Setting the mood during a recording session is important because that "vibe" is what will come across on the finished record. Recording for Diana Ross' "Love Hangover" was done at two in the morning with Ross passing out shots of Remy Martin. Just like with the Jackson 5's "Never Can Say Goodbye," producer Hal Davis overheard a demo of the Pam Sawyer/Marilyn McLeod song while at the Los Angeles offices of Motown Records. The musicians he used on the session included some of the same ones he would use on Thelma Houston's 1977 R&B/pop chart-topping cover of "Don't Leave Me This Way": drummer James Gadson, bassist Henry Davis, guitarist Art Wright, and Crusaders pianist Joe Sample. Davis found some resistance from some of the musicians (who didn't like the change from a cool, languid groove into a brisk disco workout) and Ross herself who thought that she was "above" doing disco. The intervention of Motown founder Berry Gordy set the stage for Ross having her biggest hit since "Ain't No Mountain High Enough." To bring the right mood even more to the fore, Davis instructed engineer Russ Terrana (who would later remix Ross' Chic-produced hits "Upside Down" and "I'm Coming Out" from her platinum Diana LP) to install a strobe light so that Ross could be in the "disco" mindset. It did the trick with "Love Hangover" going to number one R&B and number one pop for two weeks in spring 1976. The 5th Dimension lost the cover battle with their version issued as an ABC single peaking at number 39 R&B and number 80 pop around the same time. Ross' "Love Hangover" enjoyed many remixes over the years including one by Frankie Knuckles found on Diana Extended: The Remixes.