Diana Ross Deep Cuts Every Fan Should Have in Their Playlist - Page 2

Diana Ross is more than a Motown superstar. She’s a blueprint for pop, R&B and Black Hollywood success.

She first rose to fame as lead singer of The Supremes, Motown’s hit machine that delivered classics throughout the 1960s. The group eventually became Diana Ross & The Supremes, signaling her transition toward a solo spotlight and a new era of Diana Ross music. Then, in 1970, she stepped out on her own with a self‑titled debut and never looked back.

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From there, Diana Ross built a solo career that mixed chart-topping hits, disco anthems and silky ballads. She also expanded into film, earning an Oscar nomination for Lady Sings the Blues and headlining Mahogany and The Wiz, which turned her into a big-screen icon as well. So her legacy stretches from Detroit doo-wop roots to full-on global stardom.

Yet if you only spin “Ain’t No Mountain High Enough” or “I’m Coming Out,” you’re missing a lot of Diana Ross magic. Her catalog is packed with overlooked deep cuts that show off different shades of her voice and personality. That’s where a real Diana Ross playlist comes alive.

So if you’re a true Diana Ross fan, it’s time to dig deeper. Add underrated gems like “Nothing But Heartaches,” “Going Down for the Third Time,” “No Matter What Sign You Are,” “Last Time I Saw Him,” “You Build Me Up to Tear Me Down,” “Eaten Alive,” “Let’s Go Up” and “Heavy Weather” to your rotation. These songs turn a basic greatest-hits run into a journey through the most underrated corners of her legendary discography.

“Nothing But Heartaches” – The Supremes (1965)

A classic Holland‑Dozier‑Holland stormer, this one barrels forward with claps, strings, and Diana begging through a wall of hooks.

“Everything Is Good About You” – The Supremes (1965)

A sweet B‑side with a gentle sway, it feels like the Supremes sound boiled down to pure melody and charm.

“He’s All I Got” – The Supremes (1966)

Tucked on I Hear a Symphony, this track leans into rich harmonies and orchestration while Diana pleads with quiet intensity.

“Love Is Like an Itching in My Heart” – The Supremes (1966)

All pounding drums and urgent vocals, this is the Supremes at their most kinetic and restless, practically built for the dancefloor.

“Going Down for the Third Time” – The Supremes (1967)

A fierce B‑side where Diana sounds like she’s fighting to stay afloat, riding a tougher, more dramatic Motown groove.

“No Matter What Sign You Are” – Diana Ross & The Supremes (1969)

A playful, zodiac‑themed single with a driving beat, it’s late‑60s pop‑soul fun that deserved a bigger chart story.

“Last Time I Saw Him” – Diana Ross (1973)

Country‑flavored storytelling with a jaunty beat, it shows Ross stretching beyond Motown pop into something more playful and rootsy.

“You Build Me Up to Tear Me Down” – Diana Ross (late 70s)

A sultry, bass‑driven album track that feels like it should’ve been a dance‑floor single, full of quiet attitude.

“Eaten Alive” – Diana Ross (1985)

Barry Gibb and Michael Jackson push her into glossy 80s pop, with dramatic synths and a wild, theatrical vocal.

“Let’s Go Up” – Diana Ross (mid‑80s)

Sleek and synthy, this mid‑tempo cut blends adult contemporary gloss with an uplifting hook that sneaks up on you.

“Heavy Weather” – Diana Ross (early 90s)

A smooth, grown‑woman R&B track, it pairs early‑90s production with lyrics about riding out emotional storms and coming through stronger.