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Artist Biography by Richie Unterberger
1968 - DIANA ROSS & THE SUPREMES SING AND PERFORM FUNNY GIRL 01. Funny Girl 02. If a Girl Isn't Pretty 03. I Am Woman 04. The Music That Makes Me Dance 05. Don't Rain on My Parade 06. Cornet Man 08. His Love Makes Me Beautiful 09. Sadie, Sadie 10. I'm the Greatest Star. Das CD-Album 'Reflections' von Diana Ross + the Supremes (1968) - Alle Infos, Songs und mehr.
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- 'Diana Ross & The Supremes - Greatest Hits, Vol. 3'as allways the same great songs by the girls, have all the songs on other cds but its good to add to the whole collection. Not one bad song and after all the years that have passed they still sound as good and as crisp as the day the tracks where laid down.
The most successful black performers of the '60s, the Supremes for a time rivaled even the Beatles in terms of red-hot commercial appeal, reeling off five number one singles in a row at one point. Critical revisionism has tended to undervalue the Supremes' accomplishments, categorizing their work as more lightweight than the best soul stars' (or even the best Motown stars'), and viewing them as a tool for Berry Gordy's crossover aspirations. There's no question that there was about as much pop as soul in the Supremes' hits, that even some of their biggest hits could sound formulaic, and that they were probably the black performers who were most successful at infiltrating the tastes and televisions of middle America. This shouldn't diminish either their extraordinary achievements or their fine music, the best of which renders the pop vs. soul question moot with its excellence.
The Supremes Greatest Hits Youtube
The Supremes were not an overnight success story, although it might have seemed that way when they began topping the charts with sure-fire regularity. The trio that would become famous as the Supremes -- Diana Ross, Mary Wilson, and Florence Ballard -- met in the late '50s in Detroit's Brewster housing project. Originally known as the Primettes, they were a quartet (Barbara Martin was the fourth member) when they made their first single for the Lupine label in 1960. By the time they debuted for Motown in 1961, they had been renamed the Supremes; Barbara Martin reduced them to a trio when she left after their first single.
The Supremes' first Motown recordings were much more girl-group-oriented than their later hits. Additionally, not all of them featured Diana Ross on lead vocals; Flo Ballard, considered to have as good or better a voice, also sang lead. Through a lengthy series of flops, Berry Gordy remained confident that the group would eventually prove to be one of Motown's biggest. By the time they finally did get their first Top 40 hit, 'When the Lovelight Starts Shining Through His Eyes' in late 1963, Ross had taken over the lead singing for good.
Ross was not the most talented female singer at Motown; Martha Reeves and Gladys Knight in particular had superior talents. What she did have, however, was the most purely pop appeal. Gordy's patience and attention paid off in mid-1964 when 'Where Did Our Love Go' went to number one. Written by Holland-Dozier-Holland, it established the prototype for their run of five consecutive number one hits in 1964-1965 (also including 'Baby Love,' 'Stop! In the Name of Love,' 'Come See About Me,' and 'Back in My Arms Again'). Ross' cooing vocals would front the Supremes' decorative backup vocals, put over on television and live performance with highly stylized choreography and visual style. Holland-Dozier-Holland would write and produce all of the Supremes' hits through the end of 1967.
Not all of the Supremes' singles went to number one after 1965, but they usually did awfully well, and were written and produced with enough variety (but enough of a characteristic sound) to ensure continual interest. The chart-topping (and uncharacteristically tough) 'You Keep Me Hangin' On' was the best of their mid-period hits. Behind the scenes, there were some problems brewing, although these only came to light long after the event. Other Motown stars (most notably Martha Reeves) resented what they perceived as the inordinate attention lavished upon Ross by Gordy, at the expense of other artists on the label. The other Supremes themselves felt increasingly pushed to the background. In mid-1967, as a result of what was deemed increasingly unprofessional behavior, Ballard was replaced by Cindy Birdsong (from Patti LaBelle & the Bluebelles). Ballard become one of rock's greatest tragedies, eventually ending up on welfare and dying in 1976.
After Ballard's exit, the group was billed as Diana Ross & the Supremes, fueling speculation that Ross was being groomed for a solo career. The Supremes had a big year in 1967, even incorporating some mild psychedelic influences into 'Reflections.' Holland-Dozier-Holland, however, left Motown around this time, and the quality of the Supremes' records suffered accordingly (as did the Motown organization as a whole). Sims 3 custom traits mod. The Supremes were still superstars, but as a unit, they were disintegrating; it's been reported that Wilson and Birdsong didn't even sing on their final hits, a couple of which ('Love Child' and 'Someday We'll Be Together') were among their best.
In November 1969, Ross' imminent departure for a solo career was announced, although she played a few more dates with them, the last in Las Vegas in January 1970. Jean Terrell replaced Ross, and the group continued through 1977, with some more personnel changes (although Mary Wilson was always involved). Some of the early Ross-less singles were fine records, particularly 'Stoned Love,' 'Nathan Jones,' and the Supremes/Four Tops duet 'River Deep -- Mountain High.' Few groups have been able to rise to the occasion after the loss of their figurehead, though, and the Supremes proved no exception, rarely making the charts after 1972. Photoscore mac download. It is the Diana Ross-led era of the '60s for which they'll be remembered.
(Redirected from Diana Ross & the Supremes: Greatest Hits Vol. 3)
Diana Ross & the Supremes: Greatest Hits Vol. 3 | ||||
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Greatest hits album by | ||||
Released | December 18, 1969 | |||
Recorded | 1967-1969 | |||
Genre | Soul, pop | |||
Length | N/A | |||
Label | Motown | |||
Producer | Brian Holland Lamont Dozier Nickolas Ashford & Valerie Simpson Berry Gordy Henry Cosby Frank Wilson Deke Richards R. Dean Taylor Johnny Bristol | |||
Diana Ross & the Supremes chronology | ||||
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Review scores | |
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Source | Rating |
Allmusic | [1] |
Diana Ross & the Supremes: Greatest Hits Vol. 3 is a 1969 compilation album by Diana Ross & the Supremes, released on the Motown label.[2] It features all of the hits released by the group between 1967 and 1969 save for the Supremes/Temptations duet singles. After Florence Ballard's mid-1967 departure from the group, Supremes singles were recorded by Diana Ross with session singers The Andantes on backgrounds instead of new Supreme Cindy Birdsong and founding member Mary Wilson, including 'Love Child' and 'Someday We'll Be Together' (Birdsong's voice in fact does not appear on this album). 2016 honda nighthawk cb250 service manual.
Diana Ross And The Supremes Greatest Hits Rar Software Download
Two of the singles included here, 'Love Is Here and Now You're Gone' and 'The Happening', were also included on Diana Ross & the Supremes: Greatest Hits. That album was a double disc release, and constituted both volumes one and two of the Supremes' greatest-hits series (hence the title of this release).
Track listing[edit]
Side one[edit]
Superscripts denote original album sources, referenced below.
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- 'Reflections' (Holland–Dozier–Holland) c
- 'Love Is Here and Now You're Gone' (Holland-Dozier-Holland) a
- 'Someday We'll Be Together' (Harvey Fuqua, Johnny Bristol, Jackey Beavers) f
- 'Love Child' (Frank Wilson, Pamela Sawyer, Deke Richards, Henry Cosby, R. Dean Taylor) d
- 'Some Things You Never Get Used To' (Nickolas Ashford, Valerie Simpson) d
- 'Forever Came Today' (Holland-Dozier-Holland) c
Side two[edit]
- 'In and Out of Love' (Holland-Dozier-Holland) c
- 'The Happening' (Holland-Dozier-Holland, Frank De Vol) b
- 'I'm Livin' in Shame' (Wilson, Sawyer, Richards, Cosby, Taylor) e
- 'No Matter What Sign You Are' (Berry Gordy, Cosby) e
- 'The Composer' (Smokey Robinson) e
Album sources[edit]
- a from The Supremes Sing Holland–Dozier–Holland (1967)
- b from Diana Ross & the Supremes: Greatest Hits (1967)
- c from Reflections (1968)
- d from Love Child (1968)
- e from Let the Sunshine In (1969)
- f from Cream of the Crop (1969)
Personnel[edit]
Diana Ross And The Supremes Greatest Hits Rar Software 2017
- Diana Ross: lead vocals
- Mary Wilson and Florence Ballard: background vocals on 'Reflections', 'Love Is Here and Now You're Gone', 'In and Out of Love', and 'The Happening'
- Maxine and Julia Waters: background vocals, 'Someday We'll Be Together'
- The Andantes: background vocals on 'Love Child', 'Forever Came Today', 'In and Out of Love', 'I'm Livin' in Shame', 'No Matter What Sign You Are', 'The Composer'
- Johnny Bristol: producer and background vocals on 'Someday We'll Be Together'
- Nickolas Ashford & Valerie Simpson: producers and backing vocals, 'Some Things You Never Get Used To'
- Berry Gordy, Henry Cosby, Frank Wilson, Deke Richards, and R. Dean Taylor: producers, 'Love Child' and 'I'm Livin' in Shame'
- Berry Gordy & Henry Cosby: producers, 'No Matter What Sign You Are'
- Smokey Robinson: producer, 'The Composer'
- Brian Holland and Lamont Dozier: producers, 'Reflections', 'Love Is Here and Now You're Gone', 'Forever Came Today', 'In and Out of Love', 'The Happening'
- The Funk Brothers: instrumentation on all tracks save for 'Love Is Here and Now You're Gone' and 'In and Out of Love'.
Chart history[edit]
Chart (1970) | Peak position |
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US Top LPs (Billboard) | 31 |
US Top R&B Albums (Billboard) | 5 |
References[edit]
Diana Ross And The Supremes Greatest Hits Rar Software Free
- ^Ruhlmann, William. Greatest Hits Vol. 3 at AllMusic
- ^'Diana Ross & The Supremes* - Greatest Hits Volume 3'. Discogs.
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