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OTHER ALBUM WEBSITE REVIEWS: Wilson and Alroy's Record Reviews
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The swan song of Diana Ross and the Supremes was composed a lifetime away from the showbiz glitz of Las Vegas, where the group performed their last concert together at the Frontier Hotel in January 1970. Johnny Bristol and Jackey Beavers were young Southerners, criss-crossing the Midwest in search of success--not to mention an income--as the 50's met the 60's. "We were traveling in Jackey's car throughout various parts of Indiana and Michigan and Ohio," says Bristol, "just singing in different places in our little red bow ties. If you saw a picture, you'd die." Billed as Johnny and Jackey, they were on the road a lot. "As a matter of fact, 'Someday We'll Be Together' was written mostly in the car as we were driving," Bristol explains. "We just remembered the melody, we wrote it a cappella, and got back (home) and finished it up." Beavers and Bristol had become acquainted in the air force, stationed outside Detroit. "We would sing at various local clubs and stuff. Jackie and I took it a little more seriously than the other guys--they needed half a gallon of wine. We were just young guys who wanted to sing." The two recorded their original version of "Someday We'll Be Together" in 1961 for Harvey Fuqua, who ran tiny Tri-Phi Records in Detroit with Gwen Gordy, Berry's sister. Soon afterwards, the label was merged into Motown, where Bristol became a key member of the company's cadre of songwriters and producers. Towards the end of the '60s, Bristol thought about reviving his act with Beavers--at least on record--and he cut a new version of "Someday We'll Be Together." Hearing the song, Berry Gordy thought it ideal for Diana Ross. "At the time," says Bristol, "you didn't argue with him. The idea was a producer's dream, so I said, 'Sure, great,' and he and I went into the studio with Diana." Yet Ross's lead--on top of harmony vocals by the Waters, Julia and Maxine -- didn't go smoothly. "Diana wasn't in the greatest of moods, and we weren't getting the right feeling from her," relates Bristol. "I suggested to Mr. Gordy that I go in the other booth and just sing along with her, just a little soulful thing to kind of help. He said, "OK, great, go ahead." "We started off, then he stopped the tape and said, "I've got to start over, I made a mistake." And unbeknownst to myself and Diana, he recorded everything I did, and said, "I'm gonna keep this, it's a smash.' And he was absolutely right. Bristol's supportive, soulful accompaniment (over an instrumental track arranged by Wade Marcus) was the kicker to lyrics perfectly suited for a superstar act on the eve of fracture. "Someday We'll Be Together" was shipped as a single on October 14, 1969--and three weeks later, Motown announced that Diana Ross would be leaving the Supremes.
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(1970)
"Stoned Love" could just as easily have been titled "Rock of Ages." Composer Kenny Thomas was striving for a message of permanence in the lyrics of his song, written at a time of seismic social change. "We had civil rights issues going on in this country," he says. "Vietnam, drugs, 'make love, not war.' But stones are forever--they don't break or come apart. Love will be here forever. It's not important about color and things of that nature. Berry Gordy wasn't impressed. "I remember that he hated that record," says producer Frank Wilson. "He called it garbage." The Motown chieftain relented only when senior executive Barney Ales promised that every radio station in the influential RKO chain would play "Stoned Love" if Motown shipped it as a single. Ales delivered: The release became the Supremes' biggest R&B and pop success since the departure of Diana Ross. Its graceful, uplifting lead vocals were those of Jean Terrell, whom Berry Gordy had first seen performing in Miami in 1968 and who officially succeeded Ross in January 1970. Kenny Thomas was 17 when Frank Wilson heard his material on WJLB Detroit, during a teen talent contest hosted by the station's "Frantic" Ernie Durham. Wilson visited the teenager's home. "He came by and had me play several of the songs I played at the contest," says Thomas, "He asked me if I had anything else, and I said, 'Yes, there's this song I'm working on right now, that I haven't actually performed yet.' And I played Stoned Love.'" Wilson was impressed, subsequently inviting Thomas to meet a member of the Supremes, on a Sunday in 1970 etched vividly in his memory. "In comes Mary Wilson--and I die," tells Thomas. "He introduces us, and she asks, 'Gee, Frank, this is a baby, what does he have?' Frank says, 'Go get him a 7-Up, he'll play it.'" The Supreme soon shared the producer's enthusiasm, and arranger David Van DePitte was recruited. "We went down in the basement and this kid, Kenny Thomas, gets out a guitar," remembers Van DeP:itte. "There were only two strings, and this kid had worked out a system of binary chords that he could plunk along to, and he was singing "Stoned Love.'" When the track was recorded, Thomas, was present. "It was at Motown on West Grand Boulevard, in a basement almost as big as a football field," he says. "David hits the baton on the podium, and the musicians play--maybe a 50-piece orchestra, strings and everything, I cried." Jean Terrell, Mary Wilson and Cindy Birdsong cut their vocal parts later in New York according to Thomas, who says he flew from Detroit for the session. "Jean had to do the whole thing right about the first time, with the exception of a couple of cute riffs that were added. When released in October 1970, "Stoned Love" had Wilson and an enigmatic Y Samoht as authors. "Frank added about four lines (to the song) for continuity," explains Thomas, who altered his name for fun in the manner of Stevie Wonder's "Eivets Rednow." It also hinted at one of his influences, Nina Simone. "Ynnek Samoht sounds a bit like that--the Simone part, anyway--and it became my personal tribute to her."
To the public when you mention the name SUPREMES, the answer is usually one of two, either "Oh, they used to be Diana Ross's group" or "Didn't they used to be a big group years ago". WRONG, they were never Diana's group, she was one of them and no they are not yesterday's group, as two Re-mix CD's by Dave Powner proves. Suddenly the Supremes are slap, bang into the nineties and very much part of the vogue for dance music. Dave Powner and his aptly named Driving Wheel Records have modernized the legendary ladies sound and it shows. "Stoned Love - The Remixes", an excellent CD. "Stoned Love" was always a great dance record, but the re-vamp is superb. The radio mix starts off at a slow beat, with Scherrie's voice starting softly, then a wave of synths come in and the song is off to a canter, then a gallop, with Lynda and Sundray providing the usual excellent back up vocals. Finally the powerful beat gets you up onto the dance floor. It is infectious and is NRG music at it's best.
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The Supremes developed their famous 'Stop!' routine in the men's room of a London TV studio with the help of Berry Gordy, Paul Williams and Melvin Franklin (the latter two, members of the Miracles), prior to doing a live show.
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Producer(s): Diana Ross, Michael Jackson
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Stolen Moments
Released May 1993 Reached Billboard's Rhythm and Blues #73 and #10 on Billboards Top Jazz Albums,
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(1975)
Mary Wilson, Album liner notes To our Friends I am often asked, "How the Supremes have been able to achieve and maintain their position as the number one female group for over fifteen years." Skyrocketing to the top in our youth was a far easier accomplishment than being able to maintain for such a long period of time; however, the Supremes, throughout our long and successful history have been blessed with loyal and devoted fans. To us you are much more than fans, you are our dear friends. Your love and devotion has given new life to the Supremes and enabled Cindy, Scherrie and Me to share this album with you, for which you have patiently waited. "Touch"
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SUPREMES, THE: THE BOX SET (08/29/2000)
Unpublished article omitted from the final box set:
THE SUPREMES: TAKING MOTOWN TO THE WORLD
Dave Godin, the pioneering founder of the Tamla Motown Appreciation Society and one of the true godfathers of black music in the U.K. wasn’t
surprised that The Supremes would become –– along with The Four Tops –– the essential flag-bearers for the ‘‘sound of Young
America’’ in Britain and indeed throughout Europe. In an April 2000 interview, he recalls, "I was in Detroit in 1964 and everyone
turned out to meet me. The artists, the executives…… I
Godin remembers hearing "Where Did Our Love Go" months before it hit the streets. "Berry Gordy was driving me somewhere a couple
of days later and I mentioned how much I liked The Supremes. He said, ‘‘We’ve cut a new side on them. Tell me what you think..’’ and
he reached down to this pile of white labeled-singles on the floor. When I heard "Where Did Our Love Go," I went bananas! I arranged
to bring some copies back to Britain to play for the At the time, the U.K.’s only official radio outlet was the BBC. Challenging the restrictive playlist of the government-run corporation, a number of stations had started broadcasting to the U.K. and countries on the Continent in close proximity from ships offshore –– hence the tag ‘‘pirate’’ radio. As Godin recalls, "These stations were desperate to prove how many people were listening to them and I told them, ‘‘If you start leaning on records that the BBC won’t touch, you won’t have to prove anything. The record companies will know that you’re responsible for certain hits happening.’’ I gave them a list of records by Etta James, Dionne Warwick and once I got back from Detroit, I gave them copies of The Supremes’’ "Where Did Our Love Go" and they started playing it……"
Godin’s network of Motown devotees also helped spread the word about the impending Supremes release: "We had a special greetings record
that had been made by various artists in Detroit for the members of the Tamla-Motown Appreciation Society. It had "Where Did Our Love
Go" playing in the background……but no one knew what it was since it was before it was released. All the fans were going crazy,
like, ‘‘what is that record?’’ Once the In the tradition of the day, a local British artist –– in this case, one Adrienne Poster –– had done a version of the future chart-topper as soon as it was released in the U.S. in hopes of siphoning off sales and having a hit of her own but in spite of BBC airplay for Poster’s lackluster cover, The Supremes prevailed. In September 1964 thanks to Godin’s efforts and EMI Records recognition that they had a possible hit in the making, Stateside SS 327 entered the British Top 20, eclipsed in its chart performance only by the follow up single, "Baby Love" which topped the U.K. hit parade in November. The Supremes had ‘‘arrived’’ and would enjoy nine more Top 20 singles over the next eight years. Godin: "I think that The Supremes, as the vehicle for the work of Holland-Dozier-Holland crystallized what we called the Motown ‘‘sound’’ and gave it an identity. HDH were really hitting their stride with "Where Did Our Love Go" and "Baby Love" and it continued not only with The Supremes but with The Four Tops who became the other most successful Motown act in Britain. But as far as The Supremes are concerned, I think their breakthrough was the result of a combination of very strong material and the fact that they were very easily marketable –– three very attractive young women who had all the glitz and glamor. Motown’s time had come in Europe and The Supremes were riding the crest of the wave……"
While Godin and dedicated R&B fans were spreading the word about The Supremes in the U.K., a similar –– if not as populous ––
movement was building in other parts of Europe, most notably The Netherlands. Frans de Beer, President of the International Diana Ross Fan Club,
was a pre-teen when he first heard "Baby Love" on radio airwaves beamed from U.S. Armed
De Beer says the efforts of the local label manager for Motown, the late Pete Fellerman had a great deal to do with The Supremes breakthrough
in continental Europe. A former radio disc jockey, Fellerman’s enthusiasm for Motown and its music began –– like Godin’s –– in the
early 60s and he dedicated himself to "making Holland Motown-minded!" Also responsible for Thanks to Fellerman’s efforts, The Supremes actually had three singles on the charts when the very first Dutch Top 40 was introduced in January 1965. Later that fall, the group performed at the prestigious Grand Gala du Disque show in Holland and by virtue of continued chart success, The Supremes ushered in Motown’s mainstream breakthrough in the Netherlands as they had done in the U.K. and then throughout Europe, at the time the most significant global music-buying market outside of the U.S.
The group’s run of U.S. hits was for the most part paralleled in Europe: "Stop! In The Name Of Love" (which launched the Tamla
Motown imprint in the U.K.), "You Can’’t Hurry Love," "You Keep Me Hangin’ On" and "The Happening" (the
group’s biggest Dutch hit until "Reflections" was reissued in 1980) ensured The Supremes across-the-board popularity. Television
specials (January 1968’s ‘‘The Supremes In Berlin’’), a ‘‘live’’ album at London’s
The last word on the international success that The Supremes experienced from the 60s on belongs to Berry Gordy, who says the acceptance of
Motown’s music worldwide, starting in Europe in the 60s with The Supremes, has been one of the most heartwarming aspects of what has been a
phenomenal career: "The thing that thrills me the most about this business is that the things we felt, working there in Detroit,
we’re ‘‘gotten’’ by people way across the
Amazon.com - Rickey Wright
Long Island Newsday
ON THE RECORD
What really stands out throughout the set, however, are Ross' many charms. Joel Selvin San Francisco Examiner Motown, five discs, $59.97 This set bears witness to the systematic dissipation of the insouciant appeal that sent the Supremes to the top of the charts in the first place. Songwriter-producers Holland-Dozier-Holland carefully cultivated a style tailored specifically for the group's charms, landing four consecutive singles at No. 1 starting in 1964. Once Motown's pop aspirations and career machinations took over, however, the factory mentality of the label's creative department prevailed. Further caveats: Digital remastering of dubious Motown stereo mixes always leave something to be desired and, although the separate live CD is cute, does anybody in his right mind want an entire CD devoted to the Supremes after Diana Ross left?
`THE SUPREMES' (Motown, 012 159 075-2, five CD's, $59.97).JON
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SUPREMES, THE: 1963 - 1969 (1987)
John Morthland, music critic Excerpts... In the beginning--before they embodied the Motown sound, before they took girl-group rock to its esthetic and commercial apex, before Diana Ross became DIANA ROSS!, before they unwittingly provided the models for the Broadway hit 'Dreamgirls', before they became icons of a nostalgic 'Big Chill' generation --the Supremes were Florence Ballard's group.....The classic Supremes/H-D-H singles are often criticized for sounding alike, a charge that ignores such distinct individual glories as the easy gait of You Can't Hurry Love, the urgent command to Stop! In the Name of Love or Diana's genuinely pained vocal on You Keep Me Hanging On. H-D-H's innovations were conservative but effective--consider the ominous oscillator (a forerunner of the modern synthesizer) on Reflections. There was pop magic in these tracks, though it lasted only as long as the three men and the three women worked together.....Diana Ross is now famous as much for being famous as for anything she sang or acted. Mary Wilson is a journeywoman singer with a lot of good memories. Berry Gordy, who moved Motown to L.A. around the time Diana went solo, is a wealthy and respected entertainment mogul, though Motown is no longer the musical force it once was. As this collection confirms, the heyday of Motown and the Supremes was no fluke. Rather, it was a product of their time and place, vision and talent.
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Driving Wheel's second CD release, "The Supreme EP" was a real surprise for me. Again it contains the "Thump, thump, thump" - a trade mark from "Where did our love go" to "Floy Joy" and "Automatically Sunshine". The CD begins with "Someday We'll Be Together", normally a ballad, but here given the dance mix. The music is hypnotic and instantly the image of smoke machines and swirling lights of the nightclub is conjured up. A more restrained lead vocal than usual by lovely Lynda and a much more upfront backing by Scherrie, Lynda and Sundray make a perfect combo. It is sexy and danceable, the music is brilliant and if you don't believe me, check out the instrumental version. It is good enough to stand on it's own. This is music of fantasy. Images of nights at Blackpool's infamous "Flamingo" nightclub are brought to life. This is heaven on a CD. The trio are really unsurpassed here, Lynda is excellent on lead, bringing the song into 1999. But man, that music is so great! I can't praise it enough, somehow better than "Stoned Love". Paradise believe me. Next up on "The Supreme EP" is "Crumbs Off The Table". This track is totally different again, a harder, tougher funky sound and a real Payne-Killer vocal performance from Scherrie. This is her song all the way. Scherrie baby you are grooving! Scherrie also shows what a versatile song stylist she is, on the beautiful "Stoned Love - Piano Mix". Just Scherrie and a piano, simple and effective. Her voice shines through on this jazzy mix. Out of Payne comes love indeed. The final track is "Surrender - Instrumental mix" - a taster for the upcoming Cindy Scott project - and it's a blast. I can't wait to hear Cindy's wonderful voice on this track.
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(1965)
Sammy Davis, Jr., Album liner notes I have been asked by the people who have brought the famed Supremes to the Copacabana to say a few well-chosen words in terms of liner notes. Well let me simply say this. As a performer I admire them more than words can possibly describe. It would have been comparatively easy for the Supremes, and through the sort of ingenious things that have happened with them, in terms of the people who select the music for them to record, Motown Records, and their sort of insight into what is "really happening baby" they could have just rested on their laurels on the usual sort of things that happen with people who capture the hearts and the minds of the teenagers who supply the beat that we all sort-of-dig. But they did more than that. As a guy who's been in show business some 30 years or so, I have come to deeply respect those performers who never sort of reach the end of trying to learn, of trying to grow, as an artist and as a human being. Having worked with the girls on a couple of occasions, I can honestly say that they are not only magnificent performers who have created a trend and who have captured the hearts and the musical taste of not only America but internationally as well. But they happen to be marvelous ladies. To see this kind of talent displayed by anyone so young or any group of people so young is amazing indeed for me....for all you people who couldn't make the Copacabana on opening night, like I did with a party of friends that included some of the biggest names in show business, to come to cheer the Supremes, here they are...live at the Copacabana. It seems only fitting because the Copa is the last night club in the world, and the best night club in the world, and they presented the best of the new world of music. In short, they presented the Supremes. It was a night that will long be remembered. I am glad I was there....
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(1965)
Supremes sing country, western and pop...and how they sing it. It's to be expected that whatever the Supremes do, would be done in a way that is tops. These three girls, acknowledged to be "America's No. 1 Sweethearts," have built up a fabulous reputation - well deserved - and unparalleled in the record and entertainment world. Here and now they have partially turned their talents to a different mode, one which their growing legions of fans may not have had the opportunity to enjoy them in. It proves their true talent and versatility. Each of these girls, Diane, Mary and Florence adds to a whole and the result is a uniquely Supreme affair. Country and Western fans are sure to be enchanted. Fans of the Supremes undoubtedly will be delirious and lovers of just great entertainment will, with this album, be added to the never ending list of followers of these fabulous performers. Collected here to receive the Supremes inimitable treatment and some of the all-time classics, dressed up and treated by the Supremes in their own renowned manner. You absolutely never heard "Tumbling Tumbleweed" or "Lazy Bones" like these charmers do it here, and you surely haven't enjoyed them as much. Added to the collection are some originals, specially written and tailored to the Supremes, their styles and personalities. These tunes having now been touched with 'magic,' as only the Supremes can do, will soon be added to your list of all-time favorites. If you like the Supremes, and who doesn't, if you like it Western, if you like it Prop, if you like a Country or if you just love to be enchanted, you are sure to find that everything the Supremes give you on this album will satisfy your desires.
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Mark Vining, Rolling Stone Magazine This is the first Supremes album in two years I haven't bought on first sight. And in the past I've been well rewarded for my impetuousness: no bad burns. The women just seem to keep giving this magnanimous Pavlovian an encouraging pat up top each and every time. But this -- Produced and Arranged by Jimmy Webb, the cover reads, like the hypothesis of an experiment -- this was putting a definite strain on my largesse. But of course I was remembering the Jimmy Webb who in a more overachieving era ran folks like Richard Harris through their musical paces, MacArthur Park and all. It was flagrant disregard for the rave reviews of Webb's own more recent albums. I should have better taken some cues from the liner photos: images of this smiling, bespectacled freak, adjusting headphones with the last -- the classic -- embodiment of all the female groups. Would the audible results take the form of some sort of musical subversion, brought about by a young man, old enough to remember Baby Love, loose at last in those mythical studios? I finally broke down. Bought the album. And while it won't cause a showdown with the CIA, the "subversion", for want of an alternate term, usually works just fine. Webb has applied his distinct musical orientation to his own conception of the Supremes. The songs, the definite majority that are on target, superbly fit the image they make for themselves. "5:30 Plane" strikes one immediately with its totally contemporary feel: The ambience of a young woman, very possibly a Supreme at that, and her on and off affair, played out in the serpentine milieus of freeway on-ramps, airport terminals, L.A. townhouses: "I don't know what you are gonna do/But I decided I can't make it on my own/I didn't want to be here, baby, when you got home/Sitting alone." Musically, it works like Bacharach's "Don't Make Me Over" did for Dionne Warwick, with the steady R&B undercurrents effectively diluting the potentially deadly strings. Jean Terrell sounds much like Warwick in her early days too: She sings with an unlearned authority. But when this balance by contrast wavers, as it does on most of the rest of the side, the over-wrought violins become boring. The effect is defused. That sort of miscalculation overpowers "When Can Brown Begin," complicating a good song full of Webb's succinct, accessible imagery, which cries out for simpler handling. Bobby Lewis' classic "Tossin and Turnin" easily accomplishes what "Brown" lacks. It's an inspired choice, outrageous, concisely executed, plainly soulful. Side two is almost flawless. Joni Mitchell's "All I Want" is by far the best cut on the album. It's quintessential black rock, erasing those worried demarcation lines between two genres completely. Merry Clayton's approach comes to mind, but the fusion here is somehow more complete than that. Everything, the basic Motown drive, the fragile alliteration of Joni's phrasing, delivered scattily and speedily but intact, the horn riffs borrowed from "Up Up and Away" -- everything's just in place. Webb's "Once in the Morning" is almost as good, with its opener, "I was lying in state on my analyst's couch." It's taken in a country vein, with Webb copping a chorus or two, and there's not the least incongruity to it. Even Nilsson's ultra-romantic "Paradise", which sounds like a parody of a rosy-sunset flick theme, is masterful, lovely and a trifle tongue in cheek at the same time. The strings literally swirl and the background is some kind of gospel-opera. This may be strange territory for unaware Supremes habitués. But for anyone who wants to see the barriers in modern popular music broken down, he needn't look further than this album. Be forewarned.
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Producer(s): none listed
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INFO: On September 1, 1984, "Swept Away"
entered the Billboard Hot 100 at number 62. The single reached
number 19 on the pop chart and top five on the Dance and R&B
chart. The "Swept Away" album stayed on the album chart for
45 weeks. Some lps included a glossy photo showing Julio
Inglesias holding Diana, by Douglas Kirkland.
Producer(s): Various
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TALK OF THE TOWN - LIVE AT LONDON'S (1968) Derek Jewell, The Sunday Times Their impact is total, these three electrically beautiful girls called Diana Ross and The Supremes, who are being uproariously received at the Talk of the Town. They are the dynamic essence of what today's popular music is really about but often is not...The music, to whose rhythmic power tambourines and guitars are crucial, is only part of the game however. This is a song-and-dance act, though not in the soft-shoe sense. It is closer to ballet or belly-dance. The singers spin, undulate, weave their arms, strike attitudes. They are supple and graceful as tigresses. And still this is not all., They give themselves every second. Their delightful outgoing personalities surged from the stage. Popular entertainment cannot offer an experience more formidable.
Ray Connolly, The Evening Standard Last night Diana Ross and The Supremes made their debut at the Talk of the Town--and they were sensational. In anticipation of an exceptional evening, herds of pop people turned up to welcome the trio and were treated to a lesson in musical showmanship which, quite honestly, I have never seen bettered. As Paul McCartney commented after the performance, "It's the show business event of the year." For 55 minutes, and through 30 songs. Diana Ross, in a staggering display of energy and artistry, held the capacity audience in an almost continuous state of applause. Alan Smith, New Musical Express A Who's Who of British show business made most of the audience (not I didn't say sat in the audience; half of them were standing cheering) when Diana Ross and the Supremes sizzling made their cabaret debut at London's Talk of the Town. In the circumstances it hardly seems worth the effort to mention that the act came over with the impact of a sledgehammer. What I must say is that every professional, beautifully timed, sensuous, animal movement of the Supremes act deserved the incredible reaction it got. I can say no more other than this is the finest opening night I have ever witnessed at the Talk of the Town.
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TAKE ME HIGHER
Submitted by Marlon (NYC)
'Take Me Higher' Lp should have sold more than the 1997 Soundscan tally of 108,000 copies (I'm sure the sales are over 200,000 to date) and should
have also charted higher. The Lp only had 2 weeks in Billboards Top 200 Pop Albums, which sales peak position at #114.....On Billboards Top
R&B Albums 'Take Me Higher' peaked at #38 and stayed on the charts for 5 weeks (Diana's albums and singles seem to do better in the r&b
and dance market as well as ac market, since 1987). Single "Take Me Higher" received Pop airplay and almost made the Billboard Hot 100
Pop Singles Chart, when it hit #14 on Billboards Bubbling Under Hot 100 Pop Singles Chart and went #77 (6 weeks) on Billboards Hot 100 R&B
Singles Chart. #1 on Billboards Dance Play Chart and #8 on Billboards Maxi-Singles Sales Chart. In fact this was the Diana Lp since returning to
Motown, that charted many singles in the US: "Gone" #7 on Billboards Bubbling Under R&B Singles Chart, "If You're Not Gonna
Love Me Right" #67 on Billboards Hot 100 R&B Singles Chart (this single received decent airplay on many r&b stations and even Top
10 rotation in some outlets, on Billboards Hot 75 R&B AIRPLAY Monitor the single went #74 for 2 weeks), "Voice Of The Heart" #28
on Billboards Adult Contemporary Top 40, and "I Will Survive" #37 on Billboards Dance Play Chart. In the UK 'Take Me Higher' LP went
gold.
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(DO YOU KNOW WHERE YOU'RE GOING TO?)
The song was originally recorded by Thelma Houston but was shelved when it's potential as a Diana Ross vehicle emerged. Some of the lyrics were rewritten before resurfacing as the theme for 'Mahogany.' When it came time for consideration for best song from a movie, the Academy Awards snubbed the song because it wasn't "originally written for a motion picture." But protests by critics and fans made the Academy committee reconsider and it was eventually included. During the telecast of the Oscars, Diana made television history by singing the nominated song worldwide via satellite.
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Elton John, Liner notes If you think it strange that I am writing liner notes for the Supremes' album, then all I can say is I am probably their original British fan. I bought their first single "Where did Our Love Go" in England in 1964 (and thought I had knew why the British Empire had fallen after this did not become an English hit; my homeland was restored in my eyes, however, as the Supremes subsequent records became huge successes). Since then, I have gotten every record they have ever made as soon as the British release was announced. When I left London, "Stoned Love" was still #1. Imagine my excitement when I not only received an advanced copy of this - their new album - but was also asked by Jean, Mary and cindy to write the notes. (I felt as if I had really 'made it'). Of course, I like this album very much and am really pleased to hear the Supremes sounding more exciting than ever and hopefully they will place me on their advance copy list forever. Touch is an unqualified success and the final proof that the Supremes will continue without Diana Ross. New lead singer Jean Terrell proves too smart to imitate her predecessor and in the space of only a year and a half has succeeded in making the group over in her own image. Gone is the cooingly adolescent sexuality of Miss Ross and in its place is a fuller and more adult approach to both music and life. The hallmark of Miss Terrell's style, like that of so many of the best Motown artists, is an enormous sense of dignity, pride, and class. While those qualities have been there from her first effort with the group, the superb Up The Ladder to the Roof, and came into full blossom on the powerful single Stoned Love, it is only with this new album that we come to expect no less from her, confident that she will deliver. The album's highlight is Nathan Jones, an altogether remarkable single. The body of the song is a straight blues -- only the hook lines at the end of the verses differ from blues form. The song tells a very specific story about a very specific person -- another rarity for recent Motown records. And two thirds of the way through the cut, the song goes into a long, "psychedelic" mood piece that lasts until the fade-out and that by any logic at all, just shouldn't work. But it does and so does everything else about this song. When Jean sings, "The key that you're holding won't fit my door, And there's no room in my heart for you no more," she shows all the independence and sense of self a rock and roll lyric can stand: she sounds strong and she sounds beautiful. When Jean took over for Diana it seems likely that Mary Wilson and Cindy Birdsong insisted that their role in the new Supremes by augmented to keep the group from ever turning into another "Diana Ross and the Supremes." Consequently, their roles on the album as a whole seem much larger than in the old albums and on a song like Nathan Jones, there are long stretches where the three women sing the lead together in beautiful harmony, with Jean's voice dominating only enough to give the song some tension and focus. As good as Nathan Jones is, the best thing about Touch is that, unlike most Motown albums, it's good all the way through. There is hardly a bummer on the album and there are an amazing number of single quality cuts. This Is The Story, Have I Lost You, Touch, and Happy is a Bumpy Road are all superb, but the album's real gem is a number almost as off-beat as Nathan Jones, namely Love It Came To Me This Time. The entire song is based on a single descending chord progression and the arrangement is restrained for almost the entire song. Over this shimmering background Jean works out beautiful patterns, with Mary and Cindy answering her perfectly. Without ever going into a full blown crescendo the three of them create tremendous tension and feeling and the sheer power of some of Jean's vocal lines is one of the great things I've heard on record this year. Frank Wilson's production is happily devoid of Motown nightclub flourishes (except for a fine pop version of Time and Love) but at the same time would never be mistaken for straight R & B. I call an album like Touch conventional rock. There are horns and there are strings but there is a sharp, tight, driving rhythm section to keep them in rein and to provide the music with the kind of force that can only be characterized as rock.
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'Touch Me In The Morning" was the first song written by Michael Masser. He met Motown executive, Suzanne de Passe who suggested that he "start at the top." However, the making of the single was not an easy task. Berry Gordy didn't like the song. He thought the theme was too "mature" for Diana's audience. Masser also wanted Diana to sing in a "D" flat while she wanted to sing it in "C". Everyone was experiencing frustration with Ross who was growing tired of re-recording the song twelve times. The song was an engineer's nightmare. From the 12 takes, they spent 300 hours splicing the song together. "The song didn't contain three syllables in sequence from the same recording,".Masser stated. The hard work paid off for all concerned. It reached the top of Billboard's summit. For Michael Masser, it became the biggest hit he ever had.
Producer(s): Various
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Edward Guthmann, Chronicle Staff Critic The major reason to catch "Boys Life 2," a compilation of four gay films opening today at the Castro, is the chance to see "Trevor," an Oscar-winning short by director Peggy Rajski and writer James Lecesne, about a 13-year old's first unrequited crush. Beautifully portrayed by Brett Barsky, Trevor is a sissy boy on the cusp of sexual awareness: verbally clever, visually and musically sophisticated but marginalized by his differentness. If it wasn't for Diana Ross, whom he idolizes, and the rich fantasy life that he develops as a refuge from homophobia, Trevor would be bereft. Rajski also won awards for "Trevor" at the Sundance, Berlin and Aspen film festivals and adapted the film from a monologue by Lecesne, a gay performance artist who developed Trevor in his one-man stage show, 'Word of Mouth.' Most of "Trevor" takes place in the character's head, where Trevor speaks to his diary and confesses his infatuation with Pinky, a baseball jock who befriends Trevor but cuts him off once the "G" word enters the picture. It's a sweet story, sort of a gay-positive fable, with a not-so-hidden agenda: Rajski made the film as an antidote to gay teen suicide. |
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(1980)
Billboard Book of Number One Rhythm & Blues Hits by Adam White and Fred Bronson "Upside Down" was Diana Ross's most successful single since leaving the Supremes, and she owed it partly to her children. Moreover, the song powered the singer's 'diana' album to number two on the pop charts, her first to reach the top since 1972's 'Lady Sings the Blues' soundtrack. The team responsible for this success, Nile Rodgers and Bernard Edwards, were t their peak in 1979. Their own band, Chick, was hot with a gold single (good Times) and back-to-back platinum albums. And their Sister Sledge productions were hugely popular, too (He's The Greatest Dancer, We Are Family). Rodgers remembers Ross showing up to see Chic at the Santa Monica Civic Auditorium in California. "Diana couldn't believe the crowd reaction. She said, 'I haven't seen this since the Jackson 5.' She was backstage, dancing and into it. 'My kids made me come and see this show, all they were talking about was Chic, Chic, Chic. That's what I want my record to sound like.'" Rodgers and Edwards accepted the challenge. "We went to visit her," Rodgers says, "and told what we always tell people: 'We'll just sit down and talk with you for a couple of hours, then go home and write the album.'" Spending time with Ross, the pair learned she wanted nothing like her previous Motown records. "She said, 'I don't want this to sound like L.A. at all. I left California, I'm in New York, I've got a whole new life here.'" The producers obliged, applying their rhythm-heavy Chic sound to the singer's sharp, angular voice. The album was largely done at New York's Power Station and Electric Lady studios, with Rodgers on guitar, Edwards on bass, Tony Thompson on drums, and Raymond Jones and Andy Schwartz on keyboards. Chic's Alfa Anderson and Luci Martin san background, and what Rodgers calls 'the funky Chic strings" was played by Karen Milne, Cheryl Hong, and Valerie Heywood, under concertmaster Gene Orloff. The lyrics of "Upside Down" personified the changes Ross was making to her life and career. "Only she knew this was her last record on Motown," says Rodgers. "We had no idea." Nor had they realized how much diplomacy was necessary. "We had to learn that with certain artists, if you tell them they're singing flat, they might look at you and say 'What?'" That happened during the making of 'diana' and the candor wasn't appreciated. "She went to the South of France for two or three months," says Rodgers, "but we worked it all out." Well, perhaps not all of it. After finishing the album, the producers heard from Motown. "they called us up," explains Rodgers," and said, 'Guys, we really have a problem with the mix.' Then Diana calls us up and says, 'I don't know why you have my voice so low.' You know what the problem was? We had more bass than they ever had on records before!" Ross and Motown engineer Russ Terrana remixed the album to the singer's taste, but they couldn't upstage the Chic groove--and 'diana' hit the album charts even before 'Upside Down" was shipped as a single.
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CELEBS ARE 'FAMILY' By BILL HOFFMANN September 24, 2001 -- Peace and love filled the air as more than 100 pop divas, actors, sports figures and TV personalities gathered in Midtown to record a new version of "We Are Family" in the wake of the terrorist attack on America. Celebs including Diana Ross, Eartha Kitt, Dionne Warwick, Debbie Gibson, Patti LaBelle and Macaulay Culkin stood side by side Saturday, singing the famed disco anthem under the direction of Spike Lee. "Everywhere you looked, there was a star - and they all seemed to get along beautifully," said one witness at Avatar Studios on West 53rd Street. Former Chic member Nile Rodgers, who wrote the 1979 smash, put together the all-star cast to raise funds for charity - and it certainly was a diverse group. Talk-show faves Maury Povich, Montel Williams, Ananda Lewis and Lisa Ling all participated, as did Broadway vets Joel Grey and Bernadette Peters. "The Sopranos" was represented, thanks to Steve Van Zandt, who portrays "Godfather"-quoting mobster Silvio Dante, and Jamie-Lynn Sigler, Tony Soprano's red-hot daughter Meadow. The sports world was there, including tennis legends John McEnroe and Jim Courier and hockey hero Rod Gilbert. When she arrived, supermodel Kylie Bax briefly stole the show - not with her singing talents, but her extremely low-cut jeans and clingy cut-off T-shirt. There was male eye-candy, too - with hunky Matthew Modine front and center. The session even had a Beatles connection in the person of May Pang, who had a Yoko Ono-approved affair with John Lennon in the '70s. One name glaringly absent was Joan Rivers, who had originally signed up but then angrily backed out when she learned proceeds from the record, which will be released next month, and video won't go to victims of the World Trade Center disaster. It will fund "nonprofit organizations working in three key areas: defending minorities from racial attacks, media and educational programs promoting tolerance, and initiatives offering diverse information about the crisis," the group said.
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ENTERTAINMENT TONIGHT 
September 24, 2001 DIANA ROSS, LENNY KRAVITZ, SHERYL CROW
and MACAULAY CULKIN are just a few of another well meaning
celebrity crew who are stepping up to the plate in an effort to help raise
funds for the relief effort following the September 11th terrorist attack.
The star-packed clan are all gathering together with others from all walks
of life to re-record SISTER SLEDGE's 1979 anthem "We Are
Family."
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FOX NEWS Diana Ross Is Supreme Diva at Charity Sing-a-Long
Monday, September 24, 2001 Diana Ross, Patti LaBelle, Dionne Warwick, Phoebe Snow and Eartha Kitt were just some of the stars who turned up on Saturday in New York to record a charity tribute version of Nile Rodgers' Sister Sledge hit "We Are Family." On Sunday, another group including the Pointer Sisters, Taylor Dayne, Jackson Browne and Deniece Williams, added their talent to the project in Los Angeles. Diana Ross was slated as the star of this event. She doesn't do much charity work and isn't seen that often. But the night before she sang "America the Beautiful" at the New York Mets game at Shea Stadium, it seemed that the Diva of all divas was trying to be a team player. All I can tell you is, when she was a child, Diana Ross must have gotten an F for "plays well with others." But more on this in a minute. If you don't know Nile Rodgers' name, let me tell you that he produced Chic hits like "Le Freak (C'est Chic)," Sister Sledge's "We Are Family," the B-52s hit "Love Shack," David Bowie's "Let's Dance," Madonna's "Like a Virgin" and Diana Ross' "Upside Down." And that's just to name a few. So when Nile put out the word that he was going to re-record "We Are Family" to raise money for World Trade Center victims and families, the stars all showed up. The place was Avatar Recording Studios on the West Side of Manhattan. On a beautiful sunny day when they could have been doing so many other things, Nile's friends came pouring in. They were joined by New York City firefighters, cops, and Port Authority police, all of whom you'll see in the video when it debuts next week. It was a joyous time, but don't worry, it wasn't all earnest. There was gossip, and lots of it. The names, the names: Valerie Simpson and Nikolas Ashford, writers of Motown classics like "Ain't No Mountain High Enough" and "Ain't Nothing Like the Real Thing," not to mention "I'm Every Woman"; the Foreigner's Mick Jones; sultry R&B singer Angie Stone; rocker Patti Smythe with husband John McEnroe; music innovator Laurie Anderson; actress Rosie Perez; B-52s' Fred Schneider and Kate Pierson; The Sopranos' Aida Turturro and Steve Van Zandt (who'd just performed on the telethon the night before with Bruce Springsteen); TV talk show hosts Maury Povich and Montel Williams; kid star Macaulay Culkin; rocker/bestselling author Bebe Buell; May Pang, John Lennon's old flame; New York Knick Mark Jackson with his wife, singer Desiree Coleman; Broadway greats Bernadette Peters, Polly Bergen, Brian Stokes Mitchell and Joel Grey; ABC soap stars Erika Slezak, David Canary and Catherine Hickland; WNBA stars Rebecca Lobo and Theresa Witherspoon; plus members of the Village People, KC of Sunshine Band fame, model Marcus Schenkenberg, actor Jesse Martin of Law & Order; rapper Run of Run DMC, and fiery soul singer Stephanie Mills. Whew! And if they weren't enough, how about the original members of Nile's group Chic, including the singer Fonzie Thornton who sang backup for Sister Sledge on their hit single "We Are Family" with Luther Vandross (betcha didn't know that!) as well as Sister Sledge themselves, Kim, Kathie, Joni and Debbie, plus their kids, and Nile's other half, Nancy Hunt, who thought the whole thing up. There was also a clutch of brave volunteer publicity people like Bryan Bantry, Bob Fellner, Lisa Raden, Jackie Bescher and Catherine Saxton who corralled this group and kept them happy in a very small, confined, hot and humid space for hours while Nile assembled the single and Spike Lee, no less, directed the video proceedings for VH-1. Danny Schecter's GlobalVision filmed interviews with all the participants. For sheer curiosity value, there was also Democratic donor and songwriter Denise Rich, who had her first hit with Sister Sledge's "Frankie." She wore a red and white striped top, a baseball cap emblazoned with "New York, It Ain't Over," the title of a song she wrote 12 years ago, and stuck like glue to Patti LaBelle the entire afternoon. They arrived without their own publicists, assistants or entourages. Most brought one friend. Diana Ross, who showed up late and made a special entrance after everyone else was in the studio, had a security team. So be it. Did we expect anything less? Immediately, the immensely talented Nile — whose trademark curly hair was inexplicably drawn into a Shirley Temple 'do — tried to get this unruly group onto the same page. "Don't worry about the words right now. We're just trying to capture the vibe," he said. "We know we have divas in the room, but we're going to pretend it's like a birthday party." Not everyone was listening still, so Rodgers added, for reassurance, "I'm a really good record producer." No kidding. But maybe we should have been worried when Miss Ross, looking a little confused, said, "Where are the words? We need the words!" The first run-through was promising but posed some problems. No Dionne. Diana's hair, teased huge, blocked Phoebe Snow. Diana looked uncomfortable. When the break came she said to Phoebe, "You should be on the first row. You're a big singer. That's where the big singers are." Snow joined the group. It would be Diana's last moment of selflessness. LaBelle — in that red dress with so much cleavage — slipped away down the hall to her Schecter interview. Suddenly, Ross came barreling out of the studio and down the hall. "Patti, get back in here!" she cried. "I need your vibe." As Ross returned without LaBelle, someone called out, "Where's Patti?" Diana answered: "She's showing off her boobs on TV!" Back in the studio, the music started to play. The 74-year-old eternal Eartha Kitt, who wore a bandana, started rocking out to the music. She was joined by a relatively unknown 25-ish African turbaned performer Angelique Kidjo, who is no wallflower. Suddenly, the two women began to breakdance, and Lee's camera followed them. The crowd in the green room, including Miss Kitt's daughter and grandson, gave the pair a rousing ovation. Miss Ross was not amused. She danced away from the front row until she was standing with Rodgers and Lee, facing the forty or so singers. "I'm going to direct now!" she called out to the surprised gathering. That was the last anyone saw of her. Within a short time, Ross — not happy to be upstaged — was gone. Her performance was fascinating. Watching her meltdown as the spotlight went to these two other women was a lesson to be remembered. Is she just mean and crazy? Or is she so self-conscious that she's literally scared of other people? One thing's for sure: When Diana moved from the singers' side of the room to the directors' side, her attitude to the singers was that she was the star, and they were the audience. "We Are Family" will hit stores and VH-1 next week. More tomorrow from backstage, including a surprising story about the Beatles
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WORKIN' OVERTIME "Workin Overtime" single was a huge seller in the r&b market giving Diana Ross a new generation of r&b fans. The single went #3 on Billboards R&B Chart and #1 Dance. "This House" was a minor r&b hit (#64) and "Paradise" went #11 on Billboards Dance Sales Chart. The album really didn't do well only hitting #116 on the Pop Album Charts. The album did much better on Billboards Top R&B Albums, hitting #38. submitted by Terrell 17013@yahoo.com
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Rolling Stone POP 100, # 12 |
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Donald Bogle "Blacks in American Films and Television" "Hollywood didn't know what to do with her (Lena Horne) then, and they still can't figure out how to handle her in the late 1970's. But Horne sings "Believe In Yourself" with the conviction of a polished veteran and a true artist, bringing to it a gospel bravado and some anger--and yes, even a surprising sense of history. Lena's attitude here seems to be that if no one else in this movie knows what he's doing, she does. She personifies the perennial star who's been misused yet has learned how to wring every moment to get the best out of what otherwise might have been the worst....Horne is the film's high point." Donald Bogle "Blacks in American Films and Television" ...the film version proved a significant setback for blacks in American movies....the movie was a soggy wet blanket that no large audience wanted to be bothered with. What really killed the movie was simply the fact that no longer were black hands in control. Instead the movie's most important creators--director Sidney Lumet and writer Joel Schumacher--were white artists, totally out of tune with the material...and the style of the performers......When the Wiz was released, there were complaints that leading lady Diana Ross (then 34 years old) was too old, also the wrong type for the naive, innocent Dorothy. What with the change in locale though, Ross might have been able to inject an urban sexiness into her character...but she's made far too wholesome and timid. In her first films Lady Sings The Blues and Mahogany, the great thing about Diana Ross was her portrait of the independent, aggressive, assertive, modern urban young black woman, a creature determined to get what she wanted, not always using her head, perhaps, but using her guts anyway. Audiences loved her maddening drive. Her movie persona was similar to the one she had as the lead singer with The Supremes. Here stood a black girl/woman who could do anything....Stripped of glitter makeup and her glitzy style, Ross herself strives hard for a sweetness, a softening of the previous bold, aggressive image, but she's pallid and how....Here she does seem far too old to be so sweetly naive. And curiously, partly because the script denies her a love interest, she's asexual as well." Pauline Kael, Film Critic "The one performer who is able to ride right over the messy carelessness is Nipsey Russell ...(he) understands that the roles are vaudeville-comedian turns. And though his tap dancing is unexciting, he shows here that all his years of playing the inoffensive black entertainer in front of white audiences haven't softened him as a performer; he has the true pro's integrity of style."
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As clear, compact and compelling a single as the Supremes would ever make, "You Can't Hurry Love" was their first R&B Number One in more than a year. Pumped full of hooks - James Jamerson's pounding bass line, Robert White's ringing guitar chords, the Supremes' tight, melodic harmonies on the chorus - the record was Berry Gordy's machine at it's commercial peak. "Berry was a great believer in hooks," understates Lamont Dozier, the song's co-writer with Eddie and Brian Holland. "He would come into the studio, and everybody would feel a little anxiety. If (the recording) was unfinished, he would just smile and walk out. But the feeling that everyone got, I can remember. It was just like your old man coming in and checking your homework." The Supremes probably taped their vocals for "You Can't Hurry Love" in Detroit on June 14, 1966, at a session sandwiched between concert engagements in San Francisco and Toronto. By this time, the group had been at the top of their game for two straight years; their itineraries were crammed with concert and television dates, personal appearances, and overseas tours. Time in the Motown studios was at a premium, and Lamont Dozier recalls that instructing the trio in their harmony parts was time-consuming. "It wasn't as if you had so many tracks to lay different sets of vocals on," he says. "We put more emphasis on the music and the band, to make sure that was fat. "Harmonywise, the reason (the Supremes) got started singing in unison most of the time is because it was just taking up a lot of time to teach them the parts. When they were on the road and had to come in and learn three or four songs, it would get very tedious. I came up with this system of just singing either very close two-part harmony or just unison, so you'd get the feeling of a haunting little thing in the background." Diana Ross, Mary Wilson, and Florence Ballard evidently learned to work swiftly. "You usually got what you needed within two takes," says Dozier. "Those people were so talented and intuitive, they had a lot of that raw instinct about how to sell a song. I don't know where they learned it from, it was just natural talent. Having that natural talent made our job easier." Motown's studio musicians made that job easier, too. The crew included Jamerson, White, drummer Benny Benjamin, and bandleader Earl Van Dyke, who usually played piano or organ. In Allan Slutsky's biography of Jamerson, Standing in the Shadows of Motown (Dr. Licks/Hal Leonard, 1989), Van Dyke said, "When Robert and I played parts in unison, we played so close and tight that a lot of times, they would stop the session in the middle of a tune and say 'I can't hear the piano' or 'I can't hear the guitar,' because they couldn't separate us - like on 'You Can' Hurry Love.'"
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Billboard Book of Number One Rhythm & Blues Hits by Adam White and Fred Bronson Motown Records conscripted nine singles for the tope of the R&B charts in 1966, from "Uptight (Everything's Alright)" in January to (I Know) I'm Losing You" in December. As "Ain't Too Proud to Beg" marched to Number One in the middle of the year, the Supremes were readying "You Keep Me Hanging' On" to capture the peak position in the fall (November 26, 1966). The group added their vocals to the song's instrumental track during the last day of June that year. "We cut three or four of these songs at one time," says Lamont Dozier. "We didn't know, but later on, trying to remember, we found that we had cut several hit tunes at the same session." Thus, it wasn't immediately obvious which would be the singles. "We had no idea," Dozier continues, we were just shooting from the hip, a gut reaction. If it felt good and it stood up and we could remember it a couple of days later, we figured that we'd done our job. almost all the time we cut the tracks first, because we didn't have the lyrics finished. I would collaborate with Edward on the lyric - he'd had something to start from - and Brian would give him melodies for the entire song." The Supremes would often add lead and harmonies to an unsweetened, basic track, which only encouraged them further to fill the vacuum with their vocals. "That's correct," says Dozier. "But although it sounded sparse, there were quite a few instruments used as far as rhythm (was concerned). In several cases, we used to use three or four guitars, mainly because we wanted to fatten up the rhythm. "We didn't have certain echo and sophistication we have today, we discovered that the more instruments - even if the guys only played units and all the same licks together - only enhanced the sound, gave us a more dynamic sound." Arrangements were done with similar disregard for the rules. "They were basically head arrangements," says Dozier. "Most of the time, Hank Cosby just wrote what we played on the piano, wrote out the structure. He would look at what we were playing or take it from a tape of the song and the chords, and we would show him on the piano how we wanted the chords voiced so you would get the same sound. That was very important." As their success rate snowballed, Holland/Dozier/Holland grew bolder. They made "You Keep Me Hanging' On" and "Reach Out I'll Be There" at around the same time - and both records pushed forward the team's creative boundaries. "We were trying to open up to different things, says Dozier. "That's why we loved what John (Lennon) and Paul (McCartney) were doing. There weren't too many people we really respected; we respected them because of their freeness." The versatility of Motown's studio musicians underpinned the Holland/Dozier/Holland innovations. "Sometimes we would have a couple of basses in there: stand-up and electric," Dozier explains. "We tried all sorts of things; a lot were done manually, with hammers and nails, literally bringing chains that you pulled trucks and cars with into the session to get a certain sound."
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