The Supremes "Send Me No Flowers" Was it intended for the Doris Day Film?

[WaitingWatchingLookingForAChance]

Someone on YouTube commented on this song tonight and it got me to thinking about that title, "Send Me No Flowers." I can't recall if I ever read anything about this song or not, but years after I uploaded it, I've come to find an amazing tool that unlocks worlds of information on Motown music: the site "Don't Forget The Motor City." Now, with recording dates easily found, all in one place, it's easier to establish timelines of one sort or another. At first, I had the belief that HDH saw the title of the movie, thought it was cool and drafted a song of their own [[just because there was one song out already by that name, why waste a good title?)

But tonight, I realized HDH did their song before the film came out. So here's the speculation I have on this whole thing, as put on full display for everyone to see on YouTube [[it may have been foolish to go out on such a huge limb, but I don't think people read those descriptions anyway!):

"Did Holland-Dozier-Holland intend to write this song for the Doris Day film? Consider: HDH recorded this in May of 1964, the Doris Day single and film were released some five months later, in October of '64. Berry Gordy was a big fan of Day [[reportedly, before Motown, he had written a song for Doris, "You Are You.") It's entirely plausible that the trade papers had mentioned that a film was in the works for Doris as well as the intended title, "Send Me No Flowers." The title is just too on-the-money for all of this to have been sheer coincidence. Unfortunately, the song sat in the Motown vault, never to find a home until nearly two decades later on the Supremes' 25th Anniversary collection.

Listening to this easy-going slice of soulful pop, it's difficult to understand why this didn't find a slot on the "Where Did Our Love Go" album [[the song was recorded during the time frame of that album being compiled.) However, it's also interesting to note that even though this was recorded in May of '64, a month after "Where Did Our Love Go" [[recorded Apr-64), there is absolutely no relation between the two, "Send Me No Flowers" doesn't have the stamp of a follow-up/soundalike production. So it would seem this was not intended as a single."

So what are yall's [[My parents' Southern roots are showing) opinion on this? Or does someone know more about this song that I- I'd love to hear about it.

[reese]

I just assumed that HDH was inspired by the title of the film, like was probably the case with ASK ANY GIRL.

But I think it is just a coincidence. Or maybe HDH did hear about the upcoming film and it sparked an idea. Even if Motown [in 1964] managed to get HDH the job of composing the title song for a major Hollywood film, it seems far-fetched that it would be recorded by an act that had yet to score a major hit.

[RanRan79]

As for the Supremes' song, I remember loving it upon first listen. For me it's a perfect song. The band has a nice thing going on. Diana's delivery is spot on. She has to do a balancing act of settling into the bouncy tempo while keeping her tone from sounding too happy with those lyrics. She does a great job of keeping an even tone between sadness that things have played out like they have, but resolved to closing this chapter of her life.

Flo and Mary are on fire. I know it's been discussed a few times that some listeners hear three voices in the background, and Bayou has said he believes it's Eddie Holland. I don't hear three voices, but I wasn't there so I can't say for sure. I wonder if anyone has thought that the potential third voice could be Diana? It's said that she would sing backup until the group were well into their early hits time frame. I've always believed Diana sings with Flo and Mary on "A Breath Taking Guy".

Anyway, great song. I don't think it had any chance at a single release, but it is wild that it didn't make the WDOLG album. I think the album is great as is. Perfect example of the whole girl group scene at the time. However, it is interesting that the album is made up of 1963 recordings, the three number ones and "Ask Any Girl" being the exceptions. Meanwhile their other 1964 recordings up to then were mostly vaulted for decades. There was a noticeable shift in sound at Motown from 1963 to 1964 and if you keep that in mind, some of those 1963 cuts on WDOLG already sound rather out of date. Anyway, I would have voted "no" for a single, but "yes" for an album cut. Definitely one of my all time fav Supremes cuts.

[bradsupremes]

Flo and Mary are on fire. I know it's been discussed a few times that some listeners hear three voices in the background, and Bayou has said he believes it's Eddie Holland. I don't hear three voices, but I wasn't there so I can't say for sure. I wonder if anyone has thought that the potential third voice could be Diana? It's said that she would sing backup until the group were well into their early hits time frame. I've always believed Diana sings with Flo and Mary on "A Breath Taking Guy".

Motown was still using 3-track multitracks during this time so it’s unlikely Diana was singing background with Mary & Flo as both lead and background vocals would have been on the same track. I’ve listened to this song over and over and I don’t think it’s just Mary & Flo. I hear The Andantes in there. It’s possible it’s Mary, Flo & the Andantes. On Where Did Our Love Go Expanded Edition, at the end of the track you can hear either Brian or Eddie playing around and Mary laughing in the back. One of the brothers is doing the “shh shh” sound in the second half of the song.

[sup_fan]

As for the Supremes' song, I remember loving it upon first listen. For me it's a perfect song. The band has a nice thing going on. Diana's delivery is spot on. She has to do a balancing act of settling into the bouncy tempo while keeping her tone from sounding too happy with those lyrics. She does a great job of keeping an even tone between sadness that things have played out like they have, but resolved to closing this chapter of her life.

Flo and Mary are on fire. I know it's been discussed a few times that some listeners hear three voices in the background, and Bayou has said he believes it's Eddie Holland. I don't hear three voices, but I wasn't there so I can't say for sure. I wonder if anyone has thought that the potential third voice could be Diana? It's said that she would sing backup until the group were well into their early hits time frame. I've always believed Diana sings with Flo and Mary on "A Breath Taking Guy".

Anyway, great song. I don't think it had any chance at a single release, but it is wild that it didn't make the WDOLG album. I think the album is great as is. Perfect example of the whole girl group scene at the time. However, it is interesting that the album is made up of 1963 recordings, the three number ones and "Ask Any Girl" being the exceptions. Meanwhile their other 1964 recordings up to then were mostly vaulted for decades. There was a noticeable shift in sound at Motown from 1963 to 1964 and if you keep that in mind, some of those 1963 cuts on WDOLG already sound rather out of date. Anyway, I would have voted "no" for a single, but "yes" for an album cut. Definitely one of my all time fav Supremes cuts.

i agree that it's a great song and one that definitely should have been released at SOME point. the WDOLG album would have been a good spot for it but it also would have worked perfectly on More Hits. and I'd even vote to put it as the B side of Come See About Me instead of the hideous Always In My Heart. THAT song should have been tossed in the dumpster behind Hitsville lol

i'd also say that, although i like Ask Any Girl, to include it again on More Hits just never made sense. Flowers could have replaced it, although i don't know that I'd make it that album opener. maybe on Side 1 you move track 2 4 and 6 to 1 3 and 5. track 1 should have been Stop.

[RanRan79]

My guess is that either H or D or the other H may have been sitting on the title for some time. Before the movie, it was a Broadway play at the start of the decade. So either or all of them could have heard the title before and thought it made a great song title and from there we get this great song.

At that point in Motown's career, it seems unlikely that Hollywood would have reached out to them for a theme for a movie with two big stars. For one, they were Black. For two, Motown was not yet known for the label's ability to do it all, and so if the name "Motown" came up in discussion, and considering the ages of some of these folks making decisions, they may not have known what a "Motown" even was. And when someone decides to play "Quicksand" or "The Way You Do the Things You Do" to introduce this Motown, I imagine the introducer would have been fired on the spot for such a nonsensical suggestion.

Lastly, like Reese, I can't imagine the Supremes would have even been given that honor at that point in their career. As Reese pointed out, the girls hadn't even scored with "Where" yet. I'm always confused about exactly when Mary Wells left the company, but if anyone was going to have a shot at the title cut to a major Hollywood production in the spring of 1964, of everyone at Motown, it would have been her.

[WaitingWatchingLookingForAChance]

My guess is that either H or D or the other H may have been sitting on the title for some time. Before the movie, it was a Broadway play at the start of the decade. So either or all of them could have heard the title before and thought it made a great song title and from there we get this great song.

At that point in Motown's career, it seems unlikely that Hollywood would have reached out to them for a theme for a movie with two big stars. For one, they were Black. For two, Motown was not yet known for the label's ability to do it all, and so if the name "Motown" came up in discussion, and considering the ages of some of these folks making decisions, they may not have known what a "Motown" even was. And when someone decides to play "Quicksand" or "The Way You Do the Things You Do" to introduce this Motown, I imagine the introducer would have been fired on the spot for such a nonsensical suggestion.

Lastly, like Reese, I can't imagine the Supremes would have even been given that honor at that point in their career. As Reese pointed out, the girls hadn't even scored with "Where" yet. I'm always confused about exactly when Mary Wells left the company, but if anyone was going to have a shot at the title cut to a major Hollywood production in the spring of 1964, of everyone at Motown, it would have been her.

As always, I enjoy so much your "Voice Of Reason" comments. Yes the odds would have greatly been slim that Hollywood would have accepted something from Motown at this point; the only thing that gave me pause was how Berry had written a song expressly for Doris Day a few years earlier- and Gordy was nothing if not a big dreamer. Still, I did not know that this had been a Broadway play before it was a movie. There truly is wisdom to be found in getting others' input on an issue.

[RanRan79]

As always, I enjoy so much your "Voice Of Reason" comments. Yes the odds would have greatly been slim that Hollywood would have accepted something from Motown at this point; the only thing that gave me pause was how Berry had written a song expressly for Doris Day a few years earlier- and Gordy was nothing if not a big dreamer. Still, I did not know that this had been a Broadway play before it was a movie. There truly is wisdom to be found in getting others' input on an issue.

Well you intrigued my interest with your scenario. I wasn't aware of the play until the little bit of research triggered by your post. Truth be told, I was looking for a little bit of information that would have made your scenario a possibility. I have never seen the movie either, although I knew it existed.

You're right about Berry and his love for Doris Day, so your questions were valid. I think if we were talking 1967 and not 1964 the scenario would have definitely had more weight.

[reese]

A nice composition by Bacharach and David. I could actually hear the Supremes singing this.

[RanRan79]

A nice composition by Bacharach and David. I could actually hear the Supremes singing this.

Reese I don't like it, but I agree, I could definitely hear the Supremes singing it. I'm guessing if you replace Doris and the musicians with Flo, Diana, Mary and the Funks, my feelings on the song might change.

[reese]

Lastly, like Reese, I can't imagine the Supremes would have even been given that honor at that point in their career. As Reese pointed out, the girls hadn't even scored with "Where" yet. I'm always confused about exactly when Mary Wells left the company, but if anyone was going to have a shot at the title cut to a major Hollywood production in the spring of 1964, of everyone at Motown, it would have been her.

I was thinking that if Motown managed a major Hollywood film song that it would have been Mary who would have done it. At the time of the Motown recording in May '64, Mary was riding high with MY GUY. However, she was also about to turn 21, which was one of the reasons that she was able to leave the company, as she had signed as a minor.

[BobbyC]

This is the gayest thread ever on Soulful Detroit.