Customer Reviews

Sing Holland Dozier Holland (Mlps)

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Since the 1981 advent of the compact disc, Motown has shamelessly released reissue after reissue of its extensive catalog. For The Supremes, just like most of the major Motown acts, there is an endless plethora of albums, compilations and box sets, all of which had wildly-varying audio quality, regardless of mono or stereo content.

These ten 2007 Japanese mini-sleeve CD's are the best sounding stereo Supremes CD's I've heard yet. The separation and clarity is absolutely nothing short of miraculous and revelatory.

For me, the real joy of these new remasters is the ability to hear James Jamerson's playing in perfect, note-for-note clarity. That cat may have been one of the greatest to ever play the instrument, and being able to hear him so clearly is so enjoyable in a manner I haven't experienced before with any other release.

I own the 2000 box set, several of the latest anthologies, and the 2006 HIP-O "Where Did Our Love Go" 2CD. None of these sound as good as these Japan issues.

I just checked my Japan-based source for mini-sleeves, and as of this writing, six of these Supremes CD's are already OOP (all `sleeves are limited edition). If you're a fan, don't delay in getting these, as they are priceless.

Link by title to the 2007 Japan mini-sleeve Supremes catalog:

Where Did Our Love Go
More Hits by The Supremes
I Hear A Symphony
Supremes A Go-Go
Reflections
Join The Temptations
Love Child
Aquarius / Let The Sunshine In
Cream Of The Crop

WHAT IS A JAPAN "MINI-LP-SLEEVE" CD?

Have you ever lamented the loss of one of the 20th Century's great art forms, the 12" vinyl LP jacket? Then "mini-LP-sleeve" CD's may be for you.

Mini-sleeve CDs are manufactured in Japan under license. The disc is packaged inside a 135MM X 135MM cardboard precision-miniature replica of the original classic vinyl-LP album. Also, anything contained in the original LP, such as gatefolds, booklets, lyric sheets, posters, printed LP sleeves, stickers, embosses, special LP cover paper/inks/textures and/or die cuts, are precisely replicated and included. An English-language lyric sheet is always included, even if the original LP did not have printed lyrics.

Then, there's the sonic quality: Often (but not always), mini-sleeves have dedicated remastering (20-Bit, 24-Bit, DSD, K2/K2HD, and/or HDCD), and can often (but not always) be superior to the audio on the same title anywhere else in the world. There also may be bonus tracks unavailable elsewhere.

Each Japan mini-sleeve has an "obi" ("oh-bee"), a removable Japan-language promotional strip. The obi lists the Japan street date of that particular release, the catalog number, the mastering info, and often the original album's release date. Bonus tracks are only listed on the obi, maintaining the integrity of the original LP artwork. The obi's are collectable, and should not be discarded.

All mini-sleeve releases are limited edition, but re-pressings/re-issues are becoming more common (again, not always). The enthusiasm of mini-sleeve collecting must be tempered, however, with avoiding fake mini-sleeves manufactured in Russia and distributed throughout the world, primarily on eBay. They are inferior in quality, worthless in collectable value, a total waste of money, and should be avoided at all costs.

In late 1966, The Supremes enjoyed their EIGHTH chart-topper with the startling classic, You Keep Me Hanging On. You Keep Me Hanging On was quite a dramatic change in style for The Supremes with the rolling rhythm section, courtesy of Motowns divine in-house band The Funk Brothers, having a much harder edge, diverting The Supremes into the Rock&Roll genre. Diana Ross' lead vocal performance is also far more assertive and she sounds as though she's virtually howling at the exalting climax when she sings "so go on, get out, get out of my life, and let me sleep tonight". Quite a detour from those sweet love songs like Baby Love. An adventurous and succesful experiment for Diana and the girls.

Their next single, the fabulous Love Is Here And Now You're Gone, propelled to No.1 becoming their NINTH chart topper. The Supremes chart action at this stage was just amazing where they effortlessly pumped out mega hit after mega hit! Ross glides along the verses with finesse delivering a divinely sensual performance whilst also talk-singing in that great, intricate voice on the chrous ( a unique technique that would reach full effect on Ross' future blockbuster classic, Ain't No Mountain High Enough). The glorious, bouncy musical arrangements contain slight hints of jazz. Fantastic!

The accompanying album to these classic pair of hits was The Supremes Sing Holland Dozier Holland (1967). Like the chart-topping album The Supremes A Go Go (1966) contains many cover versions and also hosts some B-sides and left over tracks from various recording sessions.

You're Gone But Always In My Heart was a lovely heartache ballad recorded some years earlier in 1964. Ross packs in a compelling performance with her vocals sharp and distinctive, brimming tenderley with emotion. There are also impeccable backing vocals from Florence Ballard and Mary Wilson.

I Wanna Mother You, Smother You may be admitedly formulaic to the genre but it comes complete with such super-fine performances from Diana and the girls that it's almost impossible to fault. These cracking album tracks on The Supremes Sing Holland Dozier Holland are all, to say the least, totally infectious!

The Motown cover versions all work extremely well with Ross' beautiful, sensual delivery on The Isley Brothers' I Guess I'll Always Love You being sensational.

Their riviting cover version of The Four Tops' I'll Turn To Stone is just as dynamic and as effective as the original. The wonderful contrast of harmonies from Ross' sweet tender voice to the earthy vocal style of Florence Ballard and the breezy soprano of Mary Wilson all blend together beautifully on I'll Turn To Stone.

Not quite as riviting but still great and compelling regardless is their rolling version of The Four Tops' It's The Same Old Song. Ross sounds strong and passionate throughout igniting the fast and furious musical arrangements.

Ross packs in a powerhouse performance on the raw, upbeat Goin' Down For The Third Time, which had been originally recorded by Martha Reeves And The Vandellas. Certainly this track was indeed far closer to the earthy style of Martha Reeves and the Vandellas than the swinging Supremes but Ross' unusually gritty performance exceeds all expectations as she really takes a big bite into the lyrics sounding dynamic and strong.

Slightly more reminiscent of their showbiz like persona on stage is the rather sugary sweet Love Is In Our Hearts which works well but far better is the stunning ballad Remove This Doubt, one of the Supremes BEST-ever album tracks. Remove This Doubt is touching in its mere simplicity and Ross' gorgeous voice is at its most angelic. The fade out at the end when Ross, Ballard and Wilson unite to sing the chrous is just magical and perfectly demonstrated their distinct, unique sound. Remove This Doubt had been recorded bak in 1964 and had initially been planned as a single at one point though it did not see the light of day until it was pulled from the huge Motown vaults and used as the B-side to their chart-topping classic, You Keep Me Hanging On.

Another stand out track on The Supremes Sing Holland Dozier Holland (1967) is the superb, rocketing version of There's No Stopping Us Now. Ross whips along those jamming musical arrangements with conviction sounding utterly magnificent in the process.

The album then bows out on a rip-roaring version of Martha Reeves and the Vandellas knockout classic, Heat Wave. It's debatable as to whether Ross' rocketing renedition exceeds the more famous Martha Reeves Version (I must admit as much as I also love Martha Reeves I do prefer Ross' version of Heat Wave) but either way judged on its own individual merits it is a pretty damn good version with Ross neatly surfboarding along Motowns somewhat complex musical arrangements where as Ballard and Wilsons eager and enthusiastic backing vocals merley add to that dazzling effect. Had this not been already a hit for Martha Reeves and the Vandellas, this could just of as easily been a hit for The Supremes.

Arguably even better than their chart-topping album, The Supremes A Go Go on which this album had obviously taken its cue but it failed to duplicate the success of The Supremes A Go Go though still enjoyed big sales that propelled the album into the Top 10 album charts. The Supremes Sing Holland Dozier Holland firmly stands as one of their ultimate albums.


Ian Phillips

Even though this was not the last studio album with the original Supremes (that would be The Supremes Sing Rogers and Hart) it is the last one with Florence on an album with hit singles. The cover is one of their most favorite poses; Diana, Mary and Florence (l-r). You Keep Me Hangin' On and Love Is Here and Now You're Gone are the hits. I like them both for different reasons. You Keep Me features full lead and background vocals. I have read a few places that Florence backs up Diana on lead. Love Is Here, the background vocals are a little muted but still a great song. Most of the the other songs are covers of Holland, Dozier, Holland
who are featured with the Supremes on the back cover. All in all another superb album from the Supremes.

This is a classic album by the Supremes. It was a great idea to have them cover other Motown acts, who recorded songs by the writing and producing team, Eddie Holland, Lamont Dozier, and Brian Holland. In addition to the two singles by the Supremes "You Keep Me Hangin' On" and "Love Is Here and Now You're Gone," the Supremes shine on a cover of Martha Reeves and the Vandellas' "Heave Wave." The cover two hits by the Four Tops (and cover other Four Tops song on other albums). This album provide the Supremes a chance to sing songs with more soul and grit that other artists had performed. "Going Down for the Third Time," could have been single material, and was just that for Phoebe Snow, who later covered that song. A different mix, that song was the "b" side for the hits "Reflections." This album mix include Wilson and Ballard doing separate backgrounds, which could have made the song really jam except that the mixing was done to highlight Ross' voice, presumably to make it seem stronger than it actually was. On many of the cuts, one can barely hear the background, which only distracted for the greatness of the song.
One reviewer wrote that this was the last album that Ballard sang on a released single, but Ballard's voice can still be heard on the album "Reflections" although Cindy Birdsong's picture appears on the cover. The single "Reflections" was recorded in early March, 1967, and Ballard performed with the group until July of that year, when the single was actually released.

The unbelievable SUPREME Ascension is documented here in these gems. Miss Ross has never sounded better. The HDH Team would later relate their awe at her inspiration rendering of LOVE IS HERE AND NOW YOU'RE GONE. The haunting 'YOURE GONE BUT ALWAYS IN MY HEART' tells the prophetic story of Florence. If ever there is a movie made about florece this should be the song: 'though I've removed, your picture from the frame, nothing changes" Miss Ross voice is heartbreaking. Her Dynamic rendering of I'LL TURN TO STONE, and ITS THE SAME OLD SONG are more original than the brilliant FOUR TOPS. Her sexy voice is voluptuous in 'REMOVE THIS DOUBT' --as she coos 'It's hurting me, it's hurting me, this pain is hurting meeee" The Brililant THERES NO STOPPING US NOW is the show stopper - nothing Transcends the Glory Days of Supremes like this Song. Heatwave is placed awkwardly at the end - it doesn't really fit the theme of the HDH Gems but it is a suitable close - This is GENIUS. the back picture of HDH with the Supremes is testament to the GENIUS that sadly eneded their collaboration.