Six Degrees - PEOPLE
Recordings
DIANA ROSS AND THE SUPREMES Back To The Top
RECORDINGS
Directory
SIX DEGREES
Meet the Former Ladies of the Supremes
Six Degrees
Stone Cold Steve Austin appeared at the MTV music awards and got the chance to meet Diana Ross. They also talked to several other WWF wrestlers. Anyway, they first showed many artist standing next to him. One of them was Diana. Then they went back to that piece and showed the conversation Diana was having with him. She introduced her boys to him and said that he was beautiful and that she wondered if he had muscles under his shirt. She asked that someone rip off his shirt or something like that. Anyway, he seemed really honored to be talking to her. A little later, they were talking to Debra McMichaels who is also a person from the WWF. She said that she was so thrilled to meet and talk to Diana Ross that she just couldn't believe it. Diana was just wonderful. She also seemed in AWE of Diana.
Mary had a leg up, so-to-speak, on Diana with the Josephine baker thing. remember that Mary sang a Baker song in The Supremes' act starting in 1975 (The Dream
Sequence). Diana did not add a Josephine baker tribute until 1976 or 1977. And, although it was Diana who wanted to make a movie based on Josephine Baker's life
(even bought the rights to one of the Baker books, I believe, but was beaten to the
punch by Lynn Whitfield), Broadway producer Alan Carr actually approached Mary about
starring in a proposed Baker Broadway musical in the early 80s. Unfortunately, the
funding fell through and Carr died before he could get the project back on track. I
was fortunate enough to meet Josephine Baker's former manager at Mary's house in
1987. He was quite enthusiastic about Mary playing the Baker role.
In an interview with Brandy on Entertainment Tonight, she talks about working with one of her idols:
ET: What's it like working with Diana Ross?
Brandy: She's a legend. I've looked up to her for a long time. She's really nice and professional, and that's what I love about her the most. I'm just waiting for her to give me advice. She says she doesn't do that, but I can't wait for her to give me advice. I'll choke it out of her (laughs), hopefully she'll do it.
ET: Have you asked her for any advice yet?
Brandy: No, not yet. I'm sort of nervous, but I will, because there is a lot that I want to know about this business -- especially concerning longevity.
ET: You both are musical artists, were you inspired by her at all?
Brandy: Yes definitely. I've always been inspired by her -- more so because she's opened a lot of doors for people like WHITNEY HOUSTON, MARIAH CAREY, and for me. She's really set this business on fire, and I'm glad I get a chance to work with her.
ET: Any unforgettable moments with her so far?
Brandy: There's a scene where I have to be really mean to her, and the way she looked at me in one of the shots just made me want to cry. I walked over to her and said, "I'm just doing my job... I don't mean to talk to you like this..." After that, she gave me a big hug -- so, that was cool.
ET: Now, are you producing this along with your mom?
Brandy: Yes, my mom more so than me. She's executive producing it. I'm just glad I'm getting a chance to learn how it works -- all the behind-the-scenes action of what producers do. I get to look at the dailies, and that's fun.
ET: Diana plays your mom in this film that's not always there for you. How does that compare to your relationship with your real mom?
Brandy: I can't even imagine my mom not being around me. If she's gone for two or three days, I just go crazy because I feel like I need her. She's my right hand, so I can't even imagine. That's why, when I'm rehearsing my scenes, I imagine my mom not being there -- and it gets me really upset.
"I don't know if a single or a soundtrack will be released, but Diana Ross is the coolest person I met. She gives great advice."
- BRANDY on set of 'Out of Darkness' (THE BEAT, Billboard magazine, March 99)
CERRONE Back To The Supreme Index
Did you know that Lynda and Sundray sang background vocals on Cerrone's "Supernature" single. "Supernature" was a huge hit in the UK. It peaked at #8 in the main pop charts in 1978. Also Lynda and Sundray's backing group was called "Too Loose To Trek" - a jokey reference to Cerrone's nationality - he was French.
"Supernature" by Cerrone reached #1 on Billboard's Hot Disco Chart on January 21, 1978, and stayed there for 4 weeks. It re-entered the same chart (peaking at #12 on Sept. 28) with "house" remixes done by Danny Tenaglia.
When Chastity was a child, she had a pet hamster named Diana Ross. It wasn't that unusual a name, given that her mom, Cher, had been friends with the singer for years. But the shared name did occasionally create some confusion around Cher's house.
"The hamster died, and Chas called Cher, who was on tour or something, and she was crying and upset," Ross tells gay magazine The Advocate. "She said, 'Diana Ross died.' And it really scared Cher. She freaked out because she had forgotten about the hamster and thought it was me."
She won an Academy-award nomination for the screenplay for "Lady sings the Blues" (co-written by Chris Clark!) She also has won Emmy's for the first two Motown specials and the Lonesome Dove miniseries.
Her company, DePasse Entertainment, formerly the Gordy Co., formerly Motown Productions is a successful independent producer. "Sister, Sister" and "Smart Guy" are hers along with a whole lot of TV movies that had nothing to do with Motown or music.
..."You usually got what you needed within two takes," says Dozier. "Those people (the Supremes) 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."
..."I liked to cut her beneath her key," Dozier says, "because she got more of a sultry thing than nasal." They also recorded Ross's lead vocals fast, to keep an edge to her sound before she knew the song too well...."Diana was always a thorough professional. If she heard something (wrong), you wouldn't have to stop her, she'd stop herself and say, 'I'll do that again.' Once she was into it, she like to go from beginning to end without stopping. She may have felt it wasn't necessary to do it over. She would do it if you pressed the issue, but we found out that it was - like Earl Van Dyke said - best to get it over with, rather than cause yourself a lot of headaches."
Jean Terrell was asked to replace Marilyn McCoo when she and her husband, Billy Davis Jr. left to pursue a solo career. Jean declined due to her own aspiration as a solo artist.
When the "Supremes A. Go Go" album was released, it was credited to Holland-Dozier-Holland in its entirety. Later versions say that the album cuts were produced by Marc Gordon and others.
In 1975 Marc Gordon, a former general manager at Motown, heard of a song that Motown was sitting on, called 'Love Hangover':
"It was obvious that "Love Hangover' was the best choice for a single," Gordon says. So when he saw "It Took a Little Time" moving up the charts, he thought it "advantageous" to record "Hangover" himself and beat Motown to the disco punch. One week after informing (Hal) Davis he would record the song, ABC Records released the song as a single. Two days, later, Motown released "Love Hangover." The race was on.
Both versions debuted on Billboard's April 3rd Hot 100-but while there was little difference between the productions (Gordon: "I admired Hal's track so much I didn't want to change it. I definitely capitalized on his creativity"), Diana's hustled up the chart to Number One in nine weeks, while the Fifth Dimension's did a slow bump to 80 (though it still sold 200,000).
"Mark's is a very good record," says Davis. "They just fell in the category of being seconds, because her (Diana Ross) thing is so much superior. She has personality in the song."
When Ron Townsend retired (the first time), his nightclub act was called "Ron Townson & Wild Honey [Freddi Poole] With Jean Terrell".
ARETHA FRANKLIN Back To The Top
I'd seen her at New York's Avery Fisher Hall in April 1980, and she was upbeat, happy and joking with the audience about her new trim look....Aretha did her own take on some of 1979's biggest hits, including Michael Jackson's "Don't Stop Til You Get Enough," Diana Ross's 'The Boss,' and the Commodores, 'Still.' ....
...we watched British comedian Benny Hill on television; discussed new music by Diana Ross, Stephanie Mills and Chaka Khan that Aretha liked...
...Her second set for Arista, LOVE ALL THE HURT AWAY, was actually one of her best for the label from a musical standpoint, boasting an amazing version of Diana Ross's "It's My Turn,' which reeked of authenticity and honesty.
Aretha played a key role in bringing the Spinners to Atalantic...
...and the Four Tops....
It's easy to look back at the Supremes' early hitmaking days
through the revisionist lens offered by Mary Wilson's book Dreamgirls, and the
play of the same name. It's become almost accepted as fact that it was Ross'
overweaning ambition and Berry Gordy's personal attention to her that pushed the
supposedly more talented Florence Ballard aside.
But even Ballard's most ardent fans admit Ross had the more
commercial pop voice.
"What Berry saw in Diane, he didn't see in Flo,"
says Lynda Laurence, who was in the later Supremes. "He saw it from a
marketing standpoint. Diana had that uniqueness in her voice; there was no one
who sounded like her then, and very few girls who try even now."
Nobody worked harder than Diana Ross -- even competing Motown
divas, who had to accept her leftover songs and gowns, admit that.
According to Scherrie Payne, another late-model Supreme:
"Diana worked hard. She had a goal, and she didn't let anything get in the
way of her goal. She achieved something so tremendous, way beyond my
imagination, and probably hers as well."
DETROIT NEWS, SEPTEMBER 1999 For full review, click
here: DETROIT NEWS
"Diana Ross is a fine singer. All you have to do is listen to her Billie Holiday stuff. It's marvellous."
Three events stick out in my mind. One was singing with Diana Ross (Upside Down), which was great. The other was winning the MTV Best Video Award. And the other bit was meeting Stevie Wonder
Toured with Diana Ross. They said she taught them so much about the business and of being on the road and what colors to wear on stage to project to the audience in the rear and so on. .
I chose to work with Nile Rodgers because I think that he's a genius and I
wanted to work with a genius on my record. And I think that he embodies a
lot of different styles that I think my music embodies. He's very close to
the black sound, I mean funk, I mean the stuff he did with Chic and Sister
Sledge and Diana Ross is phenomenal.
Michael Masser's first writer/producer credit came when Suzanne De Passe asked him record Diana Ross. The union proved successful (if not frustrating) resulting in a #1 world-wide hit. She would later honor him with an album containing his songs, but he move on to record the initial hits of another young diva in training - Whitney Houston.
BRENDA HOLLOWAY Back To The Top
My favorite Motown artist was Diana Ross. I liked her sound and I liked her uniqueness, although it changed after she got her string of hits; she got more commercial. She reminded me of Eartha Kitt vocally. What she did in dance, Diana Ross did in music. And [it was] very unique, it was sort of a tribal mix of a Carribbean-type voice."
Marvin Tarplin (Smokey Robinsons' longtime music director, and co-writer) was originally discovered by the Primettes ... aka Supremes? Marvin was considered by many the 5th member of the Primettes in the early days. The Primettes consisted of Florence Ballard, Mary Wilson, Diane Ross (her real name), Betty McGlowan, and later . . . Marvin Tarplin! During that time, the Primettes were one of the few acts in the Detroit area that had a musician as a group member. When the Primettes went to Motown, Smokey aquired Marvin to play in his band.
" We went to Cannes to play at the MIDEM song festival. The Supremes didn't turn up, so we played 'Nights in White Satin' live and the next day, the whole of Frnce went bonkers. Within a couple of weeks, it was No 1- for eleven weeks. The single to to 19 in the charts in Britain, which was enough to interest people in the album.
Arthur Ross could never escape his famous sister. It was Diana Ross who gave him his break in the music industry, and it was the Motown diva whose huge success made her brother look like a failure.
Even as Arthur Ross' life reeled out of control, he spoke in a jumble of pride and bitterness about his sister. "He could never measure up," said Ajene Smith, a close friend of Arthur Ross since both were teens. "He'd sit around and talk about his life, and he'd always end with, 'They don't know who I am -- I'm just Diana Ross' brother.' "
Even in death, the 47-year-old remained a bit player in the story of the supreme Supreme, an unidentified corpse whose identity took on significance only through his famous sibling.
"You don't know how he suffered being Diana Ross' brother," Smith said. Arthur grew up as the younger brother of Diana, who was raised in the Brewster projects on the near east side of Detroit. By the time Arthur was a teen, Diana's success in the Supremes had helped the family move across town to the Russell Woods neighborhood.
He was originally called T-bone," Smith said. "We misunderstood what he was saying and called him T-Boy, and T-Boy stuck."
He was a striking young man with sharp clothes, whose flashing green eyes were almost as famous in the west side neighborhood as his sister's voice. According to a biography of Diana Ross, Call Her Miss Ross, Arthur Ross recalled lining up with his brothers and sisters backstage after concerts while his sister handed them white envelopes containing money.
Diana Ross' career financed Arthur's education at Morehouse College in Atlanta and the University of Washington, where he majored in English and history and was active in the civil rights movement.
Arthur Ross worked as a junior high school teacher for a time, but he dreamed of following his sister into the music industry. In the early '70s, Diana opened doors at Motown for Arthur, and he recorded an album.
"He had a voice that was a male version of Diana Ross," Smith recalled. "The whole family sounded like that." Arthur Ross saw his album as his chance to escape the shadow of his sister. His last name wasn't used on the record jacket, and his biography didn't mention Diana. The album sold only 12,000 copies. After that, T-Boy stuck to writing and producing. On Marvin Gaye's classic 1971 album What's Goin On, Ross wrote the song I Want You. For Michael Jackson and the Jackson Five, Ross wrote, I Want To Be Where You Are.
"He found he had a talent," Smith said. "You'd be talking to him and he'd say, 'Wait a minute,' and he'd pull out a piece of paper and write a poem. He'd hand it to you and say, 'We'll use that for a song someday.' " "He knew he could write. But at some point, it wasn't enough." Ross felt he wasn't getting the respect he deserved. He accused Gaye of stealing his music. "Somehow, his street demeanor came out," Smith said. "Instead of dealing with it in a calm way, he became angry. He wasn't stable." He had a falling out with Motown. His sister took the side of Motown.
"At some point, she cut him off," Smith said. "She gave him lots of opportunities, but he was so self-destructive. It was his fault and then some." Arthur Ross drifted back to Detroit in the mid-1980s, living on the royalties from his music.
He drank too much. And when he drank too much, he became violent. "Whatever he was doing, he was also drinking," Smith said. "He might not hurt you, but he might do some property damage." T-Boy loved to play the big man, telling strangers, "You don't know who I am." But a half continent away from Diana and a decade after his own success, few cared.
Ross once told some unsavory characters to whom he owed money that he was Diana Ross' brother. "They said, 'We don't care,' and beat him with a baseball bat," Smith said. To Smith, it appeared his high school friend had given up.
"We knew how great he was, but somehow it wasn't great enough for him or his family," Smith said. "He never believed it because he wasn't hearing it from the right individuals." The praise and support he'd received decades earlier from Diana dried up after Arthur alienated her and the rest of the family. "Diana was always having these family dinners (at her home in Connecticut), and Arthur wasn't invited," Smith said. "He finally got invited to one recently. But I don't think he bothered to show up."
His life was in a tailspin, Smith said. In February, Ross told Smith he'd received a large royalty check for songs he'd written that were recorded by Madonna on her latest CD, Something to Remember. But all of the money had to go to creditors who had liens on Ross' property. "You weren't dealing with a rational person anymore," Smith said.
"He was playing out a role of the black sheep of the family, and he played it out to the end. Maybe that's the only way he knew to get away from his sister's shadow."
]
RHONDA ROSS KENDRICK Back To The Top
"I've learned a lot from my mother because she has a lot to teach, but I don't ride her coattails. I don't sing 'Baby Love' -- though I'm always asked to. And I don't take a dime. My husband [pianist Rodney Kendrick] and I struggle with whatever income our talent and art generates."
Rufus big break had several Motown midas touches. Their first top 10 gold single, 'Tell Me Something Good' was written and produced by Stevie Wonder. Later, Chaka Kahn would have a gigantic, world-wide smash with an Ashford & Simpson composition that would later be revived by Whitney Houston with Chaka Kahn as featured guest: I'm Every Woman. Their manager was Bob Ellis, who was married to Diana Ross.
"He saw something in us when we almost couldn't see it in ourselves," Kevin Murphy (group member) said in his 1975 Blues & Soul interview (about Bob Ellis), "He first had to close his eyes because we were so bad visually--but he heard something in our music which he felt could be worked on, and he's been there behind us ever since..."
Ace records had a group in 1957 that recorded 'Just For You And Me'. Apt records had a group in 1961 that recorded 'Another Chance For You'. Kitten records in 1956 recorded 'Could This Be You'. Mark records recorded 'Nobody Can Love You'. Mascot records recorded in 1960 'Little Sally Walker', and Old Town recorded 2 versions of the same song in 1956, 'Tonight'. None of the recordings were by Motown's "Supremes!"
Berry wanted to dump Jean and replace her with Syreeta because he thought Syreeta sounded more like Diana Ross. In fact he used her to sing "I Can't Dance To That Music You're Playing" by Martha Reeves and the Vandellas although Syreeta was never a Vandella.
Tower of Power whose classic recordings include the funk-fest gems 'Down to the Night Club' and 'What Is Hip?' and the soul-moving, 'You're Still a Young Man' and 'Sparkling in the Sand' originally began their music journey as a band known as The Motowns. Co-founder, Emilio "Mimi" Castillo, an Oakland transplant from Detroit loved Motor City soul and incorporated the sounds of Motown into their horn-powered soul-funk-jazz style that would ensure their longevity.
the Primes originally consisted of Paul Williams, Eddie Kendricks, and Kal Osborn? Did you also know that, the Primettes never actually performed with the Primes? Though the group (the Primettes) were put together to be the sister group of Primes, they never actually performed with the Primes. Wasn't until the development of the groups Temptation," and Supremes did everyone actually play on the same stage together.
Sundray Tucker and Lynda Laurence is related to the late Motown singer, Tammi Terrell
After the release of 'All That Glitters' Tony Turner's supposed "tell-all" fan book on the Supremes, He turned his attention on the Temptations 'Deliver Us From Temptation' (where he verbally assult Mary Wilson). Soon, it was mentioned in the press that Tony Turner would write a book about former Motown CEO, Berry Gordy. The book was to have included a supposed sexual relationship between him and Mr. Gordy. Once word leaked out about the details in the book, most publishers stayed away from it and it was eventually shelved.
LUTHER VANDROSS Back To The Top
"One day, I want to produce Aretha," Luther declared boldly, 'Oh, and Dionne and Diana. The three fabulous divas! Yes, that's what I'm gonna do!' he siad, with a gleam in his eye.
"You can call it 'edge'," advised the late Earl Van Dyke, leader of the Motown studio crew known as the Funk Brothers, "but she (Diana Ross) never liked to do a lot of takes. She had that prima donna shit going then. You know how that is."
DIONNE WARWICK Back To The Top
"We recently ended up on the Concorde going to London together, and we both wondered how much longer we'd be able to do this road stuff! There have been times when we were together, and we both giggled about how people always thought we were rivals....I'm not sure where it began, Perhaps it was something someone at Motown started....Who knows? She's been to my house; we've talked, joked. No, we're not hang-out buddies like I am with, say Gladys Knight, but Diane-I call her that because that's her name- and I are all right with each other....She and I both want to have our own record companies and like I want to find and groom the next Dionne, she wants to do the same thing with new recording artists."
Susaye, Lynda & Sundray all sang with Stevie Wonder on the Songs In the Key of Life album
In 1968, Diana Ross and the Supremes performed at Palisades Amusement Park during one of Cousin Brucie Morrow's shows. Out walks Diana, Mary and Cindy and they jumped into "In and Out Of Love", a favorite of mine. After several hits, and some standards (very few compared to the Latin Casino shows I saw), the girls signed autographs. Having already had my encounter with Mary, and loving her dearly, I knew I would head to her first. Well, what does she do? Pats my head AGAIN and says, "You're still a cutie, eh?" I could have died and gone to Heaven. She remembered me from the Steel Pier.
We chatted for a few minutes, and then she asked if I had met Cindy yet (Flo was still in the group when I last saw them). So, off to meet Miss Cindy. At first, I didn't want to know her, I still partially blamed her for Flo's absence (in those days, who knew about the inner politics or turmoils, especially at age 9). Cindy was so charming, so warm and sweet, that she had an instant fan from that day forward. Thank God, I was not pigheaded and refused to meet her.
Next up, "Big Eyes"... Miss Ross herself. How I idolized her in those days. To me, she was the Biggest Star in the World! I remember mumbling my name to her when she asked me. She signed my program, as did Mary and Cindy (NO, sadly, I don't know whatever became of it!), and chuckled at my shyness. She said, "You really like the Supremes, huh?"
"YES, Diana.....I love them".
"Well, who's your favorite Joe?" "I glanced at Mary, and said, "The Sexy One". She flashed a big smile at me and said, "Yes, Mary is the prettiest girl in the group...but I'm the star." She said that in the funniest context, and all laughed. As I walked away, with my heart beating out of my chest, Mary yelled to me, "Hey Joe, we hope to see you again!"
The last time I saw Diana in concert was at Radio City for the "Take Me Higher" tour with a very close friend who is blind and adores Diana. My friend and I had the fortune of sitting in the third row off the left aisle. As fate would have it, it was the aisle Diana choose to walk down and perform in. Of course Diana was beaming, smiling and singing "Voice of the Heart."
My friend was sitting on the aisle and I was filling him in on what was happening and encouraged him to stand and extend his hand to Diana. I had to assist him so that his reach was directed towards Diana. When my friend rose and stood there with his arm extended and it was obvious that he was standing and acting different from the crowd, Diana looked at him out of the side of her eye. When my friend started to scream "Diana I love you" and had to reposition his cane, Diana saw what was going on. Diana went right to my friend, took his hand and sang to him. Not only did she take his hand but she held him and whispered in his ear. In a matter of seconds the two were crying and Diana finished her song holding and looking at my friend until the end. It was as if the rest of the audience had disappeared for the two of them. Diana returned to the stage, remained somewhat teary eyed and my friend kept crying. Diana seeing that he was still crying walked to the part of the stage opposite where we were sitting and mouthed to me: "Is he all right?" I think if I had said no, she would have stopped the concert to take care of him. I nodded my head to her that he was OK and mouthed back to her "thank you." I was thanking her for giving so much in a brief moment to someone I love dearly, who really deserves the best. My friend went blind just prior to that concert and if was as if fate gave him a gift. When the concert was over I asked him what did Diana whisper to you and he said she said: "Don't be afraid, be strong and remember that Diana loves you." I started to cry and am doing so right now. I will never forget that moment. That is one of the defining reasons that I admire, respect and support Diana Ross not only as a performer but as a human being. My friend almost weekly talks about his "Shining Moment" with Diana.
RUMORS AND PROPAGANDA
JOSEPHINE BAKER
Actually, Mary had a leg up, so-to-speak, on Diana with the Josephine Baker thing.
Remember that Mary sang a Baker song in The Supremes' act starting in 1975 (The Dream
Sequence). Diana did not add a Josephine baker tribute until 1976 or 1977. And,
although it was Diana who wanted to make a movie based on Josephine Baker's life
(even bought the rights to one of the Baker books, I believe, but was beaten to the
punch by Lynn Whitfield), Broadway producer Alan Carr actually approached Mary about
starring in a proposed Baker Broadway musical in the early 80s. Unfortunately, the
funding fell through and Carr died before he could get the project back on track. I
was fortunate enough to meet Josephine Baker's former manager at Mary's house in
1987. He was quite enthusiastic about Mary playing the Baker role.)
Note of Interest - From: tingrassia (redhot3@telegram.infi.net)
IMPOSTOR GROUPS
“I was in Europe doing a show, and there was a group two blocks away calling themselves The Supremes----and making money! .......‘Cause when I left the Supremes, I gave the name to Mary (Wilson) and Cindy (Birdsong) at that time, and I didn't have any ownership in the name. But I kind of don't feel good about other people singing my songs as if they were me."
According to Motown legend, various "background" singers were used to fill or substitute voices on various recordings. The Supremes were no exception. Most notorious of these "ghost singers" were the Andantes who sang behind Diana Ross on several late "Supremes" recordings, including, ironically, 'Someday We'll Be Together.'
CLYDIE KING
Another singer who claimed to sing as a Supreme was Clydie King, a background singer who didn't only work at Motown. She was also a member of the Nightingales, and the Orioles with Venetta Fields and Shirlie Matthews. Like the Blossoms, they were on everybody's records, including recordings for BB King, the Rolling Stones, Steely Dan, Joe Walsh, Joe Cocker, Elton John, Ringo Starr, Neil Diamond and a whole lot of other people. In the 70's, backup singers were beginning to be credited on albums--more at other labels than at Motown. In a Soul Magazine interview, she indicated that "the lead vocals on Nathan Jones are mine." However, Jean Terrell disputed that notion, indicating most of the time Mary and Cindy were there and sometimes there were some "other ladies" with them. The songs that don't have M&C were recorded by Jean when she first recorded at Motown--some of those are on Right On.
Supreme Wealth in Motown Vaults
"Most serious admirers of Motown Records are aware that all artists who have recorded with the company have unreleased material in its vaults. What many people are not aware of, however, is the overwhelming amount of that material. The music which has reached the public is just a tiny fraction of what has been recorded. Especially in the early years, when Motown concentrated on singles, there was a steady stream of traffic into the studios and only a trickle of releases from those sessions into the record stores.
What little we know of this material has come mostly from that wonderful slip of publicity, the premature announcement. We have Motown itself, a company never given to small talk or inside information, to thank for the information we do have.
Diana Ross and The Supremes recorded hundreds of songs which were never released. In fact, they recorded several whole albums which were announced but never pressed. After their debut set in 1962, 'Meet The Supremes' (not the same album re-released later under that title with one song , 'The Boy That Got Away' omitted, and several others added), The Supremes did a collection titled 'Supremes Sing Ballads And Blues' (Motown 610) which was never marketed. 13 Supremes albums were scheduled for release between 1964-1966. 4 were announced but never packaged. They were 'Supremes Live! Live! Live!' (626) 'There's A Place For Us', a collection of Broadway show tunes (628) 'A Tribute To The Girls', songs made famous by girl groups (633) and 'Pure Gold' (648). Another album, 'Supremes And The Motown Sound' was listed in a program booklet, but Motown has no memory of it.
After Diana Ross left The Supremes, Jean Terrell recorded around 60 songs initially, the best of which appeared on 'Right On'. Another projected package 'Kept Promises' was never marketed. Only a small amount of the music ever recorded with Jean was ever released, but the fabled LP produced by Stevie Wonder and produced by Frank Wilson never existed. It was started - a few of the songs being 'Bad Weather', 'Soft Haze' and 'Superstition'. 'Love Train' was released in Great Britain. Several live albums were recorded, at least 8 of them, but only one released, and only in Japan. A 'Best Of The Supremes' package was scheduled for 1974, along with a 'Best Of Diana Ross', but it was dropped, although similar albums have been released in other parts of the globe.
Mary, Scherrie and Cindy recorded 47 songs for their first album. Among the unreleased titles were 'Hey Boogie Man', 'I Can't Stop Dancing', 'Plant The Seed Of Love', 'Look What You've Done To Me', 'The Shoop-Shoop Song', 'Another Saturday Night', 'Bend A Little', and 'Got My Dancing Shoes On (Gonna Boogie Tonight.)
An unreleased cut from 'High Energy' is 'More Room At The Top', a song about a mother's advice about breaking out of the ghetto. It didn't fit the album's concept.
As a soloist, Diana Ross got right on the unreleased bandwagon by shelving her first album and single, 'Time And Love', produced by Bones Howe. Later, she recorded an album produced by Smokey Robinson, 'Whatever Makes You Happy', an album with Marvin Gaye produced by Ashford and Simpson, (one cut on it reached the 'Diana And Marvin' LP, originally titled 'Art And Honey'), started an album with The Temptations, recorded an LP produced by Stevie Wonder (which he slaved over and was deeply unhappy about the public never hearing), did something called 'The Baby Album' (parts of which surfaced on 'Touch Me In The Morning' and 'Last Time I Saw Him', recorded several live albums and announced singles ranging from 'Funky Rolls Royce', to 'To The Baby For The Baby', which went unheard.
Right now, Diana is talking about a disco album, a collection produced by Richard Perry, a children's album, and a Christmas package. Don't be surprised if you never hear these tunes, though she's talked about them - 'The Most Important Person', 'You Only Build Me Up To Tear Me Down', 'Fire Won't Burn', 'We Can Never Light That Flame Again', 'All Night Lover', and 'Too Shy To Say'. On the other hand, don't be surprised to see material produced by the likes of Willie Hutch, Holland and Holland, and others, including Ross herself. She has talked about an album written and produced by herself, and some of it has been completed. She's even described the cover - a painting of herself smoking a cigarette whose smoke spells out her name.
Will we ever hear the stuff? Yes, if Motown ever falls on really hard times and is bought out by another firm. Only then does this type of material ever surface. So be patient and give it about 25 years. Maybe your patience will be rewarded."
DIANA ROSS
STONEY END
After quitting the Supremes, her first solo project was reported to be a collaboration with Bones Howe. As part of the project, Diana recorded this Laura Nyro song before Barbara Streisand did, but Motown shelved the recordings, and instead, assigned Ashford & Simpson to design, what was destined, to become Diana's classic album.
TIME AND LOVE
Another Laura Nyro song that Diana did during her collaboration with Bones Howe, it was originally going to be her first solo single. But after it was shelved, Motown took the track and overdubbed the vocal with Jean Terrell and used on the Supremes' post-Diana "Touch" album.
JEAN TERRELL
After Diana Ross left The Supremes, Jean Terrell recorded around 60 songs initially, the best of which appeared on 'Right On'. Another projected package 'Kept Promises' was never marketed. Only a small amount of the music ever recorded with Jean was ever released, but the fabled LP produced by Stevie Wonder and produced by Frank Wilson never existed. It was started - a few of the songs being 'Bad Weather', 'Soft Haze' and 'Superstition'. 'Love Train' was released in Great Britain. The "Bad Weather" session (like many other recordings) came and went very fast. Jean did the lead vocal about three times before Stevie was completely happy (not an unusual recording practice)
Several live albums were recorded, at least 8 of them, but only one released, and only in Japan. A 'Best Of The Supremes' package was scheduled for 1974, along with a 'Best Of Diana Ross', but it was dropped, although similar albums have been released in other parts of the globe.
FLORENCE BALLARD
You Don't Have To
Unreleased album recorded for ABC Records in 1968.
As the founding member of The Supremes, Florence Ballard place in musical history has never been fully acknowledged. Assigned by Berry Gordy to the background, few people got to hear her magnificent voice. After she was fired from the group in 1967, she released two solo singles for ABC Records in early 1968. The singles went nowhere, and ABC chose not to release the already recorded debut album, "You Don't Have To".
The 70's SUPREMES
Bend A Little, Give A Little
Body and Soul
Can't You Hear Me Knocking Again
Chained
Colour My World Blue
Two versions exist that were never releaed
Eleanor Rigby
Function At The Junction
The classic Shorty Long hit was recorded with the Four Tops, this was left off 'The Return of The Magnificent 7' album
Get You Out Of My Mind
Give Out
Three different versions were recorded.
I Thought You Loved Me
If I Were Your Woman
Pass over by Motown in favor of Gladys Knight & the Pips version.
It's Too Late
Let Him Know (That I Love Him)
Loneliness Is A Lonely Feeling
Love Train
Originally released on GREATEST HITS AND RARE CLASSICS, there is another version that exists that is very different. The unreleased version has all 3 ladies sharing leads.
Make It With You
My Hearbeat
My Poor Baby
Never Can Say Good-Bye
People Gotta Be Free
Remote Control
Sha-La Bandit
Released on GREATEST HITS AND RARE CLASSICS; another version exists where all three ladies sharing leads.
Shoop, Shoop Song, The [It's In His Kiss]
Someday Will Come Between Sunday and Monday
Take Your Dream Back
Tears Left Over
That's How Much You Made Me Love You...
This Is Your Life
Recorded by Thelma Houston, on her 'Sunshower' album (ABC Records, 1969 & Motown reissue 1981). The Supremes recorded it for their Jimmy Webb album. The Fifth Dimension's also recorded it on their "Portrait" album with Florence LaRue on lead.
Traveling Light
You Left Me and Stepped On My Dreams
You Only Miss Me When You See Me
The Disney Album
Supremes Sing Ballads and Blues
Live Live Live
There's A Place For Us
Tribute To The Girls
Pure Gold
Promises Kept
Live in Japan (1972)
Diana Ross made such a huge impression on the public, that many recordings by the '70 Supremes have been mistakenly attributed as a Diana Ross-led song. Jean Terrell, who replaced Ms. Ross, a talented and aggressive singer, would sometimes sing in the same range as the singer she replaced. Motown, who's notorious about substituting performers during times of absentees or illness (Tammi Terrell/Valerie Simpson; Florence Ballard/Cindy Ballard) more than likely made a conscious decision to have Diana's departure from the group as smooth as possible. The following are just a few of the mistakes noticed on the jackets of cd/lp covers/booklets:
MOTOWN LEGENDS: Stoned Love/Nathan Jones (37463 8523-2)
Greatest Hits of The Greatest Stars - Motown Collection (Motown Special Products - MOTD 2857)
MARY WILSON
Red Hot
A 12 inch disco version Mary's "Red Hot" that is printed on red vinyl. On the printed label it says that the song is taken from the album "Mary Martin." The song is from 'Mary Wilson'.
 |
 |
|
|
|
Diana Ross /The Supremes |
Diana Ross | The Supremes | Motown |
E-Mail Me at