| 1. Eaten Alive |
| 2. Oh Teacher |
| 3. Experience |
| 4. Chain Reaction |
| 5. More and More |
| 6. I'm Watching You |
| 7. Love On The Line |
| 8. (I Love) Being In Love With You |
| 9. Crime Of Passion |
| 10. Don't Give Up On Each Other |
| 11. Eaten Alive (Extended Re-Mix) |
Eaten Alive,Diana Ross,Musicrama, Inc,Popular Music
Average customer rating: 
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Live and Let Die
Various Artists , and George Martin Manufacturer: Capitol ProductGroup: Music Binding: Audio CD  General
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ASIN: B000087DRN Release Date: 2003-02-11 |
Tracks:
- Live And Let Die (Main Title)
- Just A Closer Walk With Thee / New Second Line
- Bond Meets Solitaire
- Whisper Who Dares
- Snakes Alive
- Baron Samedi's Dance Of Death
- San Monique
- Fillet Of Soul-New Orleans / Live And Let Die
- Bond Drops In
- If He Finds It, Kill Him
- Trespassers Will Be Eaten
- Solitaire Gets Her Cards
- Sacrifice
- James Bond Theme
- Gunbarrel / Snakebit
- Bond To New York
- San Monique (Alternate)
- Bond And Rosie
- The Lovers
- New Orleans
- Boat Chase
- Underground Liar
Customer Reviews:
Favorite Bond Film.......2007-04-26
The Solitaire melody is dreamy and romantic and often moody.
"Bond Goes to New York' is sharp yet out-witted. "Live and Let Die", a sacrament to testimony. Too good to pass up.
Finally! The complete Live and Let Die Soundtrack.......2005-09-13
Only so much music could be recorded on a record. This album finally satisfies all of us who wanted all of the music. Sir George Martin does a wonderful variation to the classic 007 theme as well as great action sequences with different variations of the main title and then some original songs. Sir Martin was the first to score for Bond since Barry who had scored all of the previous movies unavailable for this one. The music was a fabulous introduction to the new Bond Roger Moore.
This Album will stand the test of time when good music was being made for the series.
Best Sound Track Ever.......2005-03-20
Live and Let Delight.......2004-08-12
The musical chemistry between McCartney and Martin is obvious as the title theme music is blended throughout the soundtrack. As a matter of trivia the movie producers originally planned to use McCartney's title theme with a female vocalist before the former Beatle showed his mettle as a negotiator. In the end, Paul McCartney and Wings performed the title track. LIVE AND LET DIE also proved to be a hit Apple/Capitol single as well.
There are a couple things missing from the CD. When some of the James Bond soundtracks were re-released a couple years ago they included selected soundbytes and an analog movie trailer. Apparently the remastered LIVE AND LET DIE soundtrack did not rate these extra features.
Oh well, Live and Let Die. In the meantime, live and go buy.
Why weren't these tracks included in the first place?.......2003-04-16
George Martin took over from John Barry to write the score for Live and Let Die and he more than admirably did the job. First of all, (take note David Anrold), is that he incorporate the theme song into the score even though it wasn't written by him...thus continuing the tradition of Bond music set by John Barry. Second, he wrote another piece for Solitaire which is also used extensively throughout the score. In all, George Martin wrote a score worthy of Barry himself....
Which is what makes the original release such a disappointment because many of the best music was left out. The re-master remedied that and includes virtually the entire score: the music for the pre-title sequence (gun barrel/snakebit), other notables are Bond and Rosie, The Lovers, Bond to New York, and many of the cues for action/chase sequences. There is an alternate cue for San Monique which I think is better than the one on the original release.
But why the 3 stars rating?
We have to wait for Bond's 40th anniversary for the soundtrack's proper release, AND rebuy the soundtrack (I have it in cassette and CD and now the Re-master). Call me bitter, I think the people who runs the Bond empire should stop treating us fans so shabbily.
Average customer rating:
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Eaten Alive
Diana Ross Manufacturer: RCA ProductGroup: Music Binding: Audio CD General
| R&B
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General
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CDs $7 - $10
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ASIN: B000008K8E Release Date: 1990-10-25 |
Tracks:
- Eaten Alive
- Oh Teacher
- Experience
- Chain Reaction
- More and More
- I'm Watching You
- Love on the Line
- (I Love) Being in Love With You
- Crime of Passion
- Don't Give Up on Each Other
Customer Reviews:
a jewel.......2007-01-21
1985 Studio Album.......2005-02-08
Following the largely self-produced Swept Away album in 1984 (which became a Gold seller), Diana Ross' shrewd choice of collaborators continued to impress when she turned to the Gibb brothers of the British pop group, The Bee Gees for her fifth studio project for RCA Records.
Titled Eaten Alive (1985), this album was a dynamic affair with an explosive set of songs all produced by the Gibb brothers Maurice, Robin and Barry as well as the title track also boasting the excellent production and songwriting skills of the genius himself, Michael Jackson (who also wrote the brief liner notes for the back cover of the album).
Eaten Alive was inevitably the first single to be swiped from the project. Eaten Alive undeniably had Michael Jackson written all over it and Ross is nearly reduced to sounding like a guest vocalist on a Michael Jackson track. Jackson sings manically away in the background through the duration of the track which does it give it more ignition. It's admitedly hard to grasp a word Ross is singing on the tracks first verse when she frantically trys to keep up with the racing musical arrangements but overall Eaten Alive proved an interesting experiment for Ross. However much to the dismay of Ross who had such high expectations for the song, Eaten Alive stalled at No.77 on the U.S charts whilst spending just one measly week at No.71 in the U.K.
Eaten Alives' next single was nearly not included on the album. It was the last session for the project and Ross was fairly adament she didn't want it included as it encapsulated the sound and style of her glory days with The Supremes. The song in question was of course the infectious Chain Reaction. The Gibb brotheres managed to persuade Ross to include the track on the album and then sensing that the track was a winner, released it as a single.
In the U.K Chain Reaction caught on to the British public like a magnet! This was simply vintage Diana Ross and it was this retro style that her public loved even though she has commendably attempted time and time again to break out into other musical genres in the past few decades. The results pretty much speak for themselves - Chain Reaction catapulted to the top of the U.K charts, remaining firmly in pole position for three weeks and spending overall nearly four months on the British charts becoming one of that years biggest U.K singles.
Her disc career in the U.S had quite literally tanked by 1985. Despite several re-promotions and a fun video accompanying it, Chain Reaction crawled to a dire No.96 on the U.S Hot 100. Shortly afterwards a new remixed version was issued for the American market but this went doormat at No.66. To date, this was Ross' last single to have even hit the U.S Top 100!
In the U.K, obviously cashing in on the mammoth success of the chart-topping Chain Reaction, a third single was issued. The exotic and mesmerising Experience was a gorgeous ballad courtesy of the Gibb brothers. Experience captured the depth and essence in Ross' unique voice. Her exuberant delivery is dripping with warmth and passion. This timeless number surprisingly never became a big hit in the U.K stopping at just No.47 where as once again America were just not interested in any new Diana Ross record!
The remainder of Eaten Alive proved quite a diverting experiment for La Ross. Her erotic, sexually charged delivery on the sparse Oh Teacher is remarkably effective singing as though she had some drop-dead-gorgeous naked man right there in front of her!
Ross switches to Billie Holiday mode on the late night torchy number More And More. She sings this in an effective lower throat register sounding strikingly husky. The intricate sounds of Ross' delicate, melting vocals is accompanied by a gentle piano back-drop. More And More also was used as the B-side to her U.K No.1 hit, Chain Reaction.
The beautiful I'm Watching You contains an effectively breathy, seamless performance from Ross whilst the tempo rocks on the electric Love On The Line. Ross surprisingly gels well into the heavy bass-line production that consists of heavy, thrashing guirtar interludes. The Gibb brothers own distinctive backing vocals can be heard chirping away on the tracks chrous.
One of the ultimate highlights of Eaten Alive is the easy-going I Love Being In Love (With You) which is made effective from (thankfully) restrained production and another effortless and seamless performance from Ross. I Love Being In Love (With You) is one of those gloriously timeless ballads thats just touching in some way by its mere simplicity.
Ross delivers another stunningly electric performance on the rip-roaring Crime Of Passion. Her unusually raw vocal delivery ignites the soaring musical arrangements. There's a more poignant edge to the exalting Don't Give Up On Each Other on which Ross' voice sounds rich and compelling.
Overly Eaten Alive (1985) is a solid album with sparkling vocals from Ross, compelling arrangements and great lyrics from the Gibb brothers. America were only interested (and still are) in her back catologue and Eaten Alive made it to a moderate No.45 on the U.S Album Charts. Sales were also slow at first in the U.K but was then fuelled by the chart-topping success of Chain Reaction which deservedly had the album pulled out the bargain buckets and into the higher reaches of the U.K album charts where it eventually peaked at a healthy No.11.
An enjoyable and diverse album from Ross.
Ian Phillips
Gibb and Jackson influenced songs by Diana.......2004-02-20
Great Funky Eaten Alive!.......2003-08-26
Average customer rating:
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Eaten Alive
Diana Ross Manufacturer: EMI ProductGroup: Music Binding: Audio CD Classic R&B
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ASIN: B0007KWP1U Release Date: 2005-03-07 |
Tracks:
- Eaten Alive
- Oh Teacher
- Experience
- Chain Reaction
- More and More
- I'm Watching You
- Love on the Line
- (I Love) Being in Love With You
- Crime of Passion
- Don't Give Up on Each Other
Album Description
This reissue with Barry Gibb singing back-up on most songs, the result is a collection of pure pop masterpieces. "Eaten Alive" is an upbeat, almost frantic non-dance song with Barry Gibb and Michael Jackson sharing scat back-ups. EMI. 2005.Customer Reviews:
DIANA'S 80'S MASTERPIECE~BRAVO MISS ROSS!!! .......2006-10-09
The Album is not THAT bad...........2006-01-29
Ross' Attempt to Duplicate Streisand's "Guilty" Fails.......2005-09-14
Average customer rating: 
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Eaten Alive
Outbreak Manufacturer: Think Fast Records ProductGroup: Music Binding: Audio CD General
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ASIN: B000BCE76U Release Date: 2005-08-23 |
Tracks:
- Waste of Space
- Your Time's Up
- Scum
- Braindead
- Strike Three
- No One Cares
- Regulator
- Supertouch
- Sailin' On
Product Description
1. Waste Of Space
2. Your Time's Up
3. Scum
4. Braindead
5. Strike Three
6. No One Cares
7. The Regulator (cd only)
8. Supertouch (cd only)
9. Sailin' On (cd only)
Format: CD
Average customer rating:
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Eaten Alive
Diana Ross Manufacturer: Musicrama/Koch ProductGroup: Music Binding: Audio CD Classic R&B
| R&B
| Styles
| Music
General
| R&B
| Styles
| Music
Motown
| R&B
| Styles
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ASIN: B000003PLU Release Date: 1996-03-20 |
Tracks:
- Eaten Alive
- Oh Teacher
- Experience
- Chain Reaction
- More and More
- I'm Watching You
- Love On The Line
- (I Love) Being In Love With You
- Crime Of Passion
- Don't Give Up On Each Other
- Eaten Alive (Extended Re-Mix)
Customer Reviews:
Much better than its predecessor or successor!.......2005-07-26
Unfortunately, "Eaten Alive" didn't do much better. And that's a shame because this was one of the singer's best solo efforts, due in part to the strategies of producers Barry Gibb, Karl Richardson, and Albhy Galuten. The trio understood Ross's limited range, her iconic status, and the singer's age, saddling her with songs that complimented each.
Ross pays tribute to her Supremes roots with the "Baby Love" sounding "Chain Reaction". She gets to be a little "torchy" with "More and More". And she's allowed to go a little crazy on the title cut, co-produced by and featuring Michael Jackson on background vocals.
Another good cut is "Experience," reminiscent of Dionne Warwick's "Heartbreaker," also penned by the Brothers Gibb.
The strongest track, however, is "Crimes of Passion," one that allows both the singer and her accompanying musicians and vocalist to cut loose.
Perhaps, if Ross had stayed with Barry and company, she might have had the same hitmaking track record that she had in the 60's and 70's.
1985 studio album.......2005-02-08
Following the largely self-produced Swept Away album in 1984 (which became a Gold seller), Diana Ross' shrewd choice of collaborators continued to impress when she turned to the Gibb brothers of the British pop group, The Bee Gees for her fifth studio project for RCA Records.
Titled Eaten Alive (1985), this album was a dynamic affair with an explosive set of songs all produced by the Gibb brothers Maurice, Robin and Barry as well as the title track also boasting the excellent production and songwriting skills of the genius himself, Michael Jackson (who also wrote the brief liner notes for the back cover of the album).
Eaten Alive was inevitably the first single to be swiped from the project. Eaten Alive undeniably had Michael Jackson written all over it and Ross is nearly reduced to sounding like a guest vocalist on a Michael Jackson track. Jackson sings manically away in the background through the duration of the track which does it give it more ignition. It's admitedly hard to grasp a word Ross is singing on the tracks first verse when she frantically trys to keep up with the racing musical arrangements but overall Eaten Alive proved an interesting experiment for Ross. However much to the dismay of Ross who had such high expectations for the song, Eaten Alive stalled at No.77 on the U.S charts whilst spending just one measly week at No.71 in the U.K.
Eaten Alives' next single was nearly not included on the album. It was the last session for the project and Ross was fairly adament she didn't want it included as it encapsulated the sound and style of her glory days with The Supremes. The song in question was of course the infectious Chain Reaction. The Gibb brotheres managed to persuade Ross to include the track on the album and then sensing that the track was a winner, released it as a single.
In the U.K Chain Reaction caught on to the British public like a magnet! This was simply vintage Diana Ross and it was this retro style that her public loved even though she has commendably attempted time and time again to break out into other musical genres in the past few decades. The results pretty much speak for themselves - Chain Reaction catapulted to the top of the U.K charts, remaining firmly in pole position for three weeks and spending overall nearly four months on the British charts becoming one of that years biggest U.K singles.
Her disc career in the U.S had quite literally tanked by 1985. Despite several re-promotions and a fun video accompanying it, Chain Reaction crawled to a dire No.96 on the U.S Hot 100. Shortly afterwards a new remixed version was issued for the American market but this went doormat at No.66. To date, this was Ross' last single to have even hit the U.S Top 100!
In the U.K, obviously cashing in on the mammoth success of the chart-topping Chain Reaction, a third single was issued. The exotic and mesmerising Experience was a gorgeous ballad courtesy of the Gibb brothers. Experience captured the depth and essence in Ross' unique voice. Her exuberant delivery is dripping with warmth and passion. This timeless number surprisingly never became a big hit in the U.K stopping at just No.47 where as once again America were just not interested in any new Diana Ross record!
The remainder of Eaten Alive proved quite a diverting experiment for La Ross. Her erotic, sexually charged delivery on the sparse Oh Teacher is remarkably effective singing as though she had some drop-dead-gorgeous naked man right there in front of her!
Ross switches to Billie Holiday mode on the late night torchy number More And More. She sings this in an effective lower throat register sounding strikingly husky. The intricate sounds of Ross' delicate, melting vocals is accompanied by a gentle piano back-drop. More And More also was used as the B-side to her U.K No.1 hit, Chain Reaction.
The beautiful I'm Watching You contains an effectively breathy, seamless performance from Ross whilst the tempo rocks on the electric Love On The Line. Ross surprisingly gels well into the heavy bass-line production that consists of heavy, thrashing guirtar interludes. The Gibb brothers own distinctive backing vocals can be heard chirping away on the tracks chrous.
One of the ultimate highlights of Eaten Alive is the easy-going I Love Being In Love (With You) which is made effective from (thankfully) restrained production and another effortless and seamless performance from Ross. I Love Being In Love (With You) is one of those gloriously timeless ballads thats just touching in some way by its mere simplicity.
Ross delivers another stunningly electric performance on the rip-roaring Crime Of Passion. Her unusually raw vocal delivery ignites the soaring musical arrangements. There's a more poignant edge to the exalting Don't Give Up On Each Other on which Ross' voice sounds rich and compelling.
Overly Eaten Alive (1985) is a solid album with sparkling vocals from Ross, compelling arrangements and great lyrics from the Gibb brothers. America were only interested (and still are) in her back catologue and Eaten Alive made it to a moderate No.45 on the U.S Album Charts. Sales were also slow at first in the U.K but was then fuelled by the chart-topping success of Chain Reaction which deservedly had the album pulled out the bargain buckets and into the higher reaches of the U.K album charts where it eventually peaked at a healthy No.11.
An enjoyable and diverse album from Ross.
Ian Phillips
One Of Ross' Least Impressive Albums.......2004-05-16
With the exception of a few catchy tunes like "Love On The Line" and "Oh Teacher", the very Gibb-influenced album is just downright boring. The true gem on this CD is "Chain Reaction", a song reminicient of her Supremes days. The title track is not bad either. However, the lyrics to the song are so muffled that it's impossible to figure out exactly what she's singing.
"Eaton Alive" started a downward spirial in Ross' career. While she managed to score a #1 record with "Chain Reaction" in Europe, the singles from the album flopped on the Pop charts in the states while the title track only saw moderate success on the U.S. R&B listings. The album went no where on either chart.
Despite returning to Motown and recording a couple of fine albums after this muddled mess, Ross has failed to redeem herself on the charts, lacking a significant hit since 1984.
Shut up and "Eat" it??.......2003-02-17
Not that all this should be blamed on Ross: in comparison to '83's "Ross" (her best RCA album), and her '84 album "Swept Away" as well as her '87 release "Red Hot Rhythm and Blues", this one is short on original melodies, hooks to make the songs memorable as well as some of the more classy arrangements and complex structures that allow Miss Ross' voice to demonstrate what it is made of. There are some clunkers here where the musical compositions do not serve Ross' delicate and airy vocals well. One longs for the Ross '83 set that was tight on great instrumentation and tight hooks and arrangments during which Ross sparkled if not all and out shined - a reference to the fantastic Mick Hucnall composition from her '86 album is intended.
Take the - as the title suggests - the trite "(I Love)Being in Love With You" as well as the final album cut "Don't Give Up on Each Other": when compared to "Summertime" from Ross "Red Hot R & B" set which illuminated Ross' ability to stand out in a light and airy orchestral arrangment, these pale in comparison. The songs are less than tepid - the arrangments are wobbly and dull and both songs are mere filler. The Bee Gees must have been peetering out creatively given what they alleged about Ross so when the time came to complete the set the affair became a hurried one. It shows as the album progresses and the album finally approaches its less than stellar end.
Still, that is no excuse not to treat Miss Ross to better material. They are more than capable which is evident on several cuts on the beginning of the set. "Eaten Alive" - the creative seed of which must have been planted by Michael Jackson - has to be one of the strongest cuts on the album. Recalling "Hungry Like The Wolf" in its presentation, it is electrifying and has Ross move from a softer vocal to a shout to great effect alongside her protege Michael Jackson who also was involved in working on the song. Why this song did not scale the charts in the United States is a mystery. It stalled somewhere in the '70s. Though it was not as musically interesting as "Muscles" and it seemed too camp, that quality should have carried it in the '80s.
Some have alleged that Ross' vocals on her earlier RCA albums were too much in the background and not forward enough but were pleased by the progression on "Eaten Alive". The first six tracks find Ross voice in the forefront but much after that it is a moot point given the Gibb tendency to drown Ross in horrible arrangements. The highlights make the album worth owning - namely the slinking "Oh Teacher" which to me is unlike anything the Bee Gees had ever done before. Its intro recalls K.C. and The Sunshine Band's "Get Down Tonight", however it is truly an original and a great asset to Ross '80s repetoire. Also intriguing is "Love on the Line" which is a cool-funk down and has the disco inflections the Bee Gees are renowned for.
The same cannot be said of "Experience" which at first seems a mere amalgamation of prior Bee Gees songs but its chorus sinks it even further reminding the listener of the more successful Brothers Gibb composition made a hit by Ross contemporary Dionne Warwick: "Heartbreaker". It even has the same Gibb voice who sang back-up on "Heartbreaker" doing back-up on that as well.
Though not nearly as majestic and lacking the airy sheen of "Summertime", "More and More" does highlight Ross' delicate vocals due to minimal instrumental accompaniment but is brought down by an arrangement that even in '85 seems dates. Ross can make a ballad or a mid-tempo song a surreal experience - this is not it. "Chain Reaction" was huge abroad and though Ross' voice is not in its best form showing off her more adolescent girlish voice to match the song's '60s retro arrangment, it is a definite highlight on a mediocre release.
Shut up and "Eat" it??.......2003-02-17
Not that all this should be blamed on Ross: in comparison to '83's "Ross" (her best RCA album), and her '84 album "Swept Away" as well as her '87 release "Red Hot Rhythm and Blues", this one is short on original melodies, hooks to make the songs memorable as well as some of the more classy arrangements and complex structures that allow Miss Ross' voice to demonstrate what it is made of. There are some clunkers here where the musical compositions do not serve Ross' delicate and airy vocals well. One longs for the Ross '83 set that was tight on great instrumentation and tight hooks and arrangments during which Ross sparkled if not all and out shined - a reference to the fantastic Mick Hucnall composition from her '86 album is intended.
Take the - as the title suggests - the trite "(I Love)Being in Love With You" as well as the final album cut "Don't Give Up on Each Other": when compared to "Summertime" from Ross "Red Hot R & B" set which illuminated Ross' ability to stand out in a light and airy orchestral arrangment, these pale in comparison. The songs are less than tepid - the arrangments are wobbly and dull and both songs are mere filler. The Bee Gees must have been peetering out creatively given what they alleged about Ross so when the time came to complete the set the affair became a hurried one. It shows as the album progresses and the album finally approaches its less than stellar end.
Still, that is no excuse not to treat Miss Ross to better material. They are more than capable which is evident on several cuts on the beginning of the set. "Eaten Alive" - the creative seed of which must have been planted by Michael Jackson - has to be one of the strongest cuts on the album. Recalling "Hungry Like The Wolf" in its presentation, it is electrifying and has Ross move from a softer vocal to a shout to great effect alongside her protege Michael Jackson who also was involved in working on the song. Why this song did not scale the charts in the United States is a mystery. It stalled somewhere in the '70s. Though it was not as musically interesting as "Muscles" and it seemed too camp, that quality should have carried it in the '80s.
Some have alleged that Ross' vocals on her earlier RCA albums were too much in the background and not forward enough but were pleased by the progression on "Eaten Alive". The first six tracks find Ross voice in the forefront but much after that it is a moot point given the Gibb tendency to drown Ross in horrible arrangements. The highlights make the album worth owning - namely the slinking "Oh Teacher" which to me is unlike anything the Bee Gees had ever done before. Its intro recalls K.C. and The Sunshine Band's "Get Down Tonight", however it is truly an original and a great asset to Ross '80s repetoire. Also intriguing is "Love on the Line" which is a cool-funk down and has the disco inflections the Bee Gees are renowned for.
The same cannot be said of "Experience" which at first seems a mere amalgamation of prior Bee Gees songs but its chorus sinks it even further reminding the listener of the more successful Brothers Gibb composition made a hit by Ross contemporary Dionne Warwick: "Heartbreaker". It even has the same Gibb voice who sang back-up on "Heartbreaker" doing back-up on that as well.
Though not nearly as majestic and lacking the airy sheen of "Summertime", "More and More" does highlight Ross' delicate vocals due to minimal instrumental accompaniment but is brought down by an arrangement that even in '85 seems dates. Ross can make a ballad or a mid-tempo song a surreal experience - this is not it. "Chain Reaction" was huge abroad and though Ross' voice is not in its best form showing off her more adolescent girlish voice to match the song's '60s retro arrangment, it is a definite highlight on a mediocre release.
Average customer rating: 
|
Eaten Alive
Diana Ross Manufacturer: Telst ProductGroup: Music Binding: Audio CD Irish Folk
| Traditional British & Celtic Folk
| Folk
| Styles
| Music
ASIN: B0000081SX Release Date: 1997-02-05 |
Album Details
Same Barcode as Rose-marie"Memories of Home"Customer Reviews:
ONE OF HER BEST RECORDINGS OF THE 1980's!.......2000-08-25
Diana Delivers Solid Pop/Dance.......2000-04-12
|
Average customer rating:
|
Eaten Alive
Diana Ross ProductGroup: Music Binding: Audio CD Classic R&B
| R&B
| Styles
| Music
Motown
| R&B
| Styles
| Music
R&B
| Imports
| Stores
| Music
ASIN: B0000566B3 |
Customer Reviews:
One of Ross best albums!.......2003-06-12
Shut up and "Eat" it??.......2003-01-22
Not that all this should be blamed on Ross: in comparison to '83's "Ross" (her best RCA album), and her '84 album "Swept Away" as well as her '87 release "Red Hot Rhythm and Blues", this one is short on original melodies, hooks to make the songs memorable as well as some of the more classy arrangements and complex structures that allow Miss Ross' voice to demonstrate what it is made of. There are some clunkers here where the musical compositions do not serve Ross' delicate and airy vocals well. One longs for the Ross '83 set that was tight on great instrumentation and tight hooks and arrangments during which Ross sparkled if not all and out shined - a reference to the fantastic Mick Hucnall composition from her '86 album is intended.
Take the - as the title suggests - the trite "(I Love)Being in Love With You" as well as the final album cut "Don't Give Up on Each Other": when compared to "Summertime" from Ross "Red Hot R & B" set which illuminated Ross' ability to stand out in a light and airy orchestral arrangment, these pale in comparison. The songs are less than tepid - the arrangments are wobbly and dull and both songs are mere filler. The Bee Gees must have been peetering out creatively given what they alleged about Ross so when the time came to complete the set the affair became a hurried one. It shows as the album progresses and the album finally approaches its less than stellar end.
Still, that is no excuse not to treat Miss Ross to better material. They are more than capable which is evident on several cuts on the beginning of the set. "Eaten Alive" - the creative seed of which must have been planted by Michael Jackson - has to be one of the strongest cuts on the album. Recalling "Hungry Like The Wolf" in its presentation, it is electrifying and has Ross move from a softer vocal to a shout to great effect alongside her protege Michael Jackson who also was involved in working on the song. Why this song did not scale the charts in the United States is a mystery. It stalled somewhere in the '70s. Though it was not as musically interesting as "Muscles" and it seemed too camp, that quality should have carried it in the '80s.
Some have alleged that Ross' vocals on her earlier RCA albums were too much in the background and not forward enough but were pleased by the progression on "Eaten Alive". The first six tracks find Ross voice in the forefront but much after that it is a moot point given the Gibb tendency to drown Ross in horrible arrangements. The highlights make the album worth owning - namely the slinking "Oh Teacher" which to me is unlike anything the Bee Gees had ever done before. Its intro recalls K.C. and The Sunshine Band's "Get Down Tonight", however it is truly an original and a great asset to Ross '80s repetoire. Also intriguing is "Love on the Line" which is a cool-funk down and has the disco inflections the Bee Gees are renowned for.
The same cannot be said of "Experience" which at first seems a mere amalgamation of prior Bee Gees songs but its chorus sinks it even further reminding the listener of the more successful Brothers Gibb composition made a hit by Ross contemporary Dionne Warwick: "Heartbreaker". It even has the same Gibb voice who sang back-up on "Heartbreaker" doing back-up on that as well.
Though not nearly as majestic and lacking the airy sheen of "Summertime", "More and More" does highlight Ross' delicate vocals due to minimal instrumental accompaniment but is brought down by an arrangement that even in '85 seems dates. Ross can make a ballad or a mid-tempo song a surreal experience - this is not it. "Chain Reaction" was huge abroad and though Ross' voice is not in its best form showing off her more adolescent girlish voice to match the song's '60s retro arrangment, it is a definite highlight on a mediocre release.
Get "Consumed" by Miss Ross.......2002-10-26
The opening cut, with assistance from friend Michael Jackson, is as much of a lyrical puzzle today as it was upon the album's debut. "Chain Reaction" is obviously a coy punch at the tunes penned by Holland-Dozier-Holland during Miss Ross's Motown days. "Crime of Passion" definitely bears the Bee Gees stamp with its harmonies and rhythm composition.
It's a shame that the album is only available as an "import". But, I guess that this is a further indictment of America's lack of appreciation of the legends of music. We tend to flock to the "new", never realizing that there's merit in the "old."
Fantastic and overlooked.......2002-03-23
Her Best RCA Album!.......2001-11-05
Diana's best RCA Album. "Eaten Alive" is a multi-layered, multi-color album. The title track was co-written by Michael Jackson (who has previously worked with Miss Ross on her "Silk Electric" Album) and the Bee-Gees. The album was quite overlooked at the time due to various reasons, the track "Chain Reaction" was a number one Hit in the U.K but didn't do that well in the U.S. "(I Love) Being In Love With You" is another great track, on the other hand "Don't give up on each other" is over-produced and Diana's vocals get somehow lost between the orchestrations & the Bee-Gees backing vocals. "More & More" finds Diana in a sensual slow tune, you could easily get the impression that it was taken from "Lady Sings The Blues." "Oh Teacher" is a mid-tempo sexy song, while Diana is splendid & heartbreaking on "I'm Watching You".
Many few RCA records are available from Diana Ross' RCA catalogue, don't hesitate to purchase this. Strongly Recommended.
Christian Music:
- Endangered Species [Import]
- Expressions
- Forbidden [Import]
- Freddie's Dead & Other Hits
- Free [Import]
- He's My Rock: Their Early Sides [Box set]
- If I Could Turn Back the Hands of Time [CD-single] [Enhanced]
- In Session Information
- Isaac Hayes at Wattstax [Live]
- Ladies Choice [Box set] [Import]
Christian Music
I Believe [Import] [Limited Edition]
Tchaikovsky: 1812 Overture, Romeo and Juliet Overture, Marche de Slave and Francesca Da Rimini
Theory of a Deadman [Enhanced] [Import]