Some would argue that Diana Ross' 1980 "diana" is really a Chic album with Ross singing lead vocals. Bernard Edwards and Nile Rodgers of the influential 1970s group serve as producers, and the result is a non-stop party filled with groovilicious tunes that are just as stellar as anything by Chic. "diana" was a huge commercial hit upon release, and for a good reason: the album is excellent and may be the best of Diana's post-Supremes career. Who could forget the hit singles "Upside Down" and the uplifting "I'm Coming Out?" If any female singer kicked off the 1980s with a bang, it's definitely Ms. Ross, thanks to this classic of an album. "diana" has been remastered and is part of Universal's "Deluxe Edition" series. The first disc has not one but two versions of the album. One is the "diana" as released, and another is the "Chic Mix." I definitely prefer the latter version as it is more relaxed, free-flowing, and is somewhat less polished than the "diana" that was released in stores. I'm glad that we finally have the chance to hear this classic "as nature intended." In addition, a bonus disc of extended mixes and other jams is what makes this CD a must-own for Dianaphiles and casual listeners. We get, among others, a full-length 10 minute version of the classic "Love Hangover," a standout mix of the excellent "No One Gets the Prize/The Boss" and other previously unreleased tracks like "Fire Don't Burn," and "You Build Me Up to Tear Me Down." Sure, there's a single disc version of "diana" available, and like the deluxe edition, it's digitally remastered. But you're only selling yourself short by getting that version. The deluxe edition is a can't fail purchase; it's an example of what happens when you take a classic album and make it even better.

I've bought this set not because I'm such a great admirer of La Ross (I like a song or two and love her The Boss-lp), but much more for my undying appreciation of the classic 70's productions by Edwards & Rogers from CHIC. By the time they cut this album in 1979, it was widely known that once you got involved with the CHIC duo you got them all the way: as songwriters,arrangers and producers. Every album they recorded in the late 70's were as much albums by themselves as by the vocalist they were actually recording with. Not that it mattered, for the final results were overall stunning, polishing their trademark style to perfection. I still remember, upon hearing the original vinyl album in 1980, how less CHIC it actually sounded. the songs were fine, but the production sounded very flat ,if not uninspired to me. Later we learned that the released album-mix wasn't done by Edwards & Rodgers, but redone by in-house Motown engineer Russ Terrana. With the release of this Deluxe edition, we finally get to hear the album as it was originally intended. And what a brilliant experience this is; anyone with ears can hear how much effort Edwards & Rogers put in the arrangements alas not audible in the originally released version . As we learn from the extensive liner notes, Nile Rodgers was devastated on hearing the final mix released by Motown. We only can feel sympathy for his feelings; a great artistic achievement destroyed. But as history proved the album sold like hot cakes anyway. So let's just be greatfull that we finally get access to this trove from the Motown vaults. And as the icing on the cake we get a second disc with much more classic dance-stuff; the disconet-version of 'Love Hangover', the discofied Supremes medley, 12 inch versions of 'The Boss','What you gave me' and much, much more. In case you haven't noticed; for all you old-school disco lovers; this one's essential !!!

No one would dispute that the original release Diana Ross' 1980 solo release "Diana" is perhaps the most seminal of her career. From a standpoint of musicality and creativity to this day in its entirety it remains of the most polished and sophisticated listens within Diana Ross' vast catalogue. Diana Ross sought to make a statement with "Diana", and that she did.

The set would catapult Diana Ross into even greater superstar status thus marking her ability to command a twenty million dollar record contract with RCA Records. The release of "Diana" ushered in a new era for Diana Ross as a creative entity as well as superstar. With "Diana", she was able to reposition herself seamlessly as an icon in one decade to the next. The production on "Diana" lent Diana a new, fresh and progressive style unheard of at time when as the '80s began new trends for American music had yet to take shape. The Chic Organization was able to bridge the gap between the decades by inventing a grittier R & B inflected brand of Dance music that would inevitably please purists from both genres alike.

As her last album under contract to Motown during her first tenure, Ross went out with a bang and it is fantastic that Motown has reissued the set. It was widely held that Ross was not as enthused with the previously unreleased original Chic mixes of the songs because her voice was not forward enough. The release of "Diana" juxtaposes the original previously unreleased Chic mixes of all the songs on "Diana" with the previously released Russ Terrana/Motown edit of the album. It is a fascinating listen availing Ross fans of the opportunity to compare and contrast the mixes of these songs. No matter how one slices it, Ross' contribution to the set is amazing, and the music is sophisticated and polished throughout.

It is evident Ross is experimenting vocally during the sessions as reflected by the difference between the original version of "I'm Coming Out" versus the previously unreleased Chic original edit. Her vocal inflections and delivery seem more soulful and gritty in the original Chic edit. She is also more restrained in the original Chic edit however such an emphatic and dramatic pronouncement as "I'm Coming Out" is better served by the Russ Terrana/Motown edit. In the previously unreleased original Chic mix of "My Old Piano", her voice is also more forward and her more soulful vocal inflections resound.

In an odd twist, in the originally intended Chic mix of "Upside Down", her voice is more forward. It is clearer and on some level after about two minutes in Ross is rawer than in the Terrana edit. "Have Fun Again" is quite different in the Chic edit and certain instrumentation is more forward. Unfortunately, that ad-lib Diana does at the beginning of "Now That You're Gone" seems not to have been part of the original Chic edit. Also, the springing noise that added to the song's exotic flair seems non-existent in the original Chic edit. The song also ends abruptly. "Tenderness" has to be the highlight of the unreleased Chic edits. About three minutes and forty-five seconds into it, that Chic stamp adds a lot to the original. This mix is better than the original.

"Diana: Deluxe" also boasts 12" versions of some of her hits as well as alternate takes including an alternate take of "We Can Never Light That Old Flame Again, a Holland Dozier Holland song vaguely reminiscent of the latter day disco done by the latter-day incarnation of the Supremes which was released in 1982 to capitalize on her RCA success but to no avail, "Sweet Summertime Livin'", a free form Jazz number that puts a new twist on the music of an era gone by circa 1940 which was produced by Hal Davis who produced "Love Hangover" and fellow-Supreme Mary Wilson' Motown solo debut and "Fire Don't Burn" a number originally intended for Thelma Houston. Also featured among the twelve-inch rarities is the "Diana Ross and The Supremes Medley of Hits" which was the first one of its kind to take snippets of an act's hits and string them together to ta dance beat. It would later inspire the "Stars on 45" single. Initially it was played in clubs and garnered some airplay but was never released as a single.

Also, there are new revelations in the liner notes.Rick James was slated to produce cuts for Ross but James wanted to produce a full album and Motown honcho Berry Gordy was not sanctinoning this so a number written by James with which we are familiar entitled "I'm a Sucker for Your Love" would later go to Teena Marie as would select other cuts intended for Ross but given to Marie.

HIGHLIGHTS: That phenomenal Chic mix!! The best and creamiest cut here is "Tenderness". At about 3:36 into the song, it slams into an extended 'Chic' instrumental segment, reminiscent of "I Want Your Love". This long version just sent me through the roof!

THE MAIN DIFFERENCES BETWEEN THE 2 MIXES: The Chic mixes use mostly different vocals from Diana, but they are NOT pushed "back" farther in the mix, as has long been rumoured. They are simply way more artsy. Diana really does her most free-form vocals here...very jazzy. Not as slick as the released mixes. Terrana picked better vocals for "I'm Coming Out" to work with for his mix, and it is hard to see how Nile and Bernard missed making that climactic ending: "I'm coming OOUUUTT!" Interestingly, Diana's vocals on the Chic mix sound like they are the ones that were used for the Maurice Joshua 1994 remix on "Diana Extended", just as Frankie Knuckles used the alternate "Love Hangover" vocals for his remix of that classic on that remix set.

DISC 2!!! Here, for the first time in UN-bootlegged glory is the 10-minute+ alternate mix of "Love Hangover", which Bobby DJ used on his massive 18-minute Diana medley for Disconet in '79. If you haven't heard those background singers break it down with "I don't want-want-want no cure-cure-cure for this/Love Hangover!!", then you are in for a real treat!

THE VAULT TRACKS: They are wonderful! They should have all wound up on the Ross lp from '78, but none are quite as good as "We Can Never Light That Old Flame Again", a true shoulda-been-a smash, featured here in a fab alternate mix!

THAT SUPREMES MEDLEY: For me, this is the only lame point on this entire 2-cd set! First of all, it was already put on CD on "Motown Superstar Series, Volume 1" in 1992. There are still copies out there, people. Motown did not need to waste 10 minutes with this. FURTHERMORE, the DMC 2000 Supremes Megamix by Jewell & Garcia is VASTLY superior, an absolutely smokin', contemporary remix. (For you diehards out there, it is worth trying to find!)

I would have MUCH rather preferred to have the 12" remix of "Ease On Down The Road" (with Michael Jackson) on Disc 2 instead of that annoying Supremes medley, as this has yet to appear on CD.

5 STARS BABY!

Diana, I love you!

5 stars aren't nearly enough for this 2-CD masterpiece, but alas. Fans of the UberDiva know the backstory of how the Rodgers/Edwards-Chic product was remixed by Ross and Motown to bring her vocals more upfront. That was a smart move, however the original Chic mix is very, VERY GOOD. Of particular (and obvious) note are Ross' deliveries on I'm Coming Out, Have Fun, Upside Down and most glaringly on Friend to Friend. Chic wouldn't let Madame see the lyric sheet until they were set to record (in a dark room w/only 1 light, reportedly..so essentially, Ross is actually doing a "live" unrehearsed, first reading of all the tracks during the recording. Buy this album alone for that. Disc 2 is a splendid collection of dance tunes that demonstrate the Diva's fondess and fan appeal of "clubbin music". The much loved 10 min Supremes medley is here and a astoundingly fresh alternate version of Love Hangover. Now, if Motown will only do a deluxe edition of the Touch Me In The Morning lp...most of SuperDiva's fans (like me) can finally retire to Boca...