DR produced by Smokey

[RanRan79]

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.

Lionel is definitely royalty of sappy songs. Lol I love his sappiness, however, I think his catalog is largely more varied in style than a lot of the big hits he's remembered for. For me his style is so well suited to Diana's voice.

I forgot my other dream producer for Diana's post diana80 album: Teena Marie. Teena's writing and production skills are underrated. In her hands I think Diana could've dropped a serious classic.

[RanRan79]

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.

I love "Free". I think it needed a different mix than what ended up on the album in order to be a single, but it definitely would have continued to move the Supremes in a hip direction. "The Composer" was a serious step back.

What amazes me is that "The Clan" was brought together to deliver the group two hit singles, which it did. So...why exactly weren't they charged with delivering the 3rd and 4th singles?

[lucky2012]

I love "Free". I think it needed a different mix than what ended up on the album in order to be a single, but it definitely would have continued to move the Supremes in a hip direction. "The Composer" was a serious step back.

What amazes me is that "The Clan" was brought together to deliver the group two hit singles, which it did. So...why exactly weren't they charged with delivering the 3rd and 4th singles?

I'll Set You Free was definitely hipper and more progressive! I think Motown could have milked the Love Child album with at least two more singles. My choices would have been Evening Train and then Free or Keep An Eye.

After hearing the J5's I Want You Back and some of their subsequent recordings, I always thought I'll Set You Free seemed like a precursor or model for a new Motown sound/style [energetic, almost frantic, exciting, progressive]. I noticed that the Chairman himself, Berry Gordy, cowrote Free and was a part of The Clan and The Corporation.

[RanRan79]

I agree Lucky, but I think for "Free" to really be mentioned in the same league as the J5's stuff, it needed a serious remix.

I actually think "Keep An Eye" would've made a better follow up to "Love Child". It was dark, the storyline is interesting. There's that controversial part people would gossip about regarding the three of them seen all over town, now there's only two, someone's missing [["Are they talking about Flo?"). The Andantes give great support here. The track is real nice, but even it needed a little extra something, me thinks, to turn it into a single. But even as is, I think it would have been a major hit.

[sup_fan]

I agree Lucky, but I think for "Free" to really be mentioned in the same league as the J5's stuff, it needed a serious remix.

I actually think "Keep An Eye" would've made a better follow up to "Love Child". It was dark, the storyline is interesting. There's that controversial part people would gossip about regarding the three of them seen all over town, now there's only two, someone's missing [["Are they talking about Flo?"). The Andantes give great support here. The track is real nice, but even it needed a little extra something, me thinks, to turn it into a single. But even as is, I think it would have been a major hit.

Free is a great song but yeah. the mix is sort of odd on it. their voices are sort of effected - not really show how to describe it. but even as is, i think it would have done well too.

Shame did go to #10 but IMO it was mostly because of the controversial title. and the backing track is outstanding on the song. I think Free probably could have done about as well. it's not a #1 but would have been both a solid hit and less silly than Shame

[Ollie9]

I love "Free". I think it needed a different mix than what ended up on the album in order to be a single, but it definitely would have continued to move the Supremes in a hip direction. "The Composer" was a serious step back.

What amazes me is that "The Clan" was brought together to deliver the group two hit singles, which it did. So...why exactly weren't they charged with delivering the 3rd and 4th singles?

Good point. It is strange that following the huge success of “LC” the clan weren’t utilised for further songs on DR&TS”. The thinking would appear mission achieved with one huge hit. Further strange with Diana always being Gordy’s high priority.
There were of course decent songs that were never released. “You Gave Me Love”, “Keep An Eye” and “I’ll Set You Free” being for me the strongest contenders. Whatever happened to their quality control meetings?.

[blackguy69]

If I’m correct it’s Ashford and Simpson that did the background not the andantes

I agree Lucky, but I think for "Free" to really be mentioned in the same league as the J5's stuff, it needed a serious remix.

I actually think "Keep An Eye" would've made a better follow up to "Love Child". It was dark, the storyline is interesting. There's that controversial part people would gossip about regarding the three of them seen all over town, now there's only two, someone's missing [["Are they talking about Flo?"). The Andantes give great support here. The track is real nice, but even it needed a little extra something, me thinks, to turn it into a single. But even as is, I think it would have been a major hit.

[sup_fan]

Good point. It is strange that following the huge success of “LC” the clan weren’t utilised for further songs on DR&TS”. The thinking would appear mission achieved with one huge hit. Further strange with Diana always being Gordy’s high priority.
There were of course decent songs that were never released. “You Gave Me Love”, “Keep An Eye” and “I’ll Set You Free” being for me the strongest contenders. Whatever happened to their quality control meetings?.

the clan did do Shame. but then they reformed and became The Corporation, producing J5. Seems like Deke was the connecting tie between all of these.

Frank Wilson was part of the Clan and prior to that, he'd done some work with the Temps [[All I Need and he also produced there In A Mellow Mood album). but LC and IGMYLM were his first mega hits. and then he handled the Join duets album. so it was time for him to be doing things on his own, which he did with the Sups and Tops.

[Ollie9]

the clan did do Shame. but then they reformed and became The Corporation, producing J5. Seems like Deke was the connecting tie between all of these.

Frank Wilson was part of the Clan and prior to that, he'd done some work with the Temps [[All I Need and he also produced there In A Mellow Mood album). but LC and IGMYLM were his first mega hits. and then he handled the Join duets album. so it was time for him to be doing things on his own, which he did with the Sups and Tops.

Seems odd the clan never reformed to come up with that all important farewell song leaving “Someday We’ll Be Together” as Diana’s first solo single as originally planned.

[sup_fan]

Seems odd the clan never reformed to come up with that all important farewell song leaving “Someday We’ll Be Together” as Diana’s first solo single as originally planned.

i think the oddity was the idea of naming a production group. there certainly had been various collaborations over the years and in those situations, they were all just listed as names. HDH was like that but then evolved into this entity called "HDH". some have stated that part of the reason to using Clan and Corporation was to distance the people from the production. so it's no longer Lamont or Eddie or Brian but a generic group. to basically hide their names and give them less public awareness. i think that's a bit of a stretch given 1) these groups only did a handful of releases, just a small % of the total motown output and 2) there are tons of hits being released with just 1 producer or a couple. Look at the fame [[and ego) of Norman? Frank was certainly all over the place by the early 70s.

[Ollie9]

i think the oddity was the idea of naming a production group. there certainly had been various collaborations over the years and in those situations, they were all just listed as names. HDH was like that but then evolved into this entity called "HDH". some have stated that part of the reason to using Clan and Corporation was to distance the people from the production. so it's no longer Lamont or Eddie or Brian but a generic group. to basically hide their names and give them less public awareness. i think that's a bit of a stretch given 1) these groups only did a handful of releases, just a small % of the total motown output and 2) there are tons of hits being released with just 1 producer or a couple. Look at the fame [[and ego) of Norman? Frank was certainly all over the place by the early 70s.

I really can’t imagine it was to make the producers less identifiable, being more likely just too many names to print on the label lol.
The reason for only a handful of releases perhaps stemming from a creative and monetary aspect of working as a single producer when compared to a team.

[RanRan79]

If I’m correct it’s Ashford and Simpson that did the background not the andantes

You're right that it's not the Andantes. You're probably right that its Nick and Val. I'm almost certain Syreeta is back there.

[bradsupremes]

You're right that it's not the Andantes. You're probably right that its Nick and Val. I'm almost certain Syreeta is back there.

Nick and Val almost always did background vocals on their own productions - Marvelettes, Diana, Blinky, Supremes, Four Tops, etc.