Diana Ross’ first taste of disco success came in the form of her stellar Diana Ross LP (from 1976) and its most memorable moment, the intoxicating “Love Hangover.” This only confirmed her status as one of America’s great female performers of the day, and she carried on enjoying a string of hit singles and starring in two seriously good movies (Lady Sings The Blues and Mahogany).
By the time Ross released her ninth solo album, The Boss, she was officially one of the original disco divas, and her sellout shows at Caesars Palace became explosions of all things disco. Mirror balls, roller-skating dancers, and folks dancing on tables were all part of the scene. Although The Boss is not one of Ross’ greatest achievements, it’s still a solid disco/R&B record and still sounds fabulous today.
Ashford & Simpson again wrote and produced the album for her, and their handling of her changing direction was superb, to say the least. Every song is treated with care and built up to showcase Ross’ fine voice, which by now was truly something else. The only flat spots on the record were flat simply because they’re not great songs and are shown up by some brilliant tracks that remain Ross classics to this day. 
Of those flat spots, let me say the flattest would be “All For One,” which is really just a one-note wonder and even a fine delivery by Ross can’t give it the life it desperately needs. Closer “I’m In The World” is a schmaltzy ballad that really would’ve worked better as an all-out dance track (in the vein of “I’m Coming Out.”) “Sparkle” builds nicely into a sax-soaked mid-tempo groover, but it’s not the stunner that it should’ve been due to a little too much work from the producers; it’s still a nice moment just the same.
There is plenty here, though, to get excited about, and the title track is one of Ross’ great songs that still remains a permanent fixture in the set every time she hits the stage. It’s a classic disco track with some great string arrangements and punchy horns to accent the positives. It also has great lyrics that Ross nailed with a defiant delivery in which you can clearly hear just why she was Michael Jackson’s number one idol.
Opener “No One Gets The Prize” is a gorgeous song and again is a great marriage of voice and music; it sounds so easy it’s ridiculous, but with the right direction and her famous work ethic (in the studio), Diana Ross is truly supreme. The charming little funkster “It’s My House” is so subtle and laidback that it actually stands out as one of the albums best and most original moments.
“I Ain’t Been Licked” is another highlight and one of Ross’ most elaborately produced songs. There’s a lot going on with this one, but it works so well for her and enhances the album greatly. And lastly, “Once In The Morning” is the sexiest moment on the record and was no doubt inspired by “Love Hangover,” as Ross again plays the vixen role to perfection.
The Boss went on to be another million-plus seller for Ross; however, it was eclipsed the following year by her landmark diana LP, which defined the disco era like no other record had. The beginnings of that magic, though, are clearly audible here, as are the sounds of a true diva in the making.
| This was my Favorite ROSS album until "diana" came out. I consider them both back to back climaxes. I disagree with your assesment of "All for one", even though it's not the best cut on the album I wouldn't consider it a "one note wonder" as you named it. I can't imagine "I'm in the world as a dance track, But in today's music everything is remixed as a dance track. Very much recommended. |