Last Time I Saw Him (Remastered) Diana Ross

• 1 Last Time I Saw Him 02:48
• 2 No One's Gonna Be A Fool Forever 03:37
• 3 Love Me 02:56
• 4 Sleepin' 04:41
• 5 You 04:19
• 6 Turn Around 02:28
• 7 When Will I Come Home To You 03:14
• 8 I Heard A Love Song (But You Never Made A Sound) 02:32
• 9 Stone Liberty 02:59
• 10 Behind Closed Doors 02:46
• Total Runtime 32:20

Info zu Last Time I Saw Him (Remastered)

Last Time I Saw Him is the sixth studio album by American singer Diana Ross, released on December 6, 1973 by Motown Records.

"The early 1970s were a pivotal time for Diana Ross. In 1973 alone -- between touring and performing for SRO crowds in Vegas, she managed to record enough material for a number of different projects. Last Time I Saw Him (1973) was just one of several Ross releases that year as she worked on the still unissued To the Baby album, which was filled with songs for her daughters. She also released the hugely popular Touch Me in the Morning (1973), as well as contributed to Diana & Marvin (1973) -- an LP's worth of duets with Marvin Gaye. Last Time I Saw Him is particularly striking as the spotlight belongs on Ross' remarkable versatility. Although arguably campy, the countrified title composition is larger-than-life thanks to Michael Omartian and Gene Page's arrangement. They throw in everything but the proverbial kitchen sink with a score that is all over the musical map from Dixieland band jazz to banjo-pickin' and even an orchestrated string section. The lightweight poppy "No One's Gonna Be a Fool Forever" is memorable as Ross adopts a Barbra Streisand approach, giving the song enough style as to level out the ersatz instrumentation that hopelessly places the tune squarely in the '70s. Conversely, the ballads "Love Me" and "Sleepin'" are among the best that Ross has to offer. The latter is marked by a dramatic delivery, suggesting a subtext that would reveal more than the story lets on at face value. She likewise scores on the light and funky love song "When Will I Come Home to You" thanks to a jazzy melody and catchy chorus. "You" is another winner as the gospel-infused redemptive waltz is custom-made for Ross' emotive reading. One minor caveat being that her spoken recitation comes off a tad too maudlin and actually sounds like an exchanging of vows. Similarly, her remake of the Malvina Reynolds/Harry Belafonte lullaby "Turn Around" -- which had initially been earmarked for the aforementioned To the Baby -- suffers from the same melodramatic dysfunction. Ross returns to form for the upbeat rocker "I Heard a Love Song (But You Never Made a Sound)" with roots reaching deep into a vintage Motown groove. "Stone Liberty" continues with an empowering R&B statement that might have been penned for the emergent women's liberation movement, but works equally as well as a personal declaration of freedom for all oppressed peoples. Wrapping things up is a cover of "Behind Closed Doors," which Ross turns into a soulful number giving the lyrics a bit of a lilt woefully absent from Charlie Rich's hit version." ( Lindsay Planer, AMG)

Diana Ross

Digitally remastered

Diana Ross
While still in high school Ross became the fourth and final member of the Primettes, who recorded for Lu-Pine in 1960, signed to Motown Records in 1961 and then changed their name to the Supremes. She was a backing vocalist on the group's early releases, until Motown boss Berry Gordy insisted that she become their lead singer, a role she retained for the next six years. In recognition of her prominent position in the Supremes, she received individual billing on all their releases from 1967 onwards.

Throughout her final years with the group, Ross was being groomed for a solo career under the close personal supervision of Gordy. In late 1969, he announced that Ross would be leaving the Supremes, and she played her final concert with the group in January 1970. The same year, following the relative failure of "Reach Out And Touch (Somebody's Hand)", Ross began a long series of successful solo releases with the US chart-topping "Ain't No Mountain High Enough". She continued to enjoy success with lightweight love songs in the early 70s, with "I'm Still Waiting" topping the UK charts in 1971, and "Touch Me In The Morning" becoming her second US number 1 in 1973.

In April 1971, she had married businessman Robert Silberstein. Motown's plan to widen Ross' appeal led her to host a television special, Diana!, in 1971. In 1972, she starred in Motown's film biography of Billie Holiday, Lady Sings The Blues, winning an Oscar nomination for her stirring portrayal of the jazz singer's physical decline into drug addiction. However, subsequent starring roles in Mahogany (1975) and The Wiz (1978) drew a mixed critical response. In 1973, she released an album of duets with Marvin Gaye, though allegedly the pair did not meet during the recording of the project. She enjoyed another US number 1 with the theme song from Mahogany, subtitled "Do You Know Where You're Going To", in 1975.

Her fourth US chart-topper, "Love Hangover" (1976), saw her moving into the contemporary disco field, a shift of direction that was consolidated on the 1980 album Diana, produced by Nile Rodgers and Bernard Edwards of Chic. Her choice of hit material continued to be inspired and the 80s started with a major hit, "Upside Down", which rooted itself at the top of the US chart for a month, and reached number 2 in the UK. Similar but lesser success followed with "I'm Coming Out" (US number 5) and "It's My Turn" (US number 9), although she enjoyed another UK Top 5 hit with the jaunty "My Old Piano". The following year a collaboration with Lionel Richie produced the title track to the movie Endless Love.

Dieses Album enthält kein Booklet