I normally keep things light and fluffy here and don't attempt to engage with the issues of the day. But with the way the world is going I don't think that is tenable anymore. It is important that those of us with a platform, however small, stand up and be counted. Starting now.
So here goes...
I think The Supremes got better after Diana Ross left. No disrespect is intended to Ms Ross who made some fine records with them and went on to make some great solo records but as a group I think The Supremes benefited from not having the choice of singer and material dictated by her ego and Berry Gordy's libido.
Mary Wilson and Cindy Birdsong finally got a chance to shine and new additions such as Jean Terrell and latterly Scherrie Payne and Susaye Greene all brought something extra to their sound.
As well as a string of great singles starting with "Up The Ladder To The Roof" and including the mighty "Stoned Love" they wandered into some interesting areas that you suspect might not have been allowed before.
One example was the 1972 album arranged and produced by Jimmy Webb on which they covered the likes of Joni Mitchell and Harry Nilsson as well as Jimmy himself. We have two tracks from that album for you. Jean Terrell takes the lead on the first, Mary Wilson on the second.
As an extra treat I've added on the title track of their 1976 album "High Energy" on which Susaye Greene steps forward to show off her Minnie Riperton style vocal range.
"All I Want" - The Supremes
"I Keep It Hid" - The Supremes
"High Energy" - The Supremes
Are you trying to take my position as Chief Contrarian? As for your claim, you are of course wrong.
ReplyDeleteI say this in sadness not anger, George, but no true contrarian would kowtow so readily to the line peddled by the Berry Gordy Military Industrial Complex.
DeleteIncidentally The Berry Gordy Military Industrial Complex will be the name of my new socially aware funk ensemble when I get round to forming it.
I can see where you're coming from with this, and the mention of the Jimmy Webb album is a fine tool in your arsenal, but I have two points in favour of the alternate argument (even though that puts me in danger of agreeing with George).
ReplyDelete1) Diana Ross's voice, particularly on those early Supremes records, is a thing of unparalleled beauty. It goes right through me, in a good way, and in a way that no other Motown vocalist, whether it be Florence, Cindy or Mary... or even Martha or Kim or Mary... quite equals.
2) I'd also argue that the Supremes had already " wandered into some interesting areas" before Diana left, not least on the likes of Love Child and I'm Living In Shame, two of my favourites.
Having played your selection, I strongly believe they do nothing to further your cause. The best-known of your five is simply a refrain, Floy Floy Floy, Floy-Joy, in search of a decent tune.
ReplyDeleteHaving been firmly instructed to get back in my box I will be postponing my posts on why Cilla Black was a better interpreter of Bacharach and David than Dionne Warwick, why a critical reappraisal of Brother Beyond is long overdue and why Bono isn't at all irritating until I can find a more receptive audience. Until then, blandness beckons!
ReplyDeleteSo next will be Mick Hucknall vs. Bobby "Blue" Bland?
DeleteI think young Ernesto has a valid point. My 'Exhibit A' for the defence would be Nathan Jones. What a belter. And instrumentation handled by the Funk Brothers too. Win win, I say.
ReplyDeleteJM
I'm with you on this. Never been a big fan of Diana Ross (I'm Still Waiting being the exception that proves the rule).
ReplyDeleteI always found Ross's voice unappealing - she hardly ever used more than one note and was very nasal.
ReplyDeleteSchism!
ReplyDeleteYes. I seem inadvertently to have turned this place into the blog equivalent of those radio phone-in shows. Does that make me a 'shock jock' (no cultural insensitivity intended)?
DeleteIs Elvis really dead?
ReplyDeleteIs Paul McCartney really alive?