In a recent interview Mariah Carey talked about how she wished to use the spoken word in some of her songs, her aim being to replicate the wistful emotional feel exemplified by Aretha Franklin and Diana Ross. Most notably Franklin used this style on her song Angel, and Miss Ross on Ain’t No Mountain High Enough.
When listening to Mariah’s last two albums I always sense the influence of Motown, Ashford and Simpson, and of course, Diana Ross.
Recently, Mr Pinky has come across Diana Ross’s first album, and he often ponders what kind of influence this must have had on Miss Carey’s recent work. Indeed, in Carey’s recent stage show she looked like she was trying to channel Diana Ross’s Mahogany period with flowing diaphanous gowns, long, breezy locks and seductive lighting.
Okay, enough of that. Diana Ross’s first album is often considered her best, and Mr Pinky can’t imagine it being topped.
Ten out of the eleven tracks here were written and produced by the formidable Ashford and Simpson team. (Johnny Bristol does track four.)
The production is wonderfully ornate, delicate and highly wrought, without going over the top. It’s a classical architectural construction designed in honour of Ross’s celestial voice, which sits perfectly atop the whole piece.
The first side is arguably the best, ending with the masterpiece Ain’t No Mountain High Enough. Ross has the audacity to speak rather than sing most of the song. Amazingly, it works brilliantly.
No wonder Carey was shaking in her boots trying to emulate this pop music miracle.
Side two is full of solid song writing, and ends with the ethereally beautiful Dark Side Of The World.
I don’t know much of Diana Ross’s complete discography, but it’s hard to believe she ever would have hit such heights again.
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