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  1. #1
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    If you could "fix" one release

    starting the new year with a new thread about how you could do something 'new' with one of the releases. What would you do? would you change the lineup of an album or swap some unreleased tracks? change the cover art? release a different single? and go ahead and include the solo work too.

    You have a magic wand to change lolol

    for me, i'd probably redo the NWBLS album:

    1. use the correct and appropriate title of Stone Love [[notice no D)
    2. redo the cover art to focus on the afro pic then better utilize the inside of the gatefold cover to incorporate more smaller pics and info on the girls
    3. slight adjustment with song lineup - cut Na Na and replace with Life Beats. Possibly cut Come Together and replace with Time and Love

    IMO had the girls had a megahit album with Stone Love it could have seriously altered the momentum and longevity for the "new" Supremes

    another idea could be the debacle in the US with Force Behind the Power

  2. #2
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    Obviously a lot of fixing I would do throughout the catalog, but I'll focus on just one [[for the moment...I reserve the right to return to this thread with additional albums or songs to "fix"): We Remember Sam Cooke.

    I would switch the tracks from LA to Detroit, pure Funk Bros. I would've given the lead to Mary on "Only 16" and given Flo the lead on "A Change Gonna Come". I would've had Mary sing her usual lower part and Diana the higher part in the background on "Good News". I would've dumped that boring drawing of the girls on the cover and replaced it with:

    Name:  557186_603011139737783_166459691_n.jpg
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  3. #3
    Changed the mix on Eaten Alive. There was a good album there, that was lost in the mixing, in my view. On some tracks, Miss Ross - whose vocals have always been crystal clear, that is one the reasons Berry picked her as His Big Female Star - well, the listener can hardly determine what she is singing about.

    I mean, running Eaten Alive over in my head:

    "Animals stalking you at night,
    <mumble mumble mumble>,
    <mumble mumble mumble>,
    <mumble> bed of leaves....
    "

    etc.

    Where oh where was Russ Terrana when Miss Ross needed him?

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    Well, I didn't think I'd return so soon with another fixin' but here we go: I Hear A Symphony album.

    I would've scrapped "With A Song In My Heart", "Without A Song" and, even though I LOVE the next two, I would've scrapped "Stranger In Paradise" and "Wonderful, Wonderful".

    I would've replaced those songs with "Take Me Where You Go", "Too Much A Little Too Soon", "Love Is Like An Itchin" [[as it was originally recorded, but completed and mixed), and the English version of "Moonlight and Kisses".

    I would've kept "Yesterday", but given the lead to Mary and had the track cut in Detroit. I also would've kept "Unchained Melody" but again had the track cut in Detroit.

    I probably would've changed the cover, but I can live with that.

    I know what HDH were trying to do with the Symphony album, I just wish they hadn't.

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    Alright, I'll give Diana a turn and choose Last Time I Saw Him.

    I would scrap "No Ones Gonna Be A Fool", "Love Me", "You", and "Turn Around", replacing them with "I'll Be Here", "Why Play Games", "Get It All Together" and "Let Me Be the One".

    I would've probably gone with a different cover also.

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    I realize Florence's album was never released, however if it had been and I were going to do something different, I would keep "Like You Babe", "Yours Until Tomorrow", "It Doesn't Matter How I Say It" [[vocal as on an alternate version), "Walk On By", "Goin Out Of My Head", "Sweetness", "Everything Wonderful" [[forcing Flo to give the vocal more punch toward the end), "Love Aint Love", "Forever Faithful" and "My Heart". I would add "Tell Mama" and "Knock On Wood", two songs that I've always thought Flo would've been great with.

  7. #7
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    Quote Originally Posted by RanRan79 View Post
    Obviously a lot of fixing I would do throughout the catalog, but I'll focus on just one [[for the moment...I reserve the right to return to this thread with additional albums or songs to "fix"): We Remember Sam Cooke.

    I would switch the tracks from LA to Detroit, pure Funk Bros. I would've given the lead to Mary on "Only 16" and given Flo the lead on "A Change Gonna Come". I would've had Mary sing her usual lower part and Diana the higher part in the background on "Good News". I would've dumped that boring drawing of the girls on the cover and replaced it with:

    Name:  557186_603011139737783_166459691_n.jpg
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    I agree 100% with switching the recordings from LA to Detroit. I would have probably switched out the producers as well to either HDH, Stevenson/Hunter or C. Paul.

  8. #8
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    Quote Originally Posted by grangertim View Post
    Changed the mix on Eaten Alive. There was a good album there, that was lost in the mixing, in my view. On some tracks, Miss Ross - whose vocals have always been crystal clear, that is one the reasons Berry picked her as His Big Female Star - well, the listener can hardly determine what she is singing about.

    I mean, running Eaten Alive over in my head:

    "Animals stalking you at night,
    <mumble mumble mumble>,
    <mumble mumble mumble>,
    <mumble> bed of leaves....
    "

    etc.

    Where oh where was Russ Terrana when Miss Ross needed him?
    I LOVE Diana Ross and rarely, if ever, post anything negative or second guessing any of her choices. but to me the EA album is my least favorite of her RCA years and as a whole in her musical catalog. It's her equivalent to the New Supreme's Jimmy Webb album, it was just wrong in every way, from start to finish. How were the Gibb Brothers relevant in 1985 to an r&b/pop artist like D. Ross? Their time had past and they all but washed the r&b/soul out of her voice. I would have scrapped everything about that album.

  9. #9
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    Quote Originally Posted by grangertim View Post
    Changed the mix on Eaten Alive. There was a good album there, that was lost in the mixing, in my view. On some tracks, Miss Ross - whose vocals have always been crystal clear, that is one the reasons Berry picked her as His Big Female Star - well, the listener can hardly determine what she is singing about.

    I mean, running Eaten Alive over in my head:

    "Animals stalking you at night,
    <mumble mumble mumble>,
    <mumble mumble mumble>,
    <mumble> bed of leaves....
    "

    etc.

    Where oh where was Russ Terrana when Miss Ross needed him?
    I'd agree - and actually maybe new vocals for some of the songs as well, those on which Diana tried to mimic Barry G a tad too much.

  10. #10
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    Quote Originally Posted by RanRan79 View Post
    Well, I didn't think I'd return so soon with another fixin' but here we go: I Hear A Symphony album.

    I would've scrapped "With A Song In My Heart", "Without A Song" and, even though I LOVE the next two, I would've scrapped "Stranger In Paradise" and "Wonderful, Wonderful".

    I would've replaced those songs with "Take Me Where You Go", "Too Much A Little Too Soon", "Love Is Like An Itchin" [[as it was originally recorded, but completed and mixed), and the English version of "Moonlight and Kisses".

    I would've kept "Yesterday", but given the lead to Mary and had the track cut in Detroit. I also would've kept "Unchained Melody" but again had the track cut in Detroit.

    I probably would've changed the cover, but I can live with that.

    I know what HDH were trying to do with the Symphony album, I just wish they hadn't.
    I would have scrapped everything on Side 1, except for the title track and replaced them with HDH originals. I was not a fan of those MOR tunes by the Supremes and Tops. Yes, I understand why they were done, but as a fan, I'd rather have original Motown tunes than these pop covers, even Yesterday.

  11. #11
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    The first album that comes to mind is ROSS [[1978).

    If it had been in my hands, I would have dumped all of Side 2. While I like some of the songs on that side, repeating REACH OUT I'LL BE THERE from 1971 when there were so many unreleased songs in the vault makes no sense to me. I would also have dumped SORRY DOESN'T ALWAYS MAKE IT RIGHT and TOGETHER as they had already been released three years previously on a flop single. I would saved WHERE DID WE GO WRONG and TO LOVE AGAIN for a future compilation.

    Instead for Side 2, I would have opened with I WANT TO BACK THERE AGAIN. I also would have included SINCE I DON'T HAVE YOU as well as the Holland-Holland productions of FIRE DON'T BURN and WE CAN NEVER LIGHT THAT OLD FLAME AGAIN. While all of those songs did sound slightly dated by 1978, I think a good remix could have done wonders. Since THE WIZ was released around this time, I would have ended the album with the Motown version of HOME.

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    This is difficult in some ways but easy in others....
    First ...Forever Came Today was the first single to not have the usual spark. Remix needed.
    I would not release Something's you never get as a single or Shame..Composer....
    Just my opinion.
    Lp..Let the Sunshine In..a mess .....combine sunshine and Cream...Crop....

  13. #13
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    Ross solo....the Last Time I Saw Him lp needed an overhaul.another mess.
    The out takes were far better.think this is a case of BG rushing out product. Before it was ready

  14. #14
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    70 Supremes
    Drop Jimmy Webb . Remix bad weather.

  15. #15
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    Do something with Bad Weather. It sounds like Stevie just gave up on it but he was onto something with it.

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    Quote Originally Posted by luke View Post
    Do something with Bad Weather. It sounds like Stevie just gave up on it but he was onto something with it.
    Bad Weather was never going to be a hit, for anybody, mix, remix, new vocals. It only had Stevie's name attached to it.

  17. #17
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    Quote Originally Posted by SatansBlues View Post
    I LOVE Diana Ross and rarely, if ever, post anything negative or second guessing any of her choices. but to me the EA album is my least favorite of her RCA years and as a whole in her musical catalog. It's her equivalent to the New Supreme's Jimmy Webb album, it was just wrong in every way, from start to finish. How were the Gibb Brothers relevant in 1985 to an r&b/pop artist like D. Ross? Their time had past and they all but washed the r&b/soul out of her voice. I would have scrapped everything about that album.
    i agree with you Satan [[lololol i loved typed that! laughed out loud with it lol)

    to me the entire EA project was a mess, which i've said many times on here in a variety of threads. the bizarre lyrics on title track, the horrid mixing of her vocals, the clashing nasal tones between her and the Gibbs

  18. #18
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    Quote Originally Posted by SatansBlues View Post
    I LOVE Diana Ross and rarely, if ever, post anything negative or second guessing any of her choices. but to me the EA album is my least favorite of her RCA years and as a whole in her musical catalog. It's her equivalent to the New Supreme's Jimmy Webb album, it was just wrong in every way, from start to finish. How were the Gibb Brothers relevant in 1985 to an r&b/pop artist like D. Ross? Their time had past and they all but washed the r&b/soul out of her voice. I would have scrapped everything about that album.
    I love the Eaten Alive album. My favorite of the RCA years. And is up there with her best Motown albums. IMO. The only song I skip is the title song. That’s what makes this so interesting everyone has their favorites and dislikes.
    Last edited by vgalindo; 01-03-2020 at 11:57 PM.

  19. #19
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    Quote Originally Posted by SatansBlues View Post
    I LOVE Diana Ross and rarely, if ever, post anything negative or second guessing any of her choices. but to me the EA album is my least favorite of her RCA years and as a whole in her musical catalog. It's her equivalent to the New Supreme's Jimmy Webb album, it was just wrong in every way, from start to finish. How were the Gibb Brothers relevant in 1985 to an r&b/pop artist like D. Ross? Their time had past and they all but washed the r&b/soul out of her voice. I would have scrapped everything about that album.
    I disagree. It was not a great album, but it had some fine moments. The title track was awful and needed a remix but the likes of Chain Reaction, Crimes of passion and Experience are up there with her best rca work.
    I totally agree about the Jimmy Webb album which was an absolute disaster in every respect. It was the album that finally killed off The Supremes despite brave attempts to revive their fortunes in the following years.

  20. #20
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    Quote Originally Posted by vgalindo View Post
    I love the Eaten Alive album. My favorite of the RCA years. And is up there with her best Motown albums. IMO. The only song I skip is the title song. That’s what makes this so interesting everyone has their favorites and dislikes.
    This mirrors my opinion.

    The Eaten Alive track is a complete mess - one of her worst ever singles imo although it was really only in the US and UK that it bombed so badly - it was a respectably sized hit in many territories but Chain Reaction is one of Diana's best selling solo singles globally and tracks like Crime Of Passion [[a sure fire lost UK hit), I Love Being In Love [[With You), Don't Give Up On Each Other and Love On The Line are all up there with Diana's finest.

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    I thought Eaten Alive was a good album but the title track...I love her singing More and More and I'm Watching You.
    Crimes of Passion was a lost hit.
    Totally agree with what has been said previously...except the I Hear a Symphony....I would replaced the Lovers Concerto

  22. #22
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    Quote Originally Posted by RanRan79 View Post
    Obviously a lot of fixing I would do throughout the catalog...
    I definitely agree. Previously I suggested some album fixing for Symphony, New Ways and HDH in those respective threads. Recently I thought about comments regarding Liverpool that were made during similar discussions. It was mentioned that maybe the album should have had a stronger Motown/Funk Bros influence rather than the scaled-down garage-rock versions on that album.

    I think what might have improved the album is to include the British bands original material on Side 1 - as recorded for the Liverpool LP. The Motown and Soul influenced tracks [[recorded with The Funk Bros in Detroit) could be used for Side 2.

    The Beatles recorded Money, Postman, Hold On Me and non-Motown R&B Isley Bros song Twist & Shout. And of course DC5 did Do You Love Me. The Stones as well as Dusty recorded Can I Get A Witness in 1964. All good songs for a soulful Motown-style Side 2 for Liverpool.

    Liverpool Side 1: You Can't Do That, World Without Love, House Of The Rising Sun, Because, Can't Buy Me Love, Hard Day's Night
    Liverpool Side 2: You've Really Got A Hold On Me, Do You Love Me, Money, Please Mr Postman, Can I Get A Witness, Twist & Shout

    Essentially it was an album that really didn't need to be released at all.
    Last edited by johnjeb; 01-04-2020 at 02:10 PM.

  23. #23
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    Quote Originally Posted by RanRan79 View Post
    Obviously a lot of fixing I would do throughout the catalog, but I'll focus on just one [[for the moment...I reserve the right to return to this thread with additional albums or songs to "fix"): We Remember Sam Cooke.

    I would switch the tracks from LA to Detroit, pure Funk Bros. I would've given the lead to Mary on "Only 16" and given Flo the lead on "A Change Gonna Come". I would've had Mary sing her usual lower part and Diana the higher part in the background on "Good News". I would've dumped that boring drawing of the girls on the cover and replaced it with:

    Name:  557186_603011139737783_166459691_n.jpg
Views: 886
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    I totally agree with everything you stated including the cover art

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    Quote Originally Posted by reese View Post
    The first album that comes to mind is ROSS [[1978).

    If it had been in my hands, I would have dumped all of Side 2. While I like some of the songs on that side, repeating REACH OUT I'LL BE THERE from 1971 when there were so many unreleased songs in the vault makes no sense to me. I would also have dumped SORRY DOESN'T ALWAYS MAKE IT RIGHT and TOGETHER as they had already been released three years previously on a flop single. I would saved WHERE DID WE GO WRONG and TO LOVE AGAIN for a future compilation.

    Instead for Side 2, I would have opened with I WANT TO BACK THERE AGAIN. I also would have included SINCE I DON'T HAVE YOU as well as the Holland-Holland productions of FIRE DON'T BURN and WE CAN NEVER LIGHT THAT OLD FLAME AGAIN. While all of those songs did sound slightly dated by 1978, I think a good remix could have done wonders. Since THE WIZ was released around this time, I would have ended the album with the Motown version of HOME.
    Can't wait for the expanded edition to come out to see what other gems were left behind but I have to agree....the use of some tracks on side 2 were ridiculous and far below par for an artist like Ross. Some one was a sleep at the wheel nor do I understand Ross for letting it get this far. But it seems she started to take control shortly after this. Can't remember who produced You were the one and never say.....but hopefully there are some unreleased gems by him.he could have produced the entire album imo.

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    Quote Originally Posted by daviddh View Post
    Can't wait for the expanded edition to come out to see what other gems were left behind but I have to agree....the use of some tracks on side 2 were ridiculous and far below par for an artist like Ross. Some one was a sleep at the wheel nor do I understand Ross for letting it get this far. But it seems she started to take control shortly after this. Can't remember who produced You were the one and never say.....but hopefully there are some unreleased gems by him.he could have produced the entire album imo.
    Greg Wright produced those two tracks. Two of the best on that album, IMO. Too bad YOU WERE THE ONE wasn't released as a single.

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    Quote Originally Posted by reese View Post
    Greg Wright produced those two tracks. Two of the best on that album, IMO. Too bad YOU WERE THE ONE wasn't released as a single.
    thanks for refreshing my memory ,his name escaped me for a bit but I totally agree,two gems on that album by him

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    My first thought was the Jimmy Webb album, but I agree that releasing NWBLS as "Stone Love," with the single having the same name, could have been an iconic album. Had that "fix" been made, there might not have been a need to "fix" the Jimmy Webb album.

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    HE - all leads to S&S

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    Supremes sing hdh....
    Replace.... same old song and heatwave....or remix both tracks...both seem weak in this collection.

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    Quote Originally Posted by johnjeb View Post
    I definitely agree. Previously I suggested some album fixing for Symphony, New Ways and HDH in those respective threads. Recently I thought about comments regarding Liverpool that were made during similar discussions. It was mentioned that maybe the album should have had a stronger Motown/Funk Bros influence rather than the scaled-down garage-rock versions on that album.

    I think what might have improved the album is to include the British bands original material on Side 1 - as recorded for the Liverpool LP. The Motown and Soul influenced tracks [[recorded with The Funk Bros in Detroit) could be used for Side 2.

    The Beatles recorded Money, Postman, Hold On Me and non-Motown R&B Isley Bros song Twist & Shout. And of course DC5 did Do You Love Me. The Stones as well as Dusty recorded Can I Get A Witness in 1964. All good songs for a soulful Motown-style Side 2 for Liverpool.

    Liverpool Side 1: You Can't Do That, World Without Love, House Of The Rising Sun, Because, Can't Buy Me Love, Hard Day's Night
    Liverpool Side 2: You've Really Got A Hold On Me, Do You Love Me, Money, Please Mr Postman, Can I Get A Witness, Twist & Shout

    Essentially it was an album that really didn't need to be released at all.
    While I've never been a fan of A Bit Of Liverpool, I think The Supremes might've fared well with versions of Dusty Springfield's "I Only Want To Be With You" or "Wishin' & Hopin'". Also think that Petula Clark's "Downtown" could've worked for them on that album.

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    Quote Originally Posted by Motown Eddie View Post
    While I've never been a fan of A Bit Of Liverpool, I think The Supremes might've fared well with versions of Dusty Springfield's "I Only Want To Be With You" or "Wishin' & Hopin'". Also think that Petula Clark's "Downtown" could've worked for them on that album.
    Not a bad idea at all. Add the funk Bros would have worked much better

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    Quote Originally Posted by Motown Eddie View Post
    While I've never been a fan of A Bit Of Liverpool, I think The Supremes might've fared well with versions of Dusty Springfield's "I Only Want To Be With You" or "Wishin' & Hopin'". Also think that Petula Clark's "Downtown" could've worked for them on that album.
    Yes, the two Dusty songs that you mention would have been welcome additions. Downtown didn't hit the US charts until December 1964. Most of the tracks for Liverpool were recorded in September of that year and the album was released in late October.

    The album contained only songs by British male groups. The addition of songs that paid tribute to female British singers would have been a nice touch.

    I think the concept for the album was to appeal to fans of the male British groups and to take advantage of the British Invasion craze. I wonder how many Beatles tribute albums there were during 1964 and 1965. They seemed to be everywhere. Even the Chipmunks had an album of Beatles songs in 1964.

  33. #33
    One other thing I would fix is the much-derided Workin' Overtime.

    The concept - moving into House/Dance/Jack-swing - is a sound idea. Look at what was about then, and the sound of Workin' Overtime was on-trend. I am thinking Janet Jackson, Paula Abdul - hell, even Madonna was into it at the time.

    The biggest problem was Workin' Overtime, the lead track. What the hell...? A song about working hard? Nile should have said a firm NO. Imagine WO without the insipid and senseless lyrics, instead it being a song with strong street cred, about - I don't know, maybe the AIDS epidemic, or homelessness, or rising gun or knife crime - something urban and topical. I mean, musically, WO is on trend. It just needed better lyrics - *much* better lyrics [[oh, and to ditch the gimmicky scratching record sound effect).

    Some other songs on that album are pretty good. Paradise is a good song. I always wondered to whom the lyric was targetted. Was Tracee or Rhonda acting up?

    This House could have been a hit, with its sparse instrumentation, and soaring vocals. Its problem is that Miss Ross' vocal on it sounds thin and strained. She is capable of much, much better. I wonder what went wrong with the recording? Why did she allow that vocal to be cut?

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    Eaten Alive has to be the album i would most like to see worked on.
    Turning down the volume on the B.G backing vocals would be a great start.
    As on the diana 80 remixes, the recordings need to be infused with a little more Diana Ross and less Gibb.

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    Quote Originally Posted by grangertim View Post
    One other thing I would fix is the much-derided Workin' Overtime.

    The concept - moving into House/Dance/Jack-swing - is a sound idea. Look at what was about then, and the sound of Workin' Overtime was on-trend. I am thinking Janet Jackson, Paula Abdul - hell, even Madonna was into it at the time.

    The biggest problem was Workin' Overtime, the lead track. What the hell...? A song about working hard? Nile should have said a firm NO. Imagine WO without the insipid and senseless lyrics, instead it being a song with strong street cred, about - I don't know, maybe the AIDS epidemic, or homelessness, or rising gun or knife crime - something urban and topical. I mean, musically, WO is on trend. It just needed better lyrics - *much* better lyrics [[oh, and to ditch the gimmicky scratching record sound effect).

    Some other songs on that album are pretty good. Paradise is a good song. I always wondered to whom the lyric was targetted. Was Tracee or Rhonda acting up?

    This House could have been a hit, with its sparse instrumentation, and soaring vocals. Its problem is that Miss Ross' vocal on it sounds thin and strained. She is capable of much, much better. I wonder what went wrong with the recording? Why did she allow that vocal to be cut?
    good calls on WO. while this style of music isn't really my personal fav, i agree that having Diana venture into this in 88/89 was the right idea. i think the biggest problem though is that clearly Niles did no homework in preparing the tracks. he should have realized that many of the songs were not in an appropriate key for Diana. so they should have either been rewritten in one that worked for her or dropped and replaced with another song that was.

    Also the lead single should have been Bottom Line

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    Quote Originally Posted by sup_fan View Post
    good calls on WO. while this style of music isn't really my personal fav, i agree that having Diana venture into this in 88/89 was the right idea. i think the biggest problem though is that clearly Niles did no homework in preparing the tracks. he should have realized that many of the songs were not in an appropriate key for Diana. so they should have either been rewritten in one that worked for her or dropped and replaced with another song that was.

    Also the lead single should have been Bottom Line
    Nile had lots of personal "issues" around this time and was barely capable of knowing what day it was let alone choose suitable songs for Diana. She hated the way the album turned out almost as much as we did. It was a career low point for both performers and Nile should have been taken off the project to sort himself out.

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    On Supremes A Go-Go, I'd have all of the tracks recorded with The Funk Bros. in Detroit, use the same backing tracks that The Isleys & Four Tops used for "This Old Heart Of Mine [[Is Weak For You)" & "Shake Me Wake Me [[When It's Over)" and replace "Hang On Sloopy" with Fontela Bass' "Rescue Me".

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    Quote Originally Posted by johnjeb View Post
    Yes, the two Dusty songs that you mention would have been welcome additions. Downtown didn't hit the US charts until December 1964. Most of the tracks for Liverpool were recorded in September of that year and the album was released in late October.

    The album contained only songs by British male groups. The addition of songs that paid tribute to female British singers would have been a nice touch.

    I think the concept for the album was to appeal to fans of the male British groups and to take advantage of the British Invasion craze. I wonder how many Beatles tribute albums there were during 1964 and 1965. They seemed to be everywhere. Even the Chipmunks had an album of Beatles songs in 1964.
    Thanks for the info Johnjeb-I see why "Downtown" couldn't be part of A Bit Of Liverpool since it hit the US after that album was in the can. And yes, the market was flooded with various tribute albums to either The Beatles or the British Invasion in 1964 & 1965.

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    Quote Originally Posted by SatansBlues View Post
    I would have scrapped everything on Side 1, except for the title track and replaced them with HDH originals. I was not a fan of those MOR tunes by the Supremes and Tops. Yes, I understand why they were done, but as a fan, I'd rather have original Motown tunes than these pop covers, even Yesterday.
    I enjoy the MOR stuff because it often lent itself well to showcasing the pure talent of the Supremes. But for the Supremes it seems like there just isn't enough pure Motown. WDOLG lp was released in Aug 1964. The catalog then consists of Liverpool, Sam Cooke, and C&W until almost a whole year has gone by since WDOLG lp before finally getting another Motown album in More Hits. [[With the exception of C&W, the tracks of the specialty albums were cut in LA with a non Motown sound. While the tracks cut for C&W were done at Hitsville, the sound isn't exactly the trademark Motown Sound, which is understandable considering the material and especially the fact that most of the tracks were cut in early 1963 before what is commonly referred to as the sound of the label.)

    After More Hits in July, there's a live album and a Christmas album, the latter of which is, again, an LA track album. When the Christmas album is released, the Supremes had seven albums released in a 14 month time span and only two of them [[Where and More) Motown Sound albums. So when the eighth album in 17 months hits the street, named after a major hit single, one would hope to get a blast of real Motown, with it's evolving sound at that point. Instead half the album is anything but.

    Putting "Paradise" and those other tunes in a specialty album would've been fine. Just keep the albums with singles top notch Motown. The way the Symphony album is constructed does not appeal to me. The fact that it went top 10 pop and #1 r&b is probably on the strength of the singles and that the nation was officially in Supreme mania.

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    Quote Originally Posted by reese View Post
    The first album that comes to mind is ROSS [[1978).

    If it had been in my hands, I would have dumped all of Side 2. While I like some of the songs on that side, repeating REACH OUT I'LL BE THERE from 1971 when there were so many unreleased songs in the vault makes no sense to me. I would also have dumped SORRY DOESN'T ALWAYS MAKE IT RIGHT and TOGETHER as they had already been released three years previously on a flop single. I would saved WHERE DID WE GO WRONG and TO LOVE AGAIN for a future compilation.

    Instead for Side 2, I would have opened with I WANT TO BACK THERE AGAIN. I also would have included SINCE I DON'T HAVE YOU as well as the Holland-Holland productions of FIRE DON'T BURN and WE CAN NEVER LIGHT THAT OLD FLAME AGAIN. While all of those songs did sound slightly dated by 1978, I think a good remix could have done wonders. Since THE WIZ was released around this time, I would have ended the album with the Motown version of HOME.
    Reese I was going to do Ross78 but I decided to hold my thoughts until the expanded is released. That way I get a better picture of what I would want to do with it, taking into account the new outtakes. But probably more than any other Diana 70s album, Ross78 is the one most in need of a fix.

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    Quote Originally Posted by daviddh View Post
    Remix bad weather.
    Quote Originally Posted by luke View Post
    Do something with Bad Weather. It sounds like Stevie just gave up on it but he was onto something with it.
    I don't think the song sounds like Stevie gave up. But the more time passes, the more I'm convinced that the song lacks that certain something that would've made it a success. Perhaps it needed a different mix. I know the version on the 2000 boxset is an extended version, but whether or not it's a different mix from the single, I don't know. I do think it has a somewhat better sound than the single version, but I might just think that because the extended allows for more jammin on the end. Maybe if the whole song was like the ending, with all the background vocals and the whistles and what not...

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    Quote Originally Posted by SatansBlues View Post
    Bad Weather was never going to be a hit, for anybody, mix, remix, new vocals. It only had Stevie's name attached to it.
    I disagree strongly with this opinion. It needed something, but on it's own it was still a great song.

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    Quote Originally Posted by johnjeb View Post
    I definitely agree. Previously I suggested some album fixing for Symphony, New Ways and HDH in those respective threads. Recently I thought about comments regarding Liverpool that were made during similar discussions. It was mentioned that maybe the album should have had a stronger Motown/Funk Bros influence rather than the scaled-down garage-rock versions on that album.

    I think what might have improved the album is to include the British bands original material on Side 1 - as recorded for the Liverpool LP. The Motown and Soul influenced tracks [[recorded with The Funk Bros in Detroit) could be used for Side 2.

    The Beatles recorded Money, Postman, Hold On Me and non-Motown R&B Isley Bros song Twist & Shout. And of course DC5 did Do You Love Me. The Stones as well as Dusty recorded Can I Get A Witness in 1964. All good songs for a soulful Motown-style Side 2 for Liverpool.

    Liverpool Side 1: You Can't Do That, World Without Love, House Of The Rising Sun, Because, Can't Buy Me Love, Hard Day's Night
    Liverpool Side 2: You've Really Got A Hold On Me, Do You Love Me, Money, Please Mr Postman, Can I Get A Witness, Twist & Shout

    Essentially it was an album that really didn't need to be released at all.
    I think the idea of the album was good, but the execution was not. The girls sound great. Some of their best singing IMO are on the Liverpool album. But it really should've been an album where the girls sang British hits with the Funks backing them up. Those Brit acts covered Motown in their own style. The Supremes should've been afforded the opportunity to return the favor, and as a result the album isn't a critical success, which is a shame considering how great their singing is.

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    Quote Originally Posted by Motown Eddie View Post
    While I've never been a fan of A Bit Of Liverpool, I think The Supremes might've fared well with versions of Dusty Springfield's "I Only Want To Be With You" or "Wishin' & Hopin'". Also think that Petula Clark's "Downtown" could've worked for them on that album.
    Great suggestions!!

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    Quote Originally Posted by Motown Eddie View Post
    On Supremes A Go-Go, I'd have all of the tracks recorded with The Funk Bros. in Detroit, use the same backing tracks that The Isleys & Four Tops used for "This Old Heart Of Mine [[Is Weak For You)" & "Shake Me Wake Me [[When It's Over)" and replace "Hang On Sloopy" with Fontela Bass' "Rescue Me".
    Excellent ideas! Although I like both tracks as is, I would've definitely preferred them in the original sounds. Love them doing "Rescue Me". And you know who I would want to hear singing it...

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    Quote Originally Posted by RanRan79 View Post
    I enjoy the MOR stuff because it often lent itself well to showcasing the pure talent of the Supremes. But for the Supremes it seems like there just isn't enough pure Motown. WDOLG lp was released in Aug 1964. The catalog then consists of Liverpool, Sam Cooke, and C&W until almost a whole year has gone by since WDOLG lp before finally getting another Motown album in More Hits. [[With the exception of C&W, the tracks of the specialty albums were cut in LA with a non Motown sound. While the tracks cut for C&W were done at Hitsville, the sound isn't exactly the trademark Motown Sound, which is understandable considering the material and especially the fact that most of the tracks were cut in early 1963 before what is commonly referred to as the sound of the label.)

    After More Hits in July, there's a live album and a Christmas album, the latter of which is, again, an LA track album. When the Christmas album is released, the Supremes had seven albums released in a 14 month time span and only two of them [[Where and More) Motown Sound albums. So when the eighth album in 17 months hits the street, named after a major hit single, one would hope to get a blast of real Motown, with it's evolving sound at that point. Instead half the album is anything but.

    Putting "Paradise" and those other tunes in a specialty album would've been fine. Just keep the albums with singles top notch Motown. The way the Symphony album is constructed does not appeal to me. The fact that it went top 10 pop and #1 r&b is probably on the strength of the singles and that the nation was officially in Supreme mania.
    valid points. i think the chart success of Symphony is also what helped compel Motown to assemble the A Go Go package. true they didn't use Detroit for all of the backing tracks but it definitely seems like they were making a concerted effort to appeal directly to teens

    another point though is that the "specialty" albums were not really intended for teens to buy. while i wasn't around in the 60s, i understand that teens then didn't have the discretionary cash that they do today. so they would have been very judicious with what they did buy. basically motown gave them 1 lp per year - Where in late 64, More in mid 65, Symphony in late 65, A go Go in summer 66, HDH in early 67.

    Sam Cooke, Country, Merry Christmas, R&H, etc were really geared more to the parents of the teens that bought the hit lps.

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    Quote Originally Posted by RanRan79 View Post
    I disagree strongly with this opinion. It needed something, but on it's own it was still a great song.
    To me it's not even good enough to be an album track or B-side, much less the A-side of a Supreme's release. I'm racking my brain to think of a hit song that Stevie wrote and produced for a female group or artist, and I can't. Yes Stevie is a talented writer, singer, producer and musician but hits on female artists at the time of BW was non existent. And he worked with some great singers, but he was just unsuccessful. Consider who all he had worked with: Martha & The Vandellas, Syreeta, Blinky, and the Supremes, and I'm sure I've missed some. BW was just a clunker and had no chance. It's not catchy, the lyrics aren't clever or memorable, its not a really danceable song, nor is it a song that you can sing along to. But we all like what we like, I just don't hear it in that song and looking at the chart and commercial success of the song, most folks seem to have agreed with my thinking.

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    Quote Originally Posted by Motown Eddie View Post
    On Supremes A Go-Go, I'd have all of the tracks recorded with The Funk Bros. in Detroit, use the same backing tracks that The Isleys & Four Tops used for "This Old Heart Of Mine [[Is Weak For You)" & "Shake Me Wake Me [[When It's Over)" and replace "Hang On Sloopy" with Fontela Bass' "Rescue Me".
    frankly i think the bigger problem with A Go Go is the ho-hum backing vocals. yes some of the songs could have used more punch with the Detroit musicians. But i don't know if i've ever heard M and F sounding more bored with what they're doing than on these tracks. Money and Sloopy are so uninspired. I don't know if that's the fault of the producers or the girls. But good lord - why didn't they have the girls ad lib and let Flo go to town on the ending of Hang On Sloopy?!?!

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    Quote Originally Posted by SatansBlues View Post
    To me it's not even good enough to be an album track or B-side, much less the A-side of a Supreme's release. I'm racking my brain to think of a hit song that Stevie wrote and produced for a female group or artist, and I can't. Yes Stevie is a talented writer, singer, producer and musician but hits on female artists at the time of BW was non existent. And he worked with some great singers, but he was just unsuccessful. Consider who all he had worked with: Martha & The Vandellas, Syreeta, Blinky, and the Supremes, and I'm sure I've missed some. BW was just a clunker and had no chance. It's not catchy, the lyrics aren't clever or memorable, its not a really danceable song, nor is it a song that you can sing along to. But we all like what we like, I just don't hear it in that song and looking at the chart and commercial success of the song, most folks seem to have agreed with my thinking.
    i agree with many of your points here. i think Stevie understands/understood working with a singer and then adding backing vocals. What did he do with MRATV?

    for Bad Weather i think the problems consist of:
    1) Jean is too free with the melody and riffs too much
    2) the melody is more complex than many other songs - lots of notes, lots of jumps. you're going all over the scales on this one which makes it hard to hum along to
    3) this is Jean singing with backing vocalists. sure Lynda gets some time to shine at the very end but as a group there should have been much more vocal interplay throughout the song

    the third song Stevie did with them was frankly the strongest - I'll Wait a Lifetime. ever now and then it gets leaked onto YouTube. last time it popped up, i used KeepTube to download an audio of it. it's much more interesting than BW or Soft Days

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    Quote Originally Posted by sup_fan View Post
    i agree with many of your points here. i think Stevie understands/understood working with a singer and then adding backing vocals. What did he do with MRATV?

    for Bad Weather i think the problems consist of:
    1) Jean is too free with the melody and riffs too much
    2) the melody is more complex than many other songs - lots of notes, lots of jumps. you're going all over the scales on this one which makes it hard to hum along to
    3) this is Jean singing with backing vocalists. sure Lynda gets some time to shine at the very end but as a group there should have been much more vocal interplay throughout the song

    the third song Stevie did with them was frankly the strongest - I'll Wait a Lifetime. ever now and then it gets leaked onto YouTube. last time it popped up, i used KeepTube to download an audio of it. it's much more interesting than BW or Soft Days
    So basically you're agreeing with me about the song.
    Stevie worked with M&TV around 69/70, I think there were like 3 or 4 tracks that have been released.
    Last edited by SatansBlues; 01-06-2020 at 05:07 PM.

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