Customer Reviews

New Ways But Love Stays

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

 

 

Of all the various Supremes lineups, I think Mary, Cindy & Jean had the most mature, spiritually oriented body of work...and probably well ahead of its time. This, their 2nd set, is peerless. Edgy, funky, trippy and pretty aggressive, it's a solid listen from track to track. It also boasts what I consider to be the best cover of "Bridge Over Troubled Water" I've ever heard (by the way, Jean Terrell is the main lead singer on this track, although Mary Wilson has the opening line, followed by Cindy Birdsong). Bonus track "Love The One You're With" is the weakest, and that's saying a lot, because on its own merit, it really isn't a weak track (featuring the 4 Tops on backing vocals).

This is probably the funkiest album ever recorded by The Supremes.

I've waited 30 years to get this music. The memories these songs hold for me are priceless.I am reliving my '70's all over again. The songs and the way they're sung, are absolutely incredible! Thank You!!

This was the second release by the Supremes without Diana Ross. It contains the huge hit "Stoned Love" that has an incredible intro melding it with Together We Can Make Sweet Music."
This was one of my favorite Supremes LP and it deserves to be on WIDE release CD again. I am hoping that we see more LP's into CD like Diana's "Last Time I Saw Him" & the Supremes' "Mary, Sherrie & Susaye."

I remember being blown away the first time I heard this incredible album. As a life-long Supremes fan, and as one looking forward to this set after the excellent debut of the "New" Supremes' RIGHT ON album earlier in 1970, I was also extremely proud. Jean Terrell topped herself with stunning lead vocals throughout---she was an extremely gifted singer with a perfect combination of power, delicacy and originality. And while she clearly held the spotlight here, the Supremes, together, made this an excellent group effort, with strong and beautiful harmony vocals by Mary Wilson, Cindy Birdsong and Terrell herself.

The songs and production were also first rate---the great Frank Wilson [no relation to Mary] gave the group and players a sophisticated, timely, exciting canvas on which to work. This album preceded, and obviously influenced, WHAT'S GOING ON by Marvin Gaye and company, with its social conscience and spirituality, if not its textures.

"Stoned Love" was the anchor of this album, and, according to Mary Wilson, was supposed to give the album its title. It was the most successful of the '70's Supremes singles, reaching #1 r&b and #7 pop, in spite of Motown's skittishness in its release [believing some would think it pro-drug, and the title to be un-Supremes-like]. Thus, the album could not be called STONED LOVE. Arguably, the set might have sold better with the title song clearly identified. In my opinion, the final chosen title was one of the most creative in the Motown canon, and hinted at new directions.

As for the songs themselves, they all revolved around the themes of profound love, unity and gratitude, again preceding WHAT'S GOING ON. In spite of the inherent beauty in the songs and singing, there's a big funky-ness to the vibe, with horns and guitars very prominent, while still bearing the full-out Motown production with strings and other refinements and effects.

A big stand-out cut is the 5 minute plus "It's Time to Break Down." A beautifully conceived and executed soul suite that's got stunning and creative lead and harmony vocals and the best, most expansive 70's symphonic soul under and overpinning.

"I Wish I Were Your Mirror," a driving, updated Motown Sound ditty, possesses probably the most soulful and strongest backing vocals in Supremes history. Cindy Birdsong's first soprano is never better showcased.

Other reviewers have mentioned the stunning rendition found here of Simon and Garfunkel's "Bridge over Troubled Water." And it is...a wonderful version that turns the whole thing up a notch...fully orchestrated and powerful here vs. the beauty and delicacy of the original. The harmonies are very beautiful. An arrangement with great, theatrical dynamics.

Lennon/McCartney's "Come Together" is slightly psychedelic in this rendition, and is o.k.

"Na Na Hey Hey [Kiss Him Goodbye]," originally by the band Steam, sounds like a Supremes original.

"Shine on Me," another mini soul suite, is interesting and quite good, though perhaps not as fully realised as it could have been.

"Thank Him for Today," is perky, moving, fun and inspirational, and melds back into the intro to "Stoned Love" [just piano here] appropriately closing out the set.

When this cd was originally released, it was decided to add Stephen Stills' "Love The One You're With" as a bonus. I find this arrangement much too pop-oriented to fit here. For me, it detracts.

In its original line-up, NEW WAYS, BUT LOVE STAYS is a beautiful, funky and timely set, with very good songs, arrangements, musicianship and production, and stunning vocals. There is also a cohesiveness that makes it a virtual concept album. A most solid group effort and essential '70's Supremes.

The Supremes line-up with Mary, Cindy, and Jean sound like okay music, but it is not uniquely Supremes. Diana, Mary, Florence, and then later Cindy had a unique sound. When you listened to them you know that you were hearing that great Supremes sound. Jean Terrell sounds like an average singer...just okay. I don't understand why Berry Gordy couldn't find someone with a better and more unique voice to replace Diana Ross. A lot of people are probably praising the new line-up simply because of their dislike of Diana Ross. But, like her or not she gave the Supremes that distinctly unique sound. To me, the only catchy songs that the new line-up recorded are Up The Ladder To The Roof, and Stoned Love.