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  1. #51
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    Quote Originally Posted by SatansBlues View Post
    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.
    Some are on their LOST AND FOUND set, "Let Me Fall in Love with You," and [[I think) "Talking About Love." I think at least one more, "Don't Leave Your Baby," is on their 50TH ANNIVERSARY collection.

  2. #52
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    Quote Originally Posted by SatansBlues View Post
    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.
    lolol yes - i'm agreeing with you that the song needed work

  3. #53
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    Quote Originally Posted by reese View Post
    Some are on their LOST AND FOUND set, "Let Me Fall in Love with You," and [[I think) "Talking About Love." I think at least one more, "Don't Leave Your Baby," is on their 50TH ANNIVERSARY collection.
    Thanks. I couldn't recall the titles off the top of my head.

  4. #54
    I would have done 'LET THE SUNSHINE IN' more groovy!

    Side A:
    Aquarius / Let The Sunshine In [[The Flesh Failures)
    Everyday People
    Hey Western Union Man
    No Matter What Sign You Are
    I'm Livin' In Shame
    Crystal Blue Persuasion

    Side B:
    Stormy
    Never My Love
    Traces / Memories
    Discover Me [[And You'll Discover Love)
    Will This Be The Day?
    Where Do I Go / Good Morning Starshine

  5. #55
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    On Diana Ross's 1st album, she should have recorded, along with The Detroit Symphony Orchestra, a new version of "Didn't We".
    I enjoy her live performance of this song on the "Farewell" LP. Yet, her supberb vocals for this song requires an orchestral accompaniment!

  6. #56
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    Quote Originally Posted by sup_fan View Post

    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.
    Even those specialty albums needed a Motown Sound. Listen to the cuts intended for Mary Wells' MOR album. That's how Liverpool, Sam, and Christmas should've been put together, regardless of who the intended audience was. But even subscribing to your 1 lp a year theory, they dropped the ball with Symphony.

  7. #57
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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.
    Well it's all subjective of course. Where you don't hear catchy, I do. And chart action can't really be used to support our opinions about songs, considering how many awesome songs don't become hits and how many songs that suck somehow do. But you've given me an idea for a thread...thanks!

  8. #58
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    Quote Originally Posted by RanRan79 View Post
    Even those specialty albums needed a Motown Sound. Listen to the cuts intended for Mary Wells' MOR album. That's how Liverpool, Sam, and Christmas should've been put together, regardless of who the intended audience was. But even subscribing to your 1 lp a year theory, they dropped the ball with Symphony.
    I tend to like the Symphony lp. i do understand that it's heavy on MOR and the sound is LA. HDH was producing and this was some of their first "symphonic" work. Is it their best ever symphonic work - no. Is it better than their traditional hits - no. but within the Supremes catalog i find it interesting because compare this with the tracks from the intended Broadway/Hollywood set. HDH produced those too and the sound, sophistication, production is wonderful. Just as i find it interesting to hear the progression of Diana, Flo and Mary from early standards to later, same goes for HDH. they too were kids and just learning & experimenting.

    To your point about Mary Wells, i do really enjoy her standards too. both the earlier ones with the Tops backing her and the later with the Andantes. To me though, they were going more for a small, intimate night-club sound and setting. like the Roostertail in Detroit. with the Supremes and IHAS, they were could for Lincoln Center and the NY Philharmonic. totally different approach and strategy. and also totally different level of money and revenue

  9. #59
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    Rodger and Hart is an album I would've fixed. I believe it's the album I play the least of the Flo years. It's rather on the boring side IMO. But the outtakes are outstanding. I play those a helluva lot more than the actual album. So from the original album I would definitely keep "Tramp", "This Can't Be Love", "Where Or When", "Lover", "My Heart Stood Still" and "Falling In Love With Love". Basically half the album is vaulted.

    I would add: "Manhattan", "Blue Room", "There's a Small Hotel", "Bewitched", "Johnny One Note", and "I Could Write A Book".

    And don't forget that idiotic cover! I'd change it to an up to date photo of the girls in all their sophisticated sexiness.

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  10. #60
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    oh boy Ran - lol. when i first started reading your post, i was rolling up my sleeves and getting ready to start battle. was thinking you were saying you didn't like the R&H lp. lolol but then saw that you prefer the canned tracks to the released.

    i do agree with you. the entire set is wonderful but when they trimmed it to 12 songs, they clearly picked ones that highlighted Diana. there are still some wonderful group moments on the lp but the canned tracks really have more. and there's a touch of melancholy here when you compare their singing here vs the There's A Place For Us. while the girls are younger and more inexperiences during the TAPFU set, there's much more 3-part harmony and group balance in the songs. shame that wasn't carried forward to R&H set

    But overall, this lp is IMO glorious and shows such talent and sophistication by the group AND Gil's work. this set should have been awarded a Grammy. there are some songs that are traditionally done, some with new interpretations, some done with a "motown-ish" sound, etc. Just a great set

    but yes, could still have been better

  11. #61
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    Quote Originally Posted by sup_fan View Post
    oh boy Ran - lol. when i first started reading your post, i was rolling up my sleeves and getting ready to start battle. was thinking you were saying you didn't like the R&H lp. lolol but then saw that you prefer the canned tracks to the released.

    i do agree with you. the entire set is wonderful but when they trimmed it to 12 songs, they clearly picked ones that highlighted Diana. there are still some wonderful group moments on the lp but the canned tracks really have more. and there's a touch of melancholy here when you compare their singing here vs the There's A Place For Us. while the girls are younger and more inexperiences during the TAPFU set, there's much more 3-part harmony and group balance in the songs. shame that wasn't carried forward to R&H set

    But overall, this lp is IMO glorious and shows such talent and sophistication by the group AND Gil's work. this set should have been awarded a Grammy. there are some songs that are traditionally done, some with new interpretations, some done with a "motown-ish" sound, etc. Just a great set

    but yes, could still have been better
    I love the R&H album, but i do agree with you about the outtakes being some of the best tracks. The expanded edition is outstanding. Incidentally this is one of Diana's personal favorites. She told me that both she and Flo wanted Manhattan to be on the original release, but Berry would not listen. That was one of the few occasions that she spoke openly about Flo, and she did it with great warmth and affection. I shall have to dig my old diaries and journals out for further clarification. I spent many hours writing those journals, and i am so glad i did. Many things i have all but forgotten come to light when i re-read them

  12. #62
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    Quote Originally Posted by RanRan79 View Post
    Rodger and Hart is an album I would've fixed. I believe it's the album I play the least of the Flo years. It's rather on the boring side IMO. But the outtakes are outstanding. I play those a helluva lot more than the actual album. So from the original album I would definitely keep "Tramp", "This Can't Be Love", "Where Or When", "Lover", "My Heart Stood Still" and "Falling In Love With Love". Basically half the album is vaulted.

    I would add: "Manhattan", "Blue Room", "There's a Small Hotel", "Bewitched", "Johnny One Note", and "I Could Write A Book".

    And don't forget that idiotic cover! I'd change it to an up to date photo of the girls in all their sophisticated sexiness.
    RanRan79 your choices for fixing R&H are interesting. I will have to listen to those vaulted songs again with a fresh perspective.

    I love the album as released, including the cover. I lived with that album for 20 years before the vaulted tracks were released, so I'm partial to the original album. I haven't listened to the Expanded releases in several years - time to give both of them another listen.

  13. #63
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    Quote Originally Posted by Bluebrock View Post
    I love the R&H album, but i do agree with you about the outtakes being some of the best tracks. The expanded edition is outstanding. Incidentally this is one of Diana's personal favorites. She told me that both she and Flo wanted Manhattan to be on the original release, but Berry would not listen. That was one of the few occasions that she spoke openly about Flo, and she did it with great warmth and affection. I shall have to dig my old diaries and journals out for further clarification. I spent many hours writing those journals, and i am so glad i did. Many things i have all but forgotten come to light when i re-read them
    interesting! and there have been similar stories shared by fans that were close friends and associates with others involved in this whole "Supremes" story that have said similar. This unfortunate and untrue rumor of diana scheming to undermine Flo or that she hated her is absolutely untrue. and frankly slander. yes they had conflicts but there were also strong bonds between the girls

    as for Manhattan, i've always wondered a bit if both girls recorded full leads and then they were sort of "dueted" similar to how they did on the Merry Xmas EE with Silent Night. some of the points where Flo cuts are a little odd, like in a middle of a phrase. and they don't match up, verse to verse.

  14. #64
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    Quote Originally Posted by RanRan79 View Post
    Rodger and Hart is an album I would've fixed. I believe it's the album I play the least of the Flo years. It's rather on the boring side IMO. But the outtakes are outstanding. I play those a helluva lot more than the actual album. So from the original album I would definitely keep "Tramp", "This Can't Be Love", "Where Or When", "Lover", "My Heart Stood Still" and "Falling In Love With Love". Basically half the album is vaulted.

    I would add: "Manhattan", "Blue Room", "There's a Small Hotel", "Bewitched", "Johnny One Note", and "I Could Write A Book".

    And don't forget that idiotic cover! I'd change it to an up to date photo of the girls in all their sophisticated sexiness.

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    While I tend to hate most of the show tunes and MOR tracks that Motown artists recorded, including the Supremes, the RH album is one of my all time favorite albums of the group. They really shine here and on the outtakes. Back in the early-mid 80's when I first got into the group and Motown I searched for years for a copy of this album and eventually found a mint condition copy of it. I love the front cover of this album and thought that it was beautiful and classy. I actually love all the songs on the original album, but I've always thought that The Lady Is A Tramp sounds rather flat. It could be because I had heard the groups live version of Lady before hearing the studio recorded version of the song. Regardless, it either should have been remixed or re-recorded. The sound throws off the start of the album and none of the other tracks sound that way.

    Regarding the unreleased tracks my favorites are Little Girl Blue, You Took Advantage of Me, It Never Entered My Mind, Wait Til You See Him, I Didn't Know What Time it Was, and my favorite recording of all the songs is the alternative version of Bewitched, Bothered and Bewildered [[with different background vocals done). Florence shadows Diana's lead vocals thru most of the song and it's almost like a duet and it is near perfection. To me this is the group at its summit. One theory of why the album was trimmed down to just twelve songs could have been Motown planning the group's Greatest Hits release with two records. Just a thought..

  15. #65
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    Quote Originally Posted by sup_fan View Post
    oh boy Ran - lol. when i first started reading your post, i was rolling up my sleeves and getting ready to start battle. was thinking you were saying you didn't like the R&H lp. lolol but then saw that you prefer the canned tracks to the released.

    i do agree with you. the entire set is wonderful but when they trimmed it to 12 songs, they clearly picked ones that highlighted Diana. there are still some wonderful group moments on the lp but the canned tracks really have more. and there's a touch of melancholy here when you compare their singing here vs the There's A Place For Us. while the girls are younger and more inexperiences during the TAPFU set, there's much more 3-part harmony and group balance in the songs. shame that wasn't carried forward to R&H set

    But overall, this lp is IMO glorious and shows such talent and sophistication by the group AND Gil's work. this set should have been awarded a Grammy. there are some songs that are traditionally done, some with new interpretations, some done with a "motown-ish" sound, etc. Just a great set

    but yes, could still have been better
    Oh no, I don't think there is any album during the Flo years that I flat out dislike. But I do think as originally released, the R&H album contains cuts that are less exciting than what got left in the can. Perhaps it is as you say that the tracks included were meant to highlight Diana. By this point that would be an increasing priority, so you're probably right.

    I agree about the group really maturing during these sessions as opposed to the stuff cut back in 65. I also agree that the harmonies were employed more during earlier sessions more so than RH.

  16. #66
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    Quote Originally Posted by sup_fan View Post
    interesting! and there have been similar stories shared by fans that were close friends and associates with others involved in this whole "Supremes" story that have said similar. This unfortunate and untrue rumor of diana scheming to undermine Flo or that she hated her is absolutely untrue. and frankly slander. yes they had conflicts but there were also strong bonds between the girls

    as for Manhattan, i've always wondered a bit if both girls recorded full leads and then they were sort of "dueted" similar to how they did on the Merry Xmas EE with Silent Night. some of the points where Flo cuts are a little odd, like in a middle of a phrase. and they don't match up, verse to verse.
    To your first point, I think Flo summed it up best when she said the Supremes would fight like sisters. Florence was an expert on sisters- having so many- so I would think if she were going to compare their issues, if she thought it was along the lines of sisters, then that's probably how it was. She did say toward the end that the three of them [[not two, she said three) started to hate each other. Now she probably used "hate" in the way most people really mean "dislike", but it's not hard to imagine that at some point in 1967 things were so bad that familial feelings may have begun to ebb. And obviously everyone was still in their feelings in 1968 when Diana was being catty and Flo was threatening to kick Diana's butt at a party and being forced to leave. Time does heal some wounds, so you have Diana visiting Flo in 1971 and Flo calling Diana in 1975. Diana sets up trust funds for Flo's children, sends them Christmas gifts, and even pays for one of them to have surgery. You don't do that for the kids of people you hate. And for all the ones who like to come up in the forum and reduce Diana's singing partners to former co-workers in the way most of us normal people have co-workers, you don't do all of that for the children of former co-workers either. Not unless there is a lot of love and affection involved.

    To your second point, I agree about "Manhattan". There is some odd editing in the song. I've often wondered if it was either a Flo lead originally and then the decision was made to have Diana re-record a lead over the same track; both Flo and Diana recorded leads and then it was haphazardly spliced together; or it was a shared lead and edited down to a Diana lead. Either way, the edit suggests there's a reason the song was ultimately shelved, but a legit mix would've made it a highlight of the album, IMO.

  17. #67
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    Quote Originally Posted by RanRan79 View Post
    To your first point, I think Flo summed it up best when she said the Supremes would fight like sisters. Florence was an expert on sisters- having so many- so I would think if she were going to compare their issues, if she thought it was along the lines of sisters, then that's probably how it was. She did say toward the end that the three of them [[not two, she said three) started to hate each other. Now she probably used "hate" in the way most people really mean "dislike", but it's not hard to imagine that at some point in 1967 things were so bad that familial feelings may have begun to ebb. And obviously everyone was still in their feelings in 1968 when Diana was being catty and Flo was threatening to kick Diana's butt at a party and being forced to leave. Time does heal some wounds, so you have Diana visiting Flo in 1971 and Flo calling Diana in 1975. Diana sets up trust funds for Flo's children, sends them Christmas gifts, and even pays for one of them to have surgery. You don't do that for the kids of people you hate. And for all the ones who like to come up in the forum and reduce Diana's singing partners to former co-workers in the way most of us normal people have co-workers, you don't do all of that for the children of former co-workers either. Not unless there is a lot of love and affection involved.

    To your second point, I agree about "Manhattan". There is some odd editing in the song. I've often wondered if it was either a Flo lead originally and then the decision was made to have Diana re-record a lead over the same track; both Flo and Diana recorded leads and then it was haphazardly spliced together; or it was a shared lead and edited down to a Diana lead. Either way, the edit suggests there's a reason the song was ultimately shelved, but a legit mix would've made it a highlight of the album, IMO.
    all good points Ran. I've always felt that the girls really did truly like one another. but any three people that are in such constant contact with one another will have their moments. they're human after all. and young! so it's normal to have petty fights, tiffs,etc. as thing progressed though and the goals/direction of the group changed, that's when the working relationship really started to deteriorate.

    as for manhattan, i wonder if Flo did the lead. then maybe as they were finalizing the album, considered adding Diana since no one really know exactly what flo was going to be doing with the group. and then when they reduced to 1 lp, it was an easy one to cut

    now i might be making MUCH MUCH MUCH more of this. maybe reading too much into it. but Flo's lead on Liverpool was cut. And one CW&P she didn't have a featured spot except Makes No Difference. and in the proposed line up for There's A Place, mary's lead was included but People wasn't. And no flo lead on A Go Go.

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    Quote Originally Posted by sup_fan View Post
    all good points Ran. I've always felt that the girls really did truly like one another. but any three people that are in such constant contact with one another will have their moments. they're human after all. and young! so it's normal to have petty fights, tiffs,etc. as thing progressed though and the goals/direction of the group changed, that's when the working relationship really started to deteriorate.

    as for manhattan, i wonder if Flo did the lead. then maybe as they were finalizing the album, considered adding Diana since no one really know exactly what flo was going to be doing with the group. and then when they reduced to 1 lp, it was an easy one to cut

    now i might be making MUCH MUCH MUCH more of this. maybe reading too much into it. but Flo's lead on Liverpool was cut. And one CW&P she didn't have a featured spot except Makes No Difference. and in the proposed line up for There's A Place, mary's lead was included but People wasn't. And no flo lead on A Go Go.
    Flo's lack of released leads is easy fodder for the conspiracy theorists. For those of us who enjoy her lead singing, it's hard to figure why she wouldn't be utilized more. As I've said time and time again, "Good News" is the highlight of the Sam Cooke album. And had "Oh Holy Night" made it onto the original Christmas lp, I think it too would've been a highlight of that set. I think that Flo, and even Mary, leads come down to after thoughts. The fact is that Diana was the focal point and so most of the attention went to whatever she sang. If Flo and/or Mary get thrown a bone, fine, whatever. If they don't, well, fine, whatever. It's just the way that it was. Diana fans [[ie, Rossers) sit in a great position because they get a ton of Diana no matter what. [[And of course I love that we get a ton of Diana also, being a Diana fan, but not a psychotic Rosser.) But we fans who enjoy the talents of Flo and/or Mary are in a sucky place because we'd like more, but for whatever reasons, Motown decided it wasn't worth it. Sucks, but it is what it is.

    I do think it's worth pointing out that for all the talk about what little regard Gordy and company had for the talents of Flo Ballard, "People" was in the act from at least the summer of 1964 thru the fall of 1966. And so far there is no evidence that either Diana or Mary ever replaced Flo on the song. There's no way Gordy would've allowed the song, or Flo's singing of it, to remain in the act that long unless he was convinced it was a crowd pleaser. And you can't please a crowd with a song being sung by someone who caused people to yawn when she sings. In someone else's hands, who knows what may have become of Florence Ballard, or even Mary Wilson. But in Gordy's hands he didn't see much possibilities for them beyond supporting Diana.

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    ^great points Ran. yeah i don't think there's any truth to the story of Gordy stripping People from Flo during a rehearsal and handing it to Diana. just another part of the Sup Myths. And i too think you're right about M and F being afterthoughts when it came to the lps tracks. we know the girls were not involved with the development of the albums. heck it might be that the people assembling the songs didn't even bother to check who was lead on which track. as you said, the focus was on D.

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    Quote Originally Posted by sup_fan View Post
    ^great points Ran. yeah i don't think there's any truth to the story of Gordy stripping People from Flo during a rehearsal and handing it to Diana. just another part of the Sup Myths. And i too think you're right about M and F being afterthoughts when it came to the lps tracks. we know the girls were not involved with the development of the albums. heck it might be that the people assembling the songs didn't even bother to check who was lead on which track. as you said, the focus was on D.
    Wasn't the focus always on the lead singers? Levi, Smokey, Martha, Diana, Cal, Wanda, Gladys, Eddie, David, Paul, Jr. Walker, Gladys K...

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    My bad.....

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    I would reimagine the album concept of "Eaten Alive". Love the instrumental of the title track. Would have totally renamed the song and provided it with new lyrics. The album would also be renamed by a renaming of "Chain Reaction", a great song, to "Love Reaction". Great song video by the way, classic Diana Ross.
    By the way, for any naysayers; musically, anything is negotiable.
    Last edited by TNSUN; 03-24-2023 at 08:45 AM.

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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:

    Attachment 16748
    agree with all u said.love this photo

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    "You Were The One" should have been released as a single. It is a monster song with hit potential. Even today, a hot remix would sell.

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    i'd do some fixing on Nathan Jones

    1. less unison singing - the lyrics on this tune are a little less intuitive than other songs. Jean should start "you packed your bags, as i recall" then the girls join in and harmonize 'and you walked slowly..." then then group continues in unison. same with verse 2, jean first, then harmony then unison

    2. more synthesizer during the bridge and especially at ending. the "jet engine" revving effect is great and in the first parts of the song it's used nicely. but they should have built up more of this and really made the ending explode.

    3. jean should have been let loose to do more ad libs and high notes at the ending

    4. delay the release to summer of 71 so that a second single from NW could be released

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    "Everything's Good About You"- Love, love, love this except there is a very obvious mistake in the celeste/bell sounding instrument just as Diana begins the phrase, "You brighten my whole world". This instrument, in different phrases, had been moving up one step, called an interval, however failed to change at this part of the song.

    "The Liverpool Album"- sounded like it was recorded in a can...maybe could have benefitted with either being recorded at Motown OR at least using some of the Motown instrumentalists

    "I Hear a Symphony"-another one where most of the songs have too much reverb...too echoey sounding to me...harsh quality especially on side one

    "Eaten Alive" - Total remix and mastering needed

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    Can't I change the career trajectory instead of fixing an album or song? My vote goes to more movies!!!!! 😈

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    Quote Originally Posted by daviddh View Post
    agree with all u said.love this photo
    Yes, it's one of my favorites. The group took so many fantastic photos throughout 1966 and 1967. Why Motown kept dipping into pre-1966 photos for stuff is a mystery. The group's look evolved quite a few times during the Flo years.

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    Quote Originally Posted by jobucats View Post
    "Everything's Good About You"- Love, love, love this except there is a very obvious mistake in the celeste/bell sounding instrument just as Diana begins the phrase, "You brighten my whole world". This instrument, in different phrases, had been moving up one step, called an interval, however failed to change at this part of the song.

    "The Liverpool Album"- sounded like it was recorded in a can...maybe could have benefitted with either being recorded at Motown OR at least using some of the Motown instrumentalists

    "I Hear a Symphony"-another one where most of the songs have too much reverb...too echoey sounding to me...harsh quality especially on side one

    "Eaten Alive" - Total remix and mastering needed
    I'm going to listen out for that moment in "Everything's Good". I was actually just listening to it yesterday, but of course I would never notice the kind of thing you point out if someone doesn't point it out to me.

    Regarding the Liverpool album, I do think some songs sound "canny". Lol But I always think it all sounds like it was recorded in the Hitsville garage.

    The Symphony album, yes, there is a lot of echo in it and side one is where it's most noticeable IMO also.

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    Quote Originally Posted by JLoveLamar View Post
    Can't I change the career trajectory instead of fixing an album or song? My vote goes to more movies!!!!! ��
    absolutely!! are there some roles you think Diana should have been cast in?

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    Quote Originally Posted by sup_fan View Post
    absolutely!! are there some roles you think Diana should have been cast in?
    It's unfortunate that there wasn't a Supremes movie at the height of their fame. Some kind of silly comedy. Maybe they were a fictional vocal trio by night, but during the day they were crime solvers. Lol Or maybe before a show they witness a crime and the criminals are trying to kill them and high jinks ensue as the girls try to evade the killers and at the last minute the girls stop the killers in time to go on stage for their show. And all of this is happening with Diana playing the know it all whose ideas cause even more trouble; Mary playing the boy crazed girl whose beauty is always causing some kind of mishap involving men; and Florence always with the wisecracks and her clumsiness adds slapstick. I think people would have paid for that.

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    Quote Originally Posted by RanRan79 View Post
    It's unfortunate that there wasn't a Supremes movie at the height of their fame. Some kind of silly comedy. Maybe they were a fictional vocal trio by night, but during the day they were crime solvers. Lol Or maybe before a show they witness a crime and the criminals are trying to kill them and high jinks ensue as the girls try to evade the killers and at the last minute the girls stop the killers in time to go on stage for their show. And all of this is happening with Diana playing the know it all whose ideas cause even more trouble; Mary playing the boy crazed girl whose beauty is always causing some kind of mishap involving men; and Florence always with the wisecracks and her clumsiness adds slapstick. I think people would have paid for that.
    Sort of in the vein of the Spice Girls movie. Diana as scary, Mary as posh and Flo as sporty.........perhaps.

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    I just realized something. I have never heard a single post-Supremes album by Diana Ross. I'm serious.

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    at the top of my list ',
    last time i saw him, lp the out takes were better
    ross 78 side 2 overhaul.
    in the 70s , move bg out of the way

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    Quote Originally Posted by Ollie9 View Post
    Sort of in the vein of the Spice Girls movie. Diana as scary, Mary as posh and Flo as sporty.........perhaps.
    Never compare the Supremes to the Spice Girls. Ever.

    Regarding the SG movie, I wouldn't know. I never saw it.

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    Quote Originally Posted by RanRan79 View Post
    Never compare the Supremes to the Spice Girls. Ever.
    Why not??. I think the Supremes were every bit as good.

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    Quote Originally Posted by Ollie9 View Post
    Why not??. I think the Supremes were every bit as good.
    You are no longer welcome here. Leave calmly and you won't get hurt.

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    Quote Originally Posted by RanRan79 View Post
    It's unfortunate that there wasn't a Supremes movie at the height of their fame. Some kind of silly comedy. Maybe they were a fictional vocal trio by night, but during the day they were crime solvers. Lol Or maybe before a show they witness a crime and the criminals are trying to kill them and high jinks ensue as the girls try to evade the killers and at the last minute the girls stop the killers in time to go on stage for their show. And all of this is happening with Diana playing the know it all whose ideas cause even more trouble; Mary playing the boy crazed girl whose beauty is always causing some kind of mishap involving men; and Florence always with the wisecracks and her clumsiness adds slapstick. I think people would have paid for that.
    they WERE in a movie - Beachball lol

    wasn't the actual movie for The Happening a screwball comedy? and with Faye Dunaway? lol not sure i'd typically associate her with screwball comedy. camp comedy - sure! lol

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    Quote Originally Posted by sup_fan View Post
    they WERE in a movie - Beachball lol

    wasn't the actual movie for The Happening a screwball comedy? and with Faye Dunaway? lol not sure i'd typically associate her with screwball comedy. camp comedy - sure! lol
    I think THE HAPPENING was some weird comedy starring Anthony Quinn.

    I saw it once on a late afternoon movie telecast. I only watched because I wanted to hear the girls sing the title song and that didn't happen until the end. About the only thing I remember is a scene with a group of guys running around saying something like "I know about you. I know about you," which I thought might have been a reference to the b-side but again, it has been so long that I don't know for sure.

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