EP 11 - Diana - Diana Ross (1980)

[00:00:00] Speaker A: I had a vision and it was. [00:00:06] Speaker B: And it's actually wild that it's not Mariah right here. Like, I actually. I. I thought it was Mariah that was just singing to me right now. That's actually, like, scary. [00:00:13] Speaker A: I know. People tell me I look like her, too. [00:00:15] Speaker B: Yeah, I bet they do. [00:00:16] Speaker A: And we like, you know, and I sound like her, so. Yeah, it's just like. [00:00:21] Speaker B: It's wild. I can't deal with it. [00:00:22] Speaker A: I know. Like, I'm like paparazzi. Stop it. [00:00:24] Speaker B: Like, no pictures. [00:00:25] Speaker A: Young Mariah. No, it's not me. Mariah's [00:00:32] Speaker B: foreign. Hello, divas. [00:00:45] Speaker A: Hi. And welcome to Diva Decoded. [00:00:48] Speaker B: I'm Nelly. [00:00:49] Speaker A: And I'm Cam. [00:00:50] Speaker B: And today we are covering Diana by Diana Ross. [00:00:58] Speaker A: Are you excited for this one, Nellie? How do you feel about Diana Ross? [00:01:00] Speaker B: I am very excited. I had a major Motown phase in high school where when people talk about 2016 and they're like, nothing can be 2016. [00:01:12] Speaker A: Ew. Who says that? 2016 was awful? [00:01:14] Speaker B: 2016 was awful. [00:01:15] Speaker A: I hated it. [00:01:16] Speaker B: People talk about it. I'm like, I had a really bad 2016. But they talk about the music of it too, because that was like, maybe I like your style. [00:01:26] Speaker A: Oh, yeah. [00:01:26] Speaker B: You know, era. But I was too busy listen to Motown. I don't know what it was that, like, that year specifically, I was like. My top listen to albums were all Motown albums specifically. Actually mostly like Marvin Gaye as well as the Temptations. But, like, Diana Ross is everything to me. And yeah, I think she. She reignites my love for Motown in a way that, like, no other Motown artist can. I think as much as I love, there are other artists associated with Motown that I genuinely appreciate. Obviously, I love Marvin Gaye was my favorite artist of all time for the longest time. But I think there's just something about Diana Ross that is just so freaking iconic and so diva coated that I'm like that. I'm like, I feel like it would be a sin to not cover her. And her most. Actually, this is her most revered album, actually. So I think it's going to be really cool to cover. [00:02:28] Speaker A: Yeah. For me, like, the most Motown I've ever really listened to was the Jackson 5. That's a little bit before the era that I am, like, most comfortable or, like, preferred listening to, which is 80s and 90s and 2000s as well as music today. So this is a kind of like, just before where I'm used to listening to. But yeah, the Jackson 5, I listen to a lot, especially their early stuff. Like, I love want you Back, obviously. Abc. I'll be there. [00:03:03] Speaker B: There's my favorite by them. Yeah, Yeah, I love that song. [00:03:05] Speaker A: I love who's Loving you as well. [00:03:07] Speaker B: I love that. [00:03:08] Speaker A: That's a good one. There's a bunch of good Jackson 5 songs, but particularly those basically the hits when we go into Michael Jackson, like, I. I mean, this is a diva podcast, so I don't know about that, [00:03:19] Speaker B: but he's a diva. [00:03:20] Speaker A: He is a bit of a diva, but he has some deep cuts that I really, really like. But for his. For the Jackson 5 stuff, it's more the big singles. But. So, yeah, that's the most Motown I really listened to. But I did see a lot of similarities between the sound of the Jackson 5 and Diana Ross, even on this album. And this is like a good, like, 11 years after the Jackson 5 came out. [00:03:42] Speaker B: Yeah. [00:03:43] Speaker A: But funny thing. So the Jackson 5 first album is Diana Ross Presents the Jackson 5. [00:03:49] Speaker B: Interesting. [00:03:50] Speaker A: Diana Ross Presents the Jackson 5, 1969. So that had. Once you back on it, I think ABC was their following album. But who's Loving you I think is also their. Their debut. [00:04:01] Speaker B: Wow. [00:04:01] Speaker A: Yeah, I love that song. Mariah did like, a kind of a little cover of it, but just like, fooling around with her backup dancers and stuff. But that's kind of the most history I have with Motown, particularly. I do think, though, upon listening to this album, it, like, her voice is so like Janet, in my opinion. Like, it does sound a little bit deeper, but the way she uses her voice is very similar to Janet. So I wonder if Janet used Diana Ross's inspiration for her singing, because that's kind of what it sounds like to me. Yeah, but I don't know. I could be wrong, but I don't think maybe the males of the Jacksons could really emulate it in the same way that Janet could, because obviously she's a. She's a girl. But yeah, I think. I think it's so interesting. That's, like, immediately what struck me when listening to this album, because I've been listening to Janet forever and Diana Ross is very, like, new to me. But I did enjoy the album. I thought it was very fun. Like, we'll get it more into, like, in depth thoughts about it later. But overall, yeah, I thought it was good, honestly. [00:05:02] Speaker B: I think this is also, like, a perfect blend of, like, disco, too, within this. This album. Which is interesting, I think, like, because I remember you mentioning how, like, unfamiliar you with, like, disco in general, which, again, I'm no. I'm no expert in disco either, but I Think that, like, this, like, kind of reignites the need, like, for why disco was as big as it was. I think we'll get into, like, the time of whatever, the time that this album is released, but, like, knowing how disco was a resurgence, like, joy. Like, we needed joy in that moment. We needed to dance, and there was a loss of love for that. And I think disco reignited that. When I think of Diana, I think of, like, the idea of, like, joy as resistance in the time of sorrow. And I think that Diana is, like, everything we need in a time that we just need to dance. And I think that's why I like this album so much. Like, this was just like, let's fucking party. And I'm like, it was less. It was like, you know, other albums that we've covered in, like, even thinking about, like, Paula, her episode, and how, like, there was a level of, like, having fun that was like, yeah, just innocent fun. And Diana's felt intentional being like, we need to have fun, as opposed to, I'm just having fun. It was like, we actually need to have fun. [00:06:22] Speaker A: Yeah. I thought it was kind of similar to Escapade. That's, like, lyrically, that's kind of what a lot of this album reminded me of, because Escapade is also very intentional. Like, let's have a good time. [00:06:32] Speaker B: Yeah. [00:06:33] Speaker A: Leave your words behind. And if you listen to this podcast, you know, we love Escapade. [00:06:37] Speaker B: Fucking love it. Go listen to it now. [00:06:39] Speaker A: Yeah, go listen to her Rhythm Nation episode. But, yeah, I think being intentional with it is part of the charm of this album, and that sense of fun is part of the charm of this album. But I do think there were a lot of, like, there were some slow moments, there were some upbeat moments. It was cute. A lot of strings. Yeah. So she loved it. [00:07:04] Speaker B: Big. [00:07:04] Speaker A: Yeah, I. It's kind of interesting because when I look at. To me, this. Despite it being released in 1980, it still feels very kind of stuck in the 70s for me. I know at the time it probably felt very modern and new, but it feels like. Feels like it's kind of pulling through the sound of the 70s into the 80s, because, you know, they didn't know what it was gonna be yet versus it. You know, it's very similar to Mariah Carey's debut album, which came out in 1990, which does sound like the 80s, despite it being the new decade, just because they hadn't developed the sound yet, which I think of the 90s was very adult contemporary, various Celine Dion hero by Mariah or whatever. So whereas I feel like the string arrangements and everything kind of reminds me of that. And even, like, a lot of the guitar riffs remind me of those big Jackson 5 hits, like want you back or ABC or whatever. So that's kind of what it's giving to me. And with my frame of reference and what I know, that's kind of how it's like, what it's reminding me of. But that being said, I do think it's strong in its own right. [00:08:14] Speaker B: I see what you mean about, like, because for me, I think a big highlight for this album. I love the drums. I freaking love the drums in the instrumental bits of these. Of these songs on this album. And I remember even growing up, like, when I was like, trying to categorize each decade in, like, musically. I don't know how to describe it. I still, to this day, I'm trying to figure out a way to describe the drums in the 70s and songs and how they felt far away. I don't know what it is. I don't know, but it was always just a clear depiction to me of just like, whenever I hear the drums, I. It helps. It helps me decipher which decade it is. [00:08:52] Speaker A: Yeah. Because I think they found out, like, they started working on artificial reverb or they found another way to record drums in the 80s, which is why it sounds so punchy. Yeah. Versus before that. It has a bit of a different. Different sound to it. [00:09:05] Speaker B: Yeah. [00:09:05] Speaker A: So, yeah, that's. It's. Drums are really interesting if you actually think about it. [00:09:09] Speaker B: Yeah. Getting into. I would love to, like, take a class on drums, like, because, like, I genuinely like. It's. It becomes a little easier to decipher, like, the difference between. In music between different decades when you listen to the drums. Because, like, a lot of. I find a lot of songs in the 70s played with the brushed drums as opposed to, like, classic drumsticks. All that to say. I just went on a little tangent. I love the drums in this album and, like, the way that it plays with rhythm in a way that's not just regular four four, you know, or three, four. Like, it's like it's. It's doesn't play by conventional methods. Like, the rhythm is a little different as opposed to just that. You know what I mean? Somebody with, like, better, like, verbiage around music can definitely speak better to me to this rather than me. But, like, you get what I'm throwing down. [00:09:59] Speaker A: I see what. I see what you're trying to say. [00:10:02] Speaker B: Thank you. [00:10:02] Speaker A: Or what you are saying. Not what you're trying to say. [00:10:04] Speaker B: He just told me, like, yeah, sure, yeah. [00:10:07] Speaker A: I kind of get it. Okay. Why do we want to cover this one? Nelly? Why this album? [00:10:14] Speaker B: Something really special about Diana as a whole. You know, she's known as, like, the Queen of Motown or, like, the queen of, like, Motown sounds. But also the timing of this album, I think, brings a level of, like, Motown, dance, pop, disco that I'm, like, I think captures a lot of the funk that we're looking for in the 80s. Like, in terms of music, like, music style. And the blend of all those genres, I think makes it relatable to a lot of, like, quite a bit songs today, too. Like, the idea of dance pop and just, like, dancing, like, we just need to dance. And I think when I think of this album, I just think I just need to dance. Like, I. I can't be sitting in this funk anymore. I'm literally coming out. Like, I need to. I need to go. I need. I need to freaking get out of here. [00:11:05] Speaker A: Yeah, we'll talk about that song, too. But I was wondering what the meeting was. [00:11:08] Speaker B: I, I, I'll. Yeah, we'll get into that, too. But I had to do. I. I thought it was something else before. [00:11:13] Speaker A: I wasn't sure. I. But yeah, there. [00:11:15] Speaker B: There were other albums we cover we could have covered by her, but I'm just like, I know this one is the one that is definitively hers. It also is her namesake. [00:11:23] Speaker A: Yeah. And it has her, like, signature song, I'm coming out. [00:11:27] Speaker B: Yeah. [00:11:27] Speaker A: I feel like when I think of Diana Ross, I think of that. [00:11:29] Speaker B: Yeah. I think it's. It would just be strange to not ever try and, like, cover this specifically, because we can go into, like, the deep dives. But I'm like, I think we want our audiences as well to know her and for who she is, because I'm like, a lot of. You'll hear some of these songs too, and you'd be like, oh, I feel like I've heard that before. And you're like, yeah, that's Diana. That's freaking Diana. That's not. No, I don't know. But, like, it's Diana, and let's know her. [00:11:56] Speaker A: Yeah, for sure. How do you feel about the album? What do you think? [00:11:59] Speaker B: I love it. [00:12:00] Speaker A: Yeah. [00:12:00] Speaker B: I really do love this album. There are. There were a couple songs that I'm like, There were a couple skips, I will say, but I think it's. I think it's forgiven. I think there's, like, I'm all about messaging and, like, why this album. And, like, I just feel like there's such a joy and resistance or resistance and joy kind of thing. Whatever that means. That, like, I feel. Just feel. I feel so rejuvenated when I listen to this album. Okay, what about you? [00:12:29] Speaker A: I really liked the album. For me, it was a little bit hard to differentiate between some of the songs, but at the same time, I do think everything was done very well. I think that her vocals were very nice and had a lot of personality. Like, were they necessarily like Whitney Houston vocals or. Or, like, you know, Mariah Carey, Celine Dion? No, but like I said, very. Janet coded very similar in that sense and done very well. I thought it was very catchy. I thought, like I said, it did sound a little bit dated. It was from 1980. That's a long time ago. [00:13:08] Speaker B: Yeah. Many years, Many decades. [00:13:11] Speaker A: But I think my first, like, run in with Diana Ross, where I was kind of aware of her music was with Break youk Heart right Back by Ariana Grande. Because the samples. I'm coming out. [00:13:24] Speaker B: Oh, yeah. [00:13:25] Speaker A: So. And I was like, what is the song? So hearing the actual song, I was, like, pretty gagged. Yeah. And just to hear the whole thing and not just the sample, but, yeah, I thought it was good. I thought it was good. [00:13:38] Speaker B: I'm glad. I appreciate that. I thought you were gonna break my heart a little bit. [00:13:42] Speaker A: Like, okay, whatever. [00:13:45] Speaker B: But [00:13:48] Speaker A: was it, like, oh. Like, honestly, it's really hard for me to distinctly say, like, oh, I like this song better than the other. Like. Like, it is. It is good. And, like, the singles are really fun. But for such a short album, these songs are not very distinct from each other, in my opinion. Like, the. We do get a ballad. [00:14:09] Speaker B: It's real. Yeah. [00:14:10] Speaker A: Just how many? One or more we get a couple. [00:14:13] Speaker B: I think we get two. [00:14:14] Speaker A: Okay. But that being said, like, nothing really sticks out in my mind except for some of the singles. But it's real. It's done well. It's done well. [00:14:26] Speaker B: Though I. As much as it pains me to say, too similarly to, like. I don't know why I'm thinking of Paula's again. The idea of being like, yeah, it was good, but, like, the songs kind of sounded the same to me. I can see what you mean, especially knowing how short the album was. Like, you were. You would be hoping to hear eight different songs as opposed to eight of the similar song or, like, the same songs. You know what I mean? So I can see what you mean. [00:14:50] Speaker A: Yeah. Because I feel like even on Whitney's debut, like, for the most part, Every song is different. Like. Yeah, there's different categories. Because even like, I don't know, like you have the up tempos. You have. You have maybe a mid temp. Like you have the up tempo. Like how I know you'll have a mid tempo. Like Saving all my love for you or you give good love. Oh, yes, a good mid tempo. In terms of ballads, you know, you have Hold Me with Teddy Pendergrass, so you kind of get like a really good variety. And same thing with Mariah's debut. Not that this is her debut, Diana's, but you get stuff like Vision of Love, which is kind of like a mid tempo. You get up tempos like Someday. [00:15:28] Speaker B: Yeah. [00:15:29] Speaker A: And then you get really slow ballads, like vanishing. So there's kind of like. And you get power ballads like, like Love Takes Time. So it's kind of like all over the place. And I like that. Like, I kind of prefer my albums to be really distinct. And that's the thing about disco. It's like for some reason it's not as much that way. But that being said, I do think these songs were very good quality, but I don't know about particularly unique from each other except for some of the singles, like I said. But I feel like this would be a good time to go into the album tracks. Let's do it and kind of break it down. [00:16:13] Speaker B: So let's get into the first track. Upside Down. Cam, Take it away. [00:16:18] Speaker A: I thought this one was cute. It does sound very, very like, you know when you hear a song and it sounds like maybe you've heard it before or that it's. It doesn't even have to be a song that you've actually heard before. It's just one of those melodies that seems like it would be a hit. That's kind of like what this is giving me. It did go number one. I was not aware of that. [00:16:42] Speaker B: That's wild. [00:16:43] Speaker A: Until doing this podcast. So, yeah, I thought that was interesting. It's the debut single from the Diana album, which is cute. So yeah, I thought. I thought it was cute. I don't think lyrically it was anything special. It was like, oh my God, I'm upside down up on the ground to the side, down low. That's Brittany. [00:17:04] Speaker B: That's really. [00:17:06] Speaker A: Britney's covering it. But yeah, so like, I thought. I thought it was good. It's catchy. Probably one of the highlights of the album for me. I don't think it has the issue I was talking about earlier of not being distinct enough from the rest of the album. So I thought that was cute. But she sounds great and the production is great. Yeah, it does sound like it's from the time. But not in a bad way. Yeah, in like a good way. [00:17:30] Speaker B: Interesting. I like this one. I think my strife with it is that I don't think it should have been the opener from the album. I would choose the following song, which we'll get into, but I. But I do think this one is fun. I do like this one. I think there's a bit of whimsy to this one and I think it's only just because literally, upside down, inside out. I think of a fun house. Like, I imagine like a first date where, like, she's imagining, like, she's with this guy that she's been like, brushing off for a while. Like, imagining like the co worker where she's like, I don't know, I don't think this could work. And then she, like, finally goes on a date with him and she's like, wait. And it's like an amusement park or like some freaking. Yeah, like a fun house circus or something where she's like, oh, my God, like, I feel so funny with you. Like, not funny like sick, sorry. But like fun. Like, I feel like I'm like a whimsy. Like she, like. I think there's a level of like, just cute fun that I really like with this. I picture like a 22 year old, like, just having some fun with this guy that she didn't expect to have fun with. [00:18:33] Speaker A: Yeah, it's. It's very light, but it's cute. It's. It does sound like it's from the era. It's from like 1980, but in a good way. [00:18:42] Speaker B: Yeah, good way. [00:18:44] Speaker A: So, yeah, I liked it. Is it like. Oh, my God, this song is amazing. Like, holy. No, but like, it. It is good. [00:18:50] Speaker B: Yeah. This is great. I like this one. [00:18:52] Speaker A: Okay, so the next track on the album is Tenderness. [00:18:57] Speaker B: I just giggled a bit because I thought the next song was I'm Coming out so. [00:19:02] Speaker A: But not me laughing. You should have known that, bitch. [00:19:08] Speaker B: So, like, it is what it is. So. But this one, I really did. I did like this one too. I feel like this one. I didn't speak on this in the first one, but in this one I find a pattern between this one and the first song. [00:19:24] Speaker A: It is similar. [00:19:25] Speaker B: It is similar. And also, like, I feel like there's a level of like, they're tr. Like, it's a. It's a. They're aiming for catchiness as opposed to, like the tune. [00:19:34] Speaker A: It Is very one note, this song. Like, I feel like the last song was better and does it better. This is, like, a lesser version of yes. Upside down. [00:19:42] Speaker B: 100%. [00:19:43] Speaker A: So, yeah, it's just like. I don't even know if it's multiple notes. Tenderness is the best yet. Two notes, like, yeah, Jesus. Like, it is a little bit, like, flat. And we know she could do better, but this is an album track. It's not that deep. Like, it's not like it's a single. [00:20:00] Speaker B: But I think it feels. I think what makes this song, as much as, like, I like it, but what makes it feel a little flat is that I'm like. I think the. The cadence of the words sounds rough. Like, Tenderness is the best. So I'm like. I can't picture myself being able to, like, groove to it as opposed to, like. I don't know, Like, I. I feel like. It feels a little, like, rough around the edges in terms of the cadence of the. Of the words. [00:20:27] Speaker A: Well, it's all separated. It's like. Yeah, the thing with pop music, you do want to have a lot of vowels, but you just to separate it is a bit different. [00:20:36] Speaker B: I never noted that. [00:20:37] Speaker A: Well, if you think about it, like, what's something with a lot of vowels? [00:20:42] Speaker B: Vision of love. Oh. [00:20:44] Speaker A: Oh, my God. Well, that's just like. That's not that there's a lot of vowels, even though there is, because the words are crazy. It's just that there's she. Like, the lyrics would literally be, I had a vision of love and that was all you turned out to be. And she turns it into, I had a vision of. And it was. [00:21:05] Speaker B: And it's actually wild that it's not Mariah right here. Like, I actually. I. I thought it was Mariah that was just singing to me right now. That's actually, like, scary. [00:21:12] Speaker A: I know. People tell me I look like her, too. [00:21:14] Speaker B: Yeah, I bet they do. [00:21:16] Speaker A: And we, like, you know, and I sound like her, so. Yeah, it's just, like. [00:21:20] Speaker B: It's wild. I can't deal with that. [00:21:21] Speaker A: I know. Like, I'm like, paparazzi. Stop it. [00:21:23] Speaker B: Like, add no pictures. [00:21:24] Speaker A: Young Mariah. No, it's not me. Mariah's young. So. Yeah. But I think even, like, if you look at pop music, like Britney Spears, she'll say, baby, baby. Oops. Yeah. [00:21:38] Speaker B: Yeah, that's true. Okay, I see what you mean. I do see what you mean. [00:21:44] Speaker A: Crack me up. But even a lot of words like, hit me, baby, one more time, or even instead of just being like, you're so Hot. Like, I don't know. [00:21:54] Speaker B: That's true. That is true. That is true. [00:21:57] Speaker A: But you get what I'm saying is [00:21:59] Speaker B: the part where I say I don't wanna. Yeah, yeah. It's real. That's real. That's real. [00:22:07] Speaker A: Please. Oh, my God. Please, please cut out some of this. My parts. [00:22:11] Speaker B: Please use this as white noise when you go to bed. [00:22:14] Speaker A: Yeah, Blake is just gonna be listening to this, but, yeah, I. To me, like, it. It does sound very disconnected and, like, not in a good way. So maybe it was different words because tenderness is the best. Is the best. Isn't as bad as tenderness. Yeah, because it's. Yeah. Different words, but I don't know. It's interesting. Syllables are so interesting, guys. [00:22:37] Speaker B: Tenderness is the best. It's the best. I still have a problem. It's the best. It's that bad. [00:22:43] Speaker A: I. It's so interesting how people sing stuff so weird in songs. Like, you're saying. But. Yeah. I don't know. Some. Sometimes. Sometimes that makes the song, but in. In this case, it breaks it. No offense. It's just boring. It's not gonna lie. [00:23:01] Speaker B: Yeah. This one, I was like, okay. It wasn't too much of a highlight, but I still liked it. Like, I. I think I'm, like, cool, but I think it's the music that overcompensates for the words for me. [00:23:10] Speaker A: Yeah, I don't think there's anything bad about it. Yeah, there's nothing bad. It's just. Meh. [00:23:17] Speaker B: That's wrong. I appreciate that. Whatever. [00:23:21] Speaker A: The next song on the album is friend to friend. [00:23:24] Speaker B: This one was a little boring, unfortunately. I think, like, it felt like a lullaby, but not like a lullaby I would sing my children, personally. Just a lullaby that I would hear growing up and being like, no, I don't want that one. Next, please. I also. Something I don't really like about the song is that, like, it doesn't. Like, her voice remains pretty stagnant. [00:23:48] Speaker A: Yeah, it doesn't really go anywhere. [00:23:50] Speaker B: It's a weird key for her a little bit too. Like, that's a. But for context, even hearing with my voice, I'm like, it's pretty low to keep a song. [00:24:00] Speaker A: Yeah. [00:24:00] Speaker B: It just stays there. It doesn't go any. Like. Like, it's just. Ah. So, like, it doesn't. It doesn't. Yeah, it doesn't really go anywhere, as you mentioned. So I don't know. This one isn't great. [00:24:11] Speaker A: I could see where they were going with her head voice. But something that I love about ballads and slow songs is that they really make you feel something. They take the opportunity to either, you know, do something bombastic or dramatic, typically with negative emotions and covering those lyrically. Yeah, but I feel like this. The only thing that really kind of made this a ballad was that it was slow. It didn't really make me feel anything. Like. Yeah, that's not really what I'm looking for. I'm looking. What I'm looking for from a ballad is to feel those emotions, feel those feelings, or at least be impressed vocally. And I don't think any of this is really hitting the criteria for this song. [00:24:55] Speaker B: Have you ever watched the Wiz? [00:24:57] Speaker A: No, but I know Michael Jackson's in it. She's in it too, right? [00:25:00] Speaker B: She's Dorothy. [00:25:01] Speaker A: Oh, okay. [00:25:01] Speaker B: Yeah, yeah. And so the song does remind me of Home that she sings in the Wiz. But Home is miles better. Like, it is a much better song. But, like, I can see be that the intent behind the song was supposed to be like a soft Come to Jesus moment, but not the actual, like, religious aspect of it, but just like a coming into yourself moment. [00:25:26] Speaker A: I love coming into myself. [00:25:30] Speaker B: Right, right, right, right. [00:25:32] Speaker A: Sorry, please cut that out or keep it. [00:25:36] Speaker B: But yeah, like, it's. It's just. It just didn't hit, unfortunately. [00:25:40] Speaker A: Yeah, this wasn't the song for me. And you know, my favorite album by Mariah Carey is Snooze Box, or Music Box as more people know it. So I like a sleepy moment. Like, that doesn't bother me as long as you bring the vocals or the emotion. [00:25:53] Speaker B: Exactly. [00:25:54] Speaker A: And I'm sorry, Diana, but this wasn't giving. So that's kind of all I really have to say about this track. [00:26:00] Speaker B: Me too. So the next song on the album, I'm coming out. Cam, take it away. [00:26:06] Speaker A: I thought this song was so catchy, so timeless and so gay. [00:26:12] Speaker B: So gay. I think it's. I. I can't think about it other than the fact coming out of the closet, Like, I actually can't think about it any other way. [00:26:19] Speaker A: Yeah, I. I don't know if that was the original intention. Probably not, but girl, like, I feel like coming out of the closet was still like a term back then. Like, yeah, the gays weren't like, as like, gay. But it's still. It was still like a thing. But yeah, I don't know. Now it's like, oh, it's like. It's like a gay anthem. It's like, yeah, oh, it's pride. [00:26:44] Speaker B: You know, the gay gayness was very like a resist, like a. Like a method of resistance. I found, like, it was, like, definitely a thing where, like, it was a bigger deal for somebody to come out. But now I just. I. I. Because the thing. And, like, people have kind of placed their own interpretations of the song of being like, she. This is her. Because this was her smash album. [00:27:06] Speaker A: Wait, is she gay? [00:27:08] Speaker B: Diana? I haven't read anything that insinuated that she might be. Maybe. Okay, let me ask her. Well, Diana, you already know where we are. You can just come into the next episode, girl. [00:27:23] Speaker A: Let us know. But I don't know. I. Sorry, I didn't mean to cut you off. [00:27:27] Speaker B: I don't know. I just feel like this. This song, I'm like. Because people. Yeah, people are placing their own interpretations on it, and I'm like, people being like, you know, like, this is her way of, like, coming out with this major album post. Like. Like, this was in an era of post Motown as well. So, like, this is her coming into herself. But, like, I feel like, genuinely, like, it's just. It's such a gay song. I love it. [00:27:52] Speaker A: It is. It is so gay and so catchy. [00:27:54] Speaker B: Yes. [00:27:55] Speaker A: This song is so timeless. Like I was saying before, it was sampled in Break youk Heart Rate Pack by Ariana Grande. And this is so catchy. This is so. It does not sound like it's from 1980. It sounds like it could have been made yesterday. And it's just such a hit. It's such a monster hit. It only went to number five in the US on the Hot 100, which. I'm gagged at that. Upside down went number one and not this one. [00:28:20] Speaker B: Yeah. [00:28:22] Speaker A: So, yeah, I'm. I'm just kind of shocked at that, because this is the one that you hear nowadays when you hear Diana Ross. [00:28:29] Speaker B: Yeah. I feel like. Because this song was also covered in Mo Money Mo Problems by, unfortunately, P. Diddy, but that was the song. Like, it was the way that it was able to be. What makes it so timeless is that it can be morphed into different genres. Like, this is. This was sampled in rap. This was sampled in pop. And I think it's just something that's. It is really timeless. I really freaking love this song. [00:28:52] Speaker A: Yeah, this is a really good song. [00:28:53] Speaker B: And again, the drums. I just can't like [00:29:01] Speaker A: the rhythm. The rhythm is so good in this song. [00:29:03] Speaker B: Good, like, electric. And, like, this is the one. 100. I'm at a table and, like, I don't care how good my food is. If the. If the singer on stage is singing the song, I'm getting out of My seat. And I'm like, I'm coming out of my table. [00:29:19] Speaker A: Yeah. And vocally, she sounds amazing. [00:29:21] Speaker B: So good. Come in, out. [00:29:25] Speaker A: And even at the end, I'm coming out. [00:29:28] Speaker B: Yeah. [00:29:29] Speaker A: Like those. Those moments she ate. She ate with that. Like, she. And she knows she did. [00:29:34] Speaker B: So this is a song that I thought was next. The time that I said was whatever you thought. [00:29:39] Speaker A: You thought this was the second track. [00:29:40] Speaker B: I did think this was the second track. I think this should be the opener. [00:29:43] Speaker A: Yeah. I feel like. I feel like it's such a statement and okay. Also, if coming out wasn't a term for coming out of the closet at the time, I wonder if this song made it a thing. Like, say she was like, oh, I'm just coming out with my girls. And the gays were like, oh, yeah, that's real. Let's take it. [00:30:02] Speaker B: That is real. [00:30:04] Speaker A: Maybe that's where it came from. But yeah, I don't know. It's like, that's true. [00:30:08] Speaker B: Like, I don't know, kind of like a reclamation. [00:30:11] Speaker A: This is all guesswork. [00:30:13] Speaker B: I love this song. I really do. And do you have anything else to say about the song? [00:30:20] Speaker A: Just super catchy. In the same way that I love the intro for I want you back from the Jackson 5. [00:30:27] Speaker B: Yeah. [00:30:27] Speaker A: And to me, in the same way. [00:30:29] Speaker B: Oh, yeah. [00:30:29] Speaker A: That is so catchy. So fresh and modern despite it being 50 plus years ago. Yeah, yeah, yeah. [00:30:39] Speaker B: 1980. [00:30:41] Speaker A: No, the Jackson 5 wants you back was 1969. [00:30:44] Speaker B: I thought you're talking about this one. [00:30:45] Speaker A: Sorry. So, yeah, that, like, that's so fresh, that guitar riff. Like, I could see why it was a big hit. So it's kind of timeless in the same way that song is. [00:30:56] Speaker B: We love an iconic intro. [00:30:57] Speaker A: Yeah. Like both songs have such good intro. [00:31:00] Speaker B: So good. Like, exactly. We're saying is, like, you just hear three notes and you're on your feet. Like, it's immediate. Immediate capturing. Like, there's no leading into it. It's just immediate hit. Like, immediate. And I feel like I wonder. I would love. There's so many songs that I would love to be, like, in the writers room for like. Or like in the. Sorry. Not the writers room in the studio for. To be like. I wonder if they knew in that moment that they had a hit on their hands. [00:31:29] Speaker A: I don't know how you could hear that and not know it's a hit. [00:31:33] Speaker B: Yeah. [00:31:34] Speaker A: But like, also, it's crazy. They're like, let's make Upside down the. The first single, the lead single. [00:31:41] Speaker B: That's strange. [00:31:41] Speaker A: That's kind of Wild to me, but still a good choice. I went number one. So clearly at the time, that song had more success than this one, which is wild because I don't anyone like, let's put on Upside down. No, you're putting on. I'm coming out and you're shaking your ass and you're at pride and you're naked. [00:32:04] Speaker B: You are nude. You are nude. [00:32:06] Speaker A: Oh, my God. I worked Pride because I used to work at a bar and I worked pride. Oh, my God. It was crazy. [00:32:13] Speaker B: Really Nude. Yeah. [00:32:15] Speaker A: You see, like, everything and like, everything. Let's just say ready to go, right? Oh, wow. Yeah. We had. We had to kick someone out because he was dancing with this girl and he was ready to go, wink, wink. And I was like. And then he pulled it out. I don't know if I should say this on the podcast. [00:32:36] Speaker B: Well, I think it is. It's awareness. [00:32:38] Speaker A: Well, I. And I was like, what's going? Like, I was like, what's going. So I told my boss and then the guy ran out with it, waving in the air, and I was like, girl, what is going on? So pride is wild. Pride is wild. So interesting. So you play this song at Pride. The gays go nuts. [00:32:58] Speaker B: Yeah. Such a great song. [00:33:01] Speaker A: I. I don't blame them. [00:33:03] Speaker B: I don't blame nudity that comes with this. I don't. [00:33:06] Speaker A: My clothes are. No, sorry. I'm sorry. I'm just kidding. [00:33:09] Speaker B: I'm just kidding. [00:33:10] Speaker A: I'm actually very conservative. No, like, conservatively dressed. [00:33:15] Speaker B: Cam is coming out as a. Coming out as a right wing. [00:33:17] Speaker A: I am. What is it? What is an America Republican? Is that conservative in America? [00:33:23] Speaker B: No, conservative is conservative in Canada. Republican is Republican in the States. [00:33:27] Speaker A: But isn't, like, conservative, like the equivalent to a Republican? [00:33:31] Speaker B: Oh, yes, yes, yes. [00:33:32] Speaker A: That's. I mean. [00:33:33] Speaker B: Oh, yes. [00:33:34] Speaker A: Sorry. But I don't know. Yeah. I don't know you. Anything else to say about this song? [00:33:39] Speaker B: No, it's great. It's fantastic. [00:33:41] Speaker A: Yeah. This is kind of a short album. We're already halfway through. [00:33:44] Speaker B: Yeah. [00:33:44] Speaker A: The next song in the album is have Fun in brackets again. [00:33:48] Speaker B: I like this one. Hehe. I really do. [00:33:51] Speaker A: This one. It's kind of weird, but in a good way. [00:33:54] Speaker B: Yeah. [00:33:55] Speaker A: This song, for those of you who don't know, fades out and then comes back and then I'm pretty sure fades out again. [00:34:02] Speaker B: I think that's like. It's a psych moment. [00:34:06] Speaker A: Yeah, it's like. [00:34:06] Speaker B: It's like so cool. Like you think, hey, you're gonna pay for another drink. Actually, again, the general theme of this album being like, you're you. We need to party more. We need to dance more. And I think this. This song perfectly, even just with the [00:34:21] Speaker A: title, like, encapsulates that, like, lyrically, it's probably the most similar to Escapade. Like, when I was talking about that earlier, being like. Oh, it's like, so much like Escapade. This album. This is kind of what I was talking about. [00:34:33] Speaker B: Yeah. [00:34:33] Speaker A: I mean, I'm coming up kind of as well, but this one particular. It's so, like, so simple, but it's fun. [00:34:42] Speaker B: This one is so fun. I personally, I'm just gonna conclude this for everybody. I don't think you can hate the song personally. [00:34:49] Speaker A: You hate fun. F is for friends that do stuff together Use for you and me N is for anywhere Anywhere, anytime at all down here in the deep blue sea [00:34:57] Speaker B: thank you for reminding me of lyrics, because I forgot I'm not good with lyrics at all, unfortunately. [00:35:01] Speaker A: I'm here for you. [00:35:02] Speaker B: Thank you. You and I must make Goodbye we must bring. Okay. Yeah. This one is so fun. Like, have fun again. And, like, I don't think it's something that you have to think too deep about. Like, I genuinely. I'm like. I'm trying to think of, like, some deep meaning behind being like, you know, like, it just. No, it's just, have fun again. Go dance. [00:35:26] Speaker A: Yeah. [00:35:27] Speaker B: Be gay. [00:35:28] Speaker A: Yeah. Stop being a drag. Come on, let's do this. [00:35:30] Speaker B: Like, let's have a drag. Yeah, exactly. I don't get. I don't have much more to say about this. I just really like it. [00:35:36] Speaker A: It's simple. It's cute. It's a good album track. [00:35:40] Speaker B: Yeah. The next track on the album is My Old Piano. What do you think, Cam? [00:35:45] Speaker A: I think it's. I think it's cute. It's the final single. It didn't really do much on the chart. What does it mean? Like, let's go through the lyrics a little bit. [00:35:55] Speaker B: Yeah. [00:35:56] Speaker A: Love is called my old piano. I have a ball with my old piano Love is called my old piano I have a ball, My old piano like, what love is called? Okay, I get I have a ball, but love is called my old piano. Like, what does that mean? I don't know. [00:36:19] Speaker B: Yeah. For this one, I. I love doing the whole, like, game of just, like, what does this mean to you? Like, what are these lyrics? It can be ambiguous. It can mean something different to everybody. I genuinely have no idea what she's talking about when she says my little piano. The song represents a joy playing the piano, treating it as. Oh, is it just literal? [00:36:38] Speaker A: I guess, but it's kind of weird. [00:36:40] Speaker B: Yeah. I also think that, like, this would be the type of thing that's. This sounds like it would be the type of song that would be a ballad. Like, when I hear my old piano. [00:36:51] Speaker A: Yeah, I was thinking about it. [00:36:53] Speaker B: I thought, there aren't two ballads on this album. But anyways, I don't know. [00:36:56] Speaker A: It wouldn't be the first time. You're wrong. [00:36:59] Speaker B: Should I dox him, Blake? Let me know. Let me know, guys. [00:37:03] Speaker A: She is a fist. [00:37:04] Speaker B: If, you know. [00:37:05] Speaker A: Ready to punch me if, you know. [00:37:08] Speaker B: If you know. You know, I just. I just want to put Cam's address on here, and you guys just. Just avenge me. No, I feel like this one, it does sound. I feel like the tune of it sounds pretty different from the others. The actual music, though, sounds very similar to Upside Down. Like, the symbol crashes. [00:37:29] Speaker A: Yeah. Like, it's a little slowed down, but, like, [00:37:35] Speaker B: this one didn't hit for me, unfortunately. [00:37:38] Speaker A: It's a little meh. [00:37:39] Speaker B: Yeah. I guess she's being pretty literal with I love my old piano, and it's like, is it. She's longing for songwriting again. [00:37:48] Speaker A: Did she do drugs? Do we know? [00:37:51] Speaker B: That's a great question. I don't know, because I'm wondering if influence some of, like, the lyricism, like, my old piano. Like, is that something else? Or maybe it's literally her piano. [00:38:02] Speaker A: Yeah. I don't know. [00:38:03] Speaker B: I'm like, also thinking. I'm like, maybe she's just missing songwriting. I don't know. Did she ever songwrite? [00:38:08] Speaker A: Let's see if she wrote on this album. Nope. All songs written by Bernard Edwards and Nile Rogers. [00:38:16] Speaker B: Okay, so then I have no idea what she's talking about. I think she's just talking about her literal piano. [00:38:20] Speaker A: Maybe the writers did drugs, but, yeah. Anyway, my old piano is about doing drugs and enjoying your old piano. [00:38:29] Speaker B: Real. That's one theory. [00:38:32] Speaker A: Yeah. I mean, love is called my own piano. I have a ball with my old piano. My baby entertains the real life of my parties, but it still retains all the dignity his international style exudes. An air of royalties. Like, what the fuck does this mean? Okay, sorry, I'm getting mean. [00:38:54] Speaker B: I'm actually trying to, like, find. I'm just like, is there, like, something that we can. [00:38:57] Speaker A: It's a single. You could, like, look it up. It's bubbling under. Yeah, makes sense. Sorry. It's true. [00:39:06] Speaker B: No, but that's real, though. You're like. And call it out. Like, you know, you have to hold these Artists accountable. [00:39:12] Speaker A: Okay, that's it for this song, I think. Unless you have something to say. [00:39:15] Speaker B: No, this one I didn't get. I didn't understand. I think, like, for. There's, like, rarely ever times we're actually confused by a song. [00:39:24] Speaker A: Yeah, that doesn't happen. [00:39:26] Speaker B: This doesn't hit. But I'm Usually it's like, sorry, no, no. We're saying no. It's the same thing. I'm like, we. It's just confusing. Like, I just don't get it. [00:39:33] Speaker A: Usually it's like something simple where it's like, oh, I miss you, I love you. And it's like, that's it. It's like, okay, that's fine. But like, this is just like. I don't get what you're trying to say here. What are you talking about a piano for? [00:39:43] Speaker B: Yeah. What is. We're, like, trying to find the hitting meaning of what does the piano symbolize? [00:39:48] Speaker A: Meanwhile, we were like, I love. Have fun again. [00:39:50] Speaker B: Yeah, I just keep it simple, bro. Like, let me clap, Let me clap. [00:39:56] Speaker A: Okay, should we move on to the next song? [00:39:59] Speaker B: Yes. [00:39:59] Speaker A: The next song on the album is now that you're gone. What do you think of this one? [00:40:04] Speaker B: I like this one. [00:40:06] Speaker A: This one's also kind of weird, but more musically, but in a good way. [00:40:09] Speaker B: I love the grooviness of it. I love the, like. I imagine, like, a raised eyebrow while dancing to the song. I imagine, like, wearing red on a dance floor and, like, dancing alone and the crowd is watching. That's what I picture. And people are like, what's her deal? What's her story? Anyways, I. I just like. I really do like the grooviness of this song. [00:40:35] Speaker A: Yeah, it's like. Like I said, it's kind of odd, but it also just kind of reminds me of. Your kiss is on my lips. Yuck it. I don't know if you know that one, but now that you're gone, this one kind of does. Like that. [00:40:50] Speaker B: The syllables, the weird syncopation. [00:40:52] Speaker A: Yeah, it does it well. It does it well. And. I don't know, the. The strings give me such a interesting feeling. Listening to it, like, it's. I don't. I don't even know how to explain it, but it's. It's so distinct and probably one of the most distinct songs on the album, you know? [00:41:09] Speaker B: It also feels kind of sleuthy. [00:41:11] Speaker A: Yeah, it does. It does. It's kind of like noir. Like, yeah, she's solving crime. [00:41:16] Speaker B: Yeah. Like, I'm like. That's why I'm like, I fix her, like, raised eyebrow, like, will she, won't she? I don't know. This one. I think it does sound maybe the most different. Exactly. [00:41:28] Speaker A: But I like that. I like a good. [00:41:29] Speaker B: Yeah. And I just love the gems. I really do love the drums on this one too. [00:41:36] Speaker A: Yeah, it's. It's nice that it's like kind of like mid tempo as well. [00:41:40] Speaker B: Yeah. But it's like, this is the one that I mistake. Like, I mistook for the ballad, but I'm like, no, I was listening to it again. I'm like, this isn't a ballad. This is. It was just slower than what we had been hearing. And I like this one. I really do. [00:41:53] Speaker A: Yeah, it's cute. Like, am I like, oh, this is so catchy. Like, I'm gonna. Like, I need to listen to this every day. No, but it's. It's good. It's good. I appreciate it. Give us something different. I'm always here for something different, especially towards the end of an album. Don't give us the same thing 15 times. [00:42:11] Speaker B: Exactly. [00:42:13] Speaker A: So, yeah. [00:42:14] Speaker B: The last song of the album, Give up. Cam, what do you think? [00:42:19] Speaker A: Girl is singing on this one? She's really giving it. I think vocally, it's probably the best. Agreed on the album. I mean, I'm coming out, like, definitely up there, but yeah, she really eats this up. She gobbles it up, swallows it and digests. [00:42:37] Speaker B: Thank you so much, Cam. Thank you. You know, I'm all about visuals. [00:42:41] Speaker A: Yeah. See everything. But, yeah. No, I thought it was. I thought it was very cute. I. I'm always here for a diva vocal moment. I will never say no. Even. Even, like, you know, we. We haven't covered it, but Paula did a song. Paul Abdul did a song called Rush, Rush. And in that song, she goes for a big note and it's Paula Abdul. So, like, you're like, what do I expect? [00:43:07] Speaker B: But she kind of ate it up real. [00:43:09] Speaker A: So it's like. [00:43:10] Speaker B: I don't know if I've heard that. [00:43:12] Speaker A: I'll send it to you. [00:43:13] Speaker B: Sing it. [00:43:16] Speaker A: You really want me to sing it? [00:43:17] Speaker B: I do. Oh, my God. That was everything. That was everything. [00:43:32] Speaker A: I know. We need. We just need a podcast of us singing because clearly we just want to sing. [00:43:37] Speaker B: The people are asking for it. People being Cameron and Nelly. [00:43:41] Speaker A: But we want it. [00:43:43] Speaker B: Yeah. Yeah. [00:43:44] Speaker A: This is our podcast, not yours. Like, you have to listen to it. [00:43:47] Speaker B: Are your own. But don't, please don't, Please don't be [00:43:48] Speaker A: our rivals no support this one. It's kind of cute, you know, it's kind of like, give me. I don't know, man. [00:43:59] Speaker B: That's good. [00:44:00] Speaker A: Yeah, it's kind of like. It's a cute sentiment. It's very simple. It's a very simple lyrically, but I think where she takes it vocally is what separates it, because even sonically, I love saying Ali right now. It sounds like some of the earlier tracks on this album, like, Upside down and other ones that we thought were similar. But the difference is, like I said, where she takes it vocally and how she really shows off that voice. I don't really like it when singers stay in one place. If you have the pipes, show them off. I want to hear all the different sides of your voice, and I want you to give me chills. If you can do it, why aren't you. Yeah, you know, so that's what I'm here for with the song. And it's a good closer. [00:44:41] Speaker B: Yeah, I think this one is a great closer. You want to know what I think of when I hear the song? I think of either. I'm. I think I'm getting inspo from Sex and the City. Like, the. The scene of Carrie Bradshaw spinning in the club. [00:44:54] Speaker A: I've never seen Sex in the City. [00:44:55] Speaker B: I have never either, but I've only ever seen that clip or that scene. I think of that. I also think of, like, her in a limo with a sunroof, and she's defying what everybody's saying, like, get back in the car. But she goes through the sunroof, and she's just, like, singing, like, literally. She's leaving her concert, and they're just like, get down. The fans are gonna see you. And she's like, no, Just, like. She's just giving it up, giving it all. Yeah, what you said, like, the. This song is so powerhouse, like, with her vocals. [00:45:27] Speaker A: Like, why was she holding back on the album so far? [00:45:32] Speaker B: That's a good question. I'm wondering if she's Tenderness, you know, Like. Like, yeah. [00:45:39] Speaker A: What? [00:45:39] Speaker B: I'm wondering if she's. If she was actually. No, because I'm like, she was always encouraged with her vocals. Like, even Supremes, like, she was pushed to the front. So I'm like, I know. I don't. I don't know what that's about. I don't know why she felt like she had to hold back or why the label felt like they had to hold her back. [00:45:54] Speaker A: I don't know. But, yeah, vocally, she's capable of so much. So it's interesting that they kind of, like, withheld It a little bit like. That's freaking weird, cuz it's like. Yeah, it's just. It's interesting. But. [00:46:09] Speaker B: Go off Diana Go off Diana this was a great closer. I really liked the song. [00:46:14] Speaker A: Yeah, I. I like. I say I appreciate the vocals and yeah, I'm. I'm happy with something that's so distinct and to have these two, like, one after the other, it's like kind of like a bang bang before it closes. [00:46:27] Speaker B: Yeah. [00:46:28] Speaker A: The album. So, yeah, I'm. I'm pretty happy with that. I love Strong. I love it when, you know, it's not all just filler. [00:46:35] Speaker B: Exactly. [00:46:36] Speaker A: Let's have some strong moments. [00:46:37] Speaker B: Yes, absolutely. [00:46:47] Speaker A: All right, Nelly. Do we want to talk about the music market at the time of release and a little history about Diana Ross? [00:46:53] Speaker B: Yes, absolutely. Speaking on a little bit of what I know about Diana as well, she had branched out from the Supremes in 1970. So this was actually a whole decade after she had broken. Like, she had gone solo. And similarly to like, Tina and how, like, when she came out, it was like when she branched out five years post leaving, like, she. It feels like she had something to prove this album. Like she. I do feel like she came out swinging with this. I know that, like around the time of this too, like, this was her also branching away from like the Motown sounds too. And this was a time for disco because. So I feel like around the time this was when Donna Summer as well was like, making her claim to fame. [00:47:38] Speaker A: Yeah, she was popping off. [00:47:40] Speaker B: Yeah, she was popping off. [00:47:41] Speaker A: She would have just had Bad Girls, I think. [00:47:43] Speaker B: Yeah. [00:47:43] Speaker A: Their year. [00:47:44] Speaker B: Yeah, earlier. So, like, this was around the time where she was. I think Diana's. Diana and her team were making use of like the blend of sounds. So it's not just disco. It's not just not restricting her into one box. Trying to play, like playing her in different fields, which was really smart because this was her, you know, her most revered album. Something interesting too, about Diana too, is that, like, I don't know if anybody doubted her. So when I say, like, she had something to prove, like, it was like. Because everybody, like, everybody had kind of pushed her to go solo. I think, like, her companions, like, they didn't believe in her in the Supremes. I believe in them in the Supremes. But like, I feel like this was. It would have been easier for her to fall flat knowing that she was in the shadows of other artists at the time that were like, also massive. Like, this was around the time of the Jacksons, you know, also doing their Thing, you know, and like, as we mentioned, Donna Summer, so I'm like. I feel like this was her time to shine. So. Yeah, I think it's something really interesting to know about. Just like, to note about what it. Like, for some people that. That go solo, it really doesn't go well. But for her, it was her mark. I don't know if she would have been. If she would have succeeded much further if she stayed with the Supremes. [00:48:58] Speaker A: Yeah, that's fair. It sounds like from what you're telling me, they had kind of come. They had run their course. So. Yeah. Okay. Cute little Silissa. [00:49:08] Speaker B: Yeah. It's like, I feel like I remember. That's the thing. I'm like, I was such like a. I was so deep in Motown, as I mentioned, in high school, that, like, there are things that I'm like, I remembering, like, researching a lot about this and like. Cause I love. I love so many songs from the Supremes, and I'm just like, oh, my God, why did Diana leave? And now, like, thinking about it from a different perspective, I'm like, I think it made a lot of sense for her to leave. I don't think she would have thrived if she's. If she stayed, though, she was pushed to the front, like, pushed as the lead, it would have ran its course even further. [00:49:43] Speaker A: Right. So now a little bit about the album success. It did generally well. It reached number one in Sweden, number two on the US Billboard 200, number 12 in the UK, number eight in Canada. So pretty decent. But I don't think it was necessarily a heavy hitter as an album as opposed to the singles, which is how the album is more remembered. It's certified platinum in the US and platinum in Canada, gold in the Netherlands and in the uk. So the success seems to lie with the singles. Um, as we said, the first single being Upside down, going number one, which is a huge deal. The next single, I'm Coming out, is probably the most well remembered song from the album. It went to number five in the us But I think it's had much more of a resurgence, especially with the Meaning. And it's such a gay anthem. So, yeah, it comes out every year at Pride. It comes out. No pun intended. But yeah, sorry, that's so stupid. But yeah, such a. Such a great song. And then my old piano, like I said, didn't really have much success, unfortunately. [00:51:06] Speaker B: I love the COVID art of that song. [00:51:08] Speaker A: Yeah, it looks like stunning. It looks like this the only one they have a cover for, at least so far. What I'VE seen. Do we want to move on to the artwork? [00:51:17] Speaker B: Yeah. [00:51:17] Speaker A: What do you think of it? Black and white, something. [00:51:20] Speaker B: As we mentioned, as we've mentioned before, I just. I really do love when they show. They just. They don't try to go abstract with it. Sometimes they just got to show their face. [00:51:29] Speaker A: Face. [00:51:30] Speaker B: And she's got a face like, her cheeks and just her expression. I'm like, she's everything that she thought she was. Like, I think with this picture. I also like how, like, her hair looks wet. [00:51:43] Speaker A: Yeah. [00:51:44] Speaker B: Like, I'm just like, oh. Like, it's like she, like, was pulled out of the shower and just like. Okay, let me just be here. [00:51:52] Speaker A: Let me just take this photo real quick. Sorry. [00:51:54] Speaker B: You know, like, let me just, like, let me. Fine. Okay. Or like, she was pulled from the rain or something. Like, it's just. I really, really do like that. I like it. I really do like the COVID I think I like how simple it is usually. Sometimes I'm like, give me a little bit more. But I do, like, just Diana. [00:52:07] Speaker A: I wonder, because, you know, we were talking about Janet. It's also stylized as Diana, all lowercase, which is similar to the Janet album, where it's a black and white photo of her, although Janet is, like, only wearing pants and her breasts are being covered. And it's Janet, lowercase and a period. [00:52:29] Speaker B: Yeah, that's true. [00:52:30] Speaker A: So I wonder if it's. I wonder if it's, like, a nod to her. [00:52:34] Speaker B: That's so funny how you mentioned that, because I was like, the other point that I was gonna make about, like, the one thing that I might change. I might have changed if, like, for this cover art, I feel like this is a song that's big or, like, an album that's big. Like, it's like, like, loud and Proud. I. I wonder would have been, like, if they change it to all uppercase. [00:52:52] Speaker A: I don't know. Like, I'm not sure. Like, I feel like it's, like, kind of sexy the way it is. [00:52:59] Speaker B: That's true. [00:53:00] Speaker A: But at the same time, like, she already did have the Diana Ross album. Yeah. So. Yeah. I don't know. I don't know. I. I just like that, you know, Janet did a little. [00:53:13] Speaker B: A nod to her. [00:53:13] Speaker A: Janet. I'm not Jan. I'm not Janet. Janet. [00:53:18] Speaker B: Yeah, she. She was. I'm Janet. And you're gonna be so surprised by me when I dance on the stage. Like, so cool. You should watch on the Musical, by the way. Anyways. [00:53:30] Speaker A: Okay. [00:53:31] Speaker B: Or did you have anything else to say about the Herbert. [00:53:34] Speaker A: No, that's it for me. [00:53:35] Speaker B: All right, let's get to the producers. [00:53:36] Speaker A: So all the songs on the album were written and produced by Bernard Edwards and Nile Rogers. Who are these people? So of those two, I'd say the more notable would be Nile Rogers. He actually produced let's Dance by David Bowie. It seems like he worked with David Bowie quite a lot. He worked on Like a Virgin by Madonna, like Urge. He did the B52s album, more David Bowie, Michael Bolton's album, in 2002. And, yeah, seems like a talented man, period. And has done quite a lot of work. He's also worked with Christina Aguilera, Pharrell Williams, Daft Punk, all those people. Oh, he worked on Get Lucky. What an icon. [00:54:28] Speaker B: That is pretty iconic. [00:54:30] Speaker A: That's like a. I mean, that is like, oh, my. Like, I cannot listen to that song anymore. [00:54:34] Speaker B: But that song so much. [00:54:36] Speaker A: I'm sorry, is that the Clap Along? Oh, no, that's not happy. [00:54:39] Speaker B: Oh, my God. [00:54:39] Speaker A: Let's Get Lucky. That's a good one. [00:54:47] Speaker B: People hate it. Real. [00:54:49] Speaker A: I'm not really as sick as of that one. [00:54:50] Speaker B: As happy. I still. I can't. I still to this day, cannot listen to that. It makes me really depressed. [00:54:56] Speaker A: It's too boisterous. It's a lot. [00:54:58] Speaker B: Literally, I was like, that's enough. [00:55:00] Speaker A: But, yeah, I. That's all I really had to say about the producers. Only two guys. [00:55:05] Speaker B: That's wild. Like, I'm like, there was. There are no other collaborations. Well, I guess it kind of. Kind of makes sense in terms of, like, the sounds of the song still, like, they do sound pretty similar in [00:55:14] Speaker A: terms of the impact of the album. I would say it just producing a really big gay anthem is huge. You know, I'm Coming out played every year at Pride, as we've said. I don't want to be a broken record. [00:55:28] Speaker B: I love being a broken record. Like, listen to me again. 12 times. [00:55:32] Speaker A: What? [00:55:32] Speaker B: I love being a broken record. [00:55:33] Speaker A: What? [00:55:35] Speaker B: Sorry, don't piss me off. [00:55:42] Speaker A: I know. But, yeah, I think it probably just went on to solidify her legacy, but, yeah, and also kind of set her career up for the 80s keeper prominence. [00:55:55] Speaker B: It's also like, this coming out in 1980, like, not 1984, like 1980. I think it also, like, paved the way for, like, what it means to blend different sounds as well. Because, like, I feel like people were so restricted to their genre for so long, and so still being under the label of Motown, she was also proving that she's like, you can blend disco, you can blend Dance pop into this. And it allowed people to, like, play what sounds that way too, which is really cool. [00:56:22] Speaker A: Mm. Do we want to rank the tracks? [00:56:24] Speaker B: Let's do it. [00:56:25] Speaker A: All right, so we have figured out we have a very similar bottom two, so we're just gonna say it at the same time. On three, we will say our least favorite song from the album. Are you ready? [00:56:35] Speaker B: Ready. [00:56:35] Speaker A: 3, 2, 1. [00:56:37] Speaker B: My old piano girl. [00:56:40] Speaker A: No, this was kind of a dud. Didn't make any sense. Made me think about drugs and that the writers were on them. No shade. Just like. Like what? [00:56:51] Speaker B: Anyway, it's just like I feel like we were looking for a deeper meaning that probably just wasn't there. [00:56:56] Speaker A: There should be though. [00:56:57] Speaker B: I know. And there might be somebody like, incorrect us if we're wrong, but also like, don't, don't do that because we're not wrong. It like, it. The, the lyrically just laid flat and also sonically like. [00:57:09] Speaker A: Yeah, it wasn't, it wasn't too. Do we want to say our second least favorite? [00:57:14] Speaker B: Yes. One, two, three. Friend to friend. [00:57:18] Speaker A: This was a ballad with none of the best parts of a ballad. It was, it just kind of let us down. I mean, I heard, I was like, oh, so song. Let's go, let's go. I'm here for a ballad. I'm ready to cry. [00:57:31] Speaker B: So I also love songs about friendship. Typically like thinking about you've got a friend by Carole King. I think freaking love that song. You should listen to it. It's so good. Or I'll be there. Like, it's just like those songs about camaraderie, community. Like I, I, I always love. [00:57:47] Speaker A: Do you know anytime you need a friend by Mariah Carey. [00:57:49] Speaker B: Anytime. Sing it. [00:57:51] Speaker A: Anytime you need a friend, I will be there. [00:57:56] Speaker B: Yeah, yeah, yeah, Be here. Cuz she. I remember she sang it. She sang it live somewhere. I don't remember, but I remember that performance. [00:58:05] Speaker A: She ate. She ate. [00:58:06] Speaker B: But those live performance just like songs about friendship. You know what I mean? I usually love and I'm like, girl, what is going on? When I heard the song I don't want a friend now. [00:58:13] Speaker A: Yeah. No. Friend to friend. It seems like friend to foe. Yeah, just. It was boring. [00:58:18] Speaker B: Yeah. [00:58:19] Speaker A: Like, let's call it like it is boring. Anyway, what are your top three? [00:58:26] Speaker B: My third place is have fun again. Everything we said, it literally the theme of the album. I think it perfectly fits it just being like, let's just party. And I love it. It's so fun. What about you? [00:58:40] Speaker A: I think my third would be give up. [00:58:41] Speaker B: Okay. [00:58:42] Speaker A: The final track. Just because vocals give us vocals. [00:58:45] Speaker B: Yes. [00:58:45] Speaker A: That's what we're here for. I'm here. I'm not here to hear you sing one note. I'm here to hear you give me all you got. [00:58:52] Speaker B: You know what I mean? [00:58:53] Speaker A: So, yeah, definitely give up. What would your number two be? [00:58:56] Speaker B: Give up is my second. Oh, yeah. [00:58:58] Speaker A: Okay. [00:58:58] Speaker B: I. I think it's. Again, I've talked about, like, placement of songs within an album, and I think having it at the end, I'm just like, maybe even love it. Like, maybe love it even more. [00:59:08] Speaker A: Yeah. [00:59:08] Speaker B: I think it's so great. It is. It's just. It gets me going. It, like, also is the perfect, like, goodbye, wave off to the crowd moment. Like, it's so, so, so good. [00:59:20] Speaker A: Okay. Cute. Mine would be upside down. I think it's such a fun moment. And of all of those, like, upbeat, like, yeah, let's have a good time. It's probably, like, the best of the ones that kind of sound similar. [00:59:35] Speaker B: Yeah. [00:59:36] Speaker A: So, yeah, I was. I was here for it. And, yeah, it did. It did sound like a hit. [00:59:40] Speaker B: That's right. [00:59:41] Speaker A: So, like, just had that sound for it. I don't know. Also, I kind of get that vibe, you know, when you hear Rihanna sing anything and. And you're like, that's a hit. It's like, that kind of. [00:59:50] Speaker B: That's true. That is fair. But, yeah, I love that. [00:59:53] Speaker A: Do we have the same number one? [00:59:54] Speaker B: We definitely do. [00:59:55] Speaker A: Okay, say number one on three. [00:59:56] Speaker B: One, two, three. I'm coming out I want the world like, come on, let it show. It's so good. It is. It is. Interestingly, how it's number five. I was, like, ranked number five, but, like, it's number one in our hearts and everybody's hearts. Really. It is so good. [01:00:13] Speaker A: Yeah. Should have charted higher. This is so weird. Like, number. Yeah. [01:00:17] Speaker B: Incorrect for that. [01:00:19] Speaker A: And then doing. [01:00:20] Speaker B: I just feel like they were like, they didn't have us. [01:00:23] Speaker A: We would have. Yeah. Would have, like, we would have. Punished. [01:00:26] Speaker B: Should we have our own billboard? [01:00:28] Speaker A: For what? [01:00:30] Speaker B: We'll figure it out. [01:00:32] Speaker A: You mean like a chart? [01:00:34] Speaker B: Oh, yeah. [01:00:35] Speaker A: I thought you meant, like, a billboard. [01:00:36] Speaker B: Oh, no, sorry. I meant chart. I guess this is this podcast, but, like, we're going to make a one chart. [01:00:41] Speaker A: Yeah. [01:00:42] Speaker B: And then if you. But that means that I'd have to listen to, like, new people's music. Like that. [01:00:45] Speaker A: My number one. My number one on, like, the cam chart of the year is Curiosity by Carly Jepsen. Listen to the original EP version, not the Kiss version. You'd be Gagged. [01:00:57] Speaker B: But, yeah, I think, you know, with the ranking of the tracks, it also leads us into grading the album. Shall we do that, Cam? [01:01:03] Speaker A: Yes, ma'. [01:01:04] Speaker B: Am. [01:01:04] Speaker A: Do you mind if I go first? [01:01:05] Speaker B: Yeah. [01:01:06] Speaker A: All right. So for this album, I would have to give it passable platinum. So that's an album we feel is okay, but isn't necessarily a highlight or an artistic failure. So for me, I'm Coming out is great. [01:01:21] Speaker B: Yeah. [01:01:23] Speaker A: But I don't know. This just didn't do it for me. Except for maybe I'm Coming Out. There's no song that I'm like, oh, my God, I need to hear that again. Like, it's just fine. I didn't dislike the album at all. That's why it's passable platinum. [01:01:37] Speaker B: But, yeah, while I see what you mean, I personally can't. I can't, I can't, I can't. I think. I don't think it's just possible. I think it's great, which is why I give it Momentary Magic. I do think this is an album full of magic, but I feel like, apart from the singles, these are songs that really just are of the time that I wouldn't really listen to today. I would listen to I'm Coming Out. I would live. I would listen to Give Up Today, but, like, they're the other songs there. I would. I wouldn't go to listen to it. I wouldn't go and put it in to my Spotify, you know? [01:02:11] Speaker A: Yeah. [01:02:12] Speaker B: But I do think it's a great album. You're wrong. [01:02:17] Speaker A: And I just. For our listeners, these are just our opinions. If you love this album, we love that for you. There are some albums that I love, and people are like, what the hell is wrong with you? But I just love it. I just. You know, so maybe with some more time with this one, maybe I'll like it more. But I don't know. It just did not do it for me. [01:02:36] Speaker B: Whatever. I. It's fine. Because, like, I always have to remind myself, like, every episode, I'm just like, okay. I'm like, I'm the only one that's right, and it's fine. So it's. It's. I'm. I'm not heartbroken. [01:02:46] Speaker A: We're wrong about the two ballads. We just. You have a wound open. Here's me putting salt in it, stepping on it. [01:02:55] Speaker B: I mean, every episode. And give one number and letter at a time of your address. [01:03:00] Speaker A: I move every year, so it's gonna take you a while. [01:03:05] Speaker B: Well, with that. That we. That takes us to the end of Diana by Diana Ross next week. What's going on for next week, Cam? [01:03:12] Speaker A: Well, we have the Queen of Soul. That's all I'm gonna say. If you don't know who that is, you're. You should read a book. [01:03:19] Speaker B: Freaking loser. [01:03:20] Speaker A: Or go to school or. I don't know, man. Be older than you are if you're young. So, yeah, we're super excited for our season finale, and thank you for joining us on the season. It's been awesome. [01:03:36] Speaker B: Yeah. Thanks for coming this far. I feel like I, at least myself, am learning a lot more about music. [01:03:42] Speaker A: Oh, me too. [01:03:43] Speaker B: Definitely I ever thought of before. I've never been somebody that focuses so much on chart success, because my chart is the only one that matters. [01:03:52] Speaker A: Yeah. In my heart, for some reason, the gays just know this. Oh, oops. I did it again. Went to number nine. Yeah. Like, I don't know why. [01:04:01] Speaker B: I feel like this is something that I'm hoping that you're also learning a lot more about the music, like, the artists as well. The artistry. The artist behind the music, too, I think is something that has been really cool to get into. So thank you so much for following along thus far. Before we get to the season finale and we cry collectively, I hope that you guys have a great week. Yes. [01:04:20] Speaker A: Dual. Thank you for listening to Diva Decoded. Sorry. I was kind of mean to Diana. I like. [01:04:25] Speaker B: Yeah, you're an ass. [01:04:26] Speaker A: Sorry. Make a better album. Sorry. Or make a more current album. I don't know. Okay, whatever. [01:04:37] Speaker B: Diana Ross. [01:04:38] Speaker A: Anyways, she totally has made more albums. All right. Thank you so much for listening. [01:04:43] Speaker B: Thank you. [01:04:44] Speaker A: You all right? [01:04:45] Speaker B: Bye bye. Bye, bye. I love being a broken record. [01:05:06] Speaker A: What? [01:05:06] Speaker B: I love being a broken record. [01:05:07] Speaker A: What? [01:05:08] Speaker B: I love being a broken record. [01:05:10] Speaker A: What? [01:05:10] Speaker B: I love being a broken record. [01:05:11] Speaker A: What? [01:05:13] Speaker B: Before we end, we'd love to shout out our lovely team behind this podcast. [01:05:17] Speaker A: First, we'd like to shout out our amazing editor, Blake Walker. Thank you so much. You do all the dirty work, and we really, really appreciate you. [01:05:25] Speaker B: We love you, Blake. We'd also love to shout out our lovely social media manager, Angelica Ortega. So everything you see visually, it's her. [01:05:32] Speaker A: Yeah. She's killing it. Thank you so much for listening. My name is Cam Barbeau. [01:05:37] Speaker B: And I'm Nelly Deverlis. [01:05:38] Speaker A: You've been listening to Diva Decoded.