Revisiting the “Return to love tour” 20 years later

[jobeterob]

I don’t think Motown was necessarily booking them at that stage of their careers - wasn’t it Pedro booking them? lord help them..,

[TheMotownManiac]

I think Pedro was booking them but I’m certain it had to go through Motown’s agency so they could get their cut.

[BobbyC]

Blackguy69 LOL! "This horse is beyond dead, it's dog food." LOL!

[detmotownguy]

Not much. Being raised in Detroit, the only part of the book that was interesting was Mary’s early life and the initial stages of the groups formation. Everything else was well known re the dynamics of the group. Ross had a chance to be interviewed for the book and turned it down. Mary has never been sued regarding anything she said in her books. Mary, Flo and Cindy were basically Berrys stage props for Ross. Berry and Diane had the power so the other girls were f****d. Mary had a choice. Quit and take her winnings and go to College or try to enjoy the fairy tail the best she could. Kudos to her for capitalizing on her journey. I have met her several times with no complaints. Her infectious laugh is a pleasure. After Ross said something to the effect that they weren’t friends, I would have walked away and never pursued another word with her.

[mwmr]

Mary has sung on the most tracks for sure, but so what? On many tracks no one even knows she’s there. And back in the day, when she was not used on many tracks she was not missed at all. She has admitted that she chose not to record on love child.

I don’t understand why you’re bringing this up what is your point?

Lynda was not in the group for a long time, but she brought a lot with her and made the group better. She was a true musician, and had a lot of heavy duty connections in the business. It was lynda they could pick up the phone and call Stevie wonder and ask him to write and produce a song for Her group and have it done… He didn’t do it for Mary Jean Cindy or Susaye or Sherry. She was classy, educated, had a strong voice and enough talent to sing lead on her very first gig with the group. And she sounded great. The fact that she chose to leave the group that does not lessen the many contributions she brought to the group while she was there. She handled the interviews on television much better than Jean or Mary. And is really the only one that handled her lines well on variety shows. Mary was very high on Lynda and did not at all want For her to leave.

I’m bringing this up as it’s a follow on from a post in this thread from sup fan .. maybe you missed it?

personally I think you over egg Lynda’s contribution and value during her brief tenure with the group ... Certainly they’re we’re no hits while she was there.. but a top 40 hit after by MSC
and l don’t buy that only she could ask Stevie.. Mary was at Motown from virtually the beginning.. unlike Lynda .. and knew most of the artists... maybe she didn’t like to ask... Martha knew him better but he didn’t produce for her until late 60s

[marv2]

I’m bringing this up as it’s a follow on from a post in this thread from sup fan .. maybe you missed it?

personally I think you over egg Lynda’s contribution and value during her brief tenure with the group ... Certainly they’re we’re no hits while she was there.. but a top 40 hit after by MSC
and l don’t buy that only she could ask Stevie.. Mary was at Motown from virtually the beginning.. unlike Lynda .. and knew most of the artists... maybe she didn’t like to ask... Martha knew him better but he didn’t produce for her until late 60s

Barbara Martin made more of a contribution to the Supremes history than Lynda Laurence. Lynda is Norma Lewis.......

[sup_fan]

I’m bringing this up as it’s a follow on from a post in this thread from sup fan .. maybe you missed it?

personally I think you over egg Lynda’s contribution and value during her brief tenure with the group ... Certainly they’re we’re no hits while she was there.. but a top 40 hit after by MSC
and l don’t buy that only she could ask Stevie.. Mary was at Motown from virtually the beginning.. unlike Lynda .. and knew most of the artists... maybe she didn’t like to ask... Martha knew him better but he didn’t produce for her until late 60s

agreed that given her limited time, she was only able to do so much. since then, she's discussed the fact that she was trying/hoping the group could modernize a bit. become more contemporary with all singing lead. of course that obviously didn't happen. Seems like Lynda said that she and Stevie were still pals and so she'd be happy to ask him to write something for them. sure anyone could have asked him and he was certainly working with other artists. his recent contract renegotiation though had made it easier [[and probably more profitable for him) to producer other artists. so timing was right.

I wonder if he'd hoped to use Lynda on some leads for this project.

[sup_fan]

also there are little hints here and there of what they could have done had the JML lineup lasted longer. Lynda has a higher voice than Cindy so that allows more upper note work in the background. you get the higher note emphasis like what Marlene could do in the Andantes and with Love Child. it's a nice effect.

on the Japan live set, Lynda does some great little ad libs and all, like when they're finishing up Ladder. Or that wonderful Wooooo slide she does at the 2nd bridge in Tossin' and Turnin'. love it!! plus her ad libs in BW

While she and Susaye are quite different singers, had there been more time and recordings, Producers could have used Lynda in the background similarly to what the Hollands did with Susaye on Driving Wheel and the like. Again, a very different sound and approach than when Cindy was in the group.