Album Notes and Credits
Notes & Personnel Info
|Audio Remasterer: Kevin Reeves.|
|Motown's LOVE SONGS series wouldn't be complete without a volume covering the love-struck tunes of Diana Ross & The Supremes. Ross and her cohorts took the girl-group sounds of the Phil Spector era a bit further, expanding the musical template in a more soulful direction and upping the emotional ante at the same time. "Stop! In the Name of Love," for instance, brought an unprecedented urgency to the world of love songs in both theme and feel, while "Someday We'll Be Together" added a spiritual, gospel-tinged touch. Listen as Ross and company make R&B history.|
Producer: Lamont Dozier; Brian Holland; Harry Weinger (Compilation); Andrew Skurow (Compilation)
Associated Artists and Works
|Dyke, Earl Van|
|Diana & Marvin [Remaster] ~ Gaye, Marvin|
|Lady Sings the Blues [Original Soundtrack] ~ Original Soundtrack|
|Diana ~ Original Soundtrack|
|Christmas Hits Back to Back ~ Supremes (The)|
|Sure!, Al B.|
|Release Date : 01/27/2009|
|Original Release Date : 2009|
|Catalog ID : B001251902|
|Label : Motown|
|Number of Discs : 1|
|Studio/Live : Studio|
|Mono/Stereo : Stereo|
|SPAR Code : n/a|
|UPC : 00602517952430|
BioDiana Ross and the Supremes
It was more than a record-setting chart sweep that began when Where Did Our Love Go made Diana Ross and the Supremes into household names in the summer of 1964. It was really a love affair -- between three women and the world. Along with the charmed circle of Motown singers, writers, producers and players, they re-wrote the book on pop music in the Sixties and Seventies.
Where Did Our Love Go, written by Brian Holland, Lamont Dozier and Eddie Holland, established a sound and a group in one giant step, with Diana Ross' bright, insinuating lead, and hypnotic repeating counterpoint from Mary Wilson and Florence Ballard. The Supremes left Detroit in early summer on a Dick Clark tour bus at the bottom of the bill, but with excitement mounting, they returned with their first No. 1 record of five in a row.
Within a year, Diana Ross and the Supremes notched up six No. 1 pop singles, and they would post another six pop chart-toppers by the end of the decade. But the fact of that accomplishment is only one facet of the group's significance. The sound was so refreshing, the look so flawless, and the vibe so compelling that Diana Ross and the Supremes became no less than a defining reference point for America, for admiring musicians and fans worldwide, and for successive generations of female pop artists.
The Motown Sound was a powerful hybrid. Holland-Dozier-Holland and the legendary Motown rhythm players used blues, jazz, R&B, classical and pop devices to craft a run of Supremes hits that was danceable, melodic and diverse; funky and classy, all at once. When British pop-rock invaded the world and obsoleted most American teen acts, Motown's mix of ghetto soul and pop polish rocketed Detroit's talented artists onto center stage. The Supremes' "Baby Love" was the only record by an American group to top the British charts in 1964. Motown's ingenious new fusion was the new sound that no one could duplicate -- and everybody in pop and R&B tried.