diana – diana

Despite its title, this album begins with a second or so of that string-throttled rhythm guitar crunch sound, announcing “this is a Nile Rodgers production”. Thereafter follows some of his finest work, keeping Diana Ross in a straightjacket that only serves to unleash the funk. Hurrah for Stoke Newington library for having the CD so I don’t have to bother copying my dollar-vinyl copy.

With Chic and again here, Rodgers’ arrangements have modal shifts that are almost ponderously deliberate and classicist, yet with a tinge of unpredictability that tips them into funk territory. The result is a seemingly paradoxical blend of immaculate poise and absolute abandon, that is also manifested in the blend of traditional string arrangements with that unholy rhythm section. The chord changes on “Upside Down” are a snow-white princess that trips up, only to be caught and carried along by the kitchen boy of the rhythm guitar; “Now That You’re Gone” lives in the fairytale castle but moves around listlessly and endlessly.

Ross is a rum sort of figure on the record, not having to be particularly stretched as a vocalist, but certainly leaving her mark. The lyrics, which don’t seem to be written by her, cast a cautious, desexualised romantic, that sounds bruised when singing of love, and liberated when not. “Tenderness” is a plea for just that in the bedroom, and ”Friend To Friend” has love and absolute devotion couched in friendship; but “I’m Coming Out” is absolutely singular and confident, while on ”My Old Piano” Ross is ecstatically in love with an inanimate object (“his international style exudes an air of royalty / his 88-key smile is so pleasant to see”).

So it’s a pretty odd album, formal and almost neurotic, but still rich with life and dance. Apparently Motown dicked around with it to make it less raw, but I think it works really well with their tampering. Check a bit of it:

Diana Ross – Upside Down

Diana Ross – Tenderness

Diana Ross – My Old Piano