More Hits By The Supremes/The Supremes Sing Holland-Dozier-Holland [Remastered] - Diana Ross & The Supremes

...Lamont Dozier and Eddie Holland, more commonly known as simply Holland-Dozier-Holland. Then of course there were Motowns legendary in-house band known as The Funk Brothers that were responsible for the vast majority of the groups biggest hits.

At the dawn of 1965, The Supremes staggeringly enjoyed their fourth consecutive chart topper with that familiar classic Stop! In The Name Of Love - undoubtedly one of their key landmarks. Stop! ...
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Even more of a progression on their part was The Supremes FIFTH consecutive chart-topper Back In My Arms Again. Stunning musically, this was somewhat sharper in its tone and Ross packs in a solid, far more assertive vocal performance. At this stage, The Supremes only real competition on the charts were Elvis Presley and The Beatles but by far The Supremes were the most succesful female vocal group.

Their sequence of ... more

In 1964, The Supremes had three consecutive No.1 hit titles to their credit: Where Did Our Love Go, Baby Love and Come See About Me. By 1965 Supremes mania was spreading across the globe like wild fire. They were, by far, Motowns biggest selling act and were literally pumping out hit after hit.

This aptly titled album captures The Supremes in their prime. The sensational combination of harmonies of Diana Ross, Florence Ballard and Mary Wilson was just magical. The Supremes were not least aided by the excellent production skills of the sheer genius songwriting trio, Brian Holland, Lamont Dozier and Eddie Holland, more commonly known as simply Holland-Dozier-Holland. Then of course there were Motowns legendary in-house band known as The Funk Brothers that were responsible for the vast majority of the groups biggest hits.

At the dawn of 1965, The Supremes staggeringly enjoyed their fourth consecutive chart topper with that familiar classic Stop! In The Name Of Love - undoubtedly one of their key landmarks. Stop! In The Name Of Love was more dramatic than their previous three hit singles and the groups lead singer, the divine Diana Ross, was clearly progressing as a highly adept vocalist whilst evidently developing a unique style and sound of her own. Her soft, yearning voice blends beautifully with the far grittier vocal style of the groups founder, Florence Ballard and the sweet, warm harmonies of Mary Wilson.

Even more of a progression on their part was The Supremes FIFTH consecutive chart-topper Back In My Arms Again. Stunning musically, this was somewhat sharper in its tone and Ross packs in a solid, far more assertive vocal performance. At this stage, The Supremes only real competition on the charts were Elvis Presley and The Beatles but by far The Supremes were the most succesful female vocal group.

Their sequence of chart-toppers was abruptly broken with their next single, the delightful Nothing But Heartaches. A catchy confection of Pop and traditional black Rhythm And Blues, the track all the more surprisingly dipped at No.11 - certainly a respectable position which a lot of artists at that time would have killed for, but a major disappointment when their previous five singles had raced their way to pole position. Nothing But Heartaches did admitedly sound formulaic especially as it bared a slight resemblance to Back In My Arms Again which may have been a strong factor as to why it proved less succesful.

The totally infectious Mother Dear had originally been lifted as a single but was then hastily withdrawn and replaced by Nothing But Heartaches. Mother Dear undoubtedly would have been a big hit regardless!

The rest of the More hits By The Supremes (1965) album was jam packed with potential singles. Each track carried the traditional Motown sound. Honey Boy was classic Supremes through and through which continued their Baby Love ethos where as the dramatic Who Could Ever Doubt My Love was musically similar to Stop! In The Name Of Love but yet there is still something distinct and unique about it.

The rolling Ask Any Girl was simply fabulous opening with a yearning performance from Ross, the track then catapults into the classic Motown sound with Ross sounding fantastic against the strong, thumping repetitve rhythm section. Ask Any Girl had previously surfaced on the Where Did Our Love Go (1964) album as well as being used as the B-side for their cross-Atlantic No.1 hit, Baby Love.

You could indeed argue that the early Supremes sound was formulaic, which is very true, but all the more surprisingly this project emerged as such an enjoyable and belting album. The ballads proved highly effective for the growing Diana Ross sound as she conveyed such an effortless flair on numbers such as the yearning Whipser You Love Me Boy where as she proves an even more devastating vocalist on the fantastic The Only Time I'm Happy.

He Holds His Own contains a gentle piano backdrop with Ross putting in a breathy, seamless performance which blends beautifully with the warm harmonies of Ballard and Wilson. More upbeat was the sweeping rhythm section on I'm So Glad Heartaches Don't Last Always whilst both stunning and touching by its mere simplicity is the beautifully delivered I'm In Love Again, a poignant number that Ross tackles with ease and finesse.

More Hits By The Supremes (1965) is simply ESSENTIAL to any Diana Ross and/or The Supremes/Motown fan. At this early stage in The Supremes career Motown hadn't yet fully recognised the strong potential in albums being used as pieces of musical art and true, More Hits... like any other studio album by other Motown acts at that time was crammed with singles and alternative filler and B-sides but every track on More Hits By The Supremes (1965) are indeed high graders making this more than a recommended album.

In late 1966, The Supremes enjoyed their EIGHTH chart-topper with the startling classic, You Keep Me Hanging On. You Keep Me Hanging On was quite a dramatic change in style for The Supremes with the rolling rhythm section, courtesy of Motowns divine in-house band The Funk Brothers, having a much harder edge, diverting The Supremes into the Rock&Roll genre. Diana Ross' lead vocal performance is also far more assertive and she sounds as though she's virtually howling at the exalting climax when she sings "so go on, get out, get out of my life, and let me sleep tonight". Quite a detour from those sweet love songs like Baby Love. An adventurous and succesful experiment for Diana and the girls.

Their next single, the fabulous Love Is Here And Now You're Gone, propelled to No.1 becoming their NINTH chart topper. The Supremes chart action at this stage was just amazing where they effortlessly pumped out mega hit after mega hit! Ross glides along the verses with finesse delivering a divinely sensual performance whilst also talk-singing in that great, intricate voice on the chrous ( a unique technique that would reach full effect on Ross' future blockbuster classic, Ain't No Mountain High Enough). The glorious, bouncy musical arrangements contain slight hints of jazz. Fantastic!

The accompanying album to these classic pair of hits was The Supremes Sing Holland Dozier Holland (1967). Like the chart-topping album The Supremes A Go Go (1966) contains many cover versions and also hosts some B-sides and left over tracks from various recording sessions.

You're Gone But Always In My Heart was a lovely heartache ballad recorded some years earlier in 1964. Ross packs in a compelling performance with her vocals sharp and distinctive, brimming tenderley with emotion. There are also impeccable backing vocals from Florence Ballard and Mary Wilson.

I Wanna Mother You, Smother You may be admitedly formulaic to the genre but it comes complete with such super-fine performances from Diana and the girls that it's almost impossible to fault. These cracking album tracks on The Supremes Sing Holland Dozier Holland are all, to say the least, totally infectious!

The Motown cover versions all work extremely well with Ross' beautiful, sensual delivery on The Isley Brothers' I Guess I'll Always Love You being sensational.

Their riviting cover version of The Four Tops' I'll Turn To Stone is just as dynamic and as effective as the original. The wonderful contrast of harmonies from Ross' sweet tender voice to the earthy vocal style of Florence Ballard and the breezy soprano of Mary Wilson all blend together beautifully on I'll Turn To Stone.

Not quite as riviting but still great and compelling regardless is their rolling version of The Four Tops' It's The Same Old Song. Ross sounds strong and passionate throughout igniting the fast and furious musical arrangements.

Ross packs in a powerhouse performance on the raw, upbeat Goin' Down For The Third Time, which had been originally recorded by Martha Reeves And The Vandellas. Certainly this track was indeed far closer to the earthy style of Martha Reeves and the Vandellas than the swinging Supremes but Ross' unusually gritty performance exceeds all expectations as she really takes a big bite into the lyrics sounding dynamic and strong.

Slightly more reminiscent of their showbiz like persona on stage is the rather sugary sweet Love Is In Our Hearts which works well but far better is the stunning ballad Remove This Doubt, one of the Supremes BEST-ever album tracks. Remove This Doubt is touching in its mere simplicity and Ross' gorgeous voice is at its most angelic. The fade out at the end when Ross, Ballard and Wilson unite to sing the chrous is just magical and perfectly demonstrated their distinct, unique sound. Remove This Doubt had been recorded bak in 1964 and had initially been planned as a single at one point though it did not see the light of day until it was pulled from the huge Motown vaults and used as the B-side to their chart-topping classic, You Keep Me Hanging On.

Another stand out track on The Supremes Sing Holland Dozier Holland (1967) is the superb, rocketing version of There's No Stopping Us Now. Ross whips along those jamming musical arrangements with conviction sounding utterly magnificent in the process.

The album then bows out on a rip-roaring version of Martha Reeves and the Vandellas knockout classic, Heat Wave. It's debatable as to whether Ross' rocketing renedition exceeds the more famous Martha Reeves Version (I must admit as much as I also love Martha Reeves I do prefer Ross' version of Heat Wave) but either way judged on its own individual merits it is a pretty damn good version with Ross neatly surfboarding along Motowns somewhat complex musical arrangements where as Ballard and Wilsons eager and enthusiastic backing vocals merley add to that dazzling effect. Had this not been already a hit for Martha Reeves and the Vandellas, this could just of as easily been a hit for The Supremes.

Arguably even better than their chart-topping album, The Supremes A Go Go on which this album had obviously taken its cue but it failed to duplicate the success of The Supremes A Go Go though still enjoyed big sales that propelled the album into the Top 10 album charts. The Supremes Sing Holland Dozier Holland firmly stands as one of their ultimate albums.

Ian Phillips

July 2006 

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