If There Was No Funny Girl

[RanRan79]

I'm guessing we might all agree that artistically the Funny Girl album is a good one. Diana sounds great and she gets to do some "acting", the backing vocals are beautiful, Gil's arrangements are fantastic. That being said, it was an obvious bad idea because it was released and nobody- and I do mean nobody- gave a crap. The C&W album sold more than Funny Girl. The album would be the last of the Supremes concept albums.

So my questions is: if DRATS had to do a concept album at that point, what should it have been that people might be interested in? If you were brought on board to produce the last DRATS concept album in 1968, what are you thinking?

[sup_fan]

there's another reason FG was sort of the perfect vehicle [[even though i'm not a fan of the show, as sung by anyone). there is surprisingly little for the other characters to do. the original broadway show really was intended to be a star-making vehicle for Barbra. the supporting characters are so down the ladder in terms of character development, spotlighted songs, etc. Other than the handful of items for Nicky, it's basically a 1 woman show

and by 68, that's what DRATS had become. it was DIANA ROSS and two backing singers. my understanding is the goal was to do a whole show soundtrack, not a collection of songs by a composer or a collection from a genre. they'd already done that, done that multiple times and mostly done that very very well. here i think the idea was to bring character into the songs and, at least somewhat, tell a story

as for other production and album options, i don't know that there would have been another show that fit. most everything else [[or at least any show with any major name recognition) requires additional characters. My Fair Lady needs to dual roles of Henry and Eliza, mame - vera, mame, the kid. Hello Dolly has an even larger cast.

one thing that MIGHT have worked would be to highlight the history of black musicals. maybe do something almost like the GIT Leading Lady medley but full song versions of the great black singers. songs from Porgy and Bess, Cabin in the sky, Carmen Jones, etc. the FG album couldn't have been more "white" lol and late 68 was seeing a very strong emergence of a more traditional r&b sound. motown and DRATS were starting to come across to some as too polished and too white. perhaps something like this would have helped counter that

you could have also done something similar to what Diana eventually did in Evening With in her tribute to "the girls" or maybe a concern similar to RHRAB.

[sup_fan]

i've also thought that maybe after Join the Temps and TCB, instead of Together and GIT, the two groups do a duet album for Hair. you wouldn't have to do the more extreme numbers. but with Eddie, Dennis and Diana, you could cover a lot of the biggest tunes. maybe mary gets a spotlight or something too.

the rumor with the duets and the tv special was the Temps were added to help bring in more of the black audience while the sups were to bring the white audiences. but also the temps were starting to hit big with their psychedelic soul sound. Cloud Nine came out at the same time as Love Child. but the Temps continued their sound and continued their hits. by mid 69, they had a bit more of the "cool" factor than DRATS did so a joint Hair album [[pun intended lolol) could have added some of the cool factor back to the girls

[reese]

Maybe they could have piggybacked off the success of LOVE CHILD and do an album of more message-oriented material.

Doing the songbook of Bacharach and David might have been a possibility. But there again, they'd be invading Dionne's territory.

[reese]

i've also thought that maybe after Join the Temps and TCB, instead of Together and GIT, the two groups do a duet album for Hair. you wouldn't have to do the more extreme numbers. but with Eddie, Dennis and Diana, you could cover a lot of the biggest tunes. maybe mary gets a spotlight or something too.

the rumor with the duets and the tv special was the Temps were added to help bring in more of the black audience while the sups were to bring the white audiences. but also the temps were starting to hit big with their psychedelic soul sound. Cloud Nine came out at the same time as Love Child. but the Temps continued their sound and continued their hits. by mid 69, they had a bit more of the "cool" factor than DRATS did so a joint Hair album [[pun intended lolol) could have added some of the cool factor back to the girls

I thought HAIR might be a good idea as well. And no one singer is identified with its material.

[Ollie9]

Hello Dolly might have proved interesting...

[kenneth]

An album of the Supremes and Temptations doing songs from "Hair" would have been a fantastic opportunity, but likely too "far out" at the time for Motown to consider. I mean, at the time, "Hair" was viewed as the show where naked performers who were likely on hallucinogenic drugs cavorted for all to see. Performing the big hit song from the musical was one thing, but an entire album...? Maybe too "outside the box" for Motown at the time. I can't imagine Gordy letting the girls sing "White Boys [[Give Me Goose Bumps)!"

Nevertheless, I have to think that Gordy's intention with "Sing and Perform 'Funny Girl'", especially because he made sure to call the album with "and Perform" in the title, was to try and launch a future in musicals for Ross. I imagine there were very few singers who wouldn't have loved to use their success at recording as a springboard to a career in musical comedy, or even 'straight' films.

Even if you look at the "Raindrops Keep Fallin' on My Head" album by BJ Thomas, you will see that Sceptre took photos of him as if he were in the "Butch Cassidy" film, piloting a bicycle with a model whose physical resemblance to Katherine Ross couldn't have been an accident. Even inside the gatefold album cover, they had various photos of BJ acting the movie star. I don't think Mr. Thomas ever had a role in a film, but I have to think the intention was that his management was trying for that.

And, after all, we all know the lure that 20th Century Fox had for Mary Wells, sadly.

So I feel it was all part of the rollout to Diane's solo career, and done with extreme care and deliberation.

[sup_fan]

i agree that the "perform" part of the concept and title was key here. again Diana is obviously in the Fanny role and going through, more or less, the story. the idea was to showcase her ability to translate a character.

and again, i think that's why other shows would have struggled with this. there's too much involvement with other characters. unless you were to do something like what we eventually got of DR Sings The Wiz

[kenneth]

i agree that the "perform" part of the concept and title was key here. again Diana is obviously in the Fanny role and going through, more or less, the story. the idea was to showcase her ability to translate a character.

and again, i think that's why other shows would have struggled with this. there's too much involvement with other characters. unless you were to do something like what we eventually got of DR Sings The Wiz

I agree with your assessment of the show itself. It is, in essence, a "one woman show," and so closely identified with Streisand that until recently I don't believe it had ever been revived on Broadway. Even then it seems, the lead was replaced by another performer who "sold" the show better than the first actress in the role. Far from being an ensemble cast, and although Streisand's talent is impossible to deny, it makes watching the film difficult for me as I'm not a diehard Barbra fan. Omar Sharif seems to suffer the most. Of course he looks fantastic but it seems all they gave him to do was chuckle at Streisand's one liners.

[danman869]

If they never released the "Funny Girl" album, I think things would have been just fine. It would have been perfectly "ok" for them to sing songs from the show ["People," "Don't Rain On My Parade," "The Music That Makes Me Dance"] and I think it would have satisfied those in the crowd who liked to see Diana sing her Streisand-type/Broadway numbers.

I tried to think for a while about "what kind of concept album could they have done?" and, honestly, I don't think there was anything that would have done much better than FG. They'd already done The Beatles/British Rock 4 years earlier. If they did Bacharach/David, they'd have likely been accused of encroaching on Dionne's territory. They'd already done Rodgers and Hart. I think continuing with other Broadway shows/compilations likely wouldn't have done any better than FG.

Could DRATS have done a few contemporized versions of songs from "Funny Girl" and just included them on their next few albums? Absolutely. Hey, The Tymes recorded a contemporary cover of "People" that was released in August 1968 and reached #39 on the Pop chart. That's a pretty impressive showing for a [soul] group that had peaked on the charts a few years earlier and was now coming back with a cover of a Broadway hit song.

By 1968, I think music was changing so much and DRATS was starting to [for better or worse] present as pretty Vegas, pretty MOR--so, doing a Broadway show wasn't going to draw new fans. Going for, say, heavier rock/pop material or even heavier R&B would've likely drawn critical ire. So... what should they have done?

I think that they should have just not released FG. Continued with prepping and releasing both "Love Chid" and "Join The Temptations" and then lean a little harder on the latter album with joint TV appearances in early 1969 to promote the single released and the next one that was released. And then... continue forward. Similar to folks past comments that The Supremes/Four Tops duet albums were overkill and should have been limited to one album, I think that the DRATS/Temptations duets albums should have been limited to one [[the first), the TCB special, and that should have been it. No "Together" album and DEFINITELY no "GIT on Broadway." In some ways, I wish that things could have been planned out so that the two groups recorded and released "I'm Gonna Make You Love Me" just as they were ramping up planning and taping of "TCB." Then, "TCB" could have highlighted a few more songs from the "Join" album and maybe less covers on the show. Then the TCB soundtrack could have come out PLUS the "Join" album [[maybe several weeks before TCB aired?). But, alas, that's not how it all came together.

The "Funny Girl" album just diluted the Supremes. It felt like a vanity project that wasn't really going to advance anything for them. There were no singles that could come from the album. With the group struggling since late 1967, why wouldn't you focus on getting the best SINGLES prepped and released and the best ALBUMS to accompany them? Instead, lots of money was funneled into a project that was destined to be a big bust.

[Ollie9]

If they never released the "Funny Girl" album, I think things would have been just fine. It would have been perfectly "ok" for them to sing songs from the show ["People," "Don't Rain On My Parade," "The Music That Makes Me Dance"] and I think it would have satisfied those in the crowd who liked to see Diana sing her Streisand-type/Broadway numbers.

I tried to think for a while about "what kind of concept album could they have done?" and, honestly, I don't think there was anything that would have done much better than FG. They'd already done The Beatles/British Rock 4 years earlier. If they did Bacharach/David, they'd have likely been accused of encroaching on Dionne's territory. They'd already done Rodgers and Hart. I think continuing with other Broadway shows/compilations likely wouldn't have done any better than FG.

Could DRATS have done a few contemporized versions of songs from "Funny Girl" and just included them on their next few albums? Absolutely. Hey, The Tymes recorded a contemporary cover of "People" that was released in August 1968 and reached #39 on the Pop chart. That's a pretty impressive showing for a [soul] group that had peaked on the charts a few years earlier and was now coming back with a cover of a Broadway hit song.

By 1968, I think music was changing so much and DRATS was starting to [for better or worse] present as pretty Vegas, pretty MOR--so, doing a Broadway show wasn't going to draw new fans. Going for, say, heavier rock/pop material or even heavier R&B would've likely drawn critical ire. So... what should they have done?

I think that they should have just not released FG. Continued with prepping and releasing both "Love Chid" and "Join The Temptations" and then lean a little harder on the latter album with joint TV appearances in early 1969 to promote the single released and the next one that was released. And then... continue forward. Similar to folks past comments that The Supremes/Four Tops duet albums were overkill and should have been limited to one album, I think that the DRATS/Temptations duets albums should have been limited to one [[the first), the TCB special, and that should have been it. No "Together" album and DEFINITELY no "GIT on Broadway." In some ways, I wish that things could have been planned out so that the two groups recorded and released "I'm Gonna Make You Love Me" just as they were ramping up planning and taping of "TCB." Then, "TCB" could have highlighted a few more songs from the "Join" album and maybe less covers on the show. Then the TCB soundtrack could have come out PLUS the "Join" album [[maybe several weeks before TCB aired?). But, alas, that's not how it all came together.

The "Funny Girl" album just diluted the Supremes. It felt like a vanity project that wasn't really going to advance anything for them. There were no singles that could come from the album. With the group struggling since late 1967, why wouldn't you focus on getting the best SINGLES prepped and released and the best ALBUMS to accompany them? Instead, lots of money was funneled into a project that was destined to be a big bust.

I doubt BG was thinking of the Supremes as a whole when he had them record the “FG” soundtrack dan. It’s main purpose was to showcase Diana’s versatility as a singer/actress and prove she was just as capable as Streisand in branching out. Goal achieved.

[danman869]

I doubt BG was thinking of the Supremes as a whole when he had them record the “FG” soundtrack dan. It’s main purpose was to showcase Diana’s versatility as a singer/actress and prove she was just as capable as Streisand in branching out. Goal achieved.

Ollie, yeah--it was definitely a vanity project designed to showcase one person, but... did it show Diana's versatility to anyone? Well, to anyone who could make a difference professionally? Do you suppose producers in Hollywood were calling out to their secretaries to "listen to that new Supremes Funny Girl album and let me know how that Ross girl did on it!" I know what you're saying that it showcased her versatility, but... did anyone who counted really care? I mean, the album wasn't such a huge sales success so that it naturally bled into the general consciousness where folks of importance in Hollywood might have paid more attention. I think if there was a goal achieved, it was more so that Berry promoted Diana's talent individually. It only would have achieved the goal for Diana's real versatility if the album was heard. For better or worse, the album tanked and I don't think that many people in 1968 [beyond fans who already liked to hear the "group" sing] even heard the album--let alone knew about it. So... was a goal really achieved? If you throw a pile of $100 dollar bills out of an airplane, are you really bettering peoples' lives or are you feeding your own ego thinking that that is what you're doing?

[Ollie9]

Ollie, yeah--it was definitely a vanity project designed to showcase one person, but... did it show Diana's versatility to anyone? Well, to anyone who could make a difference professionally? Do you suppose producers in Hollywood were calling out to their secretaries to "listen to that new Supremes Funny Girl album and let me know how that Ross girl did on it!" I know what you're saying that it showcased her versatility, but... did anyone who counted really care? I mean, the album wasn't such a huge sales success so that it naturally bled into the general consciousness where folks of importance in Hollywood might have paid more attention. I think if there was a goal achieved, it was more so that Berry promoted Diana's talent individually. It only would have achieved the goal for Diana's real versatility if the album was heard. For better or worse, the album tanked and I don't think that many people in 1968 [beyond fans who already liked to hear the "group" sing] even heard the album--let alone knew about it. So... was a goal really achieved? If you throw a pile of $100 dollar bills out of an airplane, are you really bettering peoples' lives or are you feeding your own ego thinking that that is what you're doing?

Good points, but who was to know the album would end up being such a flop. Had it been a massive success, it’s mission would have been accomplished in showcasing her theatrical as well as vocal talents to an incredibly large audience. It might not have led to Hollywood producers hammering on her door , but it certainly would have helped in widening her appeal.

[daviddh]

First, I didn't like how Mary and Cindy's vocals were removed. poor decision imo. it further divided the group.
Secondly, wasn't Talk Of The Town and FG released same day....why???
Ridiculous.
Not to mention the Hits collection was still selling well, then, love child, join, tcb.
Way to much product.
Over time ,some albums sold well but initially , they were competing with themselves. Sales wise.

I would have pulled FG personaly, and supported the other releases.
Couldn't FG have been held back to 69
Why not just a Broadway style album that featured FG songs.
Just don't get the point of this album, and it doesn't do anything for the group.
I like the Rogers and Hart album and think it held up well ,but I don't think FG compares...maybe.
I like it ,but don't love it.
The group was in a place where the singles were hit or miss, 4 were hits,,..4 misses.
I would have spent my energy on singles

[daviddh]

interesting topic.
great Diana vocals. overkill to me

[sup_fan]

while i certainly don't think Berry released FG expecting it to flop, i'm sure no one planned sales figures like DRATS Greatest Hits. berry had his eye on the end prize, which was to eventually launch DR from the framework of The Supremes and have her emerge as a multi-faceted entertainer that could draw top appearances fees, had tv specials, appeared in movies, be on Broadway, be on tv shows. I don't know that anything other than the movies was really truly coveted. so the DRATS period was all about setting the stage.

have her front and center in the stage act, the star

hosting tv specials [[did that with TCB, GIT and Diana! and more)

appear in tv shows [[tarzan, make room for granddaddy)

movies

really the only thing not conquered was appearing on broadway. and i don't think that was a #1 goal. so these were all calculated moves to create the mega star. so in that aspect, it worked.

[milven]

...really the only thing not conquered was appearing on broadway. and i don't think that was a #1 goal. so these were all calculated moves to create the mega star. so in that aspect, it worked.

She did appear on Broadway in a one woman show at the famed Palace Theatre and even received a TONY for it.

[sup_fan]

She did appear on Broadway in a one woman show at the famed Palace Theatre and even received a TONY for it.

yes and no. i get it she was technically on broadway and won a tony. but she wasn't lead in a musical or a play. it's not like she was making her debut in The Seagull or something. This was still her own show - over the top and certainly dynamic. but still a DR concert. just performed on Broadway

[BayouMotownMan]

I think the FG lp would have done considerably better if Motown had not drowned us with DRATS recordings in mid to late 1968. It was of more importance for the company to get a hit on the group as the singles were failing and the last lp, Reflections, didn't do as well. And these were ALL under the DRATS banner. This put Gordy in panic mode.

Within weeks we were given Live at TOTT [[a live set was not needed this soon), the Love Child single which was imperative to become a hit and reverse the DRATS fortunes. Then came FG same time as the single. Motown had to put the most promotion on the single because a television special was taped and being edited for Dec broadcast. Add to this, the LC lp, the Join lp with the Tempts, the first single from Join and the TCB tv special and soundtrack lp. It was simply overkill. FG suffered accordingly.

It was also a bad idea in general to showcase Ross even more so soon after the name change. The general public and radio programmers had already reacted negatively to this name change. So FG just should not have happened.

[Spreadinglove21]

Was Diana Ross ever considered for a Broadway musical or play?

[sup_fan]

I think the FG lp would have done considerably better if Motown had not drowned us with DRATS recordings in mid to late 1968. It was of more importance for the company to get a hit on the group as the singles were failing and the last lp, Reflections, didn't do as well. And these were ALL under the DRATS banner. This put Gordy in panic mode.

Within weeks we were given Live at TOTT [[a live set was not needed this soon), the Love Child single which was imperative to become a hit and reverse the DRATS fortunes. Then came FG same time as the single. Motown had to put the most promotion on the single because a television special was taped and being edited for Dec broadcast. Add to this, the LC lp, the Join lp with the Tempts, the first single from Join and the TCB tv special and soundtrack lp. It was simply overkill. FG suffered accordingly.

It was also a bad idea in general to showcase Ross even more so soon after the name change. The general public and radio programmers had already reacted negatively to this name change. So FG just should not have happened.

agree and seems like there was less selection being used vs earlier years. during the DMF era there were certainly times where there was a lot of product available. like early 65 when you had WDOLG, the re-release of Meet, then Liverpool, CW and Sam. but there was also a huge demand for the group since they were so new.

but there was still tons of content that was shelved or only partially completed. There's a Place, Tribute to the Girls, Hollywood, Motown around the world, various live albums, disney.

so it seems they could have taken more scrutiny. the live album probably should have been hold for when they had a more current and higher charting single. maybe push to holiday 68 and toss on a live version of LC. I know that song wasn't performed at TOTT but who cares lol. you could still drop it onto the album

[daviddh]

I think the FG lp would have done considerably better if Motown had not drowned us with DRATS recordings in mid to late 1968. It was of more importance for the company to get a hit on the group as the singles were failing and the last lp, Reflections, didn't do as well. And these were ALL under the DRATS banner. This put Gordy in panic mode.

Within weeks we were given Live at TOTT [[a live set was not needed this soon), the Love Child single which was imperative to become a hit and reverse the DRATS fortunes. Then came FG same time as the single. Motown had to put the most promotion on the single because a television special was taped and being edited for Dec broadcast. Add to this, the LC lp, the Join lp with the Tempts, the first single from Join and the TCB tv special and soundtrack lp. It was simply overkill. FG suffered accordingly.

It was also a bad idea in general to showcase Ross even more so soon after the name change. The general public and radio programmers had already reacted negatively to this name change. So FG just should not have happened.

i totally agree. it was overkill . no need for this album .plus the broadway show had just opened , so really people were just getting to see it ,so what was the point. maybe a year later.... just a BG mess

[BayouMotownMan]

On a funny note, BG was so certain this was going to be a big seller that he pressed far more copies than what was needed by the actual tepid sales figures. Thus, when looking for Supremes cut out lps over the years, there is no shortage of this lp.

I will never understand why Universal wanted an expanded edition of this instead of the Reflections lp, which was next in line.

[danman869]

i totally agree. it was overkill . no need for this album .plus the broadway show had just opened , so really people were just getting to see it ,so what was the point. maybe a year later.... just a BG mess

I think you may be confused; "Funny Girl" opened on Broadway on March 26, 1964. The film premiered in the US on September 19, 1968. It was almost 4.5 years after the Broadway show opened that this album hit the shelves. It seems Motown might have wanted to capitalize on the upcoming film, but...ironically...they must not have investigated/known that several of the songs from the stage production were dropped in favor of new songs for the film.

[reese]

I think you may be confused; "Funny Girl" opened on Broadway on March 26, 1964. The film premiered in the US on September 19, 1968. It was almost 4.5 years after the Broadway show opened that this album hit the shelves. It seems Motown might have wanted to capitalize on the upcoming film, but...ironically...they must not have investigated/known that several of the songs from the stage production were dropped in favor of new songs for the film.

It was a rather bold move on Motown's part, beating the film's soundtrack to the stores, and actually including the title song, which if I'm not mistaken, wasn't in the original musical.

[BayouMotownMan]

I think you may be confused; "Funny Girl" opened on Broadway on March 26, 1964. The film premiered in the US on September 19, 1968. It was almost 4.5 years after the Broadway show opened that this album hit the shelves. It seems Motown might have wanted to capitalize on the upcoming film, but...ironically...they must not have investigated/known that several of the songs from the stage production were dropped in favor of new songs for the film.

Totally accurate, Gordy knew there would be immense interest in the soundtrack so he rushed out Ross's lp a few weeks before the Streisand release, thinking it would take some wind out of Streisand's sail and move the attention to Ross. Totally didn't work. Reviews for the Ross lp were tepid and Streisand publicly said she was not happy with Ross for this attempt to steal her thunder. She needn't have worried, the Ross set bombed badly.

Ironically, years later Diana Ross bashed the McCoo/Davis-less 5th Dimension for stealing Love Hangover when she tried to do the same thing to Streisand.

[kenneth]

It was a rather bold move on Motown's part, beating the film's soundtrack to the stores, and actually including the title song, which if I'm not mistaken, wasn't in the original musical.

That’s correct. The title song was written especially for the film.

[reese]

That’s correct. The title song was written especially for the film.

That's what I thought. I believe Jule Styne mentioned that in the liner notes for the Supremes' FUNNY GIRL album. I know Aretha sang it at the 1969 Oscars ceremony.

[Ollie9]

That's what I thought. I believe Jule Styne mentioned that in the liner notes for the Supremes' FUNNY GIRL album. I know Aretha sang it at the 1969 Oscars ceremony.

Well i never knew Aretha had ever performed “Funny Girl” reese. This being one of the reasons i love this forum.
Just checked it out on you tube, being pleasantly surprised by what a brilliant performance Aretha gives of the song.

[daviddh]

I think you may be confused; "Funny Girl" opened on Broadway on March 26, 1964. The film premiered in the US on September 19, 1968. It was almost 4.5 years after the Broadway show opened that this album hit the shelves. It seems Motown might have wanted to capitalize on the upcoming film, but...ironically...they must not have investigated/known that several of the songs from the stage production were dropped in favor of new songs for the film.

you are correct. thanks for correcting me

[reese]

Well i never knew Aretha had ever performed “Funny Girl” reese. This being one of the reasons i love this forum.
Just checked it out on you tube, being pleasantly surprised by what a brilliant performance Aretha gives of the song.

Aretha's agent Ruth Bowen said the Oscars' producer had to be convinced to let Aretha do it. Her agent responded that Aretha would sing the song so well that Streisand would never touch it again. After her performance, the producer called Bowen to apologize.

[Ollie9]

Aretha's agent Ruth Bowen said the Oscars' producer had to be convinced to let Aretha do it. Her agent responded that Aretha would sing the song so well that Streisand would never touch it again. After her performance, the producer called Bowen to apologize.

Great back story. I must admit, i did have reservations upon reading your post reese.
I think both women bring something very different to the song. How would you compare Diana’s version with the other two?.

[reese]

Great back story. I must admit, i did have reservations upon reading your post reese.
I think both women bring something very different to the song. How would you compare Diana’s version with the other two?.

I think Diana's holds up very well. I would actually say that I prefer Diana and Aretha's versions to Barbra's, which is fine but nothing spectacular, IMO.

On the other hand, I think Diana really works the lyrics, which I find especially endearing since the whole album was done in two days so it isn't like she had much time to delve. She probably knocked out the songs one after the other.

And Aretha just takes over and "Aretha-izes" it, as she did with most of her remakes. She adds a bit of soul and jazz and makes it hers. Too bad the video hasn't materialized.

[kenneth]

I tried to copy it here but it's protected from being pasted on other web sites.

I never had heard this performance before, either! I like it a lot. Of course, Aretha was at her peak then, popularity as well as voice wise. Sounds to me like it would have fit in beautifully on her "Spirit in the Dark" album, which still remains to me her very, very best.

[Ollie9]

I think Diana's holds up very well. I would actually say that I prefer Diana and Aretha's versions to Barbra's, which is fine but nothing spectacular, IMO.

On the other hand, I think Diana really works the lyrics, which I find especially endearing since the whole album was done in two days so it isn't like she had much time to delve. She probably knocked out the songs one after the other.

And Aretha just takes over and "Aretha-izes" it, as she did with most of her remakes. She adds a bit of soul and jazz and makes it hers. Too bad the video hasn't materialized.

With each singer doing what they do best, it kinda makes it hard to compare. Diana does a splendid job vocally, although i have always found the “Supremes Sing “FG” album a little over orchestrated.
Aretha is just amazing. Who would have thought on a song like this she would out Streisand M’s Bab's.

[Spreadinglove21]

[reese]

I tried to copy it here but it's protected from being pasted on other web sites.

I never had heard this performance before, either! I like it a lot. Of course, Aretha was at her peak then, popularity as well as voice wise. Sounds to me like it would have fit in beautifully on her "Spirit in the Dark" album, which still remains to me her very, very best.

I think it would have been perfect for her SOUL '69 album. Most of that album was recorded the year before so if Aretha desired, she might have had the chance to record it.

[kenneth]

I think it would have been perfect for her SOUL '69 album. Most of that album was recorded the year before so if Aretha desired, she might have had the chance to record it.

I am the least familiar with that album of any from her Atlantic period. I will have to find it and listen to it again. I don’t think I have it on CD but I still have it on vinyl.

[sup_fan]

the part is so inherently Barbra's that it is difficult to compare others. similar with songs like Over the Rainbow or The Sound Of Music. because of the massive popularity of the songs, they're basically "owned" by that performer. sure others sing them from time to time but in the end, it's still always that original performer

if we look at the FG album by itself, it is an amazing step for Diana. she was always an incredible interpreter of lyric and the meaning of a song. she had also been wildly successful in tackling a mind boggling array of genres. And of course there had been a couple of spotlight projects focusing on digging into the music of one writer with the Sam Cook and the R&H sets. but now they were taking that to the next level by not only focusing on a writer but also creating some degree of a story through the entire album. No they "act" out the show here but from beginning to end Diana is cast as Fanny and so she's able to approach each song from 1 character's perspective. plus her singing is really top notch.

Gil's productions also have to be given credit here. he was truly instrumental in elevating the supremes and DR to that next level. and the little bridges of the main theme that he incorporates here and there in the album do help connect things and almost give you a sense of stage scenery being changed and the next act readied

[reese]

the part is so inherently Barbra's that it is difficult to compare others. similar with songs like Over the Rainbow or The Sound Of Music. because of the massive popularity of the songs, they're basically "owned" by that performer. sure others sing them from time to time but in the end, it's still always that original performer.

I bought the FUNNY GIRL album by the Supremes when I was a kid. Prior to that, I had the SUPREMES AT THE COPA album where they sang "I Am Woman," and the soundtrack to the DIANA! special where she opened with "Don't Rain on My Parade." So that was my exposure to all of these songs.

I certainly had heard of Streisand but she wasn't someone I paid a lot of attention to [at least not at that time]. So when I finally heard Barbra's originals, I still had Diana's interpretations in my head.

[RanRan79]

Totally accurate, Gordy knew there would be immense interest in the soundtrack so he rushed out Ross's lp a few weeks before the Streisand release, thinking it would take some wind out of Streisand's sail and move the attention to Ross. Totally didn't work. Reviews for the Ross lp were tepid and Streisand publicly said she was not happy with Ross for this attempt to steal her thunder. She needn't have worried, the Ross set bombed badly.

Ironically, years later Diana Ross bashed the McCoo/Davis-less 5th Dimension for stealing Love Hangover when she tried to do the same thing to Streisand.

There was no reason for BS to be bothered by Diana. It wasn't Diana's decision to do the album. Diana had no real say so in what albums she cut. If Berry told her to do it, she did it. He was in control and she trusted him to do what was best. It would interesting to learn how Diana felt about the whole thing, especially when it tanked and nobody cared. We all know she didn't like failing.

[Bluebrock]

Was Diana Ross ever considered for a Broadway musical or play?

Not sure about Broadway, but she was certainly approached to be the lead in the West End production of Sunset Boulevard in the 90's. She was very interested in taking the part but eventually declined it. She was based in London at the time but i seem to recall she did not want to be away from her young sons every night.

[reese]

Not sure about Broadway, but she was certainly approached to be the lead in the West End production of Sunset Boulevard in the 90's. She was very interested in taking the part but eventually declined it. She was based in London at the time but i seem to recall she did not want to be away from her young sons every night.

That could have been interesting. I remember a fan club member saying how he could envision Diana singing AS IF WE NEVER SAID GOODBYE and what a great response it would have gotten.

[sup_fan]

Not sure about Broadway, but she was certainly approached to be the lead in the West End production of Sunset Boulevard in the 90's. She was very interested in taking the part but eventually declined it. She was based in London at the time but i seem to recall she did not want to be away from her young sons every night.

while of course i respect her decision, the greedy fan side of me wanted her to do everything and be all over the news receiving accolades again lol.

and quite interesting about Sunset being the play. playing Norma Desmond?

[kenneth]

while of course i respect her decision, the greedy fan side of me wanted her to do everything and be all over the news receiving accolades again lol.

and quite interesting about Sunset being the play. playing Norma Desmond?

Wow, wouldn’t I love to see her in that role! I’ve never heard it except for that one song, but I imagine if Glenn Close could sing it, Diana wouldn’t have any problem!

[TNSUN]

"TSSAPFG" is a great vehicle to showcase Ms. Ross' Broadway musical and dramatic gifts. Love the album and the deluxe rainbow photos!

[Bluebrock]

while of course i respect her decision, the greedy fan side of me wanted her to do everything and be all over the news receiving accolades again lol.

and quite interesting about Sunset being the play. playing Norma Desmond?

The very same Norma Desmond! It could have been an absolute hoot had she accepted the role.

[Ollie9]

The very same Norma Desmond! It could have been an absolute hoot had she accepted the role.

Try as I might, i just don’t hear Diana belting out “With One Look’ night after night. If she had it would needed to have been a modified arrangement as opposed to what Betty Buckley or Elaine Paige did with the song.
I do agree though it might have proved a hoot and would loved to have been proved wrong.

[jobucats]

Like many of my peers who loved Motown and the Supremes, I never developed an appreciation for show tunes and standards until the Supremes started including them on their albums and tv performances.

My main issue with the wonderfully recorded "Funny Girl" album is not the music itself; however, that the ladies [[or Diana, I should say) performed the "I'm the Greatest Star" during the "Funny Girl" medley on the Ed Sullivan show.

At that time, I didn't know the story behind the musical, so I viewed Diana's performance as a personal egotistical declaration of her greatness. I cringed that Mary and Cindy had to sway behind her in a 'worshipful stance' as she declared, "I'm the Greatest Star!"

So yes, the "Funny Girl" album was definitely a Diana Ross vehicle, and Mary and Cindy were riding in the caboose attached to her elongated train. Please note that my opinion is not meant to minimize Diana's talent, but to point out that this project, squeezed among their many other recordings released at the time, was extra clutter from a group perspective. It did not elevate the dynamics of the group.

[Ollie9]

Like many of my peers who loved Motown and the Supremes, I never developed an appreciation for show tunes and standards until the Supremes started including them on their albums and tv performances.

My main issue with the wonderfully recorded "Funny Girl" album is not the music itself; however, that the ladies [[or Diana, I should say) performed the "I'm the Greatest Star" during the "Funny Girl" medley on the Ed Sullivan show.

At that time, I didn't know the story behind the musical, so I viewed Diana's performance as a personal egotistical declaration of her greatness. I cringed that Mary and Cindy had to sway behind her in a 'worshipful stance' as she declared, "I'm the Greatest Star!"

So yes, the "Funny Girl" album was definitely a Diana Ross vehicle, and Mary and Cindy were riding in the caboose attached to her elongated train. Please note that my opinion is not meant to minimize Diana's talent, but to point out that this project, squeezed among their many other recordings released at the time, was extra clutter from a group perspective. It did not elevate the dynamics of the group.

In Mr Gordy’s eyes the group was history by the time of “FG”, with Diana unofficially a solo act. It’s just coincidence she appeared with the same two backing singers for a while longer lol. Their last studio album the following year being virtually a solo set with M&S featured on just one song.
These must have been exciting times for Diana and Berry as they out to conquer the world.