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  1. #1

    The Supremes High Energy

    I was revisiting this album and didn't remember that it was their 2nd highest charting album. I was curious to read though, there was the original album and then one mixed by Russ Terrana. I've only heard High Energy and prefer the Russ Terrana mix. I heard trombones prominently in the opening. Any other thoughts or things to listen for?

  2. #2
    This was the second highest charting 70’s album behind Right On. It followed the basic formula of albums during the disco area. Dance material one one side and more slower tunes on the other. It could use some tweaking but I do like it as is.
    Quote Originally Posted by drlorne View Post
    I was revisiting this album and didn't remember that it was their 2nd highest charting album. I was curious to read though, there was the original album and then one mixed by Russ Terrana. I've only heard High Energy and prefer the Russ Terrana mix. I heard trombones prominently in the opening. Any other thoughts or things to listen for?

  3. #3
    i never cared for the lp back in the day but i do like the original Russ Terrana mixs far better, it seems more pop than the disco goes to the symphony that was released, i will take that the lead single ,Gonna Let My Heart is a gem and should have been a hit.
    it did spend 14 weeks on billboard charts during the summer of 76, which is not bad.not sure what that resulted in sales, but im sure it did fairly well.
    i just think the Russ mixs are superior .

  4. #4
    I've never paid a lot of attention to the different mixes of this album. I think I always default to the original release. I do know "You're What's Missing" has an obvious difference in the mixes, but I'd have to go check to see which I prefer.

    As far as the album goes, some good tunes, some duds. I do play "Missing" more than anything on the album, but also play "Walking", "Teardrops" and the title cut quite a lot as well.

  5. #5
    This album has definitely grown on me. I like some of the changes they made and think some of the original Terrana mixes are better. High Energy [[single), the original Terrana mix, for example sounds to repetitive and the released version has that waiting for the vocals moment which I like. Don't let my teardrops bother you, Terrana mix, has a more subtle intro than the released version and I think they should have kept it that way. I'm 50/50 about the more background vocals on the Terrana version of I don't want to loose you.
    Last edited by TYK1986; 04-23-2021 at 10:11 AM.

  6. #6
    I absolutely love the "High Energy" album. It is perhaps my all-time favorite Supremes album - inclusive of all iterations of The Supremes. I particularly loved the second side and Mary's vocals. The "Til The Boat Sails Away" / "I Don't Wanna Lose You" medley is perfection! "Don't Let My Teardrops Bother You" is another gem.

    I always felt that had Motown taken Mary in the direction of her leads on "High Energy," she would have had a successful solo recording career. She was at her very best on that album, and it definitely could have transferred over to solo recordings. Another screw-up by Motown.

    The "High Energy" album, though, in my humble opinion, was solid from start to finish. The vocals were spot on for every track. LOVED IT!!!!

  7. #7
    I absolutely agree with @mistercarter2u. I consider this album nearly flawless from start to finish. I have always been aware that this is my favorite of any Supremes lineup, likely because it’s the first lineup that I ever bought an album of with the exception of the early greatest hits packages, although I guess on this album the lineup is actually four of the Supremes not just three. But I think it’s a fabulous album. The orchestration especially on side one is phenomenal. Side two is a perfect balance and really gave Mary Wilson time to stretch out for a whole album side of leads. I also, in my opinion, feel that this album even though it came out at the height of the disco era, holds up much much better than almost any other disco album including most of those by Donna Summer with the possible exception of “once upon a time“ and “bad girls.“ So much of the material from the disco age sounds pedestrian and phoned in, so to speak. I remember listening to the album on headphones, those great big old clunky headphones that weighed a ton, and being amazed at the sound especially on the title tune which still remains my all-time favorite Supremes track.

  8. #8
    it's a solid album and the two versions are quite interesting. we've gotten some alt versions of albums/album tracks in the past but i think this is one of the more interesting comparisons.

    with this album, diana 80, WDOLG [[mono vs stereo) i've made playlists where i line the songs up so you hear them next to each other and can compare

    a few differences in the HE set include the different mix and intro length on the title track, extra choruses or instrumental breaks [[like on Walking and Only You). Different mixes on i don't want to lose you, including additional backing vocals where you clearly hear Susaye.

    Of course then there are the unreleased alt versions of several of the tracks with different vocal takes. I really like Susaye's alt lead on HE

  9. #9
    i wonder about the rumors of Cindy being on this album. i'm going to give a timeline below and let me know if dates are missing or wrong

    My understanding is that Cindy was asked to leave in January after shows in Toronto. not sure of exact date

    according to the LYG EE booklet, recording dates as as follows:

    There's Room at the top backing vocals - 1/6. this is certainly MSC

    Walking lead vocals are the first from the HE released album that we have a date for and that's 1/29

    Also on 1/29 they record various instrumental parts for HE, Only You, You Keep me moving and You're what's missing.

    the next vocals are laid down on 2/6. Mary came in for her lead on I don't want to lose you

    2/10 - backing vocals for only you
    2/11 - backing vocals for HE, don't let my teardrops, i don't wan to lose you
    2/12 more bg vocals for i don't want to lose you and Mary lead on Teardrops
    2/13 - HE lead recorded
    2/16 only you lead, Teardrops has more lead vocals
    2/17 - keep me moving bc vocals
    2/18 - keep me moving lead, you're what's missing lead
    2/19 - new scherrie lead on Walking and There's room
    2/20 susaye lead on Walking

    now of course there could be dates missing. but looks like 5 of the tracks had backing vocals done in mid Feb which i think might be AFTER Cindy is gone.

  10. #10
    Quote Originally Posted by sup_fan View Post
    i wonder about the rumors of Cindy being on this album. i'm going to give a timeline below and let me know if dates are missing or wrong...

    ...now of course there could be dates missing. but looks like 5 of the tracks had backing vocals done in mid Feb which i think might be AFTER Cindy is gone.
    You could be right.

    Even back in 1976 when the album was first released, RIGHT ON! magazine said something like a lot of the album was done before Cindy's departure so we had the pleasure of four Supremes.

    In her second book, Mary wrote that the album was already completed but they overdubbed Susaye on two tracks: the title track and IGLMHDTW. I can't find a source but I think that has since been disputed [[maybe by Susaye herself?)

  11. #11
    if you listen to the unreleased version of I Don't Want To Lose You, Susaye is extremely clear in the backing vocals. these vocals were edited or maybe a different version used on the released album. But there's no mistaking that Susaye is on that. So that makes at least 3 songs on the album.

    Also based on the data from the EE, IDWTLY had the backings recorded on 2/11 and 12. assuming there are no additional bg vocal recording dates for that song, then Susaye was in the studio on one of those days.

    Backing vocals for You Keep Me Moving were done on the 17th so that would be Susaye too

  12. #12
    I find it very difficult to hear Cindy on any of the songs. With the Mary, Scherrie and Cindy blend, Cindy always seem to disappear. Susaye definitely was added on I don't want to loose you. On the Terrana mix she has even more background vocals.

    I think Cindy is on most of the tracks but her voice is just buried underneath all the other vocals. I can hear her on Don't let my teardrops brother you. Especially when they sing near the end "when she's what you want". Definitely not Susaye as her voice is more distinctive.

  13. #13
    I think I can also hear Cindy on You Keep me Moving during the lines "Smiling faces" and "friendly places" between 1:30 and 1:45.

  14. #14
    I'm not an expert on Cindy's voice but I feel like I can hear her pretty well on High Energy and Don't Let My Teardrops Bother You.

  15. #15
    Cindy's voice is definitely challenging to hear because she so often blends in so effectively. and of course that is sort of the point lol. so i guess she's doing a good job

    both S and S had much more distinctive voices and both would alternate between 1st and 2nd soprano roles. the inner/middle voice is usually the most challenging to break out.

    to my ear, the backing blend on the majority of the HE tracks echo the sounds of the backing vocals on Sup 75. previously i had though Susaye really only did Walking and HE. but when we got the LYG set and heard her on the alt version of I Don't Want To Lose You, i was very surprised. she's definitely there. and then going through the dates in the booklet led me to these questions

  16. #16
    Quote Originally Posted by daviddh View Post
    i never cared for the lp back in the day but i do like the original Russ Terrana mixs far better, it seems more pop than the disco goes to the symphony that was released, i will take that the lead single ,Gonna Let My Heart is a gem and should have been a hit.
    it did spend 14 weeks on billboard charts during the summer of 76, which is not bad.not sure what that resulted in sales, but im sure it did fairly well.
    i just think the Russ mixs are superior .
    i'm with you on this one David. I had quite enjoyed several of the tracks on Supremes75, and i was quite excited when i bought High Energy, but my excitement quickly turned to disappointment. I liked only 4 songs. The title track, Walking, Missing and Teardrops. Side 2 was a real snoozefest.
    I much preferred the Russ Terrana mixes and wish they had been used.

  17. #17
    I think side 1 of HE was solid. HE was an amazing opener. Walking is just sensational. Only and Keep Me Moving are solid disco tracks. maybe not quite as strong as Walking but better then many of the disco tracks on Sup 75. i find them to be solid album tracks

    Side 2 struggles

    Teardrops is amazing and one of Mary's best leads. You're What's Missing is also strong. but i think the medley of Till the Boat and I Dont' want is too much. I think they could have used another mid-tempo song like Missing and then another big disco track.

  18. #18
    I liked the 2nd side. I thought the ballads were nice and soothing.

  19. #19
    I love the intro to "Boat" but then it goes downhill. I don't care for "I Don't Want To Lose You" no matter who is singing it, although I can tolerate Phyllis Hyman's version. "Boat/Lose You" is so boring. Mary had a beautiful voice, as evidenced by "Teardrops" and "Missing", but "Boat/Lose You" doesn't show it off at all. At least on the dreadful "Where Is It I Belong" Mary sounds good, it's the song that sucks. I'm with Sup. Replace the medley with another mid tempo and then a big disco cut.

  20. #20
    "Don't Let My Teardrops Bother You" should've been a single. I still maintain my position that the Supremes should've never become a disco act. "Teardrops" is exactly the type of material the latter Supremes should be known for.

  21. #21
    Quote Originally Posted by RanRan79 View Post
    "Don't Let My Teardrops Bother You" should've been a single. I still maintain my position that the Supremes should've never become a disco act. "Teardrops" is exactly the type of material the latter Supremes should be known for.
    I totally agree Ran. “Teardrops” was the song that could have been a game changer.
    I thought some of the disco fine, but they needed to present a simpler, more sophisticated image. From 74 onwards the group often came across as desperate to please. Never a cool image.. The vocal talent was there so there really was no need.

  22. #22
    I'm with you on Don't Let My Teardrops. Every person I ever played that song for loved it. Should have been a single.

  23. #23
    Same here. Think it's one of the best ballads Mary sang during her years with the Supremes. As much as I love Dionne Warwick her version of teardrops lacks something.
    Although I prefer the unreleased Terrana mix to the released version of the song. The alternate mix on the 70's anthology is good too but has that slightly louder intro compared to the Terrana mix.

  24. #24
    Quote Originally Posted by TYK1986 View Post
    Same here. Think it's one of the best ballads Mary sang during her years with the Supremes. As much as I love Dionne Warwick her version of teardrops lacks something.
    Although I prefer the unreleased Terrana mix to the released version of the song. The alternate mix on the 70's anthology is good too but has that slightly louder intro compared to the Terrana mix.
    Same here. I far prefer Dionne's voice to Mary's, but for some reason the Supremes version seems to work far better. The quality of the production was outstanding. It really did deserve to be a single. The Terrana mix is even better.

  25. #25
    Quote Originally Posted by RanRan79 View Post
    I love the intro to "Boat" but then it goes downhill. I don't care for "I Don't Want To Lose You" no matter who is singing it, although I can tolerate Phyllis Hyman's version. "Boat/Lose You" is so boring. Mary had a beautiful voice, as evidenced by "Teardrops" and "Missing", but "Boat/Lose You" doesn't show it off at all. At least on the dreadful "Where Is It I Belong" Mary sounds good, it's the song that sucks. I'm with Sup. Replace the medley with another mid tempo and then a big disco cut.
    see i think Mary is just colorless on Where Is It I Belong. as for Boat/Lose, she's better but it just sorts of drags on and on. Teardrops is certainly much much better. an excellent song. I'd certainly rate it as one of Mary's best Motown leads. along with We Should Be Closer

  26. #26
    Quote Originally Posted by Ollie9 View Post
    I totally agree Ran. “Teardrops” was the song that could have been a game changer.
    I thought some of the disco fine, but they needed to present a simpler, more sophisticated image. From 74 onwards the group often came across as desperate to please. Never a cool image.. The vocal talent was there so there really was no need.
    see i think the ballads and Teardrops are ok but i'm not convinced of that being the breakthrough for the group

    first they should have released the more pop material on Sup 75 as a single. It's All Been Said, Can't Stop A Girl and Color My World would have been 3 perfect singles to re-establish the group in the pop world. and in that order IMO

    It's all Been said is a strong song, it was ready by late 74 so works as the first out of the gate.

    Stop a Girl is a better song and would have perfectly followed up that.

    Color would have been an excellent transition to some more dance-oriented music.

    Walking would then be the next single and man! haven't re-established the group's track record, i think this would have been the mega smash they needed

    Teardrops would have been a challenging follow up IMO to Walking. it's wonderful that they did it like on Mike Douglas and it should have been added to the stage act. frankly it's a much better song than A Song For You.

  27. #27
    Quote Originally Posted by sup_fan View Post
    see i think the ballads and Teardrops are ok but i'm not convinced of that being the breakthrough for the group

    first they should have released the more pop material on Sup 75 as a single. It's All Been Said, Can't Stop A Girl and Color My World would have been 3 perfect singles to re-establish the group in the pop world. and in that order IMO

    It's all Been said is a strong song, it was ready by late 74 so works as the first out of the gate.

    Stop a Girl is a better song and would have perfectly followed up that.

    Color would have been an excellent transition to some more dance-oriented music.

    Walking would then be the next single and man! haven't re-established the group's track record, i think this would have been the mega smash they needed

    Teardrops would have been a challenging follow up IMO to Walking. it's wonderful that they did it like on Mike Douglas and it should have been added to the stage act. frankly it's a much better song than A Song For You.
    “Walking” caused a few ripples and was a modest success. I think “Teardrops” might have provided this particular lineup of Supremes with their first major pop hit. An original Supreme singing lead would have been the icing on the cake.
    Had “Teardrops” hit big, i can imagine Motown veering away from disco sound and going with “You Are The Heart Of Me” as lead single from MS&S.

  28. #28
    i think the problem with Walking was the overall promotion and the status of the group at the time. while it's final chart position was low, it really did have a strong run on the charts. it was on for a LONG time and had a lot of movement. i think it was a problem of not being prepared and ready to strike when it was needed. the song was so hot on the dance charts and made the leap to the pop. but the group was all over the place around this time and the promotional efforts by motown seemed to be also all over the place.

    again i don't know it Teardrops or a ballad would really break through. IMO those songs are harder to gain traction with.

  29. #29
    My perception of High Energy from when I first bought it in 1976 and now has certainly changed. Back then, I certainly wondered what happened to Cindy again and wondered about the newest member Susaye. When I first heard the title track I was taken aback because it didn't sound anything like what I expected. I loved the disco on side 1 and really loved hearing Mary take the leads on the ballads on side 2, I felt it was time her beautiful voice was spotlighted with what she did best. Teardrops was an emotional masterpiece and Boat/Lose were like her voice, a soft emotional vocal caress. Missing was a great tie up to the disco on side 1 and the beautiful ballads on side 2. Now, I really love the title track and Susaye literally soars on it. I love Scherrie's voice on side 1, she carries it so well and she is so underrated. I feel that this was the start of what could have brought the Supremes into a new era. Mary certainly helmed it and had all 3 singing lead on what they sang best-Scherrie the dance tracks, Susaye with funk and soul and Mary with ballads and mid tempo. That diversity could have been used for longevity. The Supremes had become a lead singer with a high or nasal voice backed by a solid background. The group went full circle as three lead singers each doing what they did best gave the group a roundness, a complete circle of talent and I feel High Energy was the start of going back to that. I personally loved side 2 and could listen to it when I wanted to mellow out to a group of beautiful songs and I loved side 1 for the dance tracks and how they soared. I'M Gonna Let My Heart should have been the track to bring them back, had Motown supported and realized what could have been and then with the next LP had they led with Let Yourself Go, the story may have ended quite differently.

  30. #30
    i agree Jim - i think LYG should have been even bigger than Walking and the lead single off of MS&S. of course i don't know what the heck was all going on behind the scenes with promotion and marketing. As i mentioned above, my opinion is that Walking was the moderate success that it was DESPITE the f'd up marketing tactics and efforts.

    I don't know if motown just didn't want to invest in the group because Mary said "no" to Berry managing again? or if the infighting was so bad no one wanted to bother with the group? or if Pedro and Mary made ill-informed decisions? or if this or if that...

    The point is the potential was there with the group. I like Mary taking on more of a role within things but frankly I thought she did so at the expense of the stunningly talented Scherrie. I would have had Scherrie doing 60% of more of the leads, with Mary and Susaye splitting the remainder. Mary is lovely on her ballads but a little ballads goes a long ways. I do like some songs [[like Sweet Dream Machine) with shared leads - that worked beautifully. But Scherrie [[just like Diana and just like Jean) had the most commercial sound. Make that the focal point of the group but allow the other members to make meaningful contributions. This should have been applied for recordings, tv shows, stage. everything

  31. #31
    Love Gonna let My Heart and Teardrops.
    Both great tracks.
    I would have combined both HE and MSS into one lp

  32. #32
    Quote Originally Posted by sup_fan View Post
    see i think Mary is just colorless on Where Is It I Belong. as for Boat/Lose, she's better but it just sorts of drags on and on. Teardrops is certainly much much better. an excellent song. I'd certainly rate it as one of Mary's best Motown leads. along with We Should Be Closer
    I give Mary's vocal on "Where Is It I Belong" a thumbs up because for me her vocal approach correctly interprets the depressing, sad, and confused tone of the lyrics. When she sings the chorus, I honestly feel like she's really asking herself the question of where does she belong. So my problem isn't with Mary on the song, nor is it the track, which I also find to be good, nor is it with the background vocals, which are also pretty nice. My issue is the lyrics. It just comes across as a dumb song to me. I think it could've been written a whole lot better. As is though, everything comes together to make a depressing song. I honestly think I've only sat through it two or three times in the nearly 20 years I've had a copy of Supremes 75.

  33. #33
    Quote Originally Posted by sup_fan View Post
    see i think the ballads and Teardrops are ok but i'm not convinced of that being the breakthrough for the group

    first they should have released the more pop material on Sup 75 as a single. It's All Been Said, Can't Stop A Girl and Color My World would have been 3 perfect singles to re-establish the group in the pop world. and in that order IMO

    It's all Been said is a strong song, it was ready by late 74 so works as the first out of the gate.

    Stop a Girl is a better song and would have perfectly followed up that.

    Color would have been an excellent transition to some more dance-oriented music.

    Walking would then be the next single and man! haven't re-established the group's track record, i think this would have been the mega smash they needed

    Teardrops would have been a challenging follow up IMO to Walking. it's wonderful that they did it like on Mike Douglas and it should have been added to the stage act. frankly it's a much better song than A Song For You.
    I'm not sure if the right way to look at it [[as if there is such a thing) is to judge the decision on what should've been next by what preceded it, when the songs are top rate. I mostly agree about the Supremes75 singles, except "All Been Said". The song was a cover and I don't know that the group should've started out with a cover song, even if it wasn't a well known one. I would've gone with "Can't Stop" and "Color" and then "Early Morning Love".

    With HE, obviously "Walkin" is the winner out the gate. After that, I feel "Teardrops" had a great chance of succeeding, especially when you look at some of what hit #1 in 1976. "Teardrops" as a ballad would've been right at home. The Supremes had been equally known for it's up tempo releases and some beautiful ballads. I think the public would've loved a return to that form, where they give you something to snap your fingers to one day and then something to sing your heart out to the next.

    After "Teardrops" I would've definitely gone with pushing the title cut. Now to your line of thinking, I might be inclined to go "Walking" then "High Energy", which is a nice sort of danceable, yet sexy disco. "High Energy" could be used to bridge the gap between the different styles of "Walkin" and "Teardrops". But I definitely think these three songs had what it took to be major hit singles had Motown pushed them.

  34. #34
    Quote Originally Posted by Ollie9 View Post
    “Walking” caused a few ripples and was a modest success. I think “Teardrops” might have provided this particular lineup of Supremes with their first major pop hit. An original Supreme singing lead would have been the icing on the cake.
    Had “Teardrops” hit big, i can imagine Motown veering away from disco sound and going with “You Are The Heart Of Me” as lead single from MS&S.
    Ollie that would've been an interesting promotional tool, the last original Supreme singing the lead. It might have felt like it was truly the Supremes simply because of the connection. Not that Motown would've ever used this in their promotions, I'm speaking more of word of mouth and among radio DJs. It might have garnered the all important initial radio play on the fact that Mary was the sole lead. [[Of course she had been a lead on a couple singles to that point, but she was always sharing.)

  35. #35
    Quote Originally Posted by sup_fan View Post
    i agree Jim - i think LYG should have been even bigger than Walking and the lead single off of MS&S. of course i don't know what the heck was all going on behind the scenes with promotion and marketing. As i mentioned above, my opinion is that Walking was the moderate success that it was DESPITE the f'd up marketing tactics and efforts.

    I don't know if motown just didn't want to invest in the group because Mary said "no" to Berry managing again? or if the infighting was so bad no one wanted to bother with the group? or if Pedro and Mary made ill-informed decisions? or if this or if that...

    The point is the potential was there with the group. I like Mary taking on more of a role within things but frankly I thought she did so at the expense of the stunningly talented Scherrie. I would have had Scherrie doing 60% of more of the leads, with Mary and Susaye splitting the remainder. Mary is lovely on her ballads but a little ballads goes a long ways. I do like some songs [[like Sweet Dream Machine) with shared leads - that worked beautifully. But Scherrie [[just like Diana and just like Jean) had the most commercial sound. Make that the focal point of the group but allow the other members to make meaningful contributions. This should have been applied for recordings, tv shows, stage. everything
    Scherrie was the focal point of the group with the all important singles. Mary sang on "He's My Man" and then Scherrie did all the others until the end. And still the singles [[aside from "Walking") went nowhere. Behind the scenes Mary may have been a problem [[in the fact that she was letting Pedro run the show) but to any of the public that was paying attention, she wasn't the issue because she was doing what she had always done: singing the background.

    The group had an image problem. While I understand that this was a totally different lineup [[aside from Mary) than the one the world had first come to know and love, it was that first trio lineup that set the tone for the name Supremes. IMO the Scherrie grouping kept moving further and further away from that and it was a turnoff to the general public. Add to that the fact that Motown seemingly couldn't have cared less what was going on with them, as well as ineffectual managing, and the Scherrie lineups had some tall hills to climb.

  36. #36
    Quote Originally Posted by RanRan79 View Post
    I give Mary's vocal on "Where Is It I Belong" a thumbs up because for me her vocal approach correctly interprets the depressing, sad, and confused tone of the lyrics. When she sings the chorus, I honestly feel like she's really asking herself the question of where does she belong. So my problem isn't with Mary on the song, nor is it the track, which I also find to be good, nor is it with the background vocals, which are also pretty nice. My issue is the lyrics. It just comes across as a dumb song to me. I think it could've been written a whole lot better. As is though, everything comes together to make a depressing song. I honestly think I've only sat through it two or three times in the nearly 20 years I've had a copy of Supremes 75.
    conveying the emotion is different from sounding like you've actually been institutionalized lol. I think she sounds despondent and on the verge of jumping out the window. as opposed to sounding heartbroken and wanting

    but completely agree on the idiotic lyrics. and the backing vocals just sort of chirp along and i find them pretty ineffective. the instrumental track is pretty enough but that's it

  37. #37
    Quote Originally Posted by RanRan79 View Post
    Scherrie was the focal point of the group with the all important singles. Mary sang on "He's My Man" and then Scherrie did all the others until the end. And still the singles [[aside from "Walking") went nowhere. Behind the scenes Mary may have been a problem [[in the fact that she was letting Pedro run the show) but to any of the public that was paying attention, she wasn't the issue because she was doing what she had always done: singing the background.

    The group had an image problem. While I understand that this was a totally different lineup [[aside from Mary) than the one the world had first come to know and love, it was that first trio lineup that set the tone for the name Supremes. IMO the Scherrie grouping kept moving further and further away from that and it was a turnoff to the general public. Add to that the fact that Motown seemingly couldn't have cared less what was going on with them, as well as ineffectual managing, and the Scherrie lineups had some tall hills to climb.
    i might not have explained it well. scherrie is lead on the singles and many album tracks but that's it. in their live shows, on tv and all you don't really get that she is a focal point. we've talked about how scherrie's mic was always so low on the tv clips. and of course some of that could be the poor quality of the videos. I don't want to assume Mary and Pedro were turning Scherrie down like how M and C were turned down so low. But scherrie also on tv didn't always step forward and lead the song visually. she often did the same choreography and was lined up with M and S and M and C. like when they did Wheel on Merv Griffin. you can hardly hear Scherrie and she's stuck in her position next to the girls. she should have come forward and worked the audience more.

    I don't mind Mary being the main spokesperson for the group. but i wish Scherrie had come forward more. that would allow people to put a face and person with the amazing voice. they make that connection.

    it's sort of hard to explain here in a forum post but hope that makes some sense

  38. #38
    "He was Capricorn, and a love was born" LOL!!!

  39. #39
    lol - i wish i could figure out the poll and survey features of the forum lol. get fans to rate which are the dumbest lyrics:

    He was capricorn and a love was born

    came the telegram. momma passed away while making homemade jam

    he's a groovy swinging guy with the rock and roll banjo band

    Girls you are passion. With your every move You set the fashion

  40. #40
    LOL!! Many a fine contender but I'm still going with Capricorn. Very shagadelic. But you know what I think is the dumbest lyric in all pop music? Careless Whisper by Wham. "Guilty feet have got no rhythm." George Michael's feet have emotions and were feeling guilty when he wrote that. Dope.

  41. #41
    Quote Originally Posted by sup_fan View Post
    lol - i wish i could figure out the poll and survey features of the forum lol. get fans to rate which are the dumbest lyrics:

    He was capricorn and a love was born

    came the telegram. momma passed away while making homemade jam

    he's a groovy swinging guy with the rock and roll banjo band

    Girls you are passion. With your every move You set the fashion
    "He's a groovy swinging guy with the rock and roll banjo band" fits the concept of that song. I don't see that you can take that one line at random unless you say that the whole song is dumb.

  42. #42
    Quote Originally Posted by 144man View Post
    "He's a groovy swinging guy with the rock and roll banjo band" fits the concept of that song. I don't see that you can take that one line at random unless you say that the whole song is dumb.
    oh i know - i'm just having fun with it. but yeah the overall song is a bit daft. although i get it that it wasn't written with the idea that it would rival Puccini lol.

    And frankly i don't mind Girls from Ross 83. i actually enjoy it and find it to be silly fun.

  43. #43
    Quote Originally Posted by sup_fan View Post
    conveying the emotion is different from sounding like you've actually been institutionalized lol. I think she sounds despondent and on the verge of jumping out the window. as opposed to sounding heartbroken and wanting

    but completely agree on the idiotic lyrics. and the backing vocals just sort of chirp along and i find them pretty ineffective. the instrumental track is pretty enough but that's it
    I don't hear all of that. Lol She sounds depressed and confused but I don't hear the suicidal.

  44. #44
    Quote Originally Posted by sup_fan View Post
    i might not have explained it well. scherrie is lead on the singles and many album tracks but that's it. in their live shows, on tv and all you don't really get that she is a focal point. we've talked about how scherrie's mic was always so low on the tv clips. and of course some of that could be the poor quality of the videos. I don't want to assume Mary and Pedro were turning Scherrie down like how M and C were turned down so low. But scherrie also on tv didn't always step forward and lead the song visually. she often did the same choreography and was lined up with M and S and M and C. like when they did Wheel on Merv Griffin. you can hardly hear Scherrie and she's stuck in her position next to the girls. she should have come forward and worked the audience more.

    I don't mind Mary being the main spokesperson for the group. but i wish Scherrie had come forward more. that would allow people to put a face and person with the amazing voice. they make that connection.

    it's sort of hard to explain here in a forum post but hope that makes some sense
    I think I get what you're saying. I disagree, but I think I get it. To me the set up works by the time Scherrie is in the group. That "one focal point" idea was fine when Diana was in the group, and then even Jean, but by the mid 70s, of the female groups that were still making any noise, how many of them operated this way? Labelle might be the only one that comes to mind. The Pointer Sisters certainly got by without one main focus. So did the 3 Degrees and the Emotions. I think at this point that focal point thing was passe.

  45. #45
    Quote Originally Posted by sup_fan View Post
    lol - i wish i could figure out the poll and survey features of the forum lol. get fans to rate which are the dumbest lyrics:

    He was capricorn and a love was born

    came the telegram. momma passed away while making homemade jam

    he's a groovy swinging guy with the rock and roll banjo band

    Girls you are passion. With your every move You set the fashion
    I wouldn't put "Banjo" in the same category as those others, but the other three are worthy contenders. I'd add the dumbest song is "The Happening".

  46. #46
    Quote Originally Posted by RanRan79 View Post
    I think I get what you're saying. I disagree, but I think I get it. To me the set up works by the time Scherrie is in the group. That "one focal point" idea was fine when Diana was in the group, and then even Jean, but by the mid 70s, of the female groups that were still making any noise, how many of them operated this way? Labelle might be the only one that comes to mind. The Pointer Sisters certainly got by without one main focus. So did the 3 Degrees and the Emotions. I think at this point that focal point thing was passe.
    yeah i agree that there was no need for a real DRATS set up. I like M and C having more of the spotlight, like they did with Jean to some degree. If you listen to their live shows, all have a bigger role. the 3 women share the stage banter and dialog, they really used Everybody's Got The Right and Love The One You're With to give M and C some shared lead lines, Mary had a spotlight lead and some leads in the 60s medley.

    during the MSC era, Mary pretty much handled all of the stage banter, she did most of the tv interviews. in the 75 show promoting Sup 75, Mary did the majority of the leads too. So it's almost like Mary assumed Jean's work load and Scherrie took on Marys.

    Scherrie was too talented a singer to be relegated to such a disproportionate share of the singing

  47. #47
    Quote Originally Posted by RanRan79 View Post
    I wouldn't put "Banjo" in the same category as those others, but the other three are worthy contenders. I'd add the dumbest song is "The Happening".
    the song was not only recorded by the group but included on both an album and a 45 B side. it is more than worthy then for our scorn lol

    and while i get it that they were going for a lightweight fun tune, the lyric are idiotic at best

  48. #48
    Quote Originally Posted by 144man View Post
    "He's a groovy swinging guy with the rock and roll banjo band" fits the concept of that song. I don't see that you can take that one line at random unless you say that the whole song is dumb.
    well that's sort of the point of my post. I don't know that every lyric in Where Is It I Belong or Shame are terrible. both actually have a basis in something that could have been compelling or interesting. but they declined into the nonsensical with these specific lines.

    Banjo overall is a dumb song and i get that novelty tunes can be afforded some leeway. But this was included on both an album and a 45. Think of all the wonderful tunes that only appear on an album and never a 45. or were left in the vaults!

  49. #49
    I know that you wanted Scherrie to handle most of the lead with Mary doing a few songs but that wasn’t gonna happen. And I don’t blame Mary for taking a big leap. I wish that Cindy had more of a chance to do her thing.
    Quote Originally Posted by sup_fan View Post
    yeah i agree that there was no need for a real DRATS set up. I like M and C having more of the spotlight, like they did with Jean to some degree. If you listen to their live shows, all have a bigger role. the 3 women share the stage banter and dialog, they really used Everybody's Got The Right and Love The One You're With to give M and C some shared lead lines, Mary had a spotlight lead and some leads in the 60s medley.

    during the MSC era, Mary pretty much handled all of the stage banter, she did most of the tv interviews. in the 75 show promoting Sup 75, Mary did the majority of the leads too. So it's almost like Mary assumed Jean's work load and Scherrie took on Marys.

    Scherrie was too talented a singer to be relegated to such a disproportionate share of the singing

  50. #50
    Here's an interesting review. In it, the reviewer said Susaye claims she is on every single song on High Energy, not just over-dubbed on two. Does anybody remember Susaye making this claim? First I hear of it: http://discodelivery.blogspot.com/20...gh-energy.html

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