| | Diana Ross Boss CD Diana Ross Discography of CDs
(6 Customer Reviews)
This 1999 reissue includes two bonus tracks not on the original release.
All tracks have been digitally remastered using 24-bit technology.
Great dance material is featured, again by Ashford & Simpson. ~ Rick A. Bueche
Recorded at Sigma Sound Studio and Celebration Studio, New York, New York.
Personnel: Diana Ross (vocals); Eric Gale (guitar); Michael Brecker (saxophone); Valerie Simpson (piano, background vocals); Ray Chew (Fender Rhodes, Clavinet); Anthony Jackson, Francisco Centeno (bass); John Sussewell (drums); Sammy Figueroa, Errol Bennett (percussion); Ullanda McCullough, Nickolas Ashford, Raymond Simpson (background vocals).
Producers: Nicholas Ashford, Valerie Simpson. Boss Music | List Price | $9.95 (You save $2.80) | | Category | Rock/Pop Albums, Rock CDs, R&B, Rap, Urban Soundtrack, Pop, Soul/R&B, Motown | | Label | Motown | | Orig Year | 1979 | | All Time Sales Rank | 14981  | | CD Universe Part number | 1050981 | | Catalog number | 549524 | | Discs | 1 | | Release Date | May 18, 1999 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Engineer | Michael Hutchinson; Harvey Hoffman | | Personnel | Michael Brecker, Eric Gale, Valerie Simpson, Nickolas Ashford, Anthony Jackson, Anthony Jackson, Diana Ross, Sammy Figueroa, Ullanda McCullough, Ray Chew, Errol Bennett, Francisco Centeno, Raymond Simpson, John Sussewell | | Additional Info | Remastered |
Boss Music Review Average Rating: (4.8 out of 5 stars)    List All Reviews Should have won a Grammy The diva shakes off the dust and get's to testifying on the disco floor. What a revelation. A classic - we'll be re-mixing this forever. Submitted by BeachDancer (SoBe) Was This Review Helpful? Yes No 2 of 2 found this helpful.
A TRUE MOTOWN CLASSIC ALL TRACKS ARE EXCELLENT !! SHE HAS NEVER LOOKED OR SOUNDED BETTER, THIS IS A VERY HAPPY UPLIFTING COLLECTION Submitted by DIBLEY BEAGLE (ORLANDO FL) Was This Review Helpful? Yes No 1 of 1 found this helpful.
Diana at her best This album always makes me feel good when I put it on, Ashford and Simpson knew how to bring out the best in Diana I always wonder if there were more songs in the Motown vaults from these session's, I hope so and one day they will get released. Submitted by Derek (Manchester,England,UK.) Was This Review Helpful? Yes No 2 of 3 found this helpful.
The Boss One of Miss Ross finer albums of the late seventies. Submitted by a reviewer (New York, NY) Was This Review Helpful? Yes No 0 of 1 found this helpful.
the boss, the best of disco no other disco song delivers the straight on, pumped up fervor of "the boss 12" mix. it epitomizes the no
holds barred, never give in attitude that is the best of the genre of disco. even after all these years, it
makes me want to sing and shout away
my problems. donna summer is the diva, but diana is "the boss". Submitted by a reviewer (covington, ky) Was This Review Helpful? Yes No 0 of 1 found this helpful.
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Diana Ross would probably be offended by anyone who called her 1980 smash DIANA a comeback, but let's face it--after the flop of THE WIZ and the way that the disco revolution steamrollered so many of her old Motown compatriots' careers, that's exactly what it was. Wisely hooking up with Chic's Nile Rodgers and Bernard Edwards (both the most traditionally rooted and most fearless of the major disco-era ...
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$13.69 Because she rarely recorded under her own name, a tribute to the late June Carter Cash by default also stands as a tribute to her genealogy: several of the songs among the dozen here were recorded by June with her late husband, Johnny Cash, or by country music's legendary Carter Family, from which June sprang. In addition, the album was produced by John Carter Cash, the only child of Johnny and June, and there are tracks by Carlene Carter, June's daughter from her first marriage (to Carl Smith), and Rosanne Cash, Johnny Cash's daughter with his first wife. As producer, John Carter Cash largely plays it predictable. There are few surprises and no truly offbeat rearrangements or radical interpretations. Folks who enjoyed the singing of June Carter Cash will likely be quite satisfied with these loving, faithful covers. And they should be, because virtually all of the performances are flawless, honest, and inspired. Two duets lead things off: Sheryl Crow and duet king Willie Nelson give a spirited, if somewhat rote, reading to "If I Were a Carpenter," the Tim Hardin-penned classic, and Carlene Carter and Ronnie Dunn hoot it up on "Jackson," the Nancy Sinatra-Lee Hazlewood hit -- both songs were longtime staples of Johnny and June's shows together. A handful of top-shelf country artists, among them Loretta Lynn (a tender "Wildwood Flower"), Brad Paisley (a straightforward, beautifully sung "Keep on the Sunny Side"), and bluegrass hero Ralph Stanley ("Will the Circle Be Unbroken," what else?), pay their respects with kind treatments, and Emmylou Harris, who certainly learned a thing of two from June, sends it off in style with "Song to John," June's self-explanatory tribute of her own. It wouldn't be a tribute album if Elvis Costello didn't turn up, and though his "Ring of Fire" will never go down as the definitive version of that Johnny Cash signature, Costello brings his usual commitment -- and an autoharp, June's favorite instrument -- to his no-frills version. Two of the more left-field approaches come via Patty Loveless and Kris Kristofferson, who bring a touch of drollness to "Far Side Banks of Jordan," and Billy Joe Shaver, who's exactly the ...
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