Search - Diana Ross :: Every Day Is a New Day

Emotional/Reflective

08/19/1999

(5 out of 5 stars)

"The woman has recorded her most revealing CD to date. This is a CD about a woman who has loved and lost. She reveals the state of mind she experienced during the last few years. "Not Over You Yet".."Love Is All That Matters" "Someone You Loved Before" "Sugarfree", "Until We Meet Again", and finally "Everyday Is A New Day" If you listen to these songs, you will hear a woman in pain, you will hear a woman in a reflective mood. Diana has delivered. Many women have experienced the lost of love and this CD clearly reveals that she has as well. She breezes through these songs in a clear versatile vocal style. Those of us who enjoy listening to the words of songs, will love this CD. I give it 5 stars..."

The Boss Still Reigns Supreme.

01/20/2000

(5 out of 5 stars)

"In a music industry that only rewards youth, explicit sexuality, and hard core hip-hop rhythms, even a legend like Diana Ross does not attract the commercial appeal that kept her in the limelight for over three decades and gave her 18 number one hit singles. After listening to her stellar new achievement, "Every Day Is A New Day" one would never guess that Diana's most recent top ten hit was in 1985 with "Missing You." "Every Day Is A New Day" like its predecessor "Take Me Higher" shows that Diana can do it all--and do it all well. The album begins with the beautifully arranged,inspirational Arif Mardin produced "He Lives in You" that has both secular and spiritual appeal. The Diane Warren penned "Love Is All That Matters" and "Someone That You Loved Before" remind us that Diana has no peers in delivering the dramatic ballad. We get two for the price of one with the emotional ballad "Until We Meet Again" and the near chart topping (#2) dance remix of the same song. On "Carry On" she delivers a gutsy performance that can stand up to the more recent version recorded as the official debut solo single of the incomparable Martha Walsh. The title track "Every Day Is A New Day" and "Sugarfree" give us the vintage R&B flavor of early Diana Ross with a generous dose of contemporary grooves. Finally, the track "Not Over You Yet" has the hynotic groove and the smooth, clear vocal that is reminiscent of her monster solo hit "Upside Down." The lack of commercial success of this album to date speaks only to the unfortunate age biases of the music industry and not at all to the fine vocal performances and excellent multi-production format of this outstanding achievement. Thank goodness a veteran and eternally iconic performer does not have to live, in her own words, "record-to-record" or contingent upon record sales. She still reigns as the "Supreme Diva" who has left her signature on the world with both past achievements and new contributions like "Every Day Is A New Day" for her immense following of loyal and unwavering fans."

'Days 'like this

Eso | Oakdale | 07/02/2000

(3 out of 5 stars)

"Even though it tanked in England-one of the last markets where she was moving a great deal of product(the album debuted at a very disappointing #71 and was never heard from again after a week)-I thought I would restate my position on this release for those who are unclear on my position:This album is so disjointed in that it has multiple producers who often do not present a cohesive sound that on the first listen it is foolhardy to review it, so now I come back and say that the strenghts are the same (refer to my previous review, but are more noticeable throughout. The R and B block is strong with "Got to Be Free" using the same beat as "Got till its Gone" by Janet that grows more hooky with each listen and is akin to the quite storm dance vibe exuded by Madonna's "Don't Stop" on her quite storm effort "Bedtime Stories. "Got to be Free" rings of more musical integrity, and I can honestly say that this song would have been a welcome addition to that Madonna album.The comparisons between this album and "Bedtime Stories" do not end there. These are both simmering R and B records that reinvent the current trends that are so hackneyed or are viewed as somewhat inaccessinle and not mainstream. What Madonna did for Bjork and "Bedtime Story" Diana Ross does for "Erykah Badu" and "Baduism" on the title track. This track has "the same head to the sky" earthiness of Badu's "Next Lifetime", but is so contrived and accessible that it begs the question: what has happened to classic crossover smashes, when this song is just more accessible than any of the Badu musings?"Not over You Yet" could have fit onto Madonna's "Bedtime Stories" but its "I'm a cyber deject yearning" evoke "Waiting" from "Erotica". This track is the most instantly agreeable on the album, with the exception of "Until We Meet Again" in all of its forms.I got used to the album even though I cannot really swallow "Someone that You Loved Before" or "Carry On", which still sounds like Diana trying to sing anthemically a la Cher in "Strong Enough" who-when singing anthemically-sounds more ironic and tongue in cheek than Ms Ross who strives to be a club Mama a la Martha Wash.... The satisfying "Free(I'm Gone)" has a gritty credibility and urban savvy that so-often Diana has been accused of lacking, and would have made a welcome addition to the R and B block that was supposed to help her regain her Urban credibility; it is tighter than the "Got to be Free" or "Not Over You Yet", and has a the bass-line and hook that would have reeled in even the most cynical Urban AC programmers in the US. On the other hand, "Drop the Mask", is an embarrasment that, were it not for the Oliver Leiber production, Paula Abdul would not even record."