[REMOVE ADS]




Results 1 to 20 of 20
  1. #1
    Join Date
    Aug 2010
    Posts
    8,753
    Rep Power
    391

    1 non-single song that best represents each lineup

    ok - been trying to find new topics. And we all know we've discussed practically every topic 10,000 times lol

    so here's one i think is [[relatively) new

    What is 1 non-A side single song that you think best represents that lineup? in the past we've talked about which hits best reflect the group but let's try this for fun. it can be an album track, something from the vaults or a B side of a single.

    DMFB - Never Again

    DMF - going down for third time

    DMC - i'll set you free

    JMC - together we can make such sweet music [[but also consider Here Comes the Sunrise)

    JML - Cheap lovin

    MSC - you can't stop a girl in love

    MSS - sweet dream machine

  2. #2
    Join Date
    Mar 2017
    Posts
    8,629
    Rep Power
    516
    Barbara years= After All...It's the one song that I think shows each lady in a positive light.


    Flo years= Come On Boy...Just one of many songs I could've chosen. This particular one shows off Diana's personable voice, or as Aretha once said, that certain something that makes her so likable. And Flo and Mary's harmony is just breathtaking.


    DRATS= I'll Set You Free...Just a great performance from Diana as lead and Mary and Cindy's backing harmonies really sells the song IMO.


    MJC= Loving Country...Great Jean lead, great Mary and Cindy backing vocals.


    MJL= I Guess I'll Miss the Man...Beautiful Jean lead, great Mary and Lynda harmony work.


    MSC= Sha La Bandit [[shared lead version)...While I'm not overly fond of Cindy's turn at lead, I love the laidback style of the song. My favorite part is the background vocals, which I believe are all three ladies, and it shows how great a sound this grouping had together.


    MSS= We Should Be Closer Together...Beautiful input by everyone.
    Last edited by RanRan79; 05-12-2021 at 11:59 AM.

  3. #3
    Join Date
    Mar 2017
    Posts
    8,629
    Rep Power
    516
    Quote Originally Posted by sup_fan View Post


    DMFB - Never Again

    DMF - going down for third time
    Excellent choices. I love "Never Again". It really is a good sound by the group. And "Third Time" is always a fan favorite.

  4. #4
    Join Date
    Aug 2010
    Posts
    8,753
    Rep Power
    391
    MJL - i'll toss another out there. Tossin & Turning from Live in Japan.

    Jean is on fire here [[as opposed to her less-inspiring lead vocals on much of the album). "you must shake it but never break it!" lol

    Mary and Lynda are really cooking on the backgrounds and sound great. Plus Lynda does the most amazing "woooooo" at 2:39. love it!!

  5. #5
    Join Date
    Aug 2010
    Posts
    8,753
    Rep Power
    391
    Quote Originally Posted by RanRan79 View Post
    Excellent choices. I love "Never Again". It really is a good sound by the group. And "Third Time" is always a fan favorite.
    i was gonna scold you Ran lol the point of this thread is to NOT choose A sides of singles. Bad Weather was an A side lol

    as for After All, I thought about that one too. especially with Barbara's lead. but i think Never sounds a bit better.

  6. #6
    Join Date
    Aug 2010
    Posts
    8,753
    Rep Power
    391
    thought a Live list might be fun too

    DMFB - there are no recordings [[to date) of the quartet

    DMF - Let there be love from Roostertail 66. they are SO high energy and excellent vocals. and mostly unison. and since the sound quality is a bit better than Copa 65, i'm picking this one

    DMC - Impossible Dream Ed Sullivan

    JMC - we've only just begun Flip Wilson

    JML - Tossin and Turning Japan 73

    MSC - Body Heat live in Manchester

    MSS - maybe this time farewell in London

  7. #7
    Join Date
    Sep 2010
    Posts
    1,312
    Rep Power
    218
    DMFB- He's Seventeen

    DMF- He's All I Got

    DMC- Sunny Boy

    JMC- Bill When Are You Coming Back

    JML- 5:30 Plane

    These next two line ups are tough as I haven't really listened to the last three albums in completion

    SMC- Its All Been Said Before

    SMS- Does Dont Let My Teardrops count? Or was Cindy on this one? I know recently its been disputed its Susaye.

  8. #8
    Join Date
    Mar 2017
    Posts
    8,629
    Rep Power
    516
    Quote Originally Posted by sup_fan View Post
    i was gonna scold you Ran lol the point of this thread is to NOT choose A sides of singles. Bad Weather was an A side lol

    as for After All, I thought about that one too. especially with Barbara's lead. but i think Never sounds a bit better.
    I don't know how that slipped my mind. Duh! I'll go back and change it.

  9. #9
    Join Date
    Mar 2017
    Posts
    8,629
    Rep Power
    516
    Quote Originally Posted by sup_fan View Post
    thought a Live list might be fun too

    DMFB - there are no recordings [[to date) of the quartet

    DMF - Let there be love from Roostertail 66. they are SO high energy and excellent vocals. and mostly unison. and since the sound quality is a bit better than Copa 65, i'm picking this one

    DMC - Impossible Dream Ed Sullivan

    JMC - we've only just begun Flip Wilson

    JML - Tossin and Turning Japan 73

    MSC - Body Heat live in Manchester

    MSS - maybe this time farewell in London
    Definitely agree with "Let There Be Love". That's one of my fav of the live cuts.

  10. #10
    Join Date
    May 2011
    Posts
    397
    Rep Power
    160
    DMFB: Got to be "After All"

    DMF: "Ask any girl" just the first song that popped into my head. I think it definitely represents the girls during the first half of the 60's.

    DMC: "Sunny Boy" or "I'm gonna make it"

    JMC: "Thank him for today" Perfect song to finish New Ways.

    JML: Bit struggling here but want to say Bad weather which is not a non-single lol.

    MSC: "Give out, but don't give up" Both Scherrie lead and the group lead. And unlike Ran I love the Cindy solo bit on Sha la Bandit. It's not the best but it's nice they even bothered to give her some lines.

    MSS: "I don't want to be tied down" I think the choice has to be one of the disco songs.

  11. #11
    Join Date
    Apr 2014
    Posts
    2,266
    Rep Power
    203
    If I’m correct, Cindy recorded the full album. In disputes is how many tracks was Susaye dubbed in.
    Quote Originally Posted by floyjoy678 View Post
    DMFB- He's Seventeen

    DMF- He's All I Got

    DMC- Sunny Boy

    JMC- Bill When Are You Coming Back

    JML- 5:30 Plane

    These next two line ups are tough as I haven't really listened to the last three albums in completion

    SMC- Its All Been Said Before

    SMS- Does Dont Let My Teardrops count? Or was Cindy on this one? I know recently its been disputed its Susaye.

  12. #12
    Join Date
    Aug 2010
    Posts
    2,758
    Rep Power
    197
    DMFB - You Can Depend On Me
    Love the opening haunting bars and then Diana comes in with a vocal better than most of "Meet The Supremes" tracks

    DMF - Shake Me,Wake Me [[When Its Over) by this point the ladies were on fire

    DMC - Heaven Must Have Sent You - sometimes its hard to hear Cindy in the mix shes clear on this

    im not very familar with Jean years beyond the singles [[I cant keep up with the changing line up) so....

    Wisdom Of Time

    Its All Been Said Before - loved this track for years since it was included on the 1986 anthology CD great track
    Last edited by nomis; 05-12-2021 at 06:41 PM.

  13. #13
    Join Date
    Aug 2010
    Posts
    8,753
    Rep Power
    391
    Quote Originally Posted by blackguy69 View Post
    If I’m correct, Cindy recorded the full album. In disputes is how many tracks was Susaye dubbed in.
    the issue is we don't really know the date of Cindy's exit nor the date of Susaye's entrance. The Let Yourself Go set does list out the known recording dates for the HE tracks. According to that data, the backgrounds were all recorded over a 10 day or so period in Feb. the question then becomes who was in the group on what dates? Susaye is clearly audible in the bg vocals for the Russ Terana mix of I Dont Want To Lose You. and the date for IDWTLY bg vocals is 2/11 and 2/12. So assuming one of those dates is when Susaye was recording, then everything POST IDWTLY would be Susaye.

    let's just say 2/12 is Susaye's first date recording:

    that would mean she's on IDWTLY, You Keep me moving, Teardrops

    there's no data on bg vocals for Till the boat, you're what's missing or Walking

    bg vocals for HE, Only You were recorded prior to 2/12

  14. #14
    Join Date
    Mar 2017
    Posts
    8,629
    Rep Power
    516
    Is it possible that Susaye's overdubs aren't dated? If the backing vocals were completed and dated, if after the fact Susaye was brought in to do additional vocals, isn't it possible that this information just isn't documented? It seems post 1969 Motown's recording logs aren't as thorough as they are for much of the 60s.

    I bought the download of the Scherrie years set when it came out, along with the booklet. I think shortly thereafter something happened and my booklet disappeared. So I have to rely on you all for recording information during this period.

  15. #15
    Join Date
    Jun 2019
    Posts
    204
    Rep Power
    61
    If Marv were still with us, he might be persuaded that I'll Set You Free was Diana's salute to him, and that could have turned his whole attitude around. Why? Because at 1:34 Diana sings "I'll set you free, hee hee..." like she was quoting or channeling him. Remember how often that "hee hee" showed up in his posts?

    Also, her enunciation as she claims "Can't coo all my emotions..." twice leaves a lot to be desired. It was not cool.

    Basically, this song, despite some good moments and strong background support, is pitched slightly too high for Diana, and that, plus the breakneck speed, robs her of the sincerity she generally injected in even the simplest of lyrics, making the songs more endearing than they might have been when delivered by another singer.

    At this point, however, she seemed somewhat desperate, or Motown seemed somewhat desperate, as they rushed to push out anything, lost and bereft of ideas and lacking the fabled H-D-H sensitivity and understanding of where and how her voice delivered best. Several of the Love Child songs, including The Evening Of Our Love, and other recordings around this time, like Western Union Man, just didn't come across because her voice evidenced a frayed, over-worked, pressured, strained quality and was terribly unattractive. In my opinion Motown never should have released these cuts, as Diana sounded average or ill; she was presented as a rhinestone, not a diamond. Motown should have taken care to protect its most saleable asset instead of revealing less than perfect, flawed product. By Cream Of The Crop, for the most part Diana's vocals were smooth and polished again and her voice seemed to have recovered. But too many of the Love Child and Let The Sunshine In recordings showed that Motown was too intent on overwhelming us with quantity, not quality, issuing second-rate productions and trusting that the fans would overlook the harsh, grating tones and buy whatever came along. Motown rushed the end of its golden age.

  16. #16
    Join Date
    Aug 2010
    Posts
    2,758
    Rep Power
    197
    Quote Originally Posted by benross View Post
    If Marv were still with us, he might be persuaded that I'll Set You Free was Diana's salute to him, and that could have turned his whole attitude around. Why? Because at 1:34 Diana sings "I'll set you free, hee hee..." like she was quoting or channeling him. Remember how often that "hee hee" showed up in his posts?

    Also, her enunciation as she claims "Can't coo all my emotions..." twice leaves a lot to be desired. It was not cool.

    Basically, this song, despite some good moments and strong background support, is pitched slightly too high for Diana, and that, plus the breakneck speed, robs her of the sincerity she generally injected in even the simplest of lyrics, making the songs more endearing than they might have been when delivered by another singer.

    At this point, however, she seemed somewhat desperate, or Motown seemed somewhat desperate, as they rushed to push out anything, lost and bereft of ideas and lacking the fabled H-D-H sensitivity and understanding of where and how her voice delivered best. Several of the Love Child songs, including The Evening Of Our Love, and other recordings around this time, like Western Union Man, just didn't come across because her voice evidenced a frayed, over-worked, pressured, strained quality and was terribly unattractive. In my opinion Motown never should have released these cuts, as Diana sounded average or ill; she was presented as a rhinestone, not a diamond. Motown should have taken care to protect its most saleable asset instead of revealing less than perfect, flawed product. By Cream Of The Crop, for the most part Diana's vocals were smooth and polished again and her voice seemed to have recovered. But too many of the Love Child and Let The Sunshine In recordings showed that Motown was too intent on overwhelming us with quantity, not quality, issuing second-rate productions and trusting that the fans would overlook the harsh, grating tones and buy whatever came along. Motown rushed the end of its golden age.
    great post Benross..even in Flo's final months of turmoil in the group Mary writes in "Dream Girl" that Flo was commenting on how ill Diana was becoming..by 1968 she was emaciated and explains in "sparrow" she couldnt even chew on food..

    I think "Evening Of Our Love" was a "scratch' cut - Diana just feeling her way thru and never intended to be released. i like the track even thou the key she sings it is too high
    Last edited by nomis; 05-12-2021 at 08:54 PM.

  17. #17
    Join Date
    Aug 2010
    Posts
    8,753
    Rep Power
    391
    Quote Originally Posted by RanRan79 View Post
    Is it possible that Susaye's overdubs aren't dated? If the backing vocals were completed and dated, if after the fact Susaye was brought in to do additional vocals, isn't it possible that this information just isn't documented? It seems post 1969 Motown's recording logs aren't as thorough as they are for much of the 60s.

    I bought the download of the Scherrie years set when it came out, along with the booklet. I think shortly thereafter something happened and my booklet disappeared. So I have to rely on you all for recording information during this period.
    oh yes - totally possible. although we do have the date for Susaye's lead on Walking, which was 2/20. but yes. this period is quick uncertain as to who was where, doing what.

  18. #18
    Join Date
    Apr 2014
    Posts
    2,266
    Rep Power
    203
    It was said that the album was completed before susaye joined so it’s possible that she just added her vocals

  19. #19
    Join Date
    Aug 2010
    Posts
    2,126
    Rep Power
    201
    I think Susaye was dubbed in on I Don't Wanna Lose You, High Energy and Walking

  20. #20
    Join Date
    Apr 2021
    Posts
    1,215
    Rep Power
    153
    DMFB: After All

    DMF: Going Down the Third Time

    DMC: I'm Gonna Make It [[I will wait for you)

    JMC: Bridge over Troubled Water

    JML: All I Want

    SMC: Color My World Blue

    MSS: Sweet Dream Machine

Bookmarks

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •  

[REMOVE ADS]

Ralph Terrana
MODERATOR

Welcome to Soulful Detroit! Kindly Consider Turning Off Your Ad BlockingX
Soulful Detroit is a free service that relies on revenue from ad display [regrettably] and donations. We notice that you are using an ad-blocking program that prevents us from earning revenue during your visit.
Ads are REMOVED for Members who donate to Soulful Detroit. [You must be logged in for ads to disappear]
DONATE HERE »
And have Ads removed.