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  1. #1
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    another graph - this time comparing all Supremes records and Diana Ross through EA

    again - fascinating to see the bouncing back and forth

    https://www.youtube.com/watch?v=iU5Ihrh6KfU

  2. #2
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    Quote Originally Posted by sup_fan View Post
    again - fascinating to see the bouncing back and forth

    https://www.youtube.com/watch?v=iU5Ihrh6KfU
    I LOVE this


  3. #3
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    1976 is very interesting! you see I thought it took a little time start off and then, literally, drop off a cliff. LH starts and then Walking starts. But then it's as if Walking just waits patiently on the side while LH does its thing lol. then Walking started to move up

    and how about seeing 1980 with Upside down, I'm coming Out and It's my turn all going simultaneously

  4. #4
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    I loved listening to and watching the graphics of each song on this video. Interesting, informative, and entertaining.

    But when it came to WHY DO FOOLS FALL IN LOVE, I rewound and played it back a couple of times. [at about 16:45] It just sounded different and I finally asked SIRI what the song was. Siri told me that it was WHY DO FOOLS FALL IN LOVE by ALMA MARIE COGAN. I never heard of her and looked it up and see that she made a cover version of Frankie Lymon's song in the UK in 1956 back in the day of 78 rpm records. When I played it on You Tube, it sounded nothing like Diana, but to my kind of deaf ears, it almost blended with Diana in the graphics video. I wonder if anyone with better ears than mine, also caught it. And I wonder why Diana's version was not used

    In any case, whoever put this graphic video together did a terrific job


  5. #5
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    very cool
    some of the dates are hard to see but im sure thats my old eyes
    but really interesting to see the highs and lows of her music

  6. #6
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    Quote Originally Posted by milven View Post
    But when it came to WHY DO FOOLS FALL IN LOVE, I rewound and played it back a couple of times. [at about 16:45] It just sounded different and I finally asked SIRI what the song was. Siri told me that it was WHY DO FOOLS FALL IN LOVE by ALMA MARIE COGAN. I never heard of her and looked it up and see that she made a cover version of Frankie Lymon's song in the UK in 1956 back in the day of 78 rpm records. When I played it on You Tube, it sounded nothing like Diana, but to my kind of deaf ears, it almost blended with Diana in the graphics video. I wonder if anyone with better ears than mine, also caught it. And I wonder why Diana's version was not use.
    I noticed it right away and initially thought they used Frankie Lymon's version. Then I thought it might be a LIVE Diana version but realized it was a woman's voice, but not Diana. Thanks for finding who it is.

    I also noticed on the graph comparing Supremes, Vandellas and Marvelettes that the duet of I'm Gonna Make You Love Me uses Eddie's voice rather than Diana's. I was wondering if they thought that was Diana's voice. When I watched The Temptations video graph they used the same track of Eddie's voice on the song. I assumed they did The Temptations graph first and just used the same vocal on The Supremes graph.

    I think I noticed some other discrepancies on other graphs but very minor in context to the outstanding effort and result of this undertaking.

  7. #7
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    Really enjoyed this. I still find it hard to understand how unsuccessful Chain Reaction was in the USA when it was "massive" in the UK. It is still hugely popular to this day at events.

    I'd love to see a similar approach to UK chart places.

  8. #8
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    Very interesting graph. It seems that the DRATS era had some hit and miss chart action. Except for Ain't No Mountain it seems that the Supremes had similar chart action to Ross. Once 1973 rolled around the Supremes really didn't chart and Ross was up and down. Once the Supremes rebounded in 1976, it doesn't seem there was enough to push them a bit higher. I think Heart Do The Walking should have done a bit better than #40. Strange but both had many ups and downs past 1967.

  9. #9
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    prior to Lady, the Sups and DR were really pretty even with things. yes Diana's lp did SLIGHTLY better. but she was also getting much more publicity. the Surrender lp did manage to creep into the 50s on the charts, while NW only got to 68. but NW was on the charts several more weeks than Surrender

    frankly neither the Sups nor DR was white hot in 71 or 72. the J5 were the main act in 71, with the temps coming in close to them and then continuing into 72. Marvin was big in 71 with WGO and Stevie also exploded in the 2nd have of 72

    had Lady not happened, i think DR would have never made the jump to mega star

  10. #10
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    Quote Originally Posted by sup_fan View Post
    prior to Lady, the Sups and DR were really pretty even with things. yes Diana's lp did SLIGHTLY better. but she was also getting much more publicity. the Surrender lp did manage to creep into the 50s on the charts, while NW only got to 68. but NW was on the charts several more weeks than Surrender

    frankly neither the Sups nor DR was white hot in 71 or 72. the J5 were the main act in 71, with the temps coming in close to them and then continuing into 72. Marvin was big in 71 with WGO and Stevie also exploded in the 2nd have of 72

    had Lady not happened, i think DR would have never made the jump to mega star
    What were the factors that contributed to Diana Ross' inconsistent chart run in the first couple years of her solo career?

  11. #11
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    Quote Originally Posted by Spreadinglove21 View Post
    What were the factors that contributed to Diana Ross' inconsistent chart run in the first couple years of her solo career?
    1. Sup-par material.

    2. Haphazard release schedule.

    3. Zero TV promotion resulting in severely limited ability to sell to/connect with record buying public.

    4. Inability to promote in live shows sufficiently due to pregnancy, film and lengthy TV special shoot. Most live gigs that first year were in clubs until she got a few singles out and by then, all of the above occurred.

  12. #12
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    Quote Originally Posted by TheMotownManiac View Post
    1. Sup-par material.

    2. Haphazard release schedule.

    3. Zero TV promotion resulting in severely limited ability to sell to/connect with record buying public.

    4. Inability to promote in live shows sufficiently due to pregnancy, film and lengthy TV special shoot. Most live gigs that first year were in clubs until she got a few singles out and by then, all of the above occurred.
    This is a good assessment. I find it interesting that for the first two years, Motown did better with making the right decisions for Supremes singles. Maybe with exception of "Touch" and "You Gotta Have Love In Your Heart" they got it mostly right with them through 1972, but by then Motown no longer cared and moved west. On the other hand, they dropped the ball a few times on Diana in those first two years:

    "Reach Out, I'll Be There" - I know Ashford & Simpson were attempting to recreate the epic hit they had with "Ain't No Mountain High Enough," but the problem with "Reach Out, I'll Be There" was:
    1.) it was horribly edited - in a time when singles were going past the 3 minute mark, Motown should have released this in its entirety.
    2.) it was released almost a year and a half after "Mountain." The momentum of "Mountain" could helped had it been the follow-up.

    "I'm Still Waiting" - I know this was a number one hit in the UK, but it didn't translate across the pond. This was a nice track, but it was not a single. If Motown wanted to pick a single from the Everything Is Everything album, "My Place" would have been a better choice.

    "Good Morning Heartache" - Motown could have picked a better song to represent Lady Sings The Blues as a single. This just plods along and goes nowhere. I think "Our Love Is Here To Stay" would have done much better given it was a classic beloved song and there's a pep to it.

    I don't know if it was a result of Motown losing its way, but Diana's singles in the mid 70s would swing between sitting on top and then next barely cracking top 40. It was so inconsistent. It was a roller coaster of instant classics and then real clunkers. Motown's Quality Control really fell asleep in those meetings.
    Last edited by bradsupremes; 05-03-2022 at 12:08 AM.

  13. #13
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    here's what i would have done for both in terms on singles:

    Supremes
    Ladder Feb 70
    Loving Country - single edit and maybe slightly remixed to increase the tempo June 70
    Together we can make Oct 70
    Stoned Love Feb 71
    River Deep - June 71
    Nathan Jones - redo the ending to add more synth and "zing" it sort of dies away after the bridge and doesn't go anywhere Sept 71
    either Happy is a Bumpy Road, This is the story or Sunrise Dec 71
    Floy Joy April 72
    Automatic Sunshine Aug 72

    Diana Ross
    Mountain April 70
    Dark side of the world Aug 70
    Surrender Dec 70
    Remember me March 71
    My Place Aug 71
    I'm still waiting Dec 71
    I starting livin [[formerly Doobee Doobee) April 72
    either My Man or God Bless the Child Sept 72

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