The Boss was Diana Ross’ greatest musical achievement since her time in The Supremes for the addictive rhythm and blues styling encompasses disco, soul, and pop elements that ensured this 1979 release wasn’t only a statement for Ross but it was an album that perfectly captured the spirit of the era.
Short on length, but not on musicality, this tenth solo studio album from Miss Ross is arguably her greatest solo achievement for The Boss is all killer with absolutely no filler. Yes, her 1980 release, Diana, had some exceptional tunes but it wasn’t as consistently good as The Boss as there are numerous forgettable B-sides to be heard. Subsequently, The Boss has often been overlooked due to the commercial success of Diana and its hit songs; a shame as the music contained within The Boss will get you jiving as only Diana Ross can.
It is imperative to mention, however, the husband and wife writing and production team of Nickolas Ashford and Valerie Simpson; best known for writing Ain't No Mountain High Enough and the breakout solo single from Ross, Reach Out and Touch (Somebody's Hand). There is little doubt in my mind that much of The Boss’ sound and presentation can be attributed to these two masters for as magnificent as Miss Ross is, musicians rarely achieve their masterpieces on their own.
Of course, one cannot connect with the music if the sonic quality isn’t of the highest standard and in this regard, the lossless Apple Music stream, an Apple Digital Master, is nothing short of a masterpiece in mastering production. You’ll feel the groove, and experience moments where you’d swear Ross is in the room with you, all the time being in awe as to the detail presented in the soundstage throughout the entire album. I shouldn’t be surprised, however, as it’s a Motown release and they’re generally beyond reproach in this regard. In fact, the mastering is so good that I don’t feel the need to seek out a better copy; although Ross’ breathtaking beauty, on the front cover, would undoubtedly be the drawcard for picking the album up on vinyl.
No One Gets The Prize opens the album majestically before introducing the disco elements that will see you on your feet. Yes, when listening to No One Gets The Prize, nostalgia is strong but that’s not a bad thing for it brings a smile to one’s face, and isn’t enjoyment exactly what music is all about?
I Ain’t Been Licked is one of the best tunes on The Boss. Ashford and Simpson outdid themselves here as it’s not only perfect for Miss Ross, but it flows fluidly from No One Gets The Prize.
All For One has a classic Motown sound with a focus on the vocal and harmony regions of the song. Some may lament the slow down in tempo, given the first two songs were disco-driven, but one cannot ignore just how beautifully delicate All For One is.
The Boss returns us to the 70s dance floor following the aforementioned respite. It’s so groovy that you’ll not only find yourself on your feet, but you’ll be wanting to turn the volume up to 11. Seriously, try sitting still when listening to The Boss; I dare say it would be an impossible task.
Once In The Morning has a mid-tempo vibe that, while not as strong as The Boss, is the quintessential B-side we all end up adoring.
It’s My House is a sonic wonderland with numerous layers of detail to appreciate. Subsequently, the musical accompaniment and mix are nothing short of perfection, but it is in its inferred meaning of independence where this song really shines and becomes a landmark Diana Ross tune.
Sparkle is perhaps the only song from The Boss that doesn’t sparkle. Yes, I went there. Look, Sparkle is a lovely album song, but it does create a lull in the linear flow of the album. That said, Diana has quite a few songs that fall under the same banner so those of you who are dedicated Diana Ross fans may not see that as an issue, but the more casual listener will likely find this deep cut to be a little too removed from the rest of the music on The Boss.
I’m In The World is a lovely closer. Yes, it’s mellow but it’s musically fluid and highlights Ross’ vocal capacity like no other song on the album does. What a magnificent artist and what a perfect closing track that allows for contemplation while also encouraging the playing of the album again.
There is little doubt in my mind that Diana Ross’ The Boss is her greatest solo album for it is a cohesive release with exceptional songwriting and production values. Diana (1980) may have been more successful, with more recognisable hit songs, but as an album, it wasn’t as strong as The Boss; one of the greatest albums released in 1979.