Diana Ross & The Supremes - Diana Ross and the Supremes - The Ultimate Collection
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Artist: Diana Ross & The SupremesEdition: Music CD
Audio: English (Original Language)
CD Release Date: 1997-10-07
Music Label: Motown
Soundtracks:
- When The Lovelight Starts Shining Through His Eyes
- Where Did Our Love Go
- Baby Love
- Come See About Me
- Stop! In The Name Of Love
- Back In My Arms Again
- Nothing But Heartaches
- I Hear A Symphony
- My World Is Empty Without You
- Love Is Like An Itching In My Heart
- You Can't Hurry Love
- You Keep Me Hangin' On
- Love Is Here And Now Your Gone
- The Happening
- Reflections
- In And Out Of Love
- Forever Came Today
- Some Things You Never Get Used To
- Love Child
- I'm Livin' In Shame
- I'm Gonna Make You Love Me
- I'll Try Something New
- The Composer
- No Matter What Sign You Are
- Someday We'll Be Together
Free Music Notes for Diana Ross and the Supremes - The Ultimate Collection
Free Music Review: The Essential Diana Ross And The Supremes
Hit: 5 Stars
Diana Ross and the Supremes broke down many racial barriers during their eventful reign in the 1960's. Rivalled by only Elvis Presley and The Beatles, their remarkable acheivements included 12 ground-breaking chart-toppers. Motown boss, Berry Gordy, intended to use his roster of artists to appeal too not only blacks but to break into white culture too. Diana Ross And The Supremes were easily the most successful act at Motown to find acceptance in white culture whilst also shrewdly retaining their wide black base also.
There are popular misconceptions about The Supremes, that Diana Ross stepped all over Mary Wilson and the groups founder, Florence Ballard in a bid to be the sole star of the group. Mary Wilson had a breathy, seamless, pleasant-sounding soprano whilst Florence Ballards startling vocal delivery was more raw and earthy and indeed possessed a higher volume level than Diana Ross. But with Diana Ross, they immediately had a unique sound that set them instantly apart from other Motown acts. Her soft, soulful voice which was crystal-clear and neatly surfboarded along Motowns complex musical arrangements, conveyed raw elements of vulnreability and naievity that proved immensley popular to the sound of young America. She had a regal presence and was in a class and style of her own and this evidently is what Berry Gordy spotted in her when he signed her to Tamla Motown Records in January 1961.
As the civil rights wars continued across America, the sound of Motown offered seemingly light at the end of the tunnel with their racial-crossing music. Though The Supremes had very few hits in the early 1960's, their collobaration with Holland Dozier Holland began in 1963 and marked the beginning of an explosive era.....
1. When The Lovelight Starts Shinin' Through His Eyes
This classic packed a wallop like none of their other recordings had to this point. Containing an effective conga beat, the track basically had all the elements of that classic Motown sound. Dianas impressive performance is assertive and vastly solid. Her sassy charm gels well with the over-all production. When The Lovelight became The Supremes break-through recording where it climbed to No.23 on the U.S charts.
2. Where Did Our Love Go
This proved a ground-breaking landmark for The Supremes. Mary Wilson apparently detested the song and too add insult too injury, the track had already been turned down by Motowns premier female group, The Marvelettes (who helped put Motown on the map by delivering the labels first No.1 hit in 1961 with Please Mr. Postman) with lead singer, Gladys Horton labelling it "junk". Dianas evocative performance is effective, sultry and very sexy. She simply oozes sensuality on all of these early classics. The repetive rhythm (something of Motowns trademark in the 60's) and simplistic lyrics caught onto the public like a magnet and became the first in a long river of chart-toppers.
3. Baby Love
"Baby Love/ I Need You/ Oh-ho Miss Kissing You". 3 minutes of pure perfection! Baby Love is just so touching in its simplicity and Diana sparkles here with her warm, passionate and overly sensual voice. Everyone knows the words to this classic and it became another key landmark in their career. Baby Love rapidly hit No.1 on both sides of the Atlantic.
4. Come See About Me
More tails of love lost here, though this is a more sassy offering where Diana is joined in a capella by Florence Ballard and Mary Wilson at various points throughout the recording and it merley adds to that dazzling, magical effect. If anything their work was much more group orientated at this point. Come See About Me became another chart-topper.
5. Stop! In The Name Of Love
Now something of a karaoke essential! Dianas sweet, genuine sounding voice is just so adorable that its impossible to fault. She sounds so angelic and you really detect that yearning naievity in her strikingly unique delivery. Another chart-topper!
6. Back In My Arms Again
Their sound was maturing now and this classic is sharper than their previous output. Though Diana still has that vulnreable sounding voice here, she delivers this in a stronger tone than usual and sounds fabulous in the process. Another chart-topper!
7. Nothing But Heartaches
A delightful confection of pop/r&b that is a little formulaic with its musical arrangements vastly similar to Back In My Arms Again, but still is an over-all winner. This track broke the staggering sequence of No.1 hits where it peaked at No.11.
8. I Hear A Symphony
A glossy combination of r&b/pop with undertones of jazz. Well-crafted production and striking vocal performance from Lady Motown - Diana Ross. This propelled to No.1.
9. My World Is Empty Without You
Wow! This song is just breathtaking. Hauntingly atmospheric, Diana whips along the stark musical arrangements with such conviction with her tone fittingly raw, earthy and soulful. One of their best recordings. A Top 5 seller in the U.S.
10. Love Is Like An Itching In My Heart
Sassy, sexually-charged and electric, this rip-roaring classic, which became a Northern Soul hit in the 1970's, is one of their most forceful, dynamic and infectious recordings. Dianas delivery is impeccably strong. A Top 10 hit in the U.S.
11. You Can't Hurry Love
Though later covered by Phil Collins, The Supremes version easily remains the most definitive. Diana throws her voice around the upbeat arrangements, sounding remarkably effective. Another U.S chart-topper!
12. You Keep Me Hanging On
A step away from the sweet love tunes of their earlier phenomenon with Diana sounding more aggressive and assertive, especially at the exalting climax of the track when she sings "Go On/Get Out/Get Out Of My Life/And Let Me Sleep Tonight". Motowns instrumental band was known as The Funk Brothers and they are behind this raging classic as well as the majority of the classics on here. You Keep Me Hanging On became another chart-topper!
13. Love Is Here And Now You're Gone
Diana Ross and the Supremes were just amazing. They just kept pumping out No.1 hit after No.1 hit and this offering from 1967 was another chart-topper to their credit. Dianas delicious delivery is beautifully dripping with real gutsy emotion and she effectively talks through various part of the recordings which really emphasised her stylish, sensual voice. The musical arrangements are glorious on this number with subtle hints of jazz gelled neatly into the production.
14. The Happening
Swinging, sassy fun here. Dianas playful delivery ignites the recording with some wonderful backing support from Florence Ballard (her last recording with the group as she was fired soon afterwards and was replaced by Cindy Birdsong who previousy was a backing vocalist for Patti Labelle and The BlueBelles) and Mary Wilson. Deservedly another chart-topper!
15. Reflections
Jimi Hendrix and The Beatles perharps defined the ultimate, swirling psychedelic sound of the 1960's but Motown certainly made a significant contribution with this being one f their more adventurous and diverse offerings. Opening with weird, bizarre, synchronised sounds, the track soon leads into a pounding, soulful affair with Dianas stirring delivery being impressivley razor sharp. One of my own personal favourites. The track hit No.2 on the U.S Charts. This incidentally was the first recording to be billed under Diana Ross And The Supremes, a change that sparked off more bitterness between these three ladies behind the scenes.
16. In And Out Of Love
Returning to a more traditional Motown sound here as the Holland-Dozier-Holland momentum was beginning to wear thin now and times were changing. Still vastly infectious regardless. In And Out Of Love became another Top 10 hit.
17. Forever Came Today
A highly underated soul classic that encapsulates that swirling psychedelic vibe effectively. Dianas performance is dazzling on this atmospheric recording that was enduringly experimental for its time. Forever Came Today steadily climbed into the lower reaches of the Top 40 charts. It was also the last track to be produced by the genius Holland-Dozier-Holland who really helped create that ultimate Motown sound. The song-writing trio departed from the label after a bitter feud with Berry Gordy over royalty payments.
18. Somethings You Never Get Used To
After the swift departure of Holland-Dozier-Holland came Ashford and Simpson who were most defintely Motowns hottest "in-house" production teams Motown had after them. Their first collaboration with The Supremes was a spectacular affair even though initally not quite having the immediacy of their previous output. This track, with its rollercoaster musical arrangements and a dynamic performance from Diana, makes this another winner.
19. Love Child
Their very best classic! Raw, soulful and earthy, Love Child offered profound social commentary that was oddly perceived as highly controversial at the time though is tame by todays standards. Dianas strong performance is fantastic! Another No.1 smash hit!
20. I'm Gonna Make You Love Me (With The Temptations)
A dynamic tour de force here as Diana Ross and the Suprems joined up with The Temptations for a host of spectacular television specials and a series of albums. The splitting of lead vocal duties between the lush harmonies of Diana Ross to the exuberant, sweet falsetto from Eddie Kendricks makes for an enjoyable transistion. By far, their greatest recording together.
21. I'll Try Something New (With The Temptations)
A lush ballard where vocals are alternated between Diana Ross and Eddie Kendricks though features an effective interlude from the deep, husky voiced, Melvryn Franklin. A smooth, soulful affair.
22. I'm Living In Shame
An attempt to repeat the tried and tested formula of Love Child. Though not quite re-capturing the momentum, the track has individual merits of its own and again offered social commentary. Dianas gritty delivery is stunning! A top 10 smash hit.
23. The Composer
Written and assembled by the genius Smokey Robinson, this song all the more surprisingly is considerably lacklustre in comparison to the rest of the album lacking force and immediacy.
24. No Matter What Sign You Are
Diana sounds positively stunning and electric on this highly underated classic. Her tone is so pure, soulful and earthy and really gives startling ignition to the complex arrangements.
25. Someday We'll Be Together
And finally the dream came to an end when Diana Ross left The Supremes after this classic became their twelth and final No.1 hit. Another one of my all-time favourite Diana Ross recordings as she breathes fire and soul into this timeless, truly touching recording that can just move you to tears. Dianas breathtakingly beautiful delivery gives me goose bumps!
An excellent representation of the most successful female group in history! The strong impact of their music has continued through four decades and their immortal legacy lives on. Diana Ross and The Supremes were perharps the American dream.
Ian Phillips
Diana Ross and the Supremes - The Ultimate Collection Poster
Out of print in the U.S.! The Ultimate Collection from Diva Ross and her two Supreme sidekicks is just that....the ULTIMATE Collection! This is the best single-disc compilation on the market by the chirpy trio and features more than a plethora of hits. The world is a much better place because of songs like 'Where Did Our Love Go', 'Stop! In The Name Of Love', 'I Hear A Symphony', 'Baby Love', 'You Can't Hurry Love', 'The Happening' and everything else on this CD. There's 25 great tracks here that say more in three minutes than many artists entire catalog. It's soulful. It's melodic. It's brilliant. It's the ultimate collection. Universal.The title is a bit of a misnomer: The Supremes are anthologized in more comprehensive fashion on Motown's three-volume Greatest Hits series, while this package is denser, and has a higher hit-per-track ratio. But if you'd rather pick up one collection than three, and if you want a good, thorough skimming of cream from the group's catalog, this is the better choice. All of the familiar songs are here, with no major omissions--and they're packed in with a liberal helping of second-magnitude hits. For a collection that samples only the extreme top end of the Supremes' output, there's Every Great No. 1 Hit, also on Motown. It's missing a lot, but it delivers exactly what it promises. --Gavin McNett
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