This is the most stunning and diverse album I have heard in a while. For me it's one of those types of albums that I knew would become one of my personal favorites upon hearing the first few songs. Listening to this album for the first time a few days ago made me recall other great albums of the past from artists like the Band of Gypsy's, Minnie Riperton, Public Enemy, Buckshot LaFounque and others, that simply reached out from the speakers, grabbed me around the neck and forced me to pay attention to the fact that I was going to be introduced to something different and I had betta pay close attention, right from the git go. Much like great albums of the past this is an album that has no true genre, it's a sonic masterpiece of audio art. Once you think you know what type of album this is, it suddenly changes up and becomes something slightly different, yet as it changes, you just elevate yourself to a new groove, that simply takes things to the next level.
Susaye Greene, AKA "The Last Supreme" is perhaps best known for exactly that. Susaye Greene was the last member of the Supremes signed to Motown Records, with Mary Wilson and Scherrie Payne.. However she is also probably the only person to have been both a member of the "Raylettes" and "Wonderlove". She's worked with Harry Belafonte. Her voice has a permanent place in the history of Soul music for singing lead on New Birth's classic song: "Until It's Time for You to Go". She co-wrote "Free" for Deniece Williams and more. Despite all of these accomplishments, there is NOTHING in her past that I am aware of, suggesting ANYTHING like this album...
Just to give you an idea of what I am talking about, please take a look at my somewhat generalized descriptions for each song of Susaye Greene's new CD called "Brave New Shoes"
* Black in Blue (CTI/GRP style vocal Jazz/Funk)
* Love Controls You (Stone Cold Stank Nasty Betty Davis/LaBelle style Funk/Rock)
* Time (Stone Cold Stank Nasty Betty Davis/LaBelle style Funk/Rock)
* Living In a Vacuum (Frank Zappaeque/Roger Troutmanesque style Funk/Rock)
* Never Dreamed (CTI/GRP style vocal Jazz/Funk)
* Get What U Give (CTI/GRP style vocal Jazz/Funk)
* Back When We Were Young (CTI/GRP style vocal Jazz/Funk)
* Never Can Wait For Love (CTI/GRP style vocal Jazz/Funk)
* Generation Maxd (Whodini/Special Ed 1980's Style Rap/Techno)
* Bee's Groove (Digable Planets/Buckshot LaFounque Style Conscious Jazz/Rap)
* Children of the Ghetto (Digable Planets/Buckshot LaFounque Style Conscious Jazz/Rap)
* In The Wind (CTI/GRP style vocal Jazz/Funk)
* High Energy (Updated Motown/Disco/Funk)
* Rhythm Revolt (Digable Planets/Buckshot LaFounque Style Conscious Jazz/Rap)
* Let's Have Some Fun (Lambert, Hendrix, Ross style Vocalese)
* The Ocean (Led Zepplin/Living Colour Headbangers Ball)
* Deep Inside It (Stone Cold Stank Nasty Betty Davis/LaBelle style Funk/Rock)
Keep in mind, the characterizations that I have just listed about each of the songs is "generic". In fact they could even be misleading, because the generic terms that I used can't possibly take into account the colors, textures and inter/intra dependencies of the songs themselves. Today I listened to this album for the second time in it's entirety, just to make sure that I "checked myself" before making a commitment to it. I feel even stronger about it today upon a second listen. When I listen to it for a third time I will most likely discover even more to like...
* What kind of audience will like this album? I dunno?
* What's the market for this album? I dunno?
* What kind of radio stations will play this album? I dunno?
What I do know is that this album is tailor made for Soul-Patrol.
It's truly a representation of "Great Black Music from the Ancient to the Future".
It has a home here...and BIG UP's to Susaye Greene for having the guts to seek out her own musical truth...
CLICK HERE TO LISTEN!
Take a listen to our latest broadcast, (streaming exclusively on Soul-Patrol.Net Radio) based on the recently released "SUPREMES: 70's ANTHOLOGY", from our friends at Motown/UME.
70's Supremes Anthology: Up The Ladder To The Roof, Stoned Love, It's Time To Break Down, River Deep Mountain High, Nathan Jones, Function at the Junction, Floy Joy, Automatically Sunshine, and Your Wonderful Sweet Sweet Love, Bad Weather. Featuring the Chantels introducing the broadcast...
listen to the choice cuts from the 70's Supremes Anthology CD
DISC 1: DIANA ROSS & THE SUPREMES
1. I Want A Guy
2. Buttered Popcorn
3. Tears, The
4. Your Heart Belongs To Me
5. Let Me Go The Right Way
6. Breath Taking Guy, A
7. When The Lovelight Starts Shining Through His Eyes
8. Run Run Run
9. Where Did Our Love Go
10. Baby Love
11. Come See About Me
12. Stop! In The Name Of Love
13. Back In My Arms Again
14. Whisper You Love Me Boy - (single mix)
15. Mother Dear
16. Nothing But Heartaches
17. I Hear A Symphony
18. My World Is Empty Without You
19. Love Is Like An Itching In My Heart - (extended mix, previously unreleased)
20. You Can't Hurry Love
21. This Old Heart Of Mine (Is Weak For You)
22. You Keep Me Hangin' On - (alternate mix, previously unreleased)
23. Love Is Here And Now You're Gone
24. Happening, The
25. Things Are Changing
26. He - (stereo mix, previously unreleased)
DISC 2: DIANA ROSS & THE SUPREMES
2. In And Out Of Love
3. Forever Came Today
4. Nitty Gritty, The
5. Sweet Thing
6. Some Things You Never Get Used To
7. Love Child
8. I'm Gonna Make You Love Me - (with The Temptations)
9. Try It Baby - (with The Temptations)
10. I'm Living In Shame - (with The Temptations)
11. I'll Try Something New - (with The Temptations)
12. Composer, The
13. No Matter What Sign You Are
14. Someday We'll Be Together - (alternate mix, previously unreleased)
15. Hard Day's Night, A
16. It Makes No Difference Now
17. Ain't That Good News
18. Bewitched, Bothered And Bewildered
19. Whistle While You Work - (alternate mix, previously unreleased)
20. If A Girl Isn't Pretty
21. Where Do I Go / Good Morning Starshine
22. Can't Take My Eyes Off Of You
23. Rhythm Of Life - (with The Temptations)
24. Impossible Dream, The - (live)
Before yesterday, if you had asked me what I thought about Diana Ross, I would have been one of those people who would have said they were not fans of her
See with "Ms. Ross", there is usually no in between, people either love her or hate her.
End of story.
As of yesterday, I have done a COMPLETE 180 with respect to Diana Ross.
You see I had either forgotten or never had even realized what a TREMENDOUS talent she is.
During the rehearsals yesterday for the Rock n' Roll Hall of Fame Induction ceremonies, each performer had to perform 2 songs, twice.
SHE TORE THEM UP BOTH TIMES!!!
I was mesmerized and when she was through, I wanted more!
For some reason, I had always been under the impression that she had a "weak voice".
Not anymore...She's badd!
Here is what I would like to see her do....
Hire an orchestra, something along the lines of the Nelson Riddle Orchestra
(is Nelson Riddle still alive?)
Get Quincy Jones or perhaps even Wynton Marsailas (since there is no FUNK involved here, he might be willing to do it?....lol) to conduct/produce
Cut about 3-4 albums worth of material (covers of jazz standards)
Release one of the albums every year (a la Linda Ronstat)
Each one would be a hit album
She could do this for the rest of her career!
Take away all of the scandals, gossip, the London's Airport "frisking", etc
She's a TERIFFIC jazz singer
I guess I always knew that from Lady Sings the Blues, but damnnnn
If I know it, why don't the people who are managing her career seem to know it?
ONE MO' THANG....
The ONLY African American media at the Rock n' Roll Hall of Fame Induction ceremonies was Soul-Patrol.com.
ALL of the African American artists there took note of that and treated us accordingly, including Ms. Ross :)
1. While we were standing at the table, waiting to get our press credentials to enter the ballroom at the Waldorf Astoria, for the rehearsals, we saw Diana Ross's publicist and she said the following...
"Ms. Ross would like the ballroom cleared of everyone, while she rehearses..."
This didn't exactly surprise anyone who heard it, based on the reputation of Diana Ross....lol
Sure enough, later on as the time approached for Diana Ross to rehearse, the ballroom slowly but surely started to empty out, by the time she took to the stage, where there had once been perhaps 100 people milling around, now there were about 20.
(I have a feeling that she specifically requested that we be allowed to stay)
2. I was sitting at a table near the stage, Diana Ross was no more than 20 ft. away from me, and the whole time she was singing, I had my camera in hand, ready to take a picture. Naturally, I was afraid to do so, based on her reputation. I had visions in my head of security guards running over to me and conficating my camera......lol
I waited till the end of her performance, and then took a picture.
She looked at me for just a moment, and then smiled and went on about her business!
3. As Diana Ross prepared to leave the stage, she pointed at AAdamsRib, then looked over to her publicist and said...
"You make sure that she gets whatever she needs...."
I guess that sometimes, some people can get a bad rap?
Or maybe people change?
Or maybe, sometimes, people really do remember where they came from?
Either way, all I can say about the lady is that she treated us quite well :)
-- Bob Davis
- Florence Ballard: Born June 30th, 1944, Detroit - Dead: February 22th, 1976
- Diana Ross: Born March 26th, 1944, Detroit
- Mary Wilson: Born March 6th, 1944, Mississippi
The Supremes kept on right on recording Top 10 hits after Diana abandoned the group literally without missing a beat. In 1969 WITH Diana, the group charted 5 singles before "Someday...", only ONE of which got inside the Pop Top 25.
("I'm Living In Shame" hit #10). And NONE of those five singles charted higher than #8 R&B.
In 1970 WITHOUT Diana, the Supremes charted 4 singles, ALL of them made the Pop Top 25 and ALL but one (which hit #11) surpassed that #8 R&B peak of "...Shame".
"Stoned Love" was the Supremes first #1 R&B hit outside of "Someday..." since "Love Is Here And Now Your Gone" way
back in early 1967, when the group was still The Supremes.
The TRUE fact of the matter is that "Diana Ross and The Supremes" NEVER hit #1 R&B even once before their swan song, and the group only had ONE Pop #1 ("Love Child") during the entire THREE YEAR span in which Diana took top billing.
Meanwhile, it took Diana over three years solo before she hit her first (and to date her ONLY) #1 Pop Album, the 1973
"Lady Sings The Blues" Soundtrack. Many people considered that to be a "comeback" album, as Diana had not charted ANY Pop or R&B singles or albums during the entire year of 1972.
And it took the unstoppable star power of Marvin Gaye as a duet partner to again rescue her dormant music career during
the period between "Touch Me In The Morning" and "Mahogany".
To be fair, Diana's music career fell off so dramatically while the Supremes kept churning out hits
because Diana was more seriously focused on becoming a multimedia superstar.
But the hits kept coming for the Supremes: "Nathan Jones" sold a million copies in 1971, "Floy Joy" was yet another
international Top 5 R&B smash in 1972, and multiple hits written and produced from both Smokey Robinson and Stevie
Wonder continued the Supremes' unbroken string of success.
It was only after the Supremes became victimized by a constant turnover of singers (Cindy Birdsong left in 1972,
and both Jean Terrell and Lynda Lawrence left in 1973) that their star diminished. It becomes quite obvious that those
defections destroyed the group far worse than Diana leaving.
Mary Wilson remained the foundation of the group despite all these changes, and they kept charting into the mid 70's.
Only after Mary lost the rights to use the "Supremes" name following their sold out 1978 tour of Europe (featuring Mary Wilson, Karen Ragland & Karen Brown) did the group disband.
The Roof has to be some of the groups better cuts.
Some of the people up here know of my "dislike" for a certain "diva". As a matter of fact my feelings about the group were similar to yours. They were in fact "funky" (if Imay be so bold to use that word) after a "certain diva" left the group. It was at that point that I actually began to like them and even purchaced one of their albums !!
Anybody remember the album "Floy Joy" ??
As for the Temps, some favorites of mine are: Don't Look Back, What Love Has Joined Together, It's Growning especially My Girl.
were good but to see them perform disgust me. To see Dinah Ross just step to the front and spread her arms to block out
the rest made me sick. She was and still is not real. If God wanted us to have European weave he would have given it to us at Birth. I can see weave for someone that has hair falling out and they want to make their head look as though it is full of hair but to add 2 feet of hair to your head to try to make yourself look better. SORRY!!!! Won't work.
I enjoyed the Supremes better after Dinah Ross left the group. They became a real group then. The music wasn't the same but I still enjoyed them. What ever happened to them? I know what happened to the Temptations. They were in Fla. a while back at the Swap Shop.
1. The absence of a "certain diva".
2. The fact that my main man "Smokey" wrote and produced all of the songs on the album except for one (if my memory is
3. Just as others have alluded to, this album was damn FUNKY and the singing is great also....I even recently picked up a
package recently called "Supremes 70's" which....actually contains most of "Floy Joy" !!
(a 4th & undocumented reason is that those chicks looked GREAT on the album cover....I used to "stare" at it often)
One of my favorite CD's that I have (and I own 40 LP's, 100 CD's and 700 Cassettes). Their music was Funky, the absence of the "certain diva" made a difference. "Floy joy" that was the song.
While I do not like the way Diana and Berry made her the star of the group and Mary, Flo and Cindy just background singers, I love the music. I bought BUTTERED POPCORN three years before WHERE DID OUR LOVE GO turned them into an international group. I've loved the group and its members from then till now. Just wish the 70's group would get more recognition and attention.
I don't care whom she was sleeping with, no one can sustain super stardom for thirty-plus years on bedfellows alone.
OK! I'm through defending Diana!
spectacular material--I'm particularly fond of "Ladder," "Stoned Love," "Bad Weather," and "Gonna Let My Heart Do the
Walking," as well as the entire TOUCH album.
But I digress. Diana Ross.....She's the boss!!!
Why do you suppose that is ??
I dare not speaketh her name !! …..J
along the way! The way I see it, the Supremes were great, Diana was and is great, end of story. You can enjoy either
or both without being nasty about the other. What's the point? Anyway, back to the topic at hand, what're your favorite Supremes albums? My personal fav. (not including live albums or concept packages) is MORE HITS BY THE SUPREMES (lotsa goodies: "Stop!," "Back in My Arms Again," "Heartaches," "I'm in Love Again," "Who Could Ever Doubt My
Love," "Whisper You Love Me Boy," "Mother Dear").
SYMPHONY was a great album! So was SING HDH. Of the post-Diana groupings, my faves are RIGHT ON and TOUCH. By the way, have you heard anything about the Supremes box set that was supposed to have been released by now??? Has it
been delayed? Canceled? (I hope not!)
Most of the songs are in mono
"a seriouly Funky Joint"
I’M STILL STARIN AT THAT ALBUM COVER !!
her I just don't like her. She just lacks real talent. I'm not knocking anyone that likes her. I use to like her until I watched her perform and I began to notice how she tried to upstage the others and that is when I began to dislike her.
Just never thought she was all that and a bag of chips or a very talented person. If she was she would have given everyone else a chance to do their thing also.
but with all my oom pa pa going on I could only be Florence. But guess what, that was just fine with me. We had it going on. Makes you reminisce. I think i'll plan on calling the girls tomorrow and share memories.
was 90% white audience...sure whites like Diana, but you must understand that Berry Gordy's game plan for Motown in
the 60's was to create a music that was a cross-over appeal to white audiences...this he accomplished beyond his wildest dreams...I happen to have went to high school with Diana Ross and I think in order to understand whole-heatedly why the lady is the way she is you would have to really know where she came from and the effect that Berry and the Motown factory as a whole had on her and others...You would have to go back to pre-1958 on Gladstone Street...know what was about to aspire and understand that this man was about making money no matter what monsters he would create nor who he would destroy...there was plenty of very good talent who came through the doors of the factory only to be used and discarded...I say all this to say that Diana, despite what all say of her was a product of this man...As a young girl from the ghetto of the Brewster Projects, she, as any young person who is suddenly thrust into the light of fame may react, changed personally for the worse...If you listen to their first album, Meet The Supremes, one of my favorites which was recorded while they were still in high school you hear each member sing lead on various songs...Diana was the lead...had always been lead singer...It was determined by Gordy and Holland Dozier Holland that she would sing lead on all songs...After the regional success of their first album with such hit songs as Buttered Popcorn, I Want A Guy, and the funky Let Me Go The Right Way, the marketing department took over and the grooming began...voice lessons, dance lessons, charm and etiquette school to turn these ghetto girls into America's darlings and make millions for the company...Diana loved it! who wouldn't?...instant fame!...by 1964 they were ready...Where Did Our Love Go launched them to overnight stardom worldwide...still only 19-20 years old, no female group had ever had this effect on the music scene. closest African-American group was the Shirelles and they weren't anywhere near being promoted like the Supremes...between the years 1962-64 this group was being groomed for the inevitable...most of the songs they would record had already been written long before release and were being rehearsed in the studio after school on a grueling schedule...Believe me, if Diana did not make the grade in Berry's stable, she would have been replaced quicker than the blink of an eye...You can go down the list...there were many...case in point...The Temptations...many believe that David Ruffin was an original...he was not...although his picture appears on their first album, he only sings on two songs...Eldridge Bryant was replaced by Ruffin for the recording of My Girl...The success of this hit prompted the release of their first album Meet The Temptations which contained regional hits of some two or three years prior...but the seed had been sowed for worldwide fame.
Back to Diana...although I don't personally like Diana, she is not the same as I remember her at Cass Tech High School,
I must admire what she has accomplished...having been witness to what was going on at the Motown factory at the time I can understand why she is the way she is...She is the product of a man possessed with using her talent to make millions for himself and her...She was a big part in the overall plan...she learned and performed well...I was really upset when the decision was made for her to pursue a solo career...didn't think she would do well...but she did and I bought several of her albums...personally I think she is a self-centered, egotistical, butt hole...not in the same league as Patti Labelle, but I wouldn't think Patti is the same as she was with The Bluebells nor Tina when she was with Ike or Gladys with the Pips...we all change...The hair? that's superficial...they all have these superficial quirks...None are the same as they were 30 years go...She's 52 years old...They are all over 50...unfortunately, in our youth oriented society they cannot afford to look 50+.
to make her a star...
I even can say her name out loud and have the ability to type her name rather than typing "a certain diva". I do concede that she does not have a strong voice like Gladys or Patti or a many octave voice like Mariah or Whitney but she s as big a star as them - if not bigger!!!! To do that takes some kind of talent. And she's got "some kind of talent!!!". It was enjoyable reading your post about Motown. Not many people know that when the Distants and the Primes combined to become the TEMPTATIONS that David Ruffin was not one of the original five. He was the first of many replacements.
Back to the SUPREMES. When the Primettes signed with Motown, FLO was primary lead singer with Diana Ross, Mary WIlson and Barbara Martin as background singers. As you said, Berry thought Diana's voice was more commercial and would be more acceptable to the white audience than Flo's raw sound. At the time he was right. He, the group and the label were huge successes. The SUPREMES and all the individual ladies were great - or as FLO used to say
"Honey we is terrific !!!"
And to a lot of people she is a star.
(She is a "fading star" but not a nice person...this makes her ugly..and my mom always told me, "God don't like ugly!")
You just made me think about "Norma Desmond" !!!
"Mr. DeMille I'm ready for my closeup now"
And where do I find posters of the original group to buy?(apart from the Motown Museum).Thank you.
It is autographed by Mary Wilson. 42"Hx28"W Catalogue # 245050 Price $ 625 Phone 1-800-521-0042
Lawrence and possibly Sherry Payne were in the group. They re-recorded many of the supremes songs I heard ( but find it hard to believe) that Cindy was a secretary at Motown
I know that they had 12 #1 singles with Miss Ross, and numerous other top 40 hits.
I think Diana went on to have 6 more #1s. Also, when did the last Supremes officially disband. (Heck, they might
still be going)
UP THE LADDER TO THE ROOF; STONED LOVE ; AUTOMATICALLY SUNSHINE; NATHAN JONES and a few others that made top 40 like IM GONNA LET MY HEART DO THE WALKING. The Supremes officially disbanded in 1976. However, Mary Wilson's career never really took off as a soloist and she went on tour with background singers (they constantly changed and billed herself as MARY WILSON OF THE SUPREMES and also MARY WILSON FORMERLY OF THE SUPREMES.
She certainly maintains a huge following in many gay club circles and perhaps among some "Pop/AOR oldies" fans, but according to the playlists I follow through the Billboard R&B Radio Report, Jack The Rapper. Soundscan Inc. and other sources, Diana Ross literally does not exist on Urban radio.
Re: Diana's disappearance from the charts of late...that is due to several factors, not the least of which is the shabby
promotional "efforts" Motown has afforded her last few projects. Consider this: In 1993, Diana's "One Woman: The
Ultimate Collection" greatest hits package was marketed as the holiday album of the year in England by EMI (who distributes Diana's material outside of the US). It went on to spawn two further hit singles for Ross, as well as reaching quadruple platinum status. In the US, Motown waited a year before releasing it, and then did so as simply another catalog reissue "best of" CD! Two of the newly recorded songs which had rounded out the UK version of the album were dropped from US pressings, thereby negating even the possibility of a further single release being culled from it.
Diana's last studio album, "Take Me Higher," was given similar lavish promotional values in England, and it debuted
at #10 on the UK album charts. In the US, there was exactly ONE full page ad in Billboard, the week of its release. ONE.
Then, Motown decided NOT to issue Diana's cover of "I Will Survive" as a single, even AFTER it became the highlight of
Ross' highly-publicized Super Bowl halftime show AND debuted on the UK singles chart at #14 AND featured a widely-lauded and -reported video clip guest-starring RuPaul (the video alone earned Diana spots on all the major TV entertainment shows).
can't seem to BUY time on US radio. Besides Motown's lackluster efforts on her behalf, it's also undeniable that the bad publicity surrounding Mary Wilson's "Dreamgirl" memoirs (which were written with the help of a ghostwriter, conveniently left unmentioned the fact that Diana finacially bailed Mary out after Mary hit rock bottom with her cocaine habit, and featured several stories which are easily debunked by listening to OTHER people's sides of the same stories, INCLUDING old interviews with Florence Ballard herself [who once said that she'd rather deal with Diana than Mary, because Mary could be two-faced, whereas at least Diana shot straight]). In 1985, Diana enjoyed one of the biggest hits of her career with "Missing You," a #1 R&B and #10 pop hit. Mary's book was published at the end of that year, and Diana hasn't placed a single on the US Hot 100 since.
Divas like Diana Ross are rare."
Click Here To Return To The Classic Soul Homepage