DR produced by Smokey

[sup_fan]

surprisingly Smokey never really did much with Diana as a solo artist. there was Kewpie Doll but that's about it. and there was talk about them working together but i guess it either never happened or the materials haven't surfaced.

some people have stated they weren't huge fans of the Floy Joy project. was that because they felt it was too lightweight for Jean? would it have served diana's vocal style better? what about Smokey's solo work - would it have been a fit for her?

[reese]

Supposedly there was supposed to be a Diana/Smokey project called SATISFACTION. I don't know if that was just a proposed title or if they actually recorded anything. But if it was anything like KEWPIE DOLL, I hope they did complete it because I love that one.

Re FLOY JOY, I don't dislike it. Aside from the title track, the album just never grabbed me. For all of their previous albums, I am familiar with most, if not all, of the songs and can sing along. But when it comes to FLOY JOY, I don't know what happened. I played it not too long ago and it was fine but still, it didn't grab me. I'm more familiar with the Jimmy Webb album than FLOY JOY.

[Circa 1824]

The Composer …. Nuff said

[lucky2012]

Satisfaction is a song on the 1971 Smokey Robinson & the Miracles album One Dozen Roses. It was also later released as a single. It's one of my favorites on that album. I think it would be a very nice fit for Diana Ross. I wonder if the song was originally by the Miracles or meant for DR but never recorded on her. The time frame of the early 70s is about right, I think.

[reese]

Also, was Smokey doing much outside production work during the 70s? I can't recall any, unlike the 60s when he was writing and producing Mary Wells, the Tempts, the Marvelettes, etc.

[sup_fan]

he did wanda's album which ended up being Return of the Marvelettes and released in Sept 70. supposedly Smokey wanted to retire from performing around this time but then the group hit with its biggest song Tears Of A Clown and so they had tons of touring demands. then he worked with the Sups in fall 71 on the song Floy Joy. when it became a hit, he was assigned to do a full album which was recorded in mostly Feb 72 i believe.

[sansradio]

I've always maintained that Smokey and Diana are analogues of one another in the annals of soul music: the sweet, wispy, delicate, less-is-more school. A full joint album project from them would have been heaven--still could be, since they're thankfully both still with us.

[reese]

he did wanda's album which ended up being Return of the Marvelettes and released in Sept 70. supposedly Smokey wanted to retire from performing around this time but then the group hit with its biggest song Tears Of A Clown and so they had tons of touring demands. then he worked with the Sups in fall 71 on the song Floy Joy. when it became a hit, he was assigned to do a full album which was recorded in mostly Feb 72 i believe.

Weird that I forgot FLOY JOY when that was mentioned in the initial post. And of course, there was the final Marvelettes album, which I forgot about as well.

But to me, it still seems as if he mostly worked on his own albums during the 70s. Did he do any work with the Miracles after he left the group?

[bradsupremes]

He did write a song for her around 1971/1972 that he decided to give to The Supremes instead. It is still unreleased - I believe the only outtake from the Floy Joy album.

[sup_fan]

He did write a song for her around 1971/1972 that he decided to give to The Supremes instead. It is still unreleased - I believe the only outtake from the Floy Joy album.

did Smokey write Floy Joy for the Supremes or was it song he had written that he recorded on the supremes? obviously YWSSL and a few others were remakes but i thought a lot of the FJ material was new. wonder if he was writing and thinking maybe for DR?

[jobeterob]

I don’t think this would have been a match made in heaven. Yuck to The Composer - that put me off. Over and Over from Floy Joy is a good song and Diana could have sung it.

Wasn’t Now The Bitter Now The Sweet on Floy Joy? What a piece of very weak music. Isn’t it 6 minutes of a dirge?

[lucky2012]

I don’t think this would have been a match made in heaven. Yuck to The Composer - that put me off. Over and Over from Floy Joy is a good song and Diana could have sung it.

Wasn’t Now The Bitter Now The Sweet on Floy Joy? What a piece of very weak music. Isn’t it 6 minutes of a dirge?

Yeah, The Composer was not a Smokey Robinson masterpiece but I loved Loving You Is Better Than Ever and Till Johnny Comes from Cream of the Crop.

I agree Over and Over would have been a good fit. I think Satisfaction from the Miracles' 1971 album One Dozen Roses would also have been a good fit. [The proposed Smokey/DR album was supposedly to have been titled Satisfaction.]

Some here seem to like Kewpie Doll, so I'll have to give it another listen.

[Yeah, Now the Bitter, Now the Sweet is probably three minutes too long.]

[RanRan79]

I've always maintained that Smokey and Diana are analogues of one another in the annals of soul music: the sweet, wispy, delicate, less-is-more school. A full joint album project from them would have been heaven--still could be, since they're thankfully both still with us.

Absolutely agree Sans.

And that duet album could still work now. Smokey, last I heard him, is still one of the few legends whose voice is still in top shape. While Diana has voice issues, I think she still has pretty good command of her lower register, and that might actually make the pairing work better today than yesterday, when both of their high voices together could have possibly grated on the nerves.

And if they went back to Hitsville to do the recording...

[Ollie9]

I think their voices to alike with Smokey a little softer. It was the complete contrast that made Diana and Marvin’s voices sound so great together.

[blackguy69]

Floy Joy was written for Mary in mind

did Smokey write Floy Joy for the Supremes or was it song he had written that he recorded on the supremes? obviously YWSSL and a few others were remakes but i thought a lot of the FJ material was new. wonder if he was writing and thinking maybe for DR?

[jobeterob]

I think their voices to alike with Smokey a little softer. It was the complete contrast that made Diana and Marvin’s voices sound so great together.

I agree with this comment

[khansperac]

Diana and Eddie Kendricks sounded great together. Their voices were also similar. We do have video of Diana and Smokey singing together and they were wonderful. As far as producing/writing, I think some songs produced by Smokey for Diana could have been great-depending on the song.

[Ollie9]

Diana and Smokey duetting on “Missing You” lent a different meaning to the song. The two singers are literally drooling over each other making the reference to “Missing You” a sexual one as opposed to heartache and regret.

[Philles/Motown Gary]

Diana's & Smokey's duet chemistry during "Missing You" was magical.

[RanRan79]

I think their voices to alike with Smokey a little softer. It was the complete contrast that made Diana and Marvin’s voices sound so great together.

Back in the day, sure. Today I don't think their voices are anything alike, since Diana doesn't sound like the Diana of old, making a current pairing a better idea.

However, I have to wonder if Diana is in her feelings about Smokey making their affair "headline" news again recently, as well as how messy the promotion for the project could be in light of the affair coming back to the public's attention.

[Ollie9]

Back in the day, sure. Today I don't think their voices are anything alike, since Diana doesn't sound like the Diana of old, making a current pairing a better idea.

Not sure how such an album might be received here in 2023. A duets album with current artists would be a far safer bet. I would love for Diana to score one last big seller before hanging up those wedges for good.

[mistercarter2u]

Why do so many people dislike "The Composer"? I always loved that record... still do....

[sup_fan]

Why do so many people dislike "The Composer"? I always loved that record... still do....

i think most people find it to be a really weak single. as an album track - sure it's fine. but for something released in spring 69, it just didn't really fit the bill. some of the #1 tunes from that year were Grapevine, Crimson and Clover, Everyday People, Aquarius. plus other big tunes were Good Morning Starshine, Get Together, Build Me Up Buttercup, One, Crystal Blue Persuasion, In the Year 2525.

IMO it's just too saccharine and lightweight. the "hey hey hey hey" is rather silly. Pop music still certainly had silly songs like Sugar Sugar and Dizzy but those are more 1-offs than anything else.

DRATS had had a huge hit with Love Child. it was topical, hard hitting in terms of both lyric and sound, aggressive. Shame had a lot of those same elements but the stupid lyrics killed it. other DRATS songs that were just better options would have been Evening Train, Discover Me, You Gave Me Love, Can't You See It's Me, I'm So Glad I Got Somebody [[Like You Around).

[Jaap]

Although I like "The Composer" as a song, and Ross provides a great vocal, the song is so frantic and rushed. The slower version by The Miracles, but then sung by Ross and The Supremes, might have made a better fit.

[reese]

I don't dislike THE COMPOSER but I think his other productions on them like LOVING YOU IS BETTER THAN EVER, ARE YOU SURE LOVE IS THE NAME OF THIS GAME, and SWEET THING are much better.

[sup_fan]

I don't dislike THE COMPOSER but I think his other productions on them like LOVING YOU IS BETTER THAN EVER, ARE YOU SURE LOVE IS THE NAME OF THIS GAME, and SWEET THING are much better.

to be honest, it'll come as a surprise to know one that i'm not a huge fan of these tracks either lol. Loving You is by far the strongest. But John Henry, Are you Sure Love, Sweet thing are just too hokey IMO. I just find his material too often to be mired in goofy lyrics that are just too corny.

frankly i think his best work was the really early or 70s stuff. You Bring Back, After All, Who's Loving You, long Gone Lover and Breathtaking are better tunes than much of the mid 60s or later stuff. now i'm not saying Diana sounds better or the quality of production is better.
Take Me Where You Go, Too Much a little too soon are not great IMO. but Misery is a really strong one.

i'm not a huge fan of Then but Will This Be The Day is quite nice.

Till Johnny Comes is a lovely tune. one of his best with the girls

[SatansBlues]

Why do so many people dislike "The Composer"? I always loved that record... still do....

Same here. I loved it from the first time that I heard it. It's a sweet, joyful type of recording. I think it's just another great example of DR bringing the lyrics to life. Almost as if the song was specifically written for her. I can appreciate why Motown would release this after the heaviness of Love Child and I'm Living In Shame. This Miracle's version is rather lifeless and lacks any real energy in comparison. I even think it would have charted better if not for the massive amount of product that Motown had released.

I also think that Brenda Holloway's version of Til Johnny Comes tops the Supreme's version. And I'm surprised that no one has mentioned is the song Misery Makes Its Home In My Heart written and produced by Smoke and Warren. After the title track, I think it's the best song on the Reflections album.

[TheMotownManiac]

Although I like "The Composer" as a song, and Ross provides a great vocal, the song is so frantic and rushed. The slower version by The Miracles, but then sung by Ross and The Supremes, might have made a better fit.

what a great idea! I do not believe at all that this song was arranged and produced with the idea of putting it out as a single. I am fine with her vocal, but it’s nothing special. It screams album track to me, but I’ve always liked it enough. But your idea of singing it sweetly, and slowly, I can hear it.

[TheMotownManiac]

Same here. I loved it from the first time that I heard it. It's a sweet, joyful type of recording. I think it's just another great example of DR bringing the lyrics to life. Almost as if the song was specifically written for her. I can appreciate why Motown would release this after the heaviness of Love Child and I'm Living In Shame. This Miracle's version is rather lifeless and lacks any real energy in comparison. I even think it would have charted better if not for the massive amount of product that Motown had released.

I also think that Brenda Holloway's version of Til Johnny Comes tops the Supreme's version. And I'm surprised that no one has mentioned is the song Misery Makes Its Home In My Heart written and produced by Smoke and Warren. After the title track, I think it's the best song on the Reflections album.

i’ve suggested the same thing before, misery, considering what there was to pick from, was the most viable option. The reflections album wasn’t such a big seller that it would hurt sales of the single. Plus, a great single Mono mix might get everyone to come out and buy the 45 anyway. I always bought the 45 anyway but, I knew some people that didn’t. I just don’t hear any other singles on their last albums. Why must we fall in love, as it has been mentioned many times here was viable, and I think the TCB impossible dream would’ve been a big hit. Follow up to I’m gonna make you love me. Other than that , the same thing played the Supremes as it did in the 70s for both acts: dearth of good material.

[vgalindo]

Why do so many people dislike "The Composer"? I always loved that record... still do....

I have always loved it too!

[Ollie9]

It really is of no surprise that the single faired as poorly as it did. At best it’s a fairly pleasant album track that veers towards the twee. There were far more commercial options available, making its release all the more confusing.

[sup_fan]

Misery is a great song [[one of the few Smokey productions on the Sups that i really, really like). i always have it on playlists. Could it have been a single - sure. for any other group it would have been a strong hit, in the top 30 or top 20. for the sups - not sure.

part of it is timing. Misery and Going Down were both recorded in the June/July 1966 timeframe. exactly the same time that YCHL and YKMHO were recorded. and while Misery and Going are both great tunes, they're clearly second fiddle to YCHL and YKMHO. then along comes Love Is Here, which while i don't love i do see why it was released as a single. it was innovative and totally new. then their deal with the film company required them to release The Happening. and then Reflections was just so amazing it HAD to be released. and now you're at late 67. and songs like Misery and Going Down just aren't as innovative. Could you have released Misery instead of In And Out? sure. and i think it would have probably done about the same. some people have suggested Then would have been a strong choice - i'm not sure.

i think the problem with the Reflections album is that it was the initial brainchild of HDH. they had evolved their sound and style with the title track and had begun work on other material but then their strike got in the way. So you had other producers finishing their songs and song by other producers being added to the album to fill it out. hence the patchwork nature.

[Ollie9]

I have never understood why “I Second That Emotion” was ignored for single release in the USA. It was far more commercial sounding than “The Weight” as proved by its top twenty chart position here in the UK.

[sup_fan]

I have never understood why “I Second That Emotion” was ignored for single release in the USA. It was far more commercial sounding than “The Weight” as proved by its top twenty chart position here in the UK.

ISTE wasn't on Together. Why Must We Fall in Love is IMO clearly the standout on the album. it's head and shoulders above just about everything else. but if they were looking for another potential single from the Together set, maybe Stubborn Kind of Fellow? Ain't Nothing Like the Real Thing is very nice but that was probably too recent of a hit for Marvin and Tammi.

i don't think The Weight is terrible, given that really most of the album is mediocre covers.

[Ollie9]

ISTE wasn't on Together. Why Must We Fall in Love is IMO clearly the standout on the album. it's head and shoulders above just about everything else. but if they were looking for another potential single from the Together set, maybe Stubborn Kind of Fellow? Ain't Nothing Like the Real Thing is very nice but that was probably too recent of a hit for Marvin and Tammi.

i don't think The Weight is terrible, given that really most of the album is mediocre covers.

“Why Must We Fall In Love” didn’t chart nearly as high as “I Second That Emotion” when released as a single here in the UK. Although I love both songs, “ISTE” is for me slightly the superior and better remembered song, at least in GB.

[RanRan79]

“Why Must We Fall In Love” didn’t chart nearly as high as “I Second That Emotion” when released as a single here in the UK. Although I love both songs, “ISTE” is for me slightly the superior and better remembered song, at least in GB.

I do not like the Supremes/Tempts version of "Emotion" at all. Never have. On the other hand, I've loved "Why" since the first time I heard it and it's always boggled my mind that it wasn't a single, while "The Weight" [[which is almost horrible to my ears) got the single release.

One thing to consider about "Emotion" as a single in the States vs in the UK: in the UK Smokey and the Miracles' version could probably be best described as a "mild hit" for them. The Supremes and the The Tempts, both being much bigger in the UK than the Miracles, would probably be guaranteed a bigger hit with the song because of their name and the fact that the song didn't exactly light the charts on fire, relatively speaking. On the other hand, the Miracles version was a major hit in the US, and quite frankly, the Supremes and Tempts didn't do anything particularly noteworthy with it. It sounds exactly like what it was: a cover version. Releasing it in the US would have been one more stupid decision on Motown's part.

The two groups' version of "Stubborn Kind of Fellow" was far more inventive, with both groups making the song their own, that I agree with Supfan that even it made more sense as a single than "The Weight" and "Emotion".

[Ollie9]

I do not like the Supremes/Tempts version of "Emotion" at all. Never have. On the other hand, I've loved "Why" since the first time I heard it and it's always boggled my mind that it wasn't a single, while "The Weight" [[which is almost horrible to my ears) got the single release.

One thing to consider about "Emotion" as a single in the States vs in the UK: in the UK Smokey and the Miracles' version could probably be best described as a "mild hit" for them. The Supremes and the The Tempts, both being much bigger in the UK than the Miracles, would probably be guaranteed a bigger hit with the song because of their name and the fact that the song didn't exactly light the charts on fire, relatively speaking. On the other hand, the Miracles version was a major hit in the US, and quite frankly, the Supremes and Tempts didn't do anything particularly noteworthy with it. It sounds exactly like what it was: a cover version. Releasing it in the US would have been one more stupid decision on Motown's part.

The two groups' version of "Stubborn Kind of Fellow" was far more inventive, with both groups making the song their own, that I agree with Supfan that even it made more sense as a single than "The Weight" and "Emotion".

I hadn’t realised Smokey & The Miracles had scored such a big hit with the song in the USA which would explain its non release.
I think Diana and Eddie do a brilliant job on “I Second That Emotion”, preferring it to the Miracles original version.
Realistically, almost anything would have made for a better single release then “The Weight” although it happens to be my favourite version of the song.

[captainjames]

I don't think Smokey was a good fit as a duet or songwriter for Diana - Although, I was happy with "Why", that was about as far as I could take with that combination. I didn't realize what the "Weight" was about until I heard Aretha Franklin's release. Stevie Wonder's work like " Too Shy To Say" and "Blame It" are good fits for Diana and of course Marvin Gaye's voice brought out the best in her but nope not Smokey at least not or me. Lionel Richie may have been good as well but so little was done with them.

[RanRan79]

I hadn’t realised Smokey & The Miracles had scored such a big hit with the song in the USA which would explain its non release.
I think Diana and Eddie do a brilliant job on “I Second That Emotion”, preferring it to the Miracles original version.
Realistically, almost anything would have made for a better single release then “The Weight” although it happens to be my favourite version of the song.

Yeah, the Miracles' version was really big here. I've always loved it. One of my fav Miracles cuts.

Also keep in mind that when the single was released in the UK, for some odd reason it was pulled from the nearly year old Join album rather than the current Together. Very odd move.

My favorite version of "The Weight" is Aretha's. That was the version I was most familiar with. When I finally heard the version by the Supremes and the Tempts, I wanted to choke everybody who had anything to do with it: the singers, the producer, the label execs, everybody.

[RanRan79]

I don't think Smokey was a good fit as a duet or songwriter for Diana - Although, I was happy with "Why", that was about as far as I could take with that combination. I didn't realize what the "Weight" was about until I heard Aretha Franklin's release. Stevie Wonder's work like " Too Shy To Say" and "Blame It" are good fits for Diana and of course Marvin Gaye's voice brought out the best in her but nope not Smokey at least not or me. Lionel Richie may have been good as well but so little was done with them.

I echo others who love "The Composer". I love it too. Loved it upon first listen. But I thought it was a horrible choice for single. Sup laid it out perfectly: the group had started moving in this more hip direction with "Love Child" and a couple others and then here comes "The Composer". It was a regression instead of progression. I could hear the group doing the song during the Flo era. There was nothing about it that moved the group forward. But still, it was a beautiful song. It should have been nothing more than a great album cut, maybe a B-side.

Overall, I think Smoke was a great songwriter for Diana, artistically speaking. To my ears, very little of their work together resulted in what I hear as hit singles. Smoke wrote and produced my favorite Supremes song, "A Breath Taking Guy".

[RanRan79]

Regarding Lionel, I think he may have been Diana's best duet partner. And I say that as a HUGE Diana Ross fan who is also a HUGE Marvin Gaye fan and LOVES the Diana and Marvin album. Yes, Diana and Marvin had chemistry, but I think that chemistry is so overshadowed by what he had with Tammi. Diana and Eddie had an on and off chemistry [[perhaps a result of their romantic relationship). Sometimes they were fantastic together, other times I'm less than impressed. Surprisingly, I think Diana and Paul and Diana and Dennis had great chemistry, despite the two men being much grittier singers than she. But there was something about Diana and Lionel that oozed "keep this thing going". And I say that as someone who has spent decades hating "Endless Love" [[but in recent years have come to not hate it, and now tolerate it without wanting to hurt someone). Despite whatever hatred I had for the song, their chemistry was undeniable. The fantastic, should have been a single, "Dreaming Of You" is further proof for me that had she remained with Motown, pairing Diana and Lionel for an entire album should have been a no brainer. Together they had "it".

[Ollie9]

Regarding Lionel, I think he may have been Diana's best duet partner. And I say that as a HUGE Diana Ross fan who is also a HUGE Marvin Gaye fan and LOVES the Diana and Marvin album. Yes, Diana and Marvin had chemistry, but I think that chemistry is so overshadowed by what he had with Tammi. Diana and Eddie had an on and off chemistry [[perhaps a result of their romantic relationship). Sometimes they were fantastic together, other times I'm less than impressed. Surprisingly, I think Diana and Paul and Diana and Dennis had great chemistry, despite the two men being much grittier singers than she. But there was something about Diana and Lionel that oozed "keep this thing going". And I say that as someone who has spent decades hating "Endless Love" [[but in recent years have come to not hate it, and now tolerate it without wanting to hurt someone). Despite whatever hatred I had for the song, their chemistry was undeniable. The fantastic, should have been a single, "Dreaming Of You" is further proof for me that had she remained with Motown, pairing Diana and Lionel for an entire album should have been a no brainer. Together they had "it".

A duets album with the Temptations would have been rather special as i particularly love Diana and Eddie Kendrick’s voices together. I can’t help but feel a little sad when you consider what we finally ended up with during much of her tenure at rca.
Can you imagine how huge a Diana & Lionel album would have been circa 81/82.
I’m visualising a #1 album, followed a by a hit movie in Naked At The Feast with not a piece of ice insight.
A solid duets album might well have returned her to favour when the USA appeared finished with her mid 80’s.

[RanRan79]

I'm not sure who is at number one for my dream producer of Diana's follow up to diana80 [[I don't count To Love Again), Quincy Jones or Lionel Richie. I think I'll go with Lionel. Quincy could do whatever came after Thriller.

Lionel had a sound that I think fit Diana perfectly. The fact that he is also behind her last major hit in the US is also evidence of this.

So in my mind, had Lionel put together an album of songs for him and Diana to sing together, yes I agree, it would have been an easy number one album.

[reese]

I'm not sure who is at number one for my dream producer of Diana's follow up to diana80 [[I don't count To Love Again), Quincy Jones or Lionel Richie. I think I'll go with Lionel. Quincy could do whatever came after Thriller.

Lionel had a sound that I think fit Diana perfectly. The fact that he is also behind her last major hit in the US is also evidence of this.

So in my mind, had Lionel put together an album of songs for him and Diana to sing together, yes I agree, it would have been an easy number one album.

I definitely think DREAMING OF YOU should have been released as the follow-up to ENDLESS LOVE. But when it comes to an entire album, I don't know if I want to hear a whole project produced by Lionel. As much as I like him, I find some of his work a bit sappy.

It would have been interesting to see what Quincy might have done as a follow-up to "diana". Or even Bernard and Nile, even though the "diana" album isn't one of my favorites. I don't consider TO LOVE AGAIN to be a follow-up, either. Technically, even its copyright on the back of the album considers it a compilation.

[sup_fan]

I definitely think DREAMING OF YOU should have been released as the follow-up to ENDLESS LOVE. But when it comes to an entire album, I don't know if I want to hear a whole project produced by Lionel. As much as I like him, I find some of his work a bit sappy.

It would have been interesting to see what Quincy might have done as a follow-up to "diana". Or even Bernard and Nile, even though the "diana" album isn't one of my favorites. I don't consider TO LOVE AGAIN to be a follow-up, either. Technically, even its copyright on the back of the album considers it a compilation.

i thought i read that Dreaming Of You received a lot of airplay. i think it was on the Endless Love soundtrack or they might have released some dj promo versions of it. but because of all the hoopla around which label the artists were signed to, i think it just never was a reality.

the Endless Love soundtrack was released on Mercury Polygram. but lionel was an artist on Motown and now Diana was on RCA!

[reese]

i thought i read that Dreaming Of You received a lot of airplay. i think it was on the Endless Love soundtrack or they might have released some dj promo versions of it. but because of all the hoopla around which label the artists were signed to, i think it just never was a reality.

the Endless Love soundtrack was released on Mercury Polygram. but lionel was an artist on Motown and now Diana was on RCA!

There were promo copies made of DREAMING OF YOU for radio play. But I'm sure if Polygram really wanted it released on a single, they could have come to an agreement with Motown and RCA. Of course, keeping it album-only probably increased sales of the soundtrack album. That's the only reason I bought it, many years later. Or maybe all involved thought ENDLESS LOVE too special to be followed-up.

[sup_fan]

There were promo copies made of DREAMING OF YOU for radio play. But I'm sure if Polygram really wanted it released on a single, they could have come to an agreement with Motown and RCA. Of course, keeping it album-only probably increased sales of the soundtrack album. That's the only reason I bought it, many years later. Or maybe all involved thought ENDLESS LOVE too special to be followed-up.

but diana was also due to release her debut at RCA by fall 81. so if Dreaming was released, it would have been right on top of that. assuming it would have been the motown label, i'm sure they'd have loved the idea.

i think the only way Dreaming could have been released would have been if both artists were still on the motown label.

or what about releasing EL and Dreaming as a 2-sided hit single?

[reese]

but diana was also due to release her debut at RCA by fall 81. so if Dreaming was released, it would have been right on top of that. assuming it would have been the motown label, i'm sure they'd have loved the idea.

i think the only way Dreaming could have been released would have been if both artists were still on the motown label.

or what about releasing EL and Dreaming as a 2-sided hit single?

Or they could have released a single of DREAMING on Motown and a 12" remix on RCA, similar to how Columbia and Casablanca handled Babs and Donna's ENOUGH IS ENOUGH. That still lets Polygram have the soundtrack album.

[bradsupremes]

Why do so many people dislike "The Composer"? I always loved that record... still do....

Echoing what others said, it was just a poor song to be a single. I think the only reason it was an A-side was because it was Smokey. Had it been a Sylvia Moy song it wouldn't have made it out of Quality Control.

If they wanted something Smokey, "He's My Sunny Boy" would have made a good choice. Simple lyrics, but more street sounding and would have charted far higher than "The Composer" did.

[Ollie9]

One can only assume that with so many recorded versions, “I’ll Set You Free” was at one time a serious contender for single release. It’s certainly far more adult contemporary than the rather flowery “Composer”, being a continuation of the groups more mature themed material.