Fresh from her career-defining role in
the Supremes, Motown issued
Diana Ross'
Everything Is Everything in 1970, within months of her self-titled solo debut of earlier the same year. This time, veteran Motown multitasker
Deke Richards was brought in with hopes of equaling the unqualified success that the staff team of
Nickolas Ashford and
Valerie Simpson had with
Diana Ross -- particularly the songs "Reach Out and Touch (Somebody's Hand)" and "Ain't No Mountain High Enough." Rather than drawing exclusively from their stable of in-house writers,
Richards split the duties between himself and a variety of Hitsville U.S.A. stalwarts -- including Berry Gordy and
Marvin Gaye -- as well as significant outside input from the likes of
John Lennon-
Paul McCartney,
Burt Bacharach-
Hal David, and fellow Motor City soul stirrer
Aretha Franklin. The upbeat opener, "My Place," swings steadily behind the frisky rhythm section -- replete with
Jack Ashford's signature timekeeping on tambourine. Sprightly strings underscore
Ross' similarly agile and inviting lead vocals. In deference to the pink glamour shot adorning the front,
Ross reveals an earthier image on the funky "Ain't No Sad Song." It is a perfect example of producer
Hal Davis' ability to capture the essence of the singer's sensuality, a feat he repeated to even greater effect a few years later on his production of the R&B/pop crossover chart-topper "Love Hangover." The infectiously cheery "Everything Is Everything" has the slightly quirky feel of a
Laura Nyro composition, although it was actually written by a female friend of Berry Gordy. The
Marvin Gaye-Anna Gaye co-penned "Baby It's Love" is one of several outstanding deep cuts flawlessly blending the unmistakably vintage Motown sound with a comparatively modern arrangement. The
Beatles remakes show contrasting sides to
Ross' talents: "Come Together" pulls no punches with an extended brassy and sassy reading, directly contrasted by the empathetic and heartfelt take of "The Long and Winding Road."
Ross and
Richards' sultry collaboration on
Aretha Franklin's "I Love You (Call Me)" make for the finest contribution here from either participant. Although
Everything Is Everything failed to exceed -- or even meet -- the chart achievements of its long-playing predecessor, many enthusiasts consider it to be a worthy companion. ~ Lindsay Planer