What becomes a legend most? For Diana Ross, it may be a fast-and-loose semi-biopic: big on glitz, if shaky on facts. With Dreamgirls fever sweeping the nation, curiosity surrounding the Supremes, particularly Ross, has been reignited. And with Diana’s first new album in nearly seven years, I Love You, recently released, perhaps a reassessment of her work and legacy should be considered. Unfortunately, unlike most of her peers, Ross’ musical contributions tend to be overshadowed by her reputation and personal drama, regardless of its basis in fact. What is usually overlooked is the impact of her emergence on popular culture.

In the 1960s the Supremes, led by Ross, presented an image of the modern black woman in America that had only been hinted at previously by the likes of Lena Horne and Dorothy Dandridge. As for the music, it is sometimes dismissed as lightweight pop by historians. But its popularity crossed all boundaries- how telling it is that, between 1964 and 1965, Billboard eliminated its’ R&B chart, as it was closely mirroring the Pop chart. It was during this period that the Supremes began their unprecedented run of five #1 hits (they would have 12 in total). And Ross’ voice- girlish, yearning, slightly nasal, cutting through the fuzz of AM radio and the immensity of Motown arrangements.
 
When Diana Ross went solo in 1970, it began an ascent to a new level. Films, TV specials, an Oscar nomination, Broadway- they all cemented Diana as one of the premier entertainers of her generation. Rather than viewing this as abandoning the black community, perhaps her accomplishments should be seen as bringing an aspect of success to blacks that had not previously been witnessed, as important in their own way as the strides of Jackie Robinson and Sidney Poitier. A combination of elements, however, has undermined all of this. Bad press, scathing tell-alls, and a mediocre tenure at RCA Records have cast a lingering shadow. 
 
In the middle of all the madness, however, is the music. Overall, Diana Ross has produced a prodigious, if erratic, body of work. So, with her newest release upon us, here are some past albums you might want to track down:

DIANA ROSS (1970)
 Highlights: the evergreen Ain’t No Mountain High Enough; Reach Out and Touch (Somebody’s Hand).  

Hidden Gem: the desperate, pleading Dark Side of the World.

What to Avoid: really, nothing. Ashford and Simpson produced one of Diana’s most consistent albums.  

DIANA ROSS (1976)
 Highlights: Four singles released, with two classics, the sweeping Theme from Mahogany (Do You Know Where You’re Going To?), and the sexy Love Hangover.

 Hidden Gems: the funky You’re Good My Child; the touching (if a bit maudlin) I Thought it Took a Little Time.

What to Avoid: the schmaltzy show tune Kiss Me Now. Blah.

THE BOSS (1979)
  Highlights: the fiery title track; the cosmopolitan funk of It’s My House.

 Hidden Gem: set opener No One Gets the Prize showcases Diana to her best advantage.
 

What to Avoid: Sparkle and I’m in the World bog the album down towards the end. 

DIANA (1980)
 Highlights: Chic-powered classics Upside Down and I’m Coming Out.
 

Hidden Gems: Diana’s wild take on the verses of My Old Piano; the reggae-lite Now That You’re Gone.
 

What to Avoid: not necessarily a bad song, Have Fun (Again) registers as simply mediocre.
 
SWEPT AWAY (1984)
 Highlights: the poignant Missing You; the Daryl Hall-produced title track.
 

Hidden Gems: Diana’s self-produced Touch by Touch is fun and sexy, while Telephone has one of the densest beats she has ever worked on.
 

What to Avoid: the nightmarish New Wave of Nobody Makes Me Crazy Like You Do. Yikes.
 

TAKE ME HIGHER (1995)

Highlights: Diana has rarely sounded as free as she does on the infectious title track; the heartbreaking Gone could be the best track she recorded during the entire decade.
 

Hidden Gems: with Let Somebody Know, Brenda Russell provides Diana with a mature, tender lyric. The gorgeous I Never Loved a Man Before is also a winner. 

What to Avoid: what should be a triumphant cover of I Will Survive is sabotaged by a lackluster arrangement and Diana’s vocal, which sounds like she’s performing at half-steam.