"There's No Stopping Us Now" by The Supremes

"There's No Stopping Us Now" by Diana Ross and The Supremes The Mono version is on YT.

Why do the Funk Brothers sound better in Mono?

Why didn't Motown release this as a single since this great song obviously added to the album sales?
It is a great song and was it ever performed
live or filmed being performed? The Funk Brothers
are jammin on this song.Ms.Ross' vocals are top notch. This song should have been remastered during the disco era a la Bonnie Pointer's "Heaven Must Have Sent You". McFadden and Whitehead's song is similarly upbeat."Ain't No Stopping Us Now".

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Originally Posted by TNSUN

"There's No Stopping Us Now"
Why didn't Motown release this as a single since this great song obviously added to the album sales?
It is a great song and was it ever performed
live or filmed being performed? The Funk Brothers
are jammin on this song.Ms.Ross' vocals are top notch. This song should have been remastered during the disco era a la Bonnie Pointer's "Heaven Must Have Sent You". McFadden and Whitehead's song is similarly upbeat."Ain't No Stopping Us Now".

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I always thought it was a lost hit too. I guess it is all too easy to analyis it all 50+ years later.
The powers that be must have had their reservations regarding its hit potential, but whichever way you look at it this was a great record.

for keeping up with LP release schedules, not everything can be issued as an "A" side. I felt the same about Whisper You Love Me Boy, Everything's Good About You and He's All I Got.. most record company's were out to get their flagship acts a major hit every season, with big hopes for a huge early summer hit and a blockbuster holiday season hit...the first singles radio airplay and TV performances helped pump LP sales.

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Originally Posted by TNSUN

"There's No Stopping Us Now" by Diana Ross and The Supremes The Mono version is on YT.

Why do the Funk Brothers sound better in Mono?

Why didn't Motown release this as a single since this great song obviously added to the album sales?
It is a great song and was it ever performed
live or filmed being performed? The Funk Brothers
are jammin on this song.Ms.Ross' vocals are top notch. This song should have been remastered during the disco era a la Bonnie Pointer's "Heaven Must Have Sent You". McFadden and Whitehead's song is similarly upbeat."Ain't No Stopping Us Now".

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"Why didn't Motown release this as a single since this song obviously added to the album sales?"

I guess to many, this is a rhetorical question based on the mutual agreement among Motown fans that so many of the recordings back at this time were OUTSTANDING and worthy of release as singles. Maybe the question should be, "Why didn't Motown release this as a single instead of X,Y, or Z?" Over exposure of an artist/group is not a good thing for the artist/group or the record company. To my understanding, that's one reason Motown had so many subsidiary labels...so DJs and the buying public would not see a monopolizing of the MOTOWN label. Personally, I would have loved a new single by the Supremes every couple of weeks [[through the years I've heard so many 'single' potential cuts from albums); however, the general public would probably get tired of the bombardment of recordings by the group.

I can always remember where "There's No Stopping Us Now" was located on the album [[side 2, next to the last song just before "Heat Wave"). Diana works through those long phrases with earnest energy and doesn't even take a breath! We all love that glitch in the saxophone section. Musically, I loved the chord patterns in the composition. Yes, single worthy; however, released instead of what???

I believe it got play in philly area.

Mark Rosen, for Diana Ross' next album could produce a new version of "There's No Stopping Us Now" a la "Uptown Funk". 🎁🎁🎁🎁🎁🎁

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Originally Posted by TNSUN

"There's No Stopping Us Now" by Diana Ross and The Supremes The Mono version is on YT.

...Why do the Funk Brothers sound better in Mono?...
.

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I don't know the answer to that question, but they mixed the mono records to sound best on tiny little transistors and on AM radios in cars, which is how most of us listened to music back then. Since the Funk Brothers were such an essential part of the Motown sound, they probably mixed the mono sound to highlight the Funk Bros.

I remember replacing all my mono Supremes albums with Stereo versions when I got a stereo. I loved the stereo sound and separation but was disappointed that some stuff was muffled and pushed back in the mix. One example was the difference that I heard in I Hear A Symphony. In the stereo version, D & F voices were not as prominent mix as they were in the original mono mix.

i think it's a very strong song but look at the Supremes' releases. they're not just very strong. they're dynamite.

part of the problem [[if you could call it that) was the HDH and the Supremes made SO MANY excellent records. but even within this excellent catalog, there are some that are just superstar winners.

Compare the actual A sides:

Symphony
My World
You Can't Hurry Love
You Keep Me Hanging On
Love Is Here

these are all masterpieces. and obviously i just listed a handful. the other A's were also

then you have the "Tier 2" songs which are still marvelous but many just not quite as perfect

Everything is good
whisper
Going down 3rd time
there's no stopping

for any other group these would have been great hits. and for the Supremes they most likely could have done well too.

both There's No stopping and Going Down were finished up in June/july 66. At the exact same time as You Can't Hurry Love and You Keep Me Hanging On. As good as There's and Going Down are, they just don't quite reach the same level as YCHL and YKMHO. Those two songs simply HAD to be A side releases.

And once their runs were done, it's now early 67. sure There and Going are good songs but HDH and the girls need to keep moving forward, not reaching back into the older songs. the A sides needed to be something new and exciting.

Still the quality of There's and Going Down are evident as they emerged as B side

I've often thought that strong B-sides were used to help push sales for the A-side. However I also considered that some strong B-sides might have been used to offer an alternative to radio programmers and DJs should the A-side not catch-on with the fans.

Love Is Here and Reflections both were a bit unique and different from what fans were used to, while their respective B-sides fit the Motown and Supremes formula to a "T". This gave Motown a little insurance. Had either A-side failed to garner radio play their B-sides might have found favor.

I know in the Boston area There's No Stopping Us Now and Everything Is Good About You received regular air-play along with their respective A-sides, Love Is Here and My World Is Empty. I do not recall Going Down For The Third Time receiving airplay alongside Reflections.

I loved There's No Stopping Us Now for many years but now it's one I will skip. Although come to think of it I skip Love Is Here quite a bit too.

In addition to the saxophone glitch, the phrase "Would you believe" was probably an ad-lib by Diana Ross. This phrase was a very popular catch-phrase from the TV show "Get Smart" - everyone was saying it, everywhere! I loved it when it appeared out of nowhere during this song.

I loved this song for such a very long time but what song would it have replaced ?

I never really cared much for this song. A robust vocal from Diana, but i find the chorus quite weak. At that point in time motown knew what they were doing as regards single releases.
I agree with sup in that their are the class A songs and then the very good, but not quite good enough B class.

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Originally Posted by johnjeb

I've often thought that strong B-sides were used to help push sales for the A-side. However I also considered that some strong B-sides might have been used to offer an alternative to radio programmers and DJs should the A-side not catch-on with the fans.

Love Is Here and Reflections both were a bit unique and different from what fans were used to, while their respective B-sides fit the Motown and Supremes formula to a "T". This gave Motown a little insurance. Had either A-side failed to garner radio play their B-sides might have found favor.

I know in the Boston area There's No Stopping Us Now and Everything Is Good About You received regular air-play along with their respective A-sides, Love Is Here and My World Is Empty. I do not recall Going Down For The Third Time receiving airplay alongside Reflections.

I loved There's No Stopping Us Now for many years but now it's one I will skip. Although come to think of it I skip Love Is Here quite a bit too.

In addition to the saxophone glitch, the phrase "Would you believe" was probably an ad-lib by Diana Ross. This phrase was a very popular catch-phrase from the TV show "Get Smart" - everyone was saying it, everywhere! I loved it when it appeared out of nowhere during this song.

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agree that a strong B side will also get some spins. I'm certainly glad though that motown didn't try and do dual releases, promoting both sides, as they did with a few Marvelettes and MRATV releases. while on occasion both have done well, most of the time they just dilute each other's chart performance. if both sides are that strong, then hold one for the next release.

I agree. They recorded some great stuff but it seemed Motown was always in a rush to the next thing.
I remember Diana Ross 76 album being a big seller and instead of Motown just letting it breath a bit....they release a hits album...which imo should have been held back until nov

I've always wondered why the Supremes and other groups rarely if ever performed any of the songs from their albums, TNSUN and EIGAY are two prime examples of songs that could have helped sell the albums that they were on. I would have much preferred to hear them sing these songs as opposed to the standards that they performed.

As much as I love "There's No Stopping" [[although, like Johnjeb, I've cooled off of it in recent years), I don't think it had a chance at anything above the lower half of the top 10, and had it missed the top 10 it wouldn't surprise me. I agree with Sup's point about the different class of song, the exception being I really believe "Going Down" would've been a major hit had it been released between "Hangin" and "Love Is Here" if given a mix that punched it up just a tad.

Of the B sides:

I would've released "You Bring Back Memories" as the A side instead of "My Heart Can't Take It No More"...Possibly "Ask Any Girl" between "Baby Love" and "Come See"...Possibly "I'm In Love" between "Stop" and "Back"...and of course "Third Time" between "Hangin" and "Love Is Here".

Overall I agree with the opinion that the B sides were right where they should be, especially during the DRATS period. The only B sides during DRATS that I might have considered is "You've Been So Wonderful To Me" and "I'm So Glad I Got Somebody", and of course both of those could've replaced a few DRATS singles. I can't imagine they would've done any worse than the A sides they were released with.

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Originally Posted by SatansBlues

I've always wondered why the Supremes and other groups rarely if ever performed any of the songs from their albums, TNSUN and EIGAY are two prime examples of songs that could have helped sell the albums that they were on. I would have much preferred to hear them sing these songs as opposed to the standards that they performed.

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Berry Gordy wanted these groups to reach much more than the typical youth oriented market which other popular acts seemed to cater exclusively back in the day. Get the youth to a concert where they would often be accompanied by their parents, and the groups would not only perform the 'hits' but also songs which the adults can relate to. Word of mouth spreads that the music group is not only 'cool' [[or 'groovy') with the young folk but also very musically relevant and talented in the category of 'standards'.

Thanks to the Supremes' repertoire which included MOR standards, I was exposed to such classics as the "Rodgers and Hart" catalogue, show tunes, and the "Funny Girl" selections. Such exposure broadened my appreciation of all sorts of music. Even today, I'll hear a song like "Where or When" being sung by a contemporary artists and immediately my mind goes back to the first time I heard it by the Supremes in the 60s by the Supremes. I expect the artist will do it with the same phrasing as Diana sang the song, only to realize that each artist has his/own interpretation.

The Supremes and Temptations were pretty much doing pretty well on the sales of their pop oriented albums. Berry, imo, knew what he was doing by throwing just enough of the standards/show tunes to their albums as to broaden their appeal.

I've noticed, in listening to the Supremes' live concerts from the 60s, that they [[arrangers, musicians, singers) tended to treat the performance of the 'hits' as "let's just rush through these and get them over with" while at the same time performing the standards with more care and detail.

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Originally Posted by sup_fan

agree that a strong B side will also get some spins. I'm certainly glad though that motown didn't try and do dual releases, promoting both sides, as they did with a few Marvelettes and MRATV releases. while on occasion both have done well, most of the time they just dilute each other's chart performance. if both sides are that strong, then hold one for the next release.

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I think Motown avoided this possibility during the latter 60s by releasing promo singles to radio stations with the same song on both sides, whereas promo singles from the early 60s were the same as the released single. Maybe DJs never played Going Down For The Third Time because they never received a promo single for air-play that included this B-side. Also, as radio playlists became tighter, DJs no longer had the autonomy to play a favorite record like they could in the early 60s.

Great one; always loved it.

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Originally Posted by daviddh

I agree. They recorded some great stuff but it seemed Motown was always in a rush to the next thing.
I remember Diana Ross 76 album being a big seller and instead of Motown just letting it breath a bit....they release a hits album...which imo should have been held back until nov

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yeah i think that became even more of an issue in the 70s. a lot of the DR solo and Sup 70 material wasn't given ample time to really run its course. especially the 70 and 71 material

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Originally Posted by SatansBlues

I've always wondered why the Supremes and other groups rarely if ever performed any of the songs from their albums, TNSUN and EIGAY are two prime examples of songs that could have helped sell the albums that they were on. I would have much preferred to hear them sing these songs as opposed to the standards that they performed.

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oddly enough the Sups did promote their Symphony album. the medley of standards from the lp was in the show for years. and they did it on Sullivan.

Same with Sam Cooke, Rodger's & Hart and [[for a brief while) Funny Girl.

but you're right. the rest of their material wasn't supported promotionally. especially in the 70s. it really wasn't until Diana's 1979 Boss tour that the show heavily promoted a majority of the material from the lp

i definitely think they should have done more with the Jean albums. their album material was so strong. they should have tried to incorporate the look and songs into their tours

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Originally Posted by jobucats

Berry Gordy wanted these groups to reach much more than the typical youth oriented market which other popular acts seemed to cater exclusively back in the day. Get the youth to a concert where they would often be accompanied by their parents, and the groups would not only perform the 'hits' but also songs which the adults can relate to. Word of mouth spreads that the music group is not only 'cool' [[or 'groovy') with the young folk but also very musically relevant and talented in the category of 'standards'.

Thanks to the Supremes' repertoire which included MOR standards, I was exposed to such classics as the "Rodgers and Hart" catalogue, show tunes, and the "Funny Girl" selections. Such exposure broadened my appreciation of all sorts of music. Even today, I'll hear a song like "Where or When" being sung by a contemporary artists and immediately my mind goes back to the first time I heard it by the Supremes in the 60s by the Supremes. I expect the artist will do it with the same phrasing as Diana sang the song, only to realize that each artist has his/own interpretation.

The Supremes and Temptations were pretty much doing pretty well on the sales of their pop oriented albums. Berry, imo, knew what he was doing by throwing just enough of the standards/show tunes to their albums as to broaden their appeal.

I've noticed, in listening to the Supremes' live concerts from the 60s, that they [[arrangers, musicians, singers) tended to treat the performance of the 'hits' as "let's just rush through these and get them over with" while at the same time performing the standards with more care and detail.

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I totally undestood the strategy behind most of the groups doing standards and MOR material and I think it contributed to their crossover success and longevity but as a fan, I think it was a complete waste of their artistic talent. Yes, the Rogers and Hart album is an exception but that material is not why most folks fell in love with the Supremes, the Four Tops, Marvin Gaye or the Temptations.

i beg to differ - it's the girls magical ability to sing pretty much ANY type of music that sold me. personally i've always found appeal in a huge range of music: classical, opera, jazz, motown, r&b, disco, pop, broadway, etc. So the Supremes' ability to sing all these styles and sing them well was proof of their artistic talents.

seems like some groups fared better with this strategy than others. Randy mentions that Smokey never really seemed comfortable singing broadway or standards. Meanwhile that's what Marvin wanted to do rather than his pop hits. The temps did them well, although i would think that by the very late 60s and 70s, it would be a challenge to sing Old Man River and Psychedelic Shack in the same concert

the four tops were excellent at jazz. love their Workshop Jazz album. their Hello Hollywood is ok. maybe not as strong at the Temps. sometimes Levi's voice is just too overwraught for the tunes and they get a bit saccharine.