thisoldheart
12-19-2011, 03:01 AM
after the "where did our love go", "baby love", & "come see about me" trio of hits, i think the supremes should have proceeded in this order, though it might have meant saturating the market with releases every couple of months [[but the beatles did it, and the supremes at this point might have been able to match them.)
stop! in the name of love
back in my arms again
ask any girl
nothing but heartaches [[would have done better following the less raucous "ask any girl")
i hear a symphony
he's all i got
my world is empty without you
everything is good about you [[but would motown release a song with only a dozier as one of the writers?)
love is like an itching in my heart [[would have done better, being more fierce after the smooth "everything")
mother dear [[1966 version)
then on to "you can't hurry love", "you keep me hanging on", "love here and now your gone"
then:
going down for third time
would have ditched "the happening" because i think h/d/h only did the "woo, and then it happened" part, that is that only good part of this overly non h/d/h sounding track.
the back to:
reflections
forever came today [[using mary and cindy with an amped up background vocal track, and sounding denser and closer to "reflections")
oh ya, woulda ditched "falling in and out of love" though i like it as an album track. would have loved to put "remove this doubt" in somewhere but fear the record buyers of america would have fled in droves!
then being as h/d/h were gone, i would have continued much like the tops did with "renee" and " carpenter". would have even considered a rerecorded "i can't get no satisfaction" without ross's overly enunciated diction on the refrain.
i would have ended the supremes/holland-dozier- holland wonderful collaboration with a blast cover of that i often wonder if h/d/h originally wrote for the supremes "this old heart of mine" which would not have appeared on the "a go-go" album.
after that diana ross have exited. i would have chosen jean terrell as the supremes new lead singer. she is the strongest singer, adult and professional and duets well with mary wilson. tammi, if she wouldn't have fallen ill and syreeta are too close to diana's sound to make a clean break [[and too spunky, which seems to have caused the diana/wilson split.) i think frank wilson and smokey best knew how to produce the jean terrel supremes. i would have made "someday we'll be together" as ross's first single and kept "up the ladder" for the new supremes for their first single. then i would have let valnick produce slick mor productions for ross and kept the jean terrell supremes current, vital, and funky letting ross head to las vegas and hollywood.
i would have never gone the showtune/copa white sounding route for any of motown's stars, except ross. they all seemed awkward, dated, and embarrassing in those glittering gowns by 1968.. stax and atlantic had the good sense to avoid this. i found myself embarrassed by gordy's pandering to the adult middle of the road audience, which was never the case with aretha [[who could sing anything including showtunes, but made them uniquely her own, and aretha played the fillmore - something gordy never had his stable do - big mistake!) i wish gordy would have done the same. motown should have stuck with the tried and trusted motown sound. can you imagine a motown doing something as exciting as "aretha at the fillmore" with the full funk brothers, andantes with the tops, stevie, smokey, martha, a rougher jean & the supremes and marvin on seccessive nights at the fabled fillmore? this would have energized the misguided label! i think gordy didn't realize the power he could have exerted. he had the capability but missed by his dreams by being blinded by the bright lights of los angeles.
easy to sound pretty good in hindsight, doesn't it? any objections to my rewritten history?
stop! in the name of love
back in my arms again
ask any girl
nothing but heartaches [[would have done better following the less raucous "ask any girl")
i hear a symphony
he's all i got
my world is empty without you
everything is good about you [[but would motown release a song with only a dozier as one of the writers?)
love is like an itching in my heart [[would have done better, being more fierce after the smooth "everything")
mother dear [[1966 version)
then on to "you can't hurry love", "you keep me hanging on", "love here and now your gone"
then:
going down for third time
would have ditched "the happening" because i think h/d/h only did the "woo, and then it happened" part, that is that only good part of this overly non h/d/h sounding track.
the back to:
reflections
forever came today [[using mary and cindy with an amped up background vocal track, and sounding denser and closer to "reflections")
oh ya, woulda ditched "falling in and out of love" though i like it as an album track. would have loved to put "remove this doubt" in somewhere but fear the record buyers of america would have fled in droves!
then being as h/d/h were gone, i would have continued much like the tops did with "renee" and " carpenter". would have even considered a rerecorded "i can't get no satisfaction" without ross's overly enunciated diction on the refrain.
i would have ended the supremes/holland-dozier- holland wonderful collaboration with a blast cover of that i often wonder if h/d/h originally wrote for the supremes "this old heart of mine" which would not have appeared on the "a go-go" album.
after that diana ross have exited. i would have chosen jean terrell as the supremes new lead singer. she is the strongest singer, adult and professional and duets well with mary wilson. tammi, if she wouldn't have fallen ill and syreeta are too close to diana's sound to make a clean break [[and too spunky, which seems to have caused the diana/wilson split.) i think frank wilson and smokey best knew how to produce the jean terrel supremes. i would have made "someday we'll be together" as ross's first single and kept "up the ladder" for the new supremes for their first single. then i would have let valnick produce slick mor productions for ross and kept the jean terrell supremes current, vital, and funky letting ross head to las vegas and hollywood.
i would have never gone the showtune/copa white sounding route for any of motown's stars, except ross. they all seemed awkward, dated, and embarrassing in those glittering gowns by 1968.. stax and atlantic had the good sense to avoid this. i found myself embarrassed by gordy's pandering to the adult middle of the road audience, which was never the case with aretha [[who could sing anything including showtunes, but made them uniquely her own, and aretha played the fillmore - something gordy never had his stable do - big mistake!) i wish gordy would have done the same. motown should have stuck with the tried and trusted motown sound. can you imagine a motown doing something as exciting as "aretha at the fillmore" with the full funk brothers, andantes with the tops, stevie, smokey, martha, a rougher jean & the supremes and marvin on seccessive nights at the fabled fillmore? this would have energized the misguided label! i think gordy didn't realize the power he could have exerted. he had the capability but missed by his dreams by being blinded by the bright lights of los angeles.
easy to sound pretty good in hindsight, doesn't it? any objections to my rewritten history?