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The most successful black performers of the '60s, the Supremes for a time rivaled even the Beatles in terms of red-hot commercial appeal, reeling off five number one singles in a row at one point. Critical revisionism has tended to undervalue the Supremes' accomplishments, categorizing their work as more lightweight than the best soul stars' (or even the best Motown stars'), and viewing them as a tool for Berry Gordy's crossover aspirations. There's no question that there was about as much pop as soul in the Supremes' hits, that even some of their biggest hits could sound formulaic, and that they were probably the black performers who were most successful at infiltrating the tastes and televisions of middle America. This shouldn't diminish either their extraordinary achievements or their fine music, the best of which renders the pop vs. soul question moot with its excellence.
The Supremes were not an overnight success story, although it might have seemed that way when they began topping the charts with sure-fire regularity. The trio that would become famous as the Supremes -- Diana Ross, Mary Wilson, and Florence Ballard -- met in the late '50s in Detroit's Brewster housing project. Originally known as the Primettes, they were a quartet (Barbara Martin was the fourth member) when they made their first single for the Lupine label in 1960. By the time they debuted for Motown in 1961, they had been renamed the Supremes; Barbara Martin reduced them to a trio when she left after their first single.
The Supremes' first Motown recordings were much more girl-group-oriented than their later hits. Additionally, not all of them featured Diana Ross on lead vocals; Flo Ballard, considered to have as good or better a voice, also sang lead. Through a lengthy series of flops, Berry Gordy remained confident that the group would eventually prove to be one of Motown's biggest. By the time they finally did get their first Top 40 hit, "When the Lovelight Starts Shining Through His Eyes" in late 1963, Ross had taken over the lead singing for good.
Ross was not the most talented female singer at Motown; Martha Reeves and Gladys Knight in particular had superior talents. What she did have, however, was the most purely pop appeal. Gordy's patience and attention paid off in mid-1964 when "Where Did Our Love Go" went to number one. Written by Holland-Dozier-Holland, it established the prototype for their run of five consecutive number one hits in 1964-1965 (also including "Baby Love," "Stop! In the Name of Love," "Come See About Me," and "Back in My Arms Again"). Ross' cooing vocals would front the Supremes' decorative backup vocals, put over on television and live performance with highly stylized choreography and visual style. Holland-Dozier-Holland would write and produce all of the Supremes' hits through the end of 1967.
Not all of the Supremes' singles went to number one after 1965, but they usually did awfully well, and were written and produced with enough variety (but enough of a characteristic sound) to ensure continual interest. The chart-topping (and uncharacteristically tough) "You Keep Me Hangin' On" was the best of their mid-period hits. Behind the scenes, there were some problems brewing, although these only came to light long after the event. Other Motown stars (most notably Martha Reeves) resented what they perceived as the inordinate attention lavished upon Ross by Gordy, at the expense of other artists on the label. The other Supremes themselves felt increasingly pushed to the background. In mid-1967, as a result of what was deemed increasingly unprofessional behavior, Ballard was replaced by Cindy Birdsong (from Patti LaBelle & the Bluebelles). Ballard become one of rock's greatest tragedies, eventually ending up on welfare and dying in 1976.
After Ballard's exit, the group was billed as Diana Ross & the Supremes, fueling speculation that Ross was being groomed for a solo career. The Supremes had a big year in 1967, even incorporating some mild psychedelic influences into "Reflections." Holland-Dozier-Holland, however, left Motown around this time, and the quality of the Supremes' records suffered accordingly (as did the Motown organization as a whole). The Supremes were still superstars, but as a unit, they were disintegrating; it's been reported that Wilson and Birdsong didn't even sing on their final hits, a couple of which ("Love Child" and "Someday We'll Be Together") were among their best.
In November 1969, Ross' imminent departure for a solo career was announced, although she played a few more dates with them, the last in Las Vegas in January 1970. Jean Terrell replaced Ross, and the group continued through 1977, with some more personnel changes (although Mary Wilson was always involved). Some of the early Ross-less singles were fine records, particularly "Stoned Love," "Nathan Jones," and the Supremes/Four Tops duet "River Deep -- Mountain High." Few groups have been able to rise to the occasion after the loss of their figurehead, though, and the Supremes proved no exception, rarely making the charts after 1972. It is the Diana Ross-led era of the '60s for which they'll be remembered.
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"Meet the Supremes" is the debut album by The Supremes, released in late 1962 on Motown. The LP includes the group's earliest singles: "I Want a Guy", "Buttered Popcorn", "Let Me Go the Right Way", and "Your Heart Belongs to Me". The earliest recordings on this album, done between fall 1960 and fall 1961, feature the Supremes as a quartet composed of teenagers Diane Ross, Mary Wilson, Florence Ballard, and Barbara Martin. Martin is not pictured on the album because of her departure earlier in the year; although her vocals are present on the majority of the recordings on the album.
The romantic and sentimental "Your Heart Belongs to Me," written by Smokey Robinson, should have been the Supremes' first hit. It's every bit as charming as his chartbusters for Mary Wells. Diana Ross' sweet tender lead, assisted by Mary Wilson and Florence Ballard's warm harmonies, could melt icebergs. Ross' vocals on "Who's Lovin' You" are intense and bluesy; Wilson leads the soulful "Baby Don't Go"; and Ballard leads the raucous "Buttered Popcorn," a tune more suited for the Contours. "I Want a Guy," their first recording, had been done by the Marvelettes -- the backing voices are buried, and Ross' voice sounds whiny and high-pitched. This song, along with the '50s-sounding "He's Seventeen," are the only bummers. Ballard shines again on "Let Me Go the Right Way," delivering a tough vocal on top of Ross and Wilson's enthusiastic vocals. "Time Changes Things," written by Brian Holland, Lamont Dozier, and Janie Bradford, was a forerunner to later efforts by Holland-Dozier-Holland. Blues lovers will relish the torching "Play a Sad Song." "Never Again" is straight '50s doo wop; if you didn't know, you would think it was the Chantels.
The Supremes - Meet The Supremes (flac 200mb)
01 Your Heart Belongs To Me 2:37
02 Who's Lovin' You 2:47
03 Baby Don't Go 2:10
04 Buttered Popcorn 2:33
05 I Want A Guy 2:50
06 Let Me Go The Right Way 2:29
07 You Bring Back Memories 2:35
08 Time Changes Things 2:31
09 Play A Sad Song 2:54
10 Never Again 3:05
11 (He's) Seventeen 2:43
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Cardboard sleeve (mini LP) reissue from Diana Ross & The Supremes featuring the high-fidelity SHM-CD format. Even though this long-player was the second collection to have featured the original Supremes lineup with Mary Wilson, Florence Ballard and Diana Ross, Where Did Our Love Go (1964) was the first to significantly impact the radio-listening and record-buying public. It effectively turned the trio -- who were called the 'No-Hit Supremes' by Motown insiders -- into one of the label's most substantial acts of the 1960s. Undoubtedly, their success was at least in part due to an influx of fresh material from the formidable composing/production team of Brian Holland, Lamont Dozier and Eddie Holland (HDH). They had already proven themselves by presenting "(Your Love Is Like A) Heatwave" to Martha & the Vandellas and providing Marvin Gaye with "Can I Get a Witness." Motown-head Berry Gordy hoped HDH could once again strike gold -- and boy, did they ever. Equally as impressive is that the Supremes were among the handful of domestic acts countering the initial onslaught of the mid-'60s British Invasion with a rapid succession of four Top 40 sides. Better still, "Where Did Our Love Go," "Baby Love" and "Come See About Me" made it all the way to the top, while "When the Lovelight Starts Shining Through His Eyes" (number 23), "Run, Run, Run" (number 93) and "A Breath Taking Guy" (number 75) were able to garner enough airplay and sales to make it into the Top 100 Pop Singles survey. HDH weren't the only contributors to the effort, as William "Smokey" Robinson supplied the catchy doo wop influenced "Long Gone Lover," as well as the aforementioned "Breath Taking Guy." Norman Whitfield penned the mid-tempo ballad "He Means The World to Me," and former Moonglow Harvey Fuqua co-wrote "Your Kiss of Fire." With such a considerable track list, it is no wonder Where Did Our Love Go landed in the penultimate spot on the Pop Album chart for four consecutive weeks in September of '64 -- making it the best received LP from Motown to date.
This is an album that is a must for fans of the Supremes, especially during their early period. "Where Did Our Love Go" charted at number two in 1964 and was the LP that introduced the Supremes to many young Americans. Several of the tracks went on to become top-selling singles for the group. The sound on this Japanese import is crisp and clear and this stereo version is wonderful, especially when listening with a good set of headphones.
The Supremes - Where Did Our Love Go (flac 209mb)
01 Where Did Our Love Go? 02:33
02 Run, Run, Run 02:16
03 Baby Love 02:37
04 When The Lovelight Starts Shining Through His Eyes 03:05
05 Come See About Me 02:44
06 Long Gone Lover 02:25
07 I'm Giving You Your Freedom 02:39
08 A Breath Taking Guy 02:24
09 He Means The World To Me 01:59
10 Standing At The Crossroads Of Love 02:28
11 Your Kiss Of Fire 02:47
12 Ask Any Girl 03:00
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Its title might lead one to think this was a compilation, but it wasn't -- rather, More Hits by the Supremes is merely a valid presumption of its worth. It was also the original group's third highest charting album of their five years on Motown, and came not a moment too soon. Thankfully, it's a really good album, and a blast for vintage Motown fans. And there were hits on it, too: "Nothing But Heartaches," driven by saxes and fine harmonies; the immortal "Stop! In the Name of Love," which I'm sure you've heard - if you haven't, you're missing one of the best songs in American pop history, and the group's signature song, though I'll confess to preferring "You Can't Hurry Love," and the hugely melodic, self-referential smash "Back in My Arms Again," the fifth of the group's legendary five #1 hits in a row and my pick for the best song on the record. You may know it as the one with the "Whoo!'s" and the cool saxes. And the album tracks are generally a lot of fun, even though not at the level of the singles. "Mother Dear" is another sax-happy blast of early Motown happiness along the lines of "You Can't Hurry Love," and despite their cheesy intros I still can't help but smile and dance and stuff to "Honey Boy," "He Holds His Own," or "Ask Any Girl." Diana's voice is clear and gorgeous, but if you don't like it for some reason (though if that's the case, you can't be my friend), you can always focus on the Funk Brothers, who rock on pretty much every song - a good example would be Jamerson's funky bass on "Back in My Arms Again" and "Whisper You Love Me Boy," which also has beautiful harmonies. But if you do like Diana, you'll be pleased to know she delivers one of her best vocals on "The Only Time I'm Happy."
The Supremes - More Hits By The Supremes (flac 212mb)
01 Gotta Serve Somebody 6:49
02 Don't Let My Baby Ride 5:17
03 Rhymes 4:37
04 Try A Little Tenderness 4:48
05 Miss You 6:00
06 Hawg For Ya 3:44
07 You're Gonna Make Me Cry 6:19
08 Walking The Back Streets 7:09
09 Let's Straighten It Out 5:26
10 Born On The Bayou 4:41
11 Come Back Baby 5:58
12 Hound Dog 3:42
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I Hear a Symphony has some great soul numbers on it, mostly by the Holland-Dozier-Holland songwriting team, including not only the title track but also "Any Girl in Love (Knows What I'm Going Through)," "My World Is Empty Without You," and "He's All I Got" -- the latter is one of the greatest album tracks the group ever recorded, with stunning vocals by Mary Wilson and Florence Ballard behind Diana Ross, showing the trio in just about its peak form. Other parts of I Hear a Symphony seem to take its title track almost literally, with the inclusion of the majestic "Unchained Melody" and the Bach-based "A Lover's Concerto"; the latter, in particular, is a Diana Ross tour de force, with very sweetly understated accompaniment by Wilson and Ballard. And elsewhere, Berry Gordy was pushing his vision of the Supremes as a mainstream pop trio, covering "A Stranger in Paradise," "With a Song in My Heart," "Without a Song," and "Wonderful, Wonderful." None of these are bad, but neither are they terribly distinguished -- the group even adds a certain fresh sparkle to "Wonderful, Wonderful," but realistically, people were paying their money for the Holland-Dozier-Holland and Eddie Holland-authored songs, any of which would have made about as fine singles as anything the trio ever put out, and all of which are still a chunk of the best part of the group's legacy.
"I Hear a Symphony" signaled their very first, official global tour. Though they had played spot dates abroad, "The Evening with The Supremes" would play 25 soldout dates in the states and another 25 dates internationally including stops in London, Paris, Rome, Stockholm, Copenhagen, Amsterdam, etc just to name a few. And then hit head across the pond to Asia, Pan Pacific and schedule another rounds of dates in South America and North America including Mexico City, Toronto, Montreal, Puerto Vallarta, etc. The tour lasted 6 months and would eventually be captured on tape with the release of "Live at London's Talk of the Town" which sold nearly 3 million units and equally important a European television special of the "An Evening with...." which was a huge rartings winner.
The Supremes - I Hear A Symphony (flac 223mb)
01 Stranger In Paradise 03:05
02 Yesterday 02:30
03 I Hear A Symphony 02:43
04 Unchained Melody 03:49
05 With A Song In My Heart 02:04
06 Without A Song 03:00
07 My World Is Empty Without You 02:35
08 A Lover's Concerto 02:37
09 Any Girl In Love (Knows What I'm Going Through) 03:00
10 Wonderful, Wonderful 02:52
11 Everything Is Good About You 03:00
12 He's All I Got 02:46
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This is one of the last studio albums with the original lineup of Diana, Mary and Flo. It also contains two of their greatest songs. The first, “Love is Like an Itching in My Heart,” a stomping, floor filling, soul shouter, which was not typical Supremes, and certainly not a typical Ross lead vocal, something more you might associate with Martha and the Vandellas. This may have ultimately confused the fans because it wasn’t as big a hit as it might have been, considering the place it ultimately carved for itself in Supremes history. The second, “You Can’t Hurry Love,” is the much covered, true Supremes “anthem” with a throbbing, pulsating Holland Dozier Holland musical background, during their truly golden period. Those two tracks alone would make the album a keeper. But to flesh out the singles into an LP, Berry Gordy had the girls cover a host of their stable mates’ originals songs, such as the Isley Bros. “This Old Heart of Mine,” the Four Tops’ “I Can’t Help Myself,” and the Temptations’ “Get Ready” as well as having them cover other hit songs of the era such as Nancy Sinatra’s “These Boots Are Made for Walkin’,” and the McCoys’ “Hang on Sloopy” (really!).
The album glitters from start to finish. This actually was never a favorite Supremes album of mine. To me, the covers seemed a little rushed and “rote,” perhaps. But the masters at Motown/Universal have gone all out in recapturing the original magic of this groundbreaking trio. The sounds sound fresh, “mod” and exciting, as if you are hearing them for the first time. The original album was recorded partially on the West Coast utilizing members of the fabled Wrecking Crew (which at various times included Leon Russell, Nino Tempo, Hal Blaine and other legendary musicians) and partially in Detroit utilizing Motown’s in house band, the Funk Brothers (James Jamerson on bass, Benny Benjamin on drums, Ivy Jo Hunter on piano). A fellow poster on the Soulful Detroit Forum, a Motown and R&B lovers paradise, pointed out to this reviewer that the album’s sequencing was such that the West Coast/Funk Brothers tracks were alternated throughout the LP. This creates a fascinating contrast.
The Supremes - A' Go-Go (flac 227mb)
01 Love Is Like An Itching In My Heart 02:56
02 This Old Heart Of Mine (Is Weak For You) 02:37
03 You Can't Hurry Love 02:48
04 Shake Me Wake Me (When It's Over) 02:48
05 Baby I Need Your Loving 03:01
06 These Boots Are Made For Walking 02:32
07 I Can't Help Myself 02:38
08 Get Ready 02:44
09 Put Yourself In My Place 02:20
10 Money (That's What I Want) 02:28
11 Come And Get These Memories 02:20
12 Hang On Sloopy 02:42
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The most successful black performers of the '60s, the Supremes for a time rivaled even the Beatles in terms of red-hot commercial appeal, reeling off five number one singles in a row at one point. Critical revisionism has tended to undervalue the Supremes' accomplishments, categorizing their work as more lightweight than the best soul stars' (or even the best Motown stars'), and viewing them as a tool for Berry Gordy's crossover aspirations. There's no question that there was about as much pop as soul in the Supremes' hits, that even some of their biggest hits could sound formulaic, and that they were probably the black performers who were most successful at infiltrating the tastes and televisions of middle America. This shouldn't diminish either their extraordinary achievements or their fine music, the best of which renders the pop vs. soul question moot with its excellence.
The Supremes were not an overnight success story, although it might have seemed that way when they began topping the charts with sure-fire regularity. The trio that would become famous as the Supremes -- Diana Ross, Mary Wilson, and Florence Ballard -- met in the late '50s in Detroit's Brewster housing project. Originally known as the Primettes, they were a quartet (Barbara Martin was the fourth member) when they made their first single for the Lupine label in 1960. By the time they debuted for Motown in 1961, they had been renamed the Supremes; Barbara Martin reduced them to a trio when she left after their first single.
The Supremes' first Motown recordings were much more girl-group-oriented than their later hits. Additionally, not all of them featured Diana Ross on lead vocals; Flo Ballard, considered to have as good or better a voice, also sang lead. Through a lengthy series of flops, Berry Gordy remained confident that the group would eventually prove to be one of Motown's biggest. By the time they finally did get their first Top 40 hit, "When the Lovelight Starts Shining Through His Eyes" in late 1963, Ross had taken over the lead singing for good.
Ross was not the most talented female singer at Motown; Martha Reeves and Gladys Knight in particular had superior talents. What she did have, however, was the most purely pop appeal. Gordy's patience and attention paid off in mid-1964 when "Where Did Our Love Go" went to number one. Written by Holland-Dozier-Holland, it established the prototype for their run of five consecutive number one hits in 1964-1965 (also including "Baby Love," "Stop! In the Name of Love," "Come See About Me," and "Back in My Arms Again"). Ross' cooing vocals would front the Supremes' decorative backup vocals, put over on television and live performance with highly stylized choreography and visual style. Holland-Dozier-Holland would write and produce all of the Supremes' hits through the end of 1967.
Not all of the Supremes' singles went to number one after 1965, but they usually did awfully well, and were written and produced with enough variety (but enough of a characteristic sound) to ensure continual interest. The chart-topping (and uncharacteristically tough) "You Keep Me Hangin' On" was the best of their mid-period hits. Behind the scenes, there were some problems brewing, although these only came to light long after the event. Other Motown stars (most notably Martha Reeves) resented what they perceived as the inordinate attention lavished upon Ross by Gordy, at the expense of other artists on the label. The other Supremes themselves felt increasingly pushed to the background. In mid-1967, as a result of what was deemed increasingly unprofessional behavior, Ballard was replaced by Cindy Birdsong (from Patti LaBelle & the Bluebelles). Ballard become one of rock's greatest tragedies, eventually ending up on welfare and dying in 1976.
After Ballard's exit, the group was billed as Diana Ross & the Supremes, fueling speculation that Ross was being groomed for a solo career. The Supremes had a big year in 1967, even incorporating some mild psychedelic influences into "Reflections." Holland-Dozier-Holland, however, left Motown around this time, and the quality of the Supremes' records suffered accordingly (as did the Motown organization as a whole). The Supremes were still superstars, but as a unit, they were disintegrating; it's been reported that Wilson and Birdsong didn't even sing on their final hits, a couple of which ("Love Child" and "Someday We'll Be Together") were among their best.
In November 1969, Ross' imminent departure for a solo career was announced, although she played a few more dates with them, the last in Las Vegas in January 1970. Jean Terrell replaced Ross, and the group continued through 1977, with some more personnel changes (although Mary Wilson was always involved). Some of the early Ross-less singles were fine records, particularly "Stoned Love," "Nathan Jones," and the Supremes/Four Tops duet "River Deep -- Mountain High." Few groups have been able to rise to the occasion after the loss of their figurehead, though, and the Supremes proved no exception, rarely making the charts after 1972. It is the Diana Ross-led era of the '60s for which they'll be remembered.
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"Meet the Supremes" is the debut album by The Supremes, released in late 1962 on Motown. The LP includes the group's earliest singles: "I Want a Guy", "Buttered Popcorn", "Let Me Go the Right Way", and "Your Heart Belongs to Me". The earliest recordings on this album, done between fall 1960 and fall 1961, feature the Supremes as a quartet composed of teenagers Diane Ross, Mary Wilson, Florence Ballard, and Barbara Martin. Martin is not pictured on the album because of her departure earlier in the year; although her vocals are present on the majority of the recordings on the album.
The romantic and sentimental "Your Heart Belongs to Me," written by Smokey Robinson, should have been the Supremes' first hit. It's every bit as charming as his chartbusters for Mary Wells. Diana Ross' sweet tender lead, assisted by Mary Wilson and Florence Ballard's warm harmonies, could melt icebergs. Ross' vocals on "Who's Lovin' You" are intense and bluesy; Wilson leads the soulful "Baby Don't Go"; and Ballard leads the raucous "Buttered Popcorn," a tune more suited for the Contours. "I Want a Guy," their first recording, had been done by the Marvelettes -- the backing voices are buried, and Ross' voice sounds whiny and high-pitched. This song, along with the '50s-sounding "He's Seventeen," are the only bummers. Ballard shines again on "Let Me Go the Right Way," delivering a tough vocal on top of Ross and Wilson's enthusiastic vocals. "Time Changes Things," written by Brian Holland, Lamont Dozier, and Janie Bradford, was a forerunner to later efforts by Holland-Dozier-Holland. Blues lovers will relish the torching "Play a Sad Song." "Never Again" is straight '50s doo wop; if you didn't know, you would think it was the Chantels.
The Supremes - Meet The Supremes (flac 200mb)
01 Your Heart Belongs To Me 2:37
02 Who's Lovin' You 2:47
03 Baby Don't Go 2:10
04 Buttered Popcorn 2:33
05 I Want A Guy 2:50
06 Let Me Go The Right Way 2:29
07 You Bring Back Memories 2:35
08 Time Changes Things 2:31
09 Play A Sad Song 2:54
10 Never Again 3:05
11 (He's) Seventeen 2:43
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Cardboard sleeve (mini LP) reissue from Diana Ross & The Supremes featuring the high-fidelity SHM-CD format. Even though this long-player was the second collection to have featured the original Supremes lineup with Mary Wilson, Florence Ballard and Diana Ross, Where Did Our Love Go (1964) was the first to significantly impact the radio-listening and record-buying public. It effectively turned the trio -- who were called the 'No-Hit Supremes' by Motown insiders -- into one of the label's most substantial acts of the 1960s. Undoubtedly, their success was at least in part due to an influx of fresh material from the formidable composing/production team of Brian Holland, Lamont Dozier and Eddie Holland (HDH). They had already proven themselves by presenting "(Your Love Is Like A) Heatwave" to Martha & the Vandellas and providing Marvin Gaye with "Can I Get a Witness." Motown-head Berry Gordy hoped HDH could once again strike gold -- and boy, did they ever. Equally as impressive is that the Supremes were among the handful of domestic acts countering the initial onslaught of the mid-'60s British Invasion with a rapid succession of four Top 40 sides. Better still, "Where Did Our Love Go," "Baby Love" and "Come See About Me" made it all the way to the top, while "When the Lovelight Starts Shining Through His Eyes" (number 23), "Run, Run, Run" (number 93) and "A Breath Taking Guy" (number 75) were able to garner enough airplay and sales to make it into the Top 100 Pop Singles survey. HDH weren't the only contributors to the effort, as William "Smokey" Robinson supplied the catchy doo wop influenced "Long Gone Lover," as well as the aforementioned "Breath Taking Guy." Norman Whitfield penned the mid-tempo ballad "He Means The World to Me," and former Moonglow Harvey Fuqua co-wrote "Your Kiss of Fire." With such a considerable track list, it is no wonder Where Did Our Love Go landed in the penultimate spot on the Pop Album chart for four consecutive weeks in September of '64 -- making it the best received LP from Motown to date.
This is an album that is a must for fans of the Supremes, especially during their early period. "Where Did Our Love Go" charted at number two in 1964 and was the LP that introduced the Supremes to many young Americans. Several of the tracks went on to become top-selling singles for the group. The sound on this Japanese import is crisp and clear and this stereo version is wonderful, especially when listening with a good set of headphones.
The Supremes - Where Did Our Love Go (flac 209mb)
01 Where Did Our Love Go? 02:33
02 Run, Run, Run 02:16
03 Baby Love 02:37
04 When The Lovelight Starts Shining Through His Eyes 03:05
05 Come See About Me 02:44
06 Long Gone Lover 02:25
07 I'm Giving You Your Freedom 02:39
08 A Breath Taking Guy 02:24
09 He Means The World To Me 01:59
10 Standing At The Crossroads Of Love 02:28
11 Your Kiss Of Fire 02:47
12 Ask Any Girl 03:00
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Its title might lead one to think this was a compilation, but it wasn't -- rather, More Hits by the Supremes is merely a valid presumption of its worth. It was also the original group's third highest charting album of their five years on Motown, and came not a moment too soon. Thankfully, it's a really good album, and a blast for vintage Motown fans. And there were hits on it, too: "Nothing But Heartaches," driven by saxes and fine harmonies; the immortal "Stop! In the Name of Love," which I'm sure you've heard - if you haven't, you're missing one of the best songs in American pop history, and the group's signature song, though I'll confess to preferring "You Can't Hurry Love," and the hugely melodic, self-referential smash "Back in My Arms Again," the fifth of the group's legendary five #1 hits in a row and my pick for the best song on the record. You may know it as the one with the "Whoo!'s" and the cool saxes. And the album tracks are generally a lot of fun, even though not at the level of the singles. "Mother Dear" is another sax-happy blast of early Motown happiness along the lines of "You Can't Hurry Love," and despite their cheesy intros I still can't help but smile and dance and stuff to "Honey Boy," "He Holds His Own," or "Ask Any Girl." Diana's voice is clear and gorgeous, but if you don't like it for some reason (though if that's the case, you can't be my friend), you can always focus on the Funk Brothers, who rock on pretty much every song - a good example would be Jamerson's funky bass on "Back in My Arms Again" and "Whisper You Love Me Boy," which also has beautiful harmonies. But if you do like Diana, you'll be pleased to know she delivers one of her best vocals on "The Only Time I'm Happy."
The Supremes - More Hits By The Supremes (flac 212mb)
01 Gotta Serve Somebody 6:49
02 Don't Let My Baby Ride 5:17
03 Rhymes 4:37
04 Try A Little Tenderness 4:48
05 Miss You 6:00
06 Hawg For Ya 3:44
07 You're Gonna Make Me Cry 6:19
08 Walking The Back Streets 7:09
09 Let's Straighten It Out 5:26
10 Born On The Bayou 4:41
11 Come Back Baby 5:58
12 Hound Dog 3:42
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I Hear a Symphony has some great soul numbers on it, mostly by the Holland-Dozier-Holland songwriting team, including not only the title track but also "Any Girl in Love (Knows What I'm Going Through)," "My World Is Empty Without You," and "He's All I Got" -- the latter is one of the greatest album tracks the group ever recorded, with stunning vocals by Mary Wilson and Florence Ballard behind Diana Ross, showing the trio in just about its peak form. Other parts of I Hear a Symphony seem to take its title track almost literally, with the inclusion of the majestic "Unchained Melody" and the Bach-based "A Lover's Concerto"; the latter, in particular, is a Diana Ross tour de force, with very sweetly understated accompaniment by Wilson and Ballard. And elsewhere, Berry Gordy was pushing his vision of the Supremes as a mainstream pop trio, covering "A Stranger in Paradise," "With a Song in My Heart," "Without a Song," and "Wonderful, Wonderful." None of these are bad, but neither are they terribly distinguished -- the group even adds a certain fresh sparkle to "Wonderful, Wonderful," but realistically, people were paying their money for the Holland-Dozier-Holland and Eddie Holland-authored songs, any of which would have made about as fine singles as anything the trio ever put out, and all of which are still a chunk of the best part of the group's legacy.
"I Hear a Symphony" signaled their very first, official global tour. Though they had played spot dates abroad, "The Evening with The Supremes" would play 25 soldout dates in the states and another 25 dates internationally including stops in London, Paris, Rome, Stockholm, Copenhagen, Amsterdam, etc just to name a few. And then hit head across the pond to Asia, Pan Pacific and schedule another rounds of dates in South America and North America including Mexico City, Toronto, Montreal, Puerto Vallarta, etc. The tour lasted 6 months and would eventually be captured on tape with the release of "Live at London's Talk of the Town" which sold nearly 3 million units and equally important a European television special of the "An Evening with...." which was a huge rartings winner.
The Supremes - I Hear A Symphony (flac 223mb)
01 Stranger In Paradise 03:05
02 Yesterday 02:30
03 I Hear A Symphony 02:43
04 Unchained Melody 03:49
05 With A Song In My Heart 02:04
06 Without A Song 03:00
07 My World Is Empty Without You 02:35
08 A Lover's Concerto 02:37
09 Any Girl In Love (Knows What I'm Going Through) 03:00
10 Wonderful, Wonderful 02:52
11 Everything Is Good About You 03:00
12 He's All I Got 02:46
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This is one of the last studio albums with the original lineup of Diana, Mary and Flo. It also contains two of their greatest songs. The first, “Love is Like an Itching in My Heart,” a stomping, floor filling, soul shouter, which was not typical Supremes, and certainly not a typical Ross lead vocal, something more you might associate with Martha and the Vandellas. This may have ultimately confused the fans because it wasn’t as big a hit as it might have been, considering the place it ultimately carved for itself in Supremes history. The second, “You Can’t Hurry Love,” is the much covered, true Supremes “anthem” with a throbbing, pulsating Holland Dozier Holland musical background, during their truly golden period. Those two tracks alone would make the album a keeper. But to flesh out the singles into an LP, Berry Gordy had the girls cover a host of their stable mates’ originals songs, such as the Isley Bros. “This Old Heart of Mine,” the Four Tops’ “I Can’t Help Myself,” and the Temptations’ “Get Ready” as well as having them cover other hit songs of the era such as Nancy Sinatra’s “These Boots Are Made for Walkin’,” and the McCoys’ “Hang on Sloopy” (really!).
The album glitters from start to finish. This actually was never a favorite Supremes album of mine. To me, the covers seemed a little rushed and “rote,” perhaps. But the masters at Motown/Universal have gone all out in recapturing the original magic of this groundbreaking trio. The sounds sound fresh, “mod” and exciting, as if you are hearing them for the first time. The original album was recorded partially on the West Coast utilizing members of the fabled Wrecking Crew (which at various times included Leon Russell, Nino Tempo, Hal Blaine and other legendary musicians) and partially in Detroit utilizing Motown’s in house band, the Funk Brothers (James Jamerson on bass, Benny Benjamin on drums, Ivy Jo Hunter on piano). A fellow poster on the Soulful Detroit Forum, a Motown and R&B lovers paradise, pointed out to this reviewer that the album’s sequencing was such that the West Coast/Funk Brothers tracks were alternated throughout the LP. This creates a fascinating contrast.
The Supremes - A' Go-Go (flac 227mb)
01 Love Is Like An Itching In My Heart 02:56
02 This Old Heart Of Mine (Is Weak For You) 02:37
03 You Can't Hurry Love 02:48
04 Shake Me Wake Me (When It's Over) 02:48
05 Baby I Need Your Loving 03:01
06 These Boots Are Made For Walking 02:32
07 I Can't Help Myself 02:38
08 Get Ready 02:44
09 Put Yourself In My Place 02:20
10 Money (That's What I Want) 02:28
11 Come And Get These Memories 02:20
12 Hang On Sloopy 02:42
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