss to her "spelling" of the word freedom on It's My Turn. Just listen to her six U. S. solo charttoppers and you will hear music that is truly original hit material, music that set the standards for decades and artists to come. My hat off to Motown and Kevin Reeves for treating Diana Ross' gems with care. You should work more for Motown, Mr Reeves - they need you. The sound here is simply the best. (And I just love "the little longer version" of Touch Me in the Morning). I would give this collection another star, had Motown included - U. K. charttopping for four weeks - the sweet "I'm still waiting". It would have been nice to have all her Motown/solo number 1s in one collection. But really: This is the best money can buy.