Customer Reviews

Love Child / Supremes a Go-Go

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4 star:		(5)
3 star:		(1)
2 star:		(0)
1 star:		(2)

 

 

While Diana Ross is clearly the "star" of LOVE CHILD, The Album, this set has a very strong group feel. And yes, the background vocals, except for the 2 singles ["Love Child," and "Some Things You Never Get Used To," the latter a very good Motown effort, but strange choice for single release] prominently feature founding member Mary Wilson and Florence Ballard's replacement Cindy Birdsong, from Patti LaBelle and the Bluebelles. In fact, in Mary Wilson's autobiography DREAMGIRL, she lists the recording (and re-recording) dates for many of the selections that ended up on this album. The executive producer made sure that the Supremes' sound was re-invigorated for this album. The tunes are well-written, beautifully arranged, produced and performed. "How Long Has That Evening Train Been Gone," a late 60's soul masterpiece, features a killer (and much studied) James Jamerson bass line, and lyrically, tells a compelling story. "I'll Set You Free," is so dramatic, and features CLASSIC "Supreme" background vocals, including well-placed "baby-baby's." You will get chills! Besides these and the excellent title tune, there are many other standouts, including "(Don't Break These) Chains of Love," which has BIG HIT written all over it, the lilting "You've Been So Wonderful To Me," and the very good (and very fun) "Honey Bee (Keep on Stinging Me)," "Can't Shake It Loose," and Ashford and Simpson's "You Ain't Livin' Till You're Lovin' (a cover of Marvin Gaye & Tammi Terrell's original). "He's My Sunny Boy" is a minor Smokey Robinson tune that is punched up by it's horn arrangement and sparkling performance by Ross, whose performance on "Does Your Mama Know About Me" equally sparkles. This album climbed into the top 20 pop chart, and, thus, was one of the group's biggest late 60's successes.

SUPREMES A' GO-GO was the first album by a girl group to reach #1 pop. A great accomplishment, especially since this is, for the greater part, a so-so effort. The album certainly benefitted from featuring the classic "You Can't Hurry Love," and one of Holland-Dozier-Holland's best rocking dance grooves, "Love Is Like An Itching in My Heart." This album includes 8 Motown covers, the best, by far, of which are the Four Tops' "Shake Me, Wake Me," and the Elgins' "Put Yourself in My Place" (the latter which was recorded prior to virtually all of this material, and features strong backing by Wilson and Ballard). The non-Motown covers, "Hang on Sloopy" and "These Boots Are Made for Walking," are always hard for me to listen to, as Ms. Ross' lead vocal is mismatched. Reportedly, the latter was slated to be lead by Ms. Ballard. Pity that didn't happen. And, speaking of alternate lead vocals, Mary Wilson's on "Come and Get These Memories" is fairly subdued in the recording, if not in the performance. Her voice actually WAS perfectly matched to this tune. Overall, aside from the hits and 1 or 2 other selections, this is not a terribly satisfying mid-sixties effort by Motown and the Supremes though, clearly, it should have been. It comes across as a rushed effort to capitalize on a hot streak.
While all of the Supremes' hits are well anthologized, this collection is still absolutely essential, although primarily for LOVE CHILD.

The oldest album (actually the second half of this twofer) was A go go, recorded in 1966 when Florence was still a member. It includes two hits (Love is like an itching in my heart and You can't hurry love) and is padded out with covers, mostly of other Motown songs. It was common practice in those days to record albums like this. Even the Beatles recorded covers for their early albums, though they stopped doing so before 1966. The covers on this set mostly work very well - and the album is clearly a Supremes album.

By 1968, when the first half of this twofer was recorded, the practice of recording covers was less common. The Beatles had proved that you could be successful with albums of entirely original material, providing it was good enough. Motown thought of themselves (rightly) as the Beatles main competitor, so they followed suit. To provide enough new songs, they needed more songwriters so they no longer relied on Holland/Dozier/Holland.

The hits from this album were Love child and Some things you never get used to. Overall, the songs are not as strong as the other album - but they are originals. So, any preference for one album over the other may depend on your attitude to covers. The other major difference is that the Love child album is a Diana Ross solo album in all but name.

I don't know why these albums were paired - they don't really go together, but I enjoy them both in different ways. Earlier reviewers often seem to like one of these albums and not the other, yet it's not always the same one they like, and I can understand that. You must make up your own mind.

Two classic albums on one disc....the labeling says it all. If you are a fan of the Supremes you will not want to miss buying discs from this series. LOVE CHILD contains the title song which was a number one hit....A GO G0 ...a number one albums by the Supremes features YOU CAN'T HURRY LOVE and the girls singing cover versions of other Motown songs and other songs that were on the charts at the time. Mary Wilson is front and center singing solo on COME AND GET THESE MEMORIES.

Motown UK is to be commended for combining two of Diana Ross and The Supremes' finest LPs on one CD. "Supremes A Go-Go" was a massive hit album in 1966, anchored by the percolating "You Can't Hurry Love" and discotheque-ready "Love Is Like An Itching in My Heart." Produced by Brian Holland and Lamont Dozier, this set plays like a non-stop dance party, hence the go-go title, and Diana, Florence Ballard and Mary Wilson pump up the volume on a superb collection of covers of The Four Tops, Isley Brothers, Nancy Sinatra, Martha and The Vandellas, The McCoys, even the Elgins. Two years later, 1968 found the all-time great trio getting socially conscious with "Love Child," another huge #1 single, and the title song of a brilliant pop-soul album with production and writing from Ashford and Simpson (the head-nodding "Keep An Eye," devastated "Some Things You Never Get Used To" and exuberant "You Ain't Livin' Till You're Lovin'"), Frank Wilson and Smokey Robinson (the sweet "He's My Sunny Boy"). "Love Child" is my favorite LP of material mostly written with The Supremes in mind. There's not a bad cut on either album, and now they're combined in one great CD. Only one quibble, and that's with the mastering: I have to turn the volume all the way up to hear the CD at its best.

Diana Ross and the Supremes continued their classic run of mega hits into 1966 where that nifty Motown classic You Can't Hurry Love became their SEVENTH chart-topping single. You Can't Hurry Love is one of The Supremes definitive classics. Lead singer Diana Ross whips along the verses with conviction, surfboarding along the upbeat musical arrangements. You Can't Hurry Love bounced to No.3 on the U.K charts though Phil Collins managed to take his (inferior) version to the top of the British charts seventeen years later in 1983. You Can't Hurry Love was the only chart-topping single originally by The Supremes to be found on the accompanying album, The Supremes A Go Go (1966).

Even more exciting was the rip-roaring, sassy and evocative Love Is Like An Itching In My Heart. Those jamming musical arrangements courtesy of Motowns in house band known as The Funk Brothers, great lyrics from Holland-Dozier-Holland, a soulful, sexually-charged tour de force vocal performance from Diana Ross to some strong and highly effective backing vocals from Florence Ballard and Mary Wilson make this yet another perfect Supremes classic and was scores ahead of the light Pop/R&B ballads of their earlier phenomenon. All the more surprisingly Love Is Like An Itching In My Heart only got as far as No.9 on the U.S billboard charts and didn't even chart in the U.K though it certainly had all the momentum and fire to have cracked the top spot.

(Incidentally Love Is Like An Itching In My Heart went on to become a big Northern Soul hit in the 1970's)

The remainder of The Supremes A Go Go (1966) were crammed with impressive, dynamic cover versions of familiar hits of the day all of which were mostly songs by other Motown artists such as The Four Tops, The Temptations, The Isley Brothers, The Elgins and Martha Reeves And The Vandellas.

Diana Ross puts in a fine, easy-going performance on their cover version of The Isley Brothers, This Old Heart Of Mine (Is weak For You) though it does admitedly lack the punch of the original.

There are a total of three cover versions of The Four Tops classic hits. Ross' sweet, sensual voice may have not have that bite and edge of Levi Stubbs rocketing vocal style but she remarkably manages to make any song she sing completely her own. Though quite lightweight their take on The Four Tops classic 1965 chart-topper I Can't Help Myself is contagious from its fantastically arranged orchestrations and comes complete with a super fine performance from Ross. This could have easily been a hit for The Supremes had it not already been for The Four Tops.

The sweeping arrangements on their dynamic take on Baby I Need Your Loving are sensational and Ross packs in another cracking vocal performance gliding along with ease and style.

What does manage to even better the original is their far more effective version of Shake Me, Wake Me (When It's Over). If anything these cover versions proved a great experiment for the developing Diana Ross sound even if it did subsequently leave Florence Ballard and Mary Wilson lurking bitterly in the shadows.

I must admit I was quite cynical on seeing that on the track list there was a cover version of Nancy Sinatras' chart-topper These Boots Are Made For Walking but soon ate humble pie on just one listen to Ross' cool, sassy delivery.

Ross does a stellar job on their version of The Temptations Get Ready which she performs with verve and style (even if it doesn't place no great threat to the original). They actually improve The Elgins, Put Yourself In My Place. Ross delivers a nice, intricate performance whilst there are soothing backing vocals from Ballard and Wilson.

Motowns pioneering hit was Barrett Strongs superb Money (That's What I Want), a song that echoed the perils of the restrictions of the ghetto (to which they were no strangers to). It's quite clear that Diana and the girls were forced to do some of these numbers in just a few takes, especially on this track, but they do manage to do an adequate job even if it does pale next to the original.

Mary Wilson, the only surviving memeber of The Supremes to remain right to the groups bitter end in 1977 when they quietly disbanded years after their peak, heads up front on a moderate cover version of Martha Reeves and the Vandellas classic Come And Get These Memories. Though Wilson has a nice, breathy soprano, it clearly lacks the depth and range of Ross' more distinct and unique style.

Completing the track line up is their fabulous and unique version of Hang On Sloopy where Ross' performance is strong, assertive and passionate sounding magnificent as do the great backing harmonies of Wilson and Ballard.

Motowns obvious marketing ploy was that in getting The Supremes to do a series of famous cover versions of hits from around that era, this would instantly sell the album in big proportions as well as also showing how adept and versatile a vocalist Ross had become (her solo career was under discussion now even though she wouldn't fly from the group until early 1970). Well, Motowns strategy worked as The Supremes A Go Go (1966) raced to the top of the album charts elbowing off The Beatles, Revolver from the top spot. Though highly commercial and formulaic, The Supremes A Go Go proves compelling and indeed a classic album.

Love Child became Diana Ross and the Supremes eleventh chart-topper in late 1968. This song was actually something of a comeback for Ross and the Supremes as their previous singles Somethings You Never Get Used To and Forever Came Today didn't even manage to break into the Top 20 charts.

It's true that a lot of Motown acts suffered from the loss of the genius songwriting and production team Holland-Dozier-Holland. Holland-Dozier-Holland take credit for creating and defining that magical phenomenon that became commonly known as "The Motown sound - the sound of young America". Holland-Dozier-Holland had left Motown in early 1968 following a bitter dispute with head boss Berry Gordy over royalty payments (many other Motown acts also sued the company over back royalty payments as most felt they were exploited).

Anxious to keep the "motown sound" alive and thriving, Berry Gordy appointed some remarkably talented new in-house songwriters and producers with the cream of the crop including the likes of Ashford and Simpson, Norman Whitfield, Deke Richards, Frank Wilson to name but a few.

Love Child had been penned by Frank Wilson, Deke Richards and R.Dean Taylor (one of Motowns few white acts that scored hits with the classic There's A Ghost In My House and Gotta See Jane). This was Diana Ross and the Supremes first real contemporary musical offering that made any form of political statement and to explore relevant social issues of that of a baby born out of wedlock. Love Child was deemed controversial at the time though is tame by todays standards.

Love Child was perharps Ross and the Supremes most compelling and powerful recording. Ross puts in a power-house performance sounding untypically raw and earthy across the dramatic orchestrations thats given a sharp, soulful edge. Whilst hitting No.1 in the States it also enjoyed success in the U.K (renewing their popularity there where they had also struggled with their last two singles) where it became a Top 20 hit gliding in at No.15.

The Love Child album steers away from their earlier sound and if anything you could argue this does sound more like a showcase for Ross' talents (which was the case pretty much from their first hit and as neither Mary Wilson or Cindy Birdsong hardly appear on any of these tracks as backing duties were provided by The Andantes). This does lack the group-oriented sound of their earlier phenomenon but still its a credible album and showed The Supremes comfortably changing with the ever-changing musical tastes of the 1960s.

Motown had by now fully recognised the potential in albums being used as pieces of musical art and not just a mere dumping ground for routine "filler" (as mostly the case with studio albums by any Motown artist in the 60's with all acts covering each others hits).

Ashford and Simpsons Keep An Eye has a slow, mellow arrangement thats ignited by Ross' strikingly husky delivery. Keep An Eye tells the tale of betrayal, bitterness and paranoya and really has that urban feel which was the intentional tone of the album (one look at the front cover with Ross, Wilson and Birdsong sporting afro hairstyles, dressed in cut off jeans and sweatshirts standing somewhere down some isolated back alley in the heart of Detroit really conveys that this album was going to be pure street).

How Long Has That Evening Train Been Gone continues the mellow mood where Ross lets go and puts in a strong, assertive performance which compliments the complex musical arrangements consisting of that pounding percussion and glorious saxophone interludes courtesy of Motowns legendary in-house band known as The Funk Brothers.

More reminiscent of their showbiz persona was their commendable take on Does Your Mama Know About Me where Ross' voice shines too full effect revealing the real depth and essence in her soft, unique voice whilst moe familiar but ultimately an unexpected highlight of the album is the totally infectious Honey Bee Keep On Stinging Me. This track really was more reminiscent of their earlier sound with a contemporary twist. Ross sings in an engaging lower throat register which proves quite effective for her unusual, unique sound.

Somethings You Never Get Used To was Ross and the Supremes first single since 1963 not to have been written and produced by Holland-Dozier-Holland. They were immediately teamed with the multi-talented duo Ashford and Simpson that brought to Motown their own brand of chic, New York kind of sound that was fresh and exciting. The rolling Somethings You Never Get Used To was a concious effort by Ashford and Simpson to keep up the momentum of Holland-Dozier-Holland and it partially succeeds in its mission even though this became their first single since 1963 not to hit the Top 20.

He's My Sunny Boy is utterly fabulous from its fantastically assembled musical arrangements to the gorgeous, yearning sounds of Ross' slightly angelic vocals where as that showbizzy sound they delved into at their live concerts, creeps in on You've Been So Wonderful To Me though is still a catchy affair at that with Ross putting in a warm, exuberant vocal performance.

Even better was the upbeat, feel-good Chains Of Love where Ross' stirring performance is impressive whilst they make their version of Marvin Gaye and Tammi Terrells' You Ain't Livin Till Your Lovin' compelling with Ross putting in a commendable intepretation.

Ross' delicate voice enhances to great effect on the soulful I'll Set You Free whilst they move into funkier terriotry on the fun, bouncy I Can't Shake Loose where Ross' soulful performance ignites the stirring arrangements.

Love Child (1969) remains one of Diana Ross and the Supremes most popular studio albums. It was a big seller jumping into the Top 10 album charts on both sides of the Atlantic as well as winning many favourable reviews from critics that had previously predicted that Ross and the Supremes would sink following the departure of Holand Dozier Holland.

Love Child (1969) captures Diana Ross and the Supremes - the worlds biggest girl group of all time - at their swinging prime. For any lover of Motown or indeed Ross this album is pure gold!

Ian Phillips

The coupling of these two original albums by the Supremes from their halcyon years is a mild stroke of genius by Motown's reissue department. Both were strong sellers in their day and enormous hit albums by anyone's and certainly Motown's standards. Yet listening to these two albums back to back reveal never so strongly before the extent to which the music making machinery of Motown had developed in two short years (1966 - 1968). The earlier set ("A Go Go"), which curiously makes up the second half of this twofer, features original Supreme, Florence Ballard in the lineup, whereas the later set ("Love Child") was billed as a Diana Ross & The Supremes product when it came out. By then, poor Florence had been booted out and Cindy Birdsong co-opted to take her place. I'm not entirely sure we're hearing Mary and Cindy on backing vocals on the 1968 album and not some session singers like on the title track. The main revelation for me listening to these albums with no preconception is how well "Love Child" has aged compared to "A Go Go". Whereas the 1968 set is packed solid with outstanding tracks and gems (eg, "Keep An Eye", "Does Your Mama Know About Me" and "Honey Bee Keep On Stinging Me") and features imaginative instrumentation and musical arrangements, "A Go Go" comes across as a typical mid-60s conveyor belt production line job from the Holland-Dozier-Holland team. The album is abound with fillers selected ostensibly because they were big hits for other acts and with little regard to their suitability for the group. Of these, there's none worse than their embarrassing cover of Nancy Sinatra's "These Boots Are Made For Walking". The few that work include a sassy version of "Money" that showcases Diana's verve and style. A big, big, disappointment for me was Mary Wilson's tentative and amateurish solo on Martha & the Vandellas' "Come And Get These Memories". I'm not comparing her performance with Martha's passionate delivery because Mary has a totally different style - cool and sexy - but the performance I'm hearing sounds like a guide vocal to me. It's shapeless and undersung and I know that Mary is capable of much, much better. Her solo spots with the Supremes in later years have always been a highlight for me. On this reckoning, you'd almost be tempted to believe Berry Gordy's cruel taunt that she can't sing....and we know that ain't true !

This is nevertheless arguably the best among Motown's recent twofer re-releases in the UK (US import). It's great fun and great value for money. Buy it !

Love Child is a bit of a darker album for Diana Ross and The Supremes. It's quite a gem, and I was thrilled to find it on CD. I hadn't heard most of the tunes before since they tend to not be included on the greatest hits compilations. I originally purchased it to hear some of James Jamerson's bass playing, and it is a fantastic album for that. The other album on the disc is almost the polar opposite--pretty much the Supremes doing their rendition of hits other artists made popular at the time, some of which come kind of close in quality to the originals. It's a clear ploy for Motown to make the most money out of a good thing, something they had down back in the day. Fortunately, Love Child comes first, so if you're playing it at a party, the second half can serve as decent background music after you indulge in the first half.

This compilation of two original Supremes albums on one CD confirms what is usually common knowledge, that the Supremes were mainly a singles act. The hits are the tracks that stand out, though there are some very nice tracks on both original albums.

"Love Child" was released in 1968 as "Diana Ross and the Supremes" whereas "Supremes A Go Go" was released in 1965 just as the Supremes and still with the "Holland/Dozier/Holland" songwriting team as their main song-contributers.

"Supremes A Go Go" is classical Tamla-Motown featuring the great hits "Love is Like an Itching in My Heart" and "You Can't Hurry Love". Moreover the Supremes give versions of acts like Four Tops and Temptations hits with "I Can't Help Myself" as the most successful, without reaching the high standards of the Four Tops version. Another interesting track is "Come and Get These Memories" where Diana Ross leaves the lead-vocals with Mary Wilson.

With "Love Child" there was a slight musical change towards more main-stream pop. No song-contributions from "Holland/Dozier/Holland", but still a lot of fine material. The title track is one of the finest recordings of all times to be released in the Supremes name and the other single "Some Thing You'' Never Get Used to" is also great. Of the album tracks the Ashford/Simpson song "You Ain't Livin You're Lovin*" stand out. I guess this could have been a hit too, had it been released on a single.

The sound on both albums is great and though the booklet informations about the albums are sparse, it is a great release - obviously aimed at big fans of the group. Causal listeners probably will prefer one of the various hits-collections.

Since a number of Supremes albums have long been unavailable on CD, re-issues such as can be found on the excellent 2 Classic Albums 1 CD series are to be warmly encouraged. This is a slightly unexpected pairing of albums, with Love Child the more recent of the two, from the time when they had become Diana Ross and the Supremes. The Supremes A' Go-Go dated from a couple of years earlier, and featuring the classic line-up of Diana, Flo and Mary.

Love Child followed the departure of Holland/Dozier/Holland from the fold and the policy at Motown of encouraging a new lyrical realism, addressing issues of the day, hence the downbeat album cover with Diana cast in the role of the "Love child" (you can tell by the T-shirt emblazoned with the words "Love child"), seemingly ostracized by Cindy and Mary. Some of the tracks were produced by rising stars Nickolas Ashford and Valerie Simpson, including the pre-album single Some Things You Never Get Used To and a new version of Marvin Gaye and Tammi Terrell's You Ain't Livin' Till You're Lovin', with other production duties shared by The Clan, Frank Wilson, Deke Richards and other relatively new blood, and including Smokey Robinson on his song He's My Sunny Boy. All reflect Motown's new found sophistication and a move towards the mainstream, but there is diversity and funkiness throughout the grooves. Cindy and Mary do not appear on the singles Love Child or Some Things You Never Get Used To, and are augmented throughout the album by the Andantes, in preparation for Diana's solo career which was launched around eighteen months later. One song, I Can't Shake It Loose, had been learned from Pat Lewis of the Andantes, as she'd had it out on a single for Golden World a couple of years earlier.

The Supremes A' Go-Go was hurriedly put together to capitalize on the runaway hits Love Is Like An Itching In My Heart and You Can't Hurry Love, and these classics are among the strongest tracks, as recycled runs-through of recent hits for other Motown acts the Four Tops, the Isley Brothers and the Temptations, though efficient and enjoyable, are filler and sound rushed; a number of the vocals were overdubbed in one day in Los Angeles. The album is further fleshed out with novelties such as a version of Nancy Sinatra's Boots, the McCoys' Hang On Sloopy, Martha and the Vandellas' Come And Get These Memories (featuring a rare Mary Wilson lead vocal) and a stomping version of the Barrett Strong hit Money, which had by then become a standard thanks to covers by the Beatles and the Stones amongst others. The Supremes had earlier released a whole album in tribute to the British invasion groups including the Beatles, with the geographically inaccurate name A Bit of Liverpool (found on A Bit of Liverpool/T.C.B.).

Apart from the two A-sides, there are no original songs on the album, unless Put Yourself In My Place is included. The Supremes had been the first to record this back in 1964, but their attempt had been shelved and the song assigned to the Elgins. This later re-visit was also the flipside of You Can't Hurry Love and is one of the highlights of this unpretentious and lively party album.

I have to totally disagree with the previous review of the song "Love Child". It is an honest plea from a young girl to her boyfriend that she is not only not ready or willing to take the risk of getting pregnant, but it also states the brutally honest truth that when a teen gets pregnant they usually ruin their life, hence "we'll only end up hatin' the child we may be creatin' "...

This song, along the lines of "Papa, Don't Preach" takes a hot topic and tames it a little bit.

Yes, any Supremes fan knows it's not Mary and Cindy singing backup on that track, but come on, it's one of the best songs Motown ever put out and so easy to sing along to!

These two albums, "Love Child" and "Supremes A Go-Go" are two of their best: featuring not only "Love Child", but also "Love Is Here And Now You're Gone" and "You Can't Hurry Love" from the original trio: Mary, Flo, and Diana.

A special treat is Mary's rendition of "Come and Get These Memories"...she really shines on that song. If you can find this album it's really worth it just for "Come and Get These Memories" alone.