Diana Ross' recording career had hit the rocks in 1983 with the dismal sales of what is still easily her worst ever studio project, Ross (1983). Prior to Ross (1983) Ross had recorded the dreary, mish-mash Silk Electric (1982) which though successful commercially (becoming a Gold seller) contained none of the fire and soulful edge that had made so many of her Motown records so magical.

That changed in 1984 when Ross returned with what was at the time her best album yet for RCA Records. The project, titled Swept Away (1984),was perharps more successful in that Ross didn't try so hard to escape and shake off the style that had made her famous as she blatantly did on the experimental albums Silk Electric (1982) and Ross (1983). There were indeed some diverse experiments on Ross' part on Swept Away but no musical style was over-done and over-all Ross carries the whole Swept Away album off with ease, style and finesse.

Swept Aways' first single would be one of her all-time great ballads Missing You. That year, tragedy struck when the genius soul superstar Marvin Gaye was shot dead by his estranged father following a heated argument between the two. Written by the great Lionel Richie, Missing You was a moving and powerful tribute to the late legend who Ross had recorded a succesful and now classic album of love duets with in 1973 (see separate review for the Diana And Marvin album). Ross' emotions are evidently stirred up as she sings those strongly emotive lyrics and she sounds stunning as the track builds up to its dazzling crescendo.

Missing You flew straight into the U.S Top 10 charts and perharps was so successful in that it reflected her glorious Motown past. Missing You is indeed a classic Diana Ross ballad though oddly enough the song completely bombed in the U.K despite several re-promotions and a moving video that featured footage of Ross on stage with Marvin Gaye as well as other footage of the late Florence Ballad (founder of The Supremes who was fired from the group in 1967 and tragically died a penniless alcoholic in 1976 at the age of 32), Paul Williams of The Temptations (who shot himself in the head after having been distraught over poor finances and ill health) and a still of Ross' mother Ernestine who had died that year of cancer. Ross' performance on Missing You really gets to you and this was quite possibly her greatest recording for RCA Records.

The exotic, Caribean feel on the fun, bouncy Touch By Touch, features a vibrant, refreshing and even a little angelic (she was 39 at the time of recording this project) performance from Ross. This atmospheric, happy go-lucky number was lifted as a single where it surprisingly struggled into the lower reaches of the U.K Top 50 (but enjoyed some success in some parts of Europe).

Ross delivers a riveting vocal performance on her impeccable updating of the old Fontella bass classic Rescue Me. More routine and familiar were the smooth, lush arrangements on the yearning ballad It's Your Move which Ross still carries off with a lot of spark therefore deeming it compelling.

One of the more diverting experiments came with the stormy, atmospheric title track, Swept Away. This powerful number is complimented by a firm, razor-sharp performance from Ross who seamlessly surfboards along the tidal wave of musical arrangements that contains echoey, crashing sound effects at the exalting bridge of the song. Swept Away quickly raced into the American Top 20 charts, stopping at No.19.

Bernard Edwards, one half of the famous 70's disco group Chic, and who had co-produced the riotously funky masterpiece diana (1980) album (a landmark in Ross' career) wrote Telephone for the Swept Away project which was belatedly released as an American single in 1985 (though got nowhere!). This soft-funk number, complete with swirling, atmospheric arrangements and a highly effective breathy, seamless performance from Ross, had the potential to have been a reasonably sized hit had it been promoted far better than it actually ever was.

Ross takes a hesitant step into the growing electro-pop market on the startling Nobody Makes Me Crazy Like You Do. This was an interesting, if not entirley succesful experiment that hit the times well (though inevitably sounds dated now years later).

Ross' duets with the likes of Marvin Gaye and Lionel Richie had proved phenomenal and her gorgeous duet with Latin singer Julio Igelias was no exception. The mesmerising All Of You featured two charismatic and divinely sensual performances from Ross and Igslias who sound perfectly compatable when captured together on record. Rumours circulated around at the time that Ross and Igelias were romantically involved but this was nothing but fabrication on the medias' part. Ross and Igelias enjoyed a close friendship at a point and following the loss of her mother a distraught Ross took herself and her three children to stay with Igelias at his home at Christmas in 1984. Their timeless duet All Of You was another U.S Top 20 smash hit whilst faltering within the lower reaches of the U.K Top 50.

The almost ghastly We Are The Children Of The World is the albums only real throw-away track but one of the ultimate highlights is Ross' soaring renedition of Bob Dylans Forever Young. Ross enhances her delicate voice to startling effect on Forever Young delivering a mesmerising, crystal-clear and strong performance.

Swept Away was largely produced by Ross herself with some other contributions from Daryl Hall on that startling title track and Arthur Baker. Swept Away (1984) quickly restored her selling power in the U.S after the low sales for Ross (1983). Swept Away was rapidly certified Gold by the RIAA. In the U.K the album climbed to a moderate No.40 which wasn't bad considering the project hadn't yielded any major hit.

Overall Swept Away is a pleasing effort from the great soul diva and an essential album for Ross fans.


(However what is slightly laughable was the albums black and white cover featuring Ross wearing heavy, gothic-like make-up and sporting a toilet-brush spiked hairdo which was described by one critic for People magazine as Ross looking like "one of those West German postpunkers who do their hair with crazy glue". It was certainly a far cry from that glamorous, elegant lady we all bow down to on stage. It was in the ealy 80's that Ross remarkably went through various manifestations of her own dress sense.)


Ian Phillips

February 2005

Recommended: Yes

Great Music to Play While: Driving