DIANA ROSS "Everything Is Everything" 1970 UK 1st PRESS

G&L FLIPBACK, BEAUTIFUL COPY, NM AUDIO THROUGHOUT

DIANA ROSS
Everything Is Everything

UK TAMLA MOTOWN (STML 11178) FIRST PRESSING (April 1971) OF DIANA ROSS' SECOND SOLO LP "Everything Is Everything" CONTAINING A COUPLE OF SUPERB BEATLES COVERS AND THE GORGEOUS "I'M STILL WAITING" AND IT'S IN BEAUTIFUL, BARELY PLAYED CONDITION DELIVERING CRYSTAL CLEAR, CLEAN, BRIGHT AND FRESH AUDIO REPRODUCTION THROUGHOUT (still with the the strong 60s Motown bright production) AND WITH NOTHING TO FAULT THE SENSATIONAL SOUND - GREAT COPY

PRESSED ON QUALITY MID/HEAVYWEIGHT VINYL WITH THE FIRST ISSUE BLACK/SILVER MOTOWN LABELS
MATRIX: STML 11178 A-1 / STML 11178 B-1
MOTHERS/STAMPERS: 1/GP and 1/T
THE RECORD IS HOUSED IN THE ORIGINAL FRONT LAMINATED FLIPBACK SLEEVE "Printed and made by Garrod & Lofthouse Ltd." DATE CODED '7104' (1971, April)
COMPLETE WITH THE ORIGINAL EMI INNER SLEEVE ADVERTISING OTHER MOTOWN RELEASES

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, Motown veteran 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."
Although Everything Is Everything failed to exceed the chart achievements of its predecessor, many enthusiasts consider it to be a stronger record.
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. Underneath Gene Page's silky strings is the mid-tempo ballad "I'm Still Waiting." Although the softer selection didn't make too much of an impression stateside, it went to the top of the singles survey in the U.K., resurfacing in their pop countdown -- in a remix form -- nearly two decades later. One of Richards' laudable achievements on the disc is the return to the well-established Motown vibe on the phonetically monikered "Doobedood'ndoobe, Doobedodd'ndoobe, Doobedood'ndoo."
On the other hand, the Beatles remakes show contrasting sides to Ross' talents. "Come Together" pulls no punches with an extended brassy and sassy reading directly contrasting the empathetic and heartfelt take of "The Long and Winding Road." As good as those upgrades are, it is Ross and Richards' sultry collaboration on Aretha Franklin's "I Love You (Call Me)" that may arguably be the finest contribution from either participant. Everything Is Everything concludes with the charming filler "How About You" and "(They Long to Be) Close to You." The latter indeed shimmers while showcasing Ross' interpretive talents, yet ultimately lacks the sincerity and believability of the Carpenters' take of the Bacharach-David staple.

Track Listing:
Side One: MY PLACE / AIN'T NO SAD SONG / EVERYTHING IS EVERYTHING / BABY IT'S LOVE / I'M STILL WAITING / DOOBEDOOD'NDOOBE, DOOBEDOOD'NDOOBE, DOOBEDOOD'NDOOBE,
Side Two: COME TOGETHER / THE LONG AND WINDING ROAD / I LOVE YOU / (They Long To Be) CLOSE TO YOU

LABELS: The labels are clean, fresh and unmarked with barley a spindle trace to be seen - beautiful copy - seen very, very little play - NEAR MINT
VINYL Visual: The vinyl surfaces still retain their original deep, like-new glossy sheen and are practically unmarked - NEAR MINT
VINYL Audio: Outstanding audio delivery - crystal clear, clean, strong and fresh sound and the production and pressing still retain that Motown freshness which characterised earlier releases which gives the sound an incredible immediacy. On playback at a loud volume there are no audio issues to report - it plays beautifully and cleanly throughout to an extremely high standard - very, very impressive indeed and critically graded a very strong NEAR MINT for sound quality - great copy
SLEEVE: The 1st issue front laminated G&L flipback sleeve is also in lovely condition with a deep, glass-like gloss to the front laminated surface (with just a little record impression) and a practically unmarked, unlaminated back. The edges and spine show no wear (just a central crease to the spine) - all text is clear and bold . Beautifully preserved example - EXCELLENT+

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