Customer Reviews

70's Anthology

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This is an amazing, long overdue 2 cd retrospective of The Supremes post Diana Ross. While not as commercially successful as Diana the 70's Supremes recorded some great music from 1970 until their disbandment in 1977. You get a full range of styles from soul, rock, pop, and hard charging disco. And you will meet some amazing vocalists including Jean Terrell, Scherrie Payne, and Susaye Greene along with original Supreme Mary Wilson and longtime mainstay Cindy Birdsong, who at last gets her turn at lead on The Sha-La Bandit. The sound quality is great and there are some unreleased gems on here that make you scratch your head and wonder why Motown never released them--especially the amazing Life Beats and Bend a Little. I highly recommend this 70's Anthology.

Note: There is an error on the track listings--Where Do We Go From Here is on CD 2--We Should Be Closer Together is not repeated twice.

...was really quite remarkable when you think about it. There are not a lot of groups, ever, that have survived the loss of their lead singer and gone on to be a live draw and recording hitmakers. True, we have all read or heard of the troubles they encountered on the way, but what remains is this fact: they continued to make great music, and, for a time, hits. If you've made it thru any of the other reviews here and are reading mine, I have nothing to offer, except that if you think of the 70's Supremes as that Motown group that did "Stoned Love," there are delightful surprises herein. Worth the price and hopefully just the beginning.

The Supremes, in their most famous incarnation (Diana Ross, Mary Wilson, and Florence Ballard, later replaced by Cindy Birdsong), were not only the most successful female vocal group of all time, they became cultural icons.

The original group's powerful legacy (12 number one pop hits, barrier-breaking inroads into Vegas, the supper club circuit and network television, etc.), plus Ross' subsequent solo superstardom, has meant that The Supremes' post-1970 work has been relatively underappreciated and, outside of their biggest hits, largely unavailable. "The 70s Anthology" rectifies that situation by offering up 2 discs' worth of the ladies' material--and if the material included is a fine testament to the vocal talents of these latter-day Supremes, it also points up the main reason for the group's eventual demise: a lack of focus.

The 60s group benefitted not only from the instantly recognizable lead vocals of Diana Ross, but also a trademark "sound" courtesy of Holland-Dozier-Holland, who penned and produced 10 of the group's number one records. The first grouping of 70s Supremes (Mary Wilson, Cindy Birdsong, and Ross' replacement, Jean Terrell) seemed to be on the right track: Terrell is not only a highly gifted singer, but also a distinctive one--like Ross, there's no mistaking her for another vocalist. And in Frank Wilson, the JMC-Supremes found a sympathetic producer who seemed to be crafting a trademark sound for this new group.

Wilson's lush yet ethereal production style is evident on the glorious "Up the Ladder to the Roof" and "Stoned Love"--The 70s Supremes' biggest hits (#10 and #7 pop, respectively) and their only Top 10 charters post-Ross. Terrell's vocals (breathy one moment, exultant and powerful the next) are simply magnificent, and Mary Wilson and Cindy Birdsong's harmonies are lovely.

Frank Wilson remained at the helm for The 70s Supremes' first three albums, plus a scrapped fourth, titled "Promises Kept." Essentially a "pick-up" album comprised of outtakes from 1969/1970 sessions, plus material from various sessions thereafter, the unreleased material included on this anthology is of mild historical interest, but far from The Supremes' finest work.

Frank's final released album with The Supremes was the acclaimed "Touch," from which the hypnotic "Nathan Jones" was culled as a Top 20 hit. The intoxicatingly romantic title track predates the chocolate box soul of Barry White's Love Unlimited by several years, and features Mary Wilson's finest lead vocals. Unfortunately, Frank Wilson departed Motown following this album, and The Supremes were forced to once again redefine their sound.

Smokey Robinson took the reigns for 1972's "Floy Joy" LP, which, while quite successful (the title track went Top 20, and two further singles were issued), seems more a showcase for Robinson's charmingly quirky rhymes and metaphors than for The Supremes' singing. Unfortunately, the album's highlight (the irresistibly funky "Your Wonderful Sweet, Sweet Love") stalled at #57 on the charts, and was a harbinger of things to come.

Cindy Birdsong departed to have her first child shortly after recording the "Floy Joy" sessions, and was replaced by former Stevie Wonder backup singer Lynda Laurence. The Terrell-Wilson-Laurence triumvirate recorded only one album together, the critically-lauded "Produced & Arranged by Jimmy Webb." Despite some fine performances (particularly "5:30 Plane," not included on this anthology), the album was a commercial disaster. It also marked yet another left turn in The Supremes' quest for a trademark sound--Webb augmented the ladies' vocals with additional background session singers.

Hoping to turn the tide, a non-album single, "Bad Weather," was written specifically for the group by Stevie Wonder. The infectious production and the ladies' joyous vocals added up to one of their finest recordings, and it would be nice to think that they went on to record an entire album with Wonder, who became their new signature producer...but it was not to be. The single bombed at #87.

1973 brought yet another personnel change--the third in as many years. Both Terrell and Laurence left, following disputes with both Motown and Mary Wilson. Tiny powerhouse Scherrie Payne (sister of "Band of Gold" hitmaker Freda) was recruited to tend lead duties, while Cindy Birdsong returned to the fold, as well.

Payne is an absolutely dynamic vocalist who, like her sister, has a brassy, jazz-inflected phrasing. She was also a petite, sexy, glamorous addition to the trio. Unfortunately, by this time, The Supremes were adrift without any real musical identity, and the material from the Payne-led years ranges from a handful of true gems to entertaining pap to outright atrocities.

Their self-titled 1975 LP (the group's first in over 2 years) is filled with inocuous pop and disco-lite; none of it even approaches the ribald funkiness that Labelle was turning out, and, more surprisingly, it's not even as slickly entertaining as The Three Degrees' lush Philly soul. The album's two minor hit singles ("He's My Man," "Where Do I Go from Here") are enjoyable but forgettable, and of interest mainly for Payne's excellent vocals.

1976's "High Energy" LP heralded the return of the Holland brothers at the production board, while marking the second (and final) exit of Cindy Birdsong, who was dismissed by Mary Wilson and her then-husband, Pedro Ferrer, who was managing The Supremes' business affairs. "I'm Gonna Let My Heart Do the Walking" was a major club hit, and easily the finest song that Payne recorded as a Supreme. It also nudged into the pop Top 40, the group's first to do so since 1972.

By this time, Mary Wilson was logging more time as lead vocalist--understandably so, as she was the sole original member, and perhaps wanted to make her voice more recognizable to the public. Unfortunately, although she's certainly serviceable, she's not a particularly gifted vocalist--"Don't Let My Teardrops Bother You," for instance (from "High Energy"), is a decent enough 70s pop ballad, and Wilson handles the belting chorus competently enough (especially with Payne and Birdsong aiding her rather loudly), but on the verses, her phrasing is stilted and clumsy--a problem which plagues most of her solo performances.

Birdsong's replacement, Susaye Greene, was overdubbed on two of the "High Energy" tracks--"Let My Heart Do the Walking" and the title cut, on which she displays an impressive five-octave range. Still, that song suffers from a lack of individuality--whereas one can scarcely imagine "Stop! In the Name of Love" being sung by anyone other than Diana Ross, or "Stoned Love" by someone besides Jean Terrell, "High Energy" (or "Don't Let My Teardrops Bother You," or even "I'm Gonna Let My Heart Do the Walking") could have been recorded by any one of the faceless studio groups so common during the disco era.

The Supremes' final album ("Mary, Scherrie & Susaye") spawned several club hits, including the fine "Let Yourself Go" (making its CD debut here), and Payne seemed to finally be determined to put her individual stamp on the material and forge something close to a new "Supremes sound"--even within the limitations of the formula disco material. But it was too little, too late, and the group disbanded shortly thereafter.

"The 70s Anthology" fills an important gap in The Supremes', Motown's, and pop music's history, but, considering its relatively short 42-song length, there's an awful lot of filler here. The Supremes never wanted for talent, in any of their groupings, but as time went on, they were often left wanting for distinctive production and material.

A lot of people are not aware of how successful the Supremes were in the post Diana Ross years. They
did extremely well until Motown lost interest and began to pull the plug on them. In fact, The Supremees
first single release, Up the Ladder to the Roof did much better than Diana's first single Reach Out and Touch
Somebody's Hand (possibly the reason for the pulled plug) climbing into the top 10 and going gold.
Even when Motown released secondary-type singles from their albums or none at all, the Post-Diana Supremes
had success. An example, rather than releasing the okay Everybody's Got the Right to Love as the
post-Diana Supremes seond single from the album, Right On, Motown should have released Then
We Can Try Again or the wonderful Smokey song Lovin Country (included in the Anthology. And
after releasing Stoned Love (top ten smash and post Diana biggest Supremes hit) Motown did not
release a second single, when they should have released the deliciously funky Together We Can Make
Such Sweet Music (also included on the Anthology) which would have been a smash. Even when
Motown shelved the Pam Sawyer/Gloria Jones Promised Kept Album (several wonderful cuts are
included in the Anthology) and released the okay Smokey Robinson Floy Joy, the Supremes still managed
to come up with a couple of hits. In short, it is clear from the 70's Supremes Anthology that the ladies were sabotaged, due in a great part ot a lack of interest by the powers that be. This Anthology shows you that there was a lot of magic and power
left in the Supremes post Diana. Although this anthology includes cuts from the last line-up of
Scherrie Payne, Mary Wilson, Susaye Greene (listen to to the incredible Love I Never Knew You Could
Feel So Good), I am partial to the lineups that included Cindy Birdsong (Jean, Mary, Cindy or Scherrie
Mary, Cindy). Although not the strongest solo singer, she added a class and beauty to the harmonies
that was wonderfully Supreme and all her own. Think about it, this lady has been in two of the great
females group of all time, Patti Labelle and the Bluebelles, and The Supremes. How many people
can say that? You will not go wrong with this double LP.

Finally a comprehensive collection on the second decade of the greatest American group, male or female! Too often the gems that the Supremes recorded in the 70s are regulated to a few finale tracks on a cd. But here the girls are front and center - all of them. For the first time on either cd or vinyl, all of the singles are assembled (minus one of the duets with the Four Tops), along with many treasures of previously unreleased material. Of course the songs might sound a bit dated, but listen beyond the wah-wah pedals and disco groove and appreciate the talent that is so evident here.

The first disc opens with several cuts from the debut album with Jean Terrell, Cindy Birdsong and Mary Wilson - Right On. Up the Ladder is a glorious song that should have gone #1. The unreleased songs are interesting and while they may or may not stike you as the hit singles do, they're still fun. The disc continues onto when Lynda Lawrence replaced Cindy. Mary Wilson, in the liner notes, puts to rest the mystery of the Promises Kept lp. Disc two focuses mostly on the years with Scherrie Payne. Cindy is back and sounds great on a previously unreleased version of the Sha-La Bandit. But then Susaye Green comes along and WOW! The final lineup (Mary, Sherrie and Susaye) was a true powerhouse of a group. And finally they include the fabulous song, Let Yourself Go. How this single escaped being a hit is one of the greatest mysteries of popular music.

The sound quality on the songs is great and the liner notes by original Supreme Mary Wilson lead you through interesting events and anecdotes surrounding the group's history. Of course, fans will always want more - other unreleased songs, album tracks, live records, etc. But everyone will agree that this package finally treats the 70s recordings with the dignity and respect they deserve. While they might not have been as commercially successful as the 60s, from an artistic standpoint, they rank with the best work while Diana was a member of the group.

This CD is simply wonderful. At last Henry Weinger has seen the value in the 70's Supremes as he did in the overall Supremes box set. However this 2 CD set is loaded with 70's gems we have not heard on CD since the LP's went out of print in the 70's. This 42 set package is nothing short of marvelous. First you have the set opening with the Jean Terrell, Wilson-Birdsong tracks which are nothing short of sensational especially the newly never before unreleased track: "Oh My Poor Baby" that track blew me away, where was Motown when this was recorded, and why wasn't it released in 71 as a single. The Terrell led hit singles "Up The Ladder to the Roof" thru "floy joy" are here for the new fans to scrutinize, as well as some other ditties like the beauties from the Jimmy Webb LP "When Can Brown Begin" followed by Mary's "I keep It Hid" from the same recording set. Disc two contines with "All I Want" the fast rocker and the flop single "I'll Miss The Man" after skipping a few tracks to a new era thanks to the failure of the illustrious "Bad Weather" single,makring Jean Terrell's exit, Scherrie Payne steps in and leads the group through some glorious tunes even though Motown had turned it s back on the group. the most notable tunes from the 75-77 disco period "He's My Man" a Wilson-Payne lead with the extended version that will have you in ectacsy over this mix as well as the hit single "Let My heart Do the Walking" . Payne's new unreleased track "There's room at The top" is also a beauty in the tradition of Honeycone or The Three Degrees. There is enough music on here that showcases all of the ladies wonderfully Lynda is the only one not heard on lead, and believe me it was not by her own choosing, she hit the background running. Birdsong has a lead finally on "Sha La La Bandit" in verse two, and we must thank Mary for her wonderfully sung ballads "We Should Be Closer Together" & the newly released "Can We Love Again" & for keeping the Supremes going for the seven years (70-77)in which these songs date. Her liner notes takes us on a journey through the 70's where she mentions each supreme starting from Diane's departure through Susayes inception. She gives praises to both Terrell and Scherrie payne as great vocalists, and mentions Cindy as the mainstay and Lynda as her replacement. You'll won't find more fresher material on the Supremes, anywhere, and this CD finally gives the 70's Supremes the glory they deserved when these records were made. If your tired of those 60's rehashes not in any way to undermine them however, they were great, you will be delighted in the music the Supremes offered (in the 70's) on this wonderful 2 cd set, and the photographs displays the 4 editions of the girls which represents this the SUPREMES 70'S ANTHOLOGY.

This long awaited CD of the '70 Supremes is certaily worth the wait. Jean Terrell is fantastic in "Stone Love ;"Up the Ladder" "Nathan Jones" etc. etc. etc. . Hear the sexy alto of Mary Wilson in " I keep it hid" "He's my man" "Don't let my teardrops bother you" "Can we love again" "TOUCH" ETC. Hear Cindy Birdsong in a shared lead in "The SHA-LA Bandit" it's a shear delight.
MOTOWN or should I say Universal finally did something right. Mary Wilson was very much involved in this project.....she assisted with the compilition of songs, the liner notes etc. She's the Heart and Soul of the Supremes.

This is what was lacking with the SUPREMES BOX Set. Both Wilson and Ross should have been inolved in that project.

Anyway five stars to Mary, Cindy Jean, Sherrie and Susaye. Now Universal...how about a "MARY WILSON" Anthology?? Do I hear a REUNION tour with Mary, Cindy and Jean???

Dan

First, "Promises Kept" was a fully-completed, ready-for-release Supremes album with a catalog number and finished cover. It wasn't just a title Mary Wilson suggested, which inadvertently is what comes across in the notes to this album. The single was going to be "Life Beats," originally recorded for "Right On." Second, this compilation is excellently remastered--the improvement from the vinyl L.P.s is bright and shiny. Everything significant is here except "Then We Can Try Again," which was covered by Melba Moore; "Johnny Raven," the followup to "Nathan Janes" which unwisely was replaced by "Touch;" and among the previously unreleased material the Stevie Wonder-produced "Soft Daze."
Third, this outstanding collection reminds us of what should have been. Motown should have spotlighted Jean Terrell's arrival into the group and heralded a new star rather than ignoring her presence totally in the rush to ensure Diana Ross was moving successfully into a solo career (as if there was any doubt she could do it). Motown should have given the first single, "Up the Ladder," a better arrangement, with a catchy beginning rather than a cold start vocal. Motown should have given the first single a picture sleeve. Motown should have promoted the first single, which got absolutely no help as all forces were diverted to doing something/anything with the first Ross single, a waltz no less. Motown should never, ever have made the sappy "Everybody's Got the Right to Love," the second single. Motown should have titled the second album, "Stoned Love," as Mary Wilson wanted, with the cover on this album, as Mary Wilson wanted, rather than the screwy schizophrenic cover it used of the ladies both in naturals and in frilly, showbiz wedding cake outfits with a pink background. And on and on and on it goes. There appears to have been a real worry within the company that the Supremes would go onto greater glory and outrank Ross, which was just ridiculous. So the trio got barely any promotion while Ross was stuffed down the public's throat unnecessarily. Berry Gordy never could do two things at once (ask any lady singer at Motown who wasn't Diana Ross...they all have horror stories) but he easily could have given Ross what she needed while giving the Supremes the proper treatment. It's a miracle they lasted as long as they did given their record company's passiveness and disinterest in their fate. This album demonstrates that, musically, the Jean Terrell-led group was nothing short of brilliant in all aspects, musically miles beyond the original group. The Scherrie Payne-led group is more noisy and definitely unfocused but still turned out some outstanding work. Mary Wilson's talent shines forth throughout--a very solid, insightful singer too long hanging in the background. We finally get a Cindy Birdsong lead and she's a full-voiced, fruity-voiced gem, as it turns out. This music has held up amazingly; I'll hold up "Stoned Love" against anything Motown ever put out. God forbid Ross would have told Gordy to give the girls what they needed; but, then, she was more than willing to let the other two go backstage on the "Tonight" show after all those years of all three talking to Johnny Carson and on the "Tonight" show she also said once, "I have to make a new record" as if the other two girls in the group didn't exist. Time doesn't make this story any prettier. Jean Terrell, a workhorse who should have gotten the royal treatment, likely felt lucky to get out when she could after four grueling years of doing her best and getting very little in return. But there's a happy aspect to all us. The music is still glorious and the ladies have gotten the showcasing they deserve here. And Mary Wilson deserves a deep bow for the years she stuck in here, single-handedly kept the group going and the standards up (if you ever saw the Jean Terrell-led or Scherrie Payne-led groups in person you know they were ever bit as good as the Diana Ross-led groups, and that took some doing). Besides that she is a classy, educated, generous and courageous woman. This collection is a testament to her achievements as much as a tribute to the Supremes.

This is what 70s Supremes fans have long been waiting for! The last collection available "70's Greatest Hits & Rare Classics" has been out of print for quite some time, but it is definitely not the classy package that this is.

Spanning two discs and 42 songs, containing all the hits and 16 unreleased tracks/versions, and as the sticker says: more than half making their CD debut. The beautiful photos and design as well as the insightful liner notes from the original Supreme Mary Wilson make this one stellar package; both visually and musically!

Disc One covers the Jean Terrell-led years in the early 70s. Her beautiful, impressive voice truly brought new life to The Supremes. The previously unreleased "Life Beats" and the tracks from the shelved "Promises Kept" album are true gems, showing just how much potential the Supremes still had in the 1970s.. The hits "Stoned Love", "Up The Ladder To The Roof", "Nathan Jones" and others like "I Keep It Hid" and "When Can Brown Begin" truly show their progression towards more serious, conceptual work.

Disc Two starts off with their stellar Motown-soul cover of Joni Mitchell's "All I Want" which in itself was a major departure for a female vocal group at the time. Another highlight being "Bad Weather" the brilliant, though ill-fated Stevie Wonder collaboration. This disc also goes into the mid-late 70s Scherrie Payne led years with the Supremes moving into disco territory with the previously unreleased (though legendary in fan circles) "Bend A Little". An extended disco mix of this song could have easily been a colossal club hit! We are also treated to an extended version of the #1 disco hit "He's My Man" and the previously unreleased "Room At The Top". The cream of this collection being the inclusion of their most disco-influenced tracks "You're My Driving Wheel" and "Let Yourself Go" from their seriously underrated final album "Mary, Scherrie & Susaye".

Mary Wilson also gets to shine on several tracks on this collection. You'd think her truly exceptional performances on "Touch", "I Keep It Hid", "Sha-La Bandit", "Teardrops.." and "Can We Love Again" would put to rest the absurd "can Mary sing?" debate. Her sexy, sultry, smoky voice can be both stirring and powerful. To me it is a very unique instrument in itself despite what many of the rabid Diana Ross fans below (and perhaps above) say. Cindy also gets to shine briefly on "Sha-La Bandit", hopefully we'll be treated to more of her beautiful voice in the future.

For me, the only low points on this collection are "Function At The Junction" with the Four Tops which is ok, but nothing special. Another being the alternate version of "High Energy" which completely loses the climactic flow of the original and also cuts out the best parts of the song.

When I recieved this, I listened to the whole thing all the way through. I honestly didn't want it to end, but I suppose being a fan that's natural. Despite that, I think this would be a great listen not just for fans but as an introduction for anyone interested in the 70s Supremes. This is the final proof that the Supremes didn't die after Diana Ross, they contunued to make great (if not better) records. The talent in the 70s groupings were abundant like never before in the voices of Mary Wilson, Cindy Birdsong, Jean Terrell, Lynda Lawrence, Scherrie Payne and Susaye Greene. It's unfortunate Motown never gave them the proper push. Especially in the final years ('75-'77). Even if their songs didn't chart in the contemporary Pop & R&B charts during those final years, they consistently topped the dance/club charts (7 singles in the top 5) with minimal (at best) promotion. Further proof of their strong material.

Major respect to the Supreme ladies for bringing their talents to these wonderful songs. Kudos as well to Andrew Skurow and Harry Weinger at Motown and especially to Mary for keeping it alive!

In one respect it's a shame that with the departure of Diana Ross in 1969 the Supremes just didn't cease to exist because by retaining the name the '70's incarnation of the group will always be compared unfairly (in terms of commercial success) to what went before rather than being judged on their own merits. Taken as a completely separate entity the firstly Jean Terrell then Scherrie Payne led group can more than hold their own when held up against other female groups of the era. Sadly, while the '60's Supremes are forever being re-packaged and re-released the '70's Supremes have been shamefully neglected, this being, as far as I know, the first collection of their own since the "Greatest Hits + Rare Classics" release of over ten years ago. It's been a long time coming but after listening I must say well worth the wait. This package should satisfy everyone collecting together as it does all the hits, tracks from each album and a number of previously unreleased songs that more than match in quality the previously issued ones. I hope this collection sells enough to make someone, somewhere consider giving the '70's back catalogue of the group plus Mary Wilson's fabulous solo outing for Motown (proof, along with several tracks here, that she was capable of FAR more than "ooh baby baby"s) a release. If you're a fan of '70's soul, girl groups or Motown get it or regret it!