This tune is very much of its time perhaps, much like the film in which it features. But, for whatever reason, I love it. It’s almost classical sounding to me, like a Bach fugue in places. And usually sumptuous orchestration is a red flag for this kind of song, unless the vocalist presents a contrasting texture of some kind. Ross doesn’t do this, which is a testament to how well arranged the tune is. It shouldn’t have worked, but it does. Well, it does for me, anyway.
I’ve said before that Diana Ross’ career owes a lot to the material upon which it was built. This tune, for instance, was co-written by former Brill Building songwriter, Gerry Goffin, for which he won an Oscar nomination. And her Motown oeuvre owed a huge debt to the superlative writing talents of Holland Dozier Holland. I’m not sure that her voice is terribly special, frankly. But, maybe her bland voice is her secret weapon in this way. For one, it doesn’t draw too much attention to itself, and makes way for the delivery of the material. Maybe this is why Ross was able to skip across genres so easily too.
Her late 70s-early 80s renaissance was largely down to her being able to etch out a niche for herself when disco came along. There again, she was bolstered by great producers and players, as well as great songs in “Love Hangover”, “I’m Coming Out”, and “Upside Down”. Her 1980 album Diana, produced by Bernard Edwards and Nile Rodgers of Chic, is the perfect example of Ross working with the best to get the best results.
Although saying that, there is the story of Ross demanding that her vocals be brought up in the mix, after hearing a version of the record as laid down by Edwards and Rodgers. I wonder how grand the original mix of the Diana album would have sounded, with a slinkier bass, a more playful rhythm guitar, and funkier drums. It might have caused heads to explode, or very least for disco and funk to remain more mainstream further into the decade. Who can say?