“The Boss” by Diana Ross

It’s the 45th anniversary of a supreme slice of late-period disco, from a Supreme.

Part of the joy of writing this newsletter is that I get to set aside time to immerse myself in albums like The Boss. It’s one of those classics that, for whatever reason, eluded me in my discovery process until recently—an omission made all the stranger because of how much I like her disco material. “Love Hangover,” “Upside Down,” “Gettin’ Ready for Love,” you name it, I’ve vibed to it. But, as a front-to-back listen, it’s hard to argue that this release is Ross at her most charismatic and, in many ways, appealing as a solo artist. Whether it’s a song meant to fill a dancefloor or a ballad tugging at as many heartstrings as possible, Ross makes a meal out of every opportunity. Written and produced by the legendary duo Ashford & Simpson, the instrumentals still sound terrific, too—full of lush string arrangements and airy disco grooves that are light enough to amplify her vocal strengths but not so light that they risk floating away like a rogue balloon.

The biggest hit from The Boss was the title track, which cracked the Top 20 on the US pop and R&B charts. It’s a great example of how complex truly great disco records were sonically, adding and subtracting layers of orchestration to match the ebb and flow of Ross’s swaying performance. Equally impressive grooves include the sharp opener, “No One Gets the Prize,” and the more delicate bop, “It’s My House.” The slower numbers provide near-perfect tonal balance, expanding the soundstage and grandeur without losing any of the intimacy. “Sparkle,” in particular, hits all the right notes (haha) and proves that, even with several top-notch ballads to her credit, Ross still may not get the recognition she deserves as one of the best-ever sellers of a love song.

Those highlights, along with the rest of the LP, are an elegant, exquisite example of what made this era so special.