"Love Child" is now solidly middle-aged! LOL!
"Love Child" is now solidly middle-aged! LOL!
Lots of folks who dig Motown and this song have been born after its release and can not comprehend the sledgehammer effect it had at the time. It was literally the perfect pop record .....no air in it at all, nothing to tweak, it sounded like ten billion dollars on the radio in glorious Motown Mono. Today, with digitizing, mixing, stereoization and the like, peeps can still dig it - but not the way it was intended: to be played on car or transistor radios - where it sounded best. My original 45 was played so much, it’s grey.
It was a monster hit
I was six and a half months old when "Love Child" released on September 30, 1968.
just a classic, and i think this could be there biggest seller
While it’s never been among my favorites of the group’s songs [[DRATS songs never equaled true Supremes numbers, in my opinion), I would have to say it’s probably my favorite from the DRATS era, and without it the group might well have finished its run a good deal sooner than it did. Once the act was revamped as DRATS and after the departure of HDH, it fell into such a slump that it was going to take almost an act of God to revitalize it. We all know the story of Gordy’s sequestering “The Clan” [[Taylor, Richards, Wilson and Sawyer), basically holding them hostage in a hotel room without sleep until they came up with something to put DRATS back on top — or else. Perhaps they feared for their jobs if they didn’t deliver, but whatever the motivation, they created a winner. When the group debuted it on Sullivan, dressed in “guttersnipe” outfits and singing [[well, lip-syncing) about illegitimacy and premarital relations I really didn’t know what to think, and was actually amazed that it went to the top, thanks more to the music and production than to the “socially relevant” lyric, although I’m sure that helped, since the glitz’n’glam image of the group and its songs about romance and heartbreak had by then become awfully dated. [[Of course, after that came an even worse slump but that’s another story.)
Last edited by BigAl; 12-29-2018 at 09:25 AM.
i think it's a great song and love it. but i will admit that it's a bit contrived. with Marvin's What's Going On not only was it a dynamic new sound from him but it was genuine. from his heart and you knew he truly cared about this
Diana's performance is classic but it's hard to reconcile their glamour girl and sequin image with this new sound and song. True during this time the girls endorsed Humphrey and they added the MLK speech to Somewhere. but still i never got a sense that the "group" wanted to do something different and important. It did seem that when Jean joined, the shift to more focus on peace love and humanity was genuine and therefore it worked. LC was a calculated effort to hit #1. and add some street cred. i think you could have had totally different lyrics about heartbreak and loss and kept the instrumental track and still probably have had a hit
I saw these guys at one private event few months ago [[https://bstars.eu/ organised it if I'm not mistaken)
I´m very glad that we have a live version of the song with all three real Supremes on Farewell, because it is a monster Hit, sadly only recorded by Diana Ross in the studio, so I prefer in studio versions Syreeta´s and I´m curious of The Blackberries version, which I never heard.
Diana does a superb vocal on this classic. Since no other Supreme was within miles of the recording studio it should really be considered a Diana solo. The 'other one' likes to claim it was one of her favorite records to make. Guess that hypnotist wasn't too good!
Billboard, for many purposes, does consider it and Someday We'll Be Together as Diana Ross songs for tallying #1 records.
It’s credited to DIANA ROSS & The Supremes. Technically she does get the credit. With that being said, and Billboards rules, I’ve only seen articles and publications site 6 number ones. But technically she is credited for 8.
He doesn’t like that Billboard rule
I was just listening to it full blast in stereo. Damn, it’s so good. The Funk Brothers were such masters. To think they threw that thing together [[written, recorded, mixed, and released) within a week’s time is pretty damn impressive and for it to go number one and become their best selling single up to that time is even more impressive.
One thing that hits me when I do play the track today: that intro and then the drama building up before Diana sings it. It takes you to an apartment in the ghetto where a woman is struggling to deal with what's become of her as she's out there lonely in the world with a child.
Understandably, radio stations weren't sure of playing it [[black and "white") because of the subject matter. Only when Berry threatened to pull all of his Motown catalog away from radio stations did they play it!
This was serious territory that Motown before had never attacked. But yeah when you put it like that, I see why it can be seen as the powerful performance Motown ever produced.
Last edited by midnightman; 02-13-2019 at 02:50 PM.
Thanks for posting Marv. I had my brother separate out the “background”. M and C sound pretty damn good.
I don't think including the missing verse would have made any difference to the song's success. The Syreeta demo doesn't have the "I'll always love you" on the fade out which I think really enhances the record.
I find Syreeta's version to be kind of a hodgepodge. She seems to rush through the lyrics and to me the verses don't make as much of a throughline as in the Supremes' version. Her voice and delivery is flawless but to me her version of the song just doesn't make sense somehow.
She sounds alright. She just does not sound forceful enough for this type of song:
An extended mix of LOVE CHILD with the rare verse originally left out of the hit version.
If I remember correctly, Syreeta didn't cover Love Child, she recorded the demo of it. Who knows how fast it was done in order to get it to Diana Ross to learn! I can't imagine that Syreeta recorded it expecting it to ever be heard, rather it was to be a vocal guide. I think we're pretty lucky that it was released and we are able to hear it at all.
It was a great record...still is....that note the background singer hits! I always thought it sounded a tad bit slowed down on GHVol.3....I loved the song. I liked the 2nd performance I the pink suits better than the first....I remember when FAREWELL was released... I was so excited to see LC listed on the clear label sticker on the back of the shrink. Played it and thought OMG! what have they done! the racey Vegas arrangements ruined so much of the well known songs.
Did Syreeta record it as a demo for Diana?
I liked Syreeta's version, it wasn't amazing, but it was not bad at all. But, "Love Child" is Diana & The Supremes' song.
To be fair to the lovely Syreeta, few or perhaps any who attempt to cover a Diana Ross song ever come out sounding better............me thinks.
How about Its My Turn by Aretha?
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Sure, and "My Baby Loves Me" is actually a Martha Reeves and the Four Tops and the Andantes song. Good luck getting people to credit it that way. "Love Child" will remain in history as a Diana Ross and the Supremes song. No use waging a campaign against it 50 years later.
That's a no for me Jack. My two favs covering each other is great in theory but not always in practice. Diana's "It's My Turn" is brilliant IMO. From the opening where it's just Diana's beautiful voice and minimal instrumentation, where she seems to be in a mental place of figuring out who she used to be vs who she is now and where she wants to go, to the musical buildup where she seems more forceful and sure of herself that it is indeed her turn. She turns in a great vocal performance. Heartfelt. I feel it. It's believable.
On the other hand, while IMO both Aretha and Diana are among the absolute best lyrical interpreters ever, Ree's version falls a bit flat for me. First mistake was the background singers. Unnecessary. It should have just been Aretha and the band. The background singers take away from the experience for me. Also the track seems slower than Diana's version and I don't think the slower pace works as well as Diana's at all. On top of that, where Diana comes across as a woman who is living the lyrics, the Queen comes across like she's simply singing what was handed to her. The way she approaches the song vocally makes it hard to believe that this is a woman who is only now figuring out that it's her turn. She sounds like a woman who's had this figured out for years now and that doesn't jive with the tone of the lyrics. There's no way Aretha's version tops Diana's, IMO. Of course it's not a bad cover. On it's own it's cool, for what it is and who it is. But it ultimately doesn't work as well.
However, Aretha's cover of "You Keep Me Hangin On" is great. Not better than the Supremes, but on it's own it's a great cover. Aretha brought her own thing to it but it meshed well with the lyrics, something that didn't happen on "It's My Turn".
Regarding “it’s my turn”, Aretha’s version of this song is the perfect example of why a bigger voice doesn’t always mean a better singer. Now I’m not saying that Diana is a better singer, but in the case of this song, Diana’s phrasing and overall feeling is much more heartfelt than Aretha’s.
Last edited by khansperac; 07-22-2019 at 06:08 PM.
I didn't even think about it not actually being a Diana & The Supremes song... it just is, even if it isn't, if that makes any sense at all.
It's just like how the DJ announces it in the first clip in this thread. To the rest of the World, it is a "Supremes" song and record. Especially since Diana Ross was still one of the Supremes when it was recorded.
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