Customer Reviews

Sing Rodgers & Hart

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Berry Gordy from the beginning felt the Supremes had a magical ability to sing standards. He tried them in several projects (including an unreleased Disney album) before settling on the Rodgers and Hart songbook as the one to release. Two-dozen songs were recorded but he felt a single L.P. would prove the best to market so that's what came out but the truth is all the tracks recorded for the project deserved release. It wasn't a matter of 12 great sides released and 12 also-rans unheard. This new C.D. version of the entire project, remastered in technicolor, is just terrific. It is so interesting to hear Diana Ross just three years before going solo spreading her vocal wings. The girl certainly learned fast and grew fast as an artist, that's for sure. Mary and Florence provide outstanding vocals (Motown's greatest mistake after Florence left was recording studio background singers as Supremes--it totally compromised the group's distinctive sound and converted its recordings into Diana Ross solos basically). The three voices--Diana's high and kittenish, Mary's low and air conditioned and Florence's soaringly gospel--just made such an unusual and thrilling blend. The orchestrations and production are first-rate with no sense of the girls singing to prerecorded tracks though that's what they were doing (on the earlier "I Hear A Symphony" album there was by comparison no sense of the girls being in the same studio with the orchestras). The cover is fabulous. Wow, has this effort stood the test of time. I will place the Supremes' version of "There's A Small Hotel" against anyone's.

This classic, but rarely-heard, album is an important milestone for both The Supremes and Motown. It is one of the two most famous recorded examples of Motown's 1960's policy of grooming their stars for career longevity (i.e., appealing to a more affluent, adult audience)--the other being "The Supremes At the Copa." At a time when nearly every pop or R&B star has culled from the Great American Songbook or the Great White Way for material (often indifferently performed), many have forgotten that The Supremes were one of the first acts to do so--and they did it better than most who followed.

Clearly, The Supremes were the ideal ambassadors to conquer the stages of supper clubs and Vegas, network television variety shows and albums of show tunes and standards. Their beauty, charm, innate sophistication and glamour made them seem less comparable to "girl group" contemporaries like The Marvelettes or Martha & The Vandellas than it did to adult chanteuses like Nancy Wilson, Diahann Carroll and Dionne Warwick.

Also key was the girls' obvious enthusiasm for the material at hand. Unlike some other Motown stars who were clearly ill-at-ease with belting out a Broadway ballad or swing number, The Supremes excelled at it, and "Sing Rodgers & Hart" is the happy result.

Originally slated to be a lavish double album, the release was eventually trimmed to 12 tracks for a single disc. In reviewing the original 12 songs chosen, it's apparent that several were chosen because of their more modern, quasi-Motown arrangements ("Mountain Greenery," "This Can't Be Love," "My Heart Stood Still"). These are also the weakest on the set.

When the arrangements are lovingly, carefully done, without a nod to the patented Motown Sound, this album soars. The opening number, "The Lady is a Tramp," features a pile-driving big band arrangement that rivals the Sinatra version, and Diana Ross gives one of her most robust performances as a Supreme--especially on the thrilling climax. A sweetly swinging "Lover" and "My Romance," and a wonderfully poignant "My Funny Valentine," are also highlights of the original album.

Sadly, many of the sessions' best work was left "in the can" until 1987, when all but one of the tracks was issued on CD as "The Rodgers & Hart Collection." It took twenty years to hear absolute gems like "It Never Entered My Mind," "There's a Small Hotel" and "Little Girl Blue," which rank among the most polished singing The Supremes ever committed to tape.

Making its debut on this commemorative release is a frenetic "I Could Write a Book," as well as a live version of "The Lady is a Tramp" performed at the Copa in 1967, for a planned second live album.

With only a few missteps (the aforementioned attempts at modernizing a few songs, a clumsy "Manhattan"), these 26 songs are a timeless tribute to not only the pure genius of Richard Rodgers and Lorenz Hart, but the artistic bravery and fearlessness of Diana Ross, Florence Ballard and Mary Wilson.

As an avid fan of The Supremes for forty years, and a collector of nearly every single and LP, I had "skipped" over the Rodgers and Hart album many years ago, convinced that I'd be disappointed. How wrong I was! Avoiding the clumsy vocal and orchestral arrangements found on the earlier "I Hear A Symphony" LP, Gil Askey's polished instrumentals and very tight and mature vocals by The Supremes make this a rare gem of a collection. "My Romance," "Little Girl Blue," and "My Funny Valentine" really shine.

What I've really enjoyed about listening to this CD (again and again, I might add!) is that it showcases the really lovely harmonies The Supremes could produce when Mary Wilson and Florence Ballard weren't relegated to a few obligatory "baby, babys" or completely overshadowed by Diana Ross.

Every Supremes fan should have this CD!

One listen at this album and you'll know why Diana, Florence and Mary were SUPREME. The ladies sprinkled these jazz type numbers with their Supreme style and came up with a reall winner. Just listen to "Mountain Greenery" and "Lover" or "Manhattan" with with Flo sharing the lead with Diana. I love Mary's velvet like voice on "Falling In Love With Love". Diana really shows her versatility here as well. You can hear she was giving her all here and so was Florence, just listen to "Bewitched" with Flo's beautiful soaring soprano dueting with Diana. The ladies rendition of "I Could Write A Book" has a definate Motown flavor a welcome and refreshing new song. The Live Copa Medley goes to show you that all three ladies were still on top of the game at that late stage. Best of all the original artwork was used for the front cover and they also used both pictures from the back of the album. Great job. Cudos to Harry Weinger and Andy Skurow.

When one thinks of the Rodgers and Hart songbook, the Supremes dont readily come to mind, but I gave this a try and was surprised how much I liked it. I remember when this came out originally (the abbreviated version) and the Huh? reaction I gave it at the time. What are the Supremes doing? (I never bought it, but at least I knew who Rodgers and Hart were at the time). Here now you have the complete recordings, even more bittersweet, as it was the last recording Flo made with the group before she left. At times there is a Las Vegas cheesiness to the songs and arrangements, but overall this has stood the test of time. Great songs sung in the Supremes style. Just close your eyes and pretend you're at the Copa or some other nightclub and Diana, Flo and Mary have just taken the stage in their wigs and tight sequined gowns. Enjoy!

This is a great, no, GRAND album. Many detractors of the Supremes who dismiss the Supremes as window dressing for Motown's music-making-machine who were used by Berry Gordy to make the label more appealing to the masses have not listened to this project. Mary, Florence and Diana's broader appreciation for music genres other than jazz, r&b, and gospel is clearly revealed here. Diana in particular shines on cuts such as "The Lady Is A Tramp", "Dancing On The Ceiling", Little Girl Blue", "It Never Entered My Mind", "Poor Johnny One-Note", and others. There are a couple of times when Diana is too nasal or doesn't turn a lyric just right. Overall she is in great form; reminding this listener of a very young Nancy Wilson (in tone) or Eartha Kitt (in allure).

On this CD I can see why Florence would be angry and hostile about her fading vocal significance on the Supremes' recorded work. The arrangements place Diana's voice out front while most of the harmony parts are written for alto and tenor voices. Florence, a soprano and Mary, a contralto, carry on quite effectively but it seems apparent that the arrangements are not meant to enhance a group sound; but a lead vocalist with two background singers.

The Rodgers and Hart songs give the listener another side of the premier, female vocal group at Motown; not only for record sales, popularity or crossover appeal, but for sheer versatility and talent.

One of the most underrated and underappreciated albums of their career. Great Buy.

THE SUPREMES SING RODGERS AND HART works so well for many reasons. Firstly, the songs themselves could hardly miss. R & H wrote great tunes, and those selected here are wonderful. Secondly, the music is treated with respect and enthusiasm, even the tunes where a "Motown sound" was adapted work very well. Thirdly, Diana Ross was coming into her own as a song stylist. Her performances are uniformly very good to excellent. Fourth, the background vocals are prominent on songs in which they exist, and they add a special dimension to the music. And yes, it really is the wonderful Mary Wilson and Florence Ballard, with this being the latter's last studio album as part of the group. Highlights: Lady Is A Tramp (a Diana solo), Lover, My Romance, Falling in Love with Love (which features a duetted lead vocal by Diana and Mary), Blue Moon, Dancing on The Ceiling (virtually a solo by Diana), The Blue Room. The only clunker is Manhattan, which features an unimpressive arrangement treatment, and lyrics that seem meaningless because of the Ms. Ross' delivery. [Check out Dinah Washington's version on Verve.] Definitely worth checking out. A treat for lovers of great songs AND that Motown production and treatment.

Thank you Motown for releasing this! The original album was wonderful but the expanded version is sublime!

As a young black guy, I loved the Supremes. They were the best girl group bar none, Even today, Destiny Child, TLC, Pussy Cat Dolls and on and on can't hold a candle to the true innovators, orignators Supremes. I heard about this album and I thought, who the hell are Rodgers and Hart?? Remember, to a young black kid growing up in the ghetto (ok, so it wasnt a ghetto but this type of music did not make its way into our community and hearts) Gordy, without realizing it, was educating not only the whites about black music but the blacks about white music. It set up a bridge where both could listen and recognize the songs they knew but more importantly, the songs they didnt know but could enjoy. Lady is a Tramp was funny to me back then, and Mountain Greenery made no sense at all. The harmmonies are incredible, the orchestra highlighting them while not competing or overshadowing them. Diana is soaring, kittenish and mature all at the same time. Now as a mature, somewhat worldly adult, I really appreciate my introduction to this venue. The Supremes made it an enjoyable encounter and made me desire to hear more and learn more. So thank you Diana, Flo and Mary. Thank you for opening a door to a world that I had little or no interest in. Thank you for showing me that music is music and good music will always stand the test of time. Thank you for bringing so much joy into so many lives and with the joy, an education to boot. Who would have thunk that 3 little girls from the Brewster Projects would go on to heights unimaginable back then, to because THE GIRL GROUP of the century and capture the world. Who would have thought that in the process, they would educate a lil black kid from the south that nothing was impossible if you put your mind to it and gave it your all. The name Supreme was just a name back then, but looking back, it means so much more. Diana, Mary and Florence, you were truly SUPREME!!!!

When I first picked up this album I was very pleased at the concept. The arrangements are very well done and fit the supremes style of singing. I would have liked to have seen them do at least maybe one more albums of this genre. Maybe a Cole Porter or a Hoagy Carmichael album.

What makes this album work so well is the arrangements and the supremes excellent interpretation and phrasing of the standards. It's not just an R&B version of jazz tunes, they really made these tunes their own. It's very evident everyone involved on the album did their homework.