Diana Ross – Eaten Alive (Album Review)

Diana Ross’ Eaten Alive offers a compelling blend of pop, soul, and dance music, featuring contributions from some of the most celebrated names in the music industry. Released in 1985, the album sees Ross collaborate with the Bee Gees and Michael Jackson amongst other legendary musicians. While not as commercially successful as some of her previous works, Eaten Alive showcases Ross’ versatility and her willingness to experiment with the contemporary sounds of the mid-80s, but does it work?

Yes, and no! Let me explain.

While Eaten Alive is amongst the best releases of the mid-80s, it isn’t an album that can be appreciated via a single listen alone. So often, in our fast-paced modern realities, we are seeking what’s next and an album such as Eaten Alive will generally be overlooked for it takes several playthroughs to truly connect with the inner soul of us music lovers. Yes, the title track will likely appeal instantly, as will the catchy and iconic Chain Reaction, but the other songs require greater patience. If you have the time, however, you’ll find an album that is most certainly worth your time and Ross’ incredible legacy.

As with many things associated with the era, the album artwork is a product of its time, yet it isn’t worthy of inclusion amongst The Worst (And Most Disturbing) Album Covers Of All Time list. The sonic qualities of this release also exhibit the mid-80s vibe and while that isn’t a bad thing, it could be suggested that Ross drifted, at times, a little too far from her unique style in an attempt to appeal to a modern audience.

Regarding the Apple Music stream, the CD-quality Lossless presentation is more than adequate. It isn’t, however, a sonic powerhouse that you’d use to demo a new stereo or show off your system with pride. Granted, it likely wasn’t intended to have that quality as every album need not have audiophile aspirations to be appealing. What you will hear, however, is an album that has been inspired by some of the most incredible musicians to have ever written and recorded a song and one that is perfectly aligned with the recording, mix, and mastering standards of the era. Hence, the best way to appreciate Eaten Alive is not to listen critically, but to simply listen to the music for there are some hits and plenty of hidden gems to be heard.

Eaten Alive opens the album with a pulsating energy, but don’t get too attached for this isn’t the kind of song that sets the tone for the entire album, as its style is significantly different to the other songs on the record. Of course, that isn’t necessarily a bad thing for this electrifying performance, blended with the smooth vocal delivery, matches the urgency of the song’s delivery perfectly. With backing and intertwining vocals, from Barry Gibb and Michael Jackson, Eaten Alive is one of the most memorable tunes Diana Ross has ever recorded.

Oh Teacher shifts gears into a funky, mid-tempo number but it’s fair to say that Oh Teacher would have been better suited to Barry Gibb as Ross’ chosen vocal register is a little higher than she’s ideally suited to. Interestingly, Gibb did release the demo on the iTunes Store and it’s, arguably, stronger than this interpretation. Nevertheless, the harmonised backing vocals with the song’s catchy hook and Ross’ sultry vocals ensure that Oh Teacher is a solid album-only tune.

Experience slows the record considerably with this ballad; one that stands out for its heartfelt delivery and emotional depth. While its stripped-back production may seem out of sorts with the album’s overall style, Experience is a stunning tune that is not only amplified by Ross’ vocal warmth but also Gibb’s perfectly positioned backing vocals.

Chain Reaction is a killer tune, one that very well could have been a Motown classic had it been released when Ross was a member of The Supremes. Despite the obvious correlation, it was an instant hit, outside of the US, with chart-topping success around the globe. It really is Motown meets The Bee Gees and Ross delivers nothing less than a powerhouse performance.

More And More slows the tempo again, but this beautifully delicate song is perfectly suited to Ross’ more tender style. More And More is, subsequently, irresistible, although I’m certain some would call it a piano bar tune. While that may be an accurate assessment, that shouldn’t be seen from a negative perspective for it’s a lovely song and is one that offers a nice contrast to the more intense moments on the album.

I'm Watching You is a sultry, mysterious track that features a thoroughly atmospheric production. Ross’ seductive tone will draw you in as the narrative builds and while it may not be a song that you’d often associate Ross with, it’s nonetheless lovely and is a quintessential album-only track; one that ensures that the album experience is cohesive and thoroughly enjoyable.

Love On The Line blends disco and pop with a touch of rock. As with most of the songs on the album, it’s got that classic Bee Gees sound and is one of Ross’ most underrated gems. If nothing else, the pulsating beat and uplifting melody provide a dance floor-ready vibe; one that will be remembered well after the album has concluded.

(I Love) Being In Love With You is a dreamy, romantic ballad. Ross delivers a tender, yet understated, vocal performance that perfectly suits the song’s intimate lyrics. Add to that Barry Gibb’s incredibly good backing vocals and what you’ve got is the perfect culmination between these two powerhouse artists.

Crime Of Passion dramatically shifts the tone following the relaxed (I Love) Being In Love With You and while it may not be the most perfectly sequenced record, Crime Of Passion does offer a compelling toe-tapping and head-bopping melody.

Don't Give Up On Each Other closes out the album with this exceptional ballad; one that allows you to reflect on the music you’ve just heard whilst simultaneously encouraging you to play the record again.

Eaten Alive is, subsequently, a testament to Ross’ ability to evolve with the times while retaining much of her artistic essence. The blend of pop, soul, and dance elements, coupled with high-profile collaborations, gives the album a polished and eclectic feel. While it may have failed to set the charts on fire, there are several standout tracks to accompany the hit tunes, thereby making it an ideal album experience and one of the best released in 1985.

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Diana Ross – The Boss (Album Review)

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. 

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