Customer Reviews

Touch

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From "Right On" to "New Ways But Love Stays," and now with "Touch," the 70's Supremes managed three hit albums without so much as a memory of the 60's lineups in terms of style. With each album, the group moved deeper into a more spiritual kind of love and message. Where "Right On" was poppier and "New Ways" funkier, "Touch" is jazzier. Don't get me wrong - all 3 albums are pop/r&b blends, but the added flavors differ with each. Jean, Mary & Cindy benefitted greatly from Frank Wilson as their producer for these sets. You will find no other act that had what this group had. They were as unique to the 70's as Diana, Mary, & Flo were to the 60's. The big (and only important) difference: they didn't have the company support that was DMF's in the 60's.

There is one song on "Touch" where I question exactly who is singing: "Time And Love." This track was an outtake from Diana Ross' solo debut, for which Jean simply overdubbed her vocals. The only difference I can detect in the supporting vocals is that on "Touch," they've been brought forward in the mix, but I can't tell if Mary & Cindy added their vocals to those already existing. Stylistically, it's a latter-day version of DMF's cover of "The Lady Is A Tramp." Jean's jazz-influenced phrasing is perfectly suited to this track, and she takes to it like a duck to water.

Had this album been released in the late 80's or early 90's, it would have been in moderate to heavy rotation on new age-type stations as well as light jazz and maybe even quiet storm formats. "Nathan Jones" was the sets most overtly pop offering and its most successful single release.

If you have the chance to get your hands on this CD, do it! If for some reason you don't like it, you'll have no trouble re-selling it.

The Supremes team of Mary Wilson, Cindy Birdsong and mostly lead-singer Jean Terrell produced some amazing early 70's soul under the direction of the wonderful Frank Wilson. The album TOUCH seemed to be the culmination, and the conclusion, of a trilogy of sorts: it was the final album produced for the group by Mr. Wilson.

Yes, TOUCH is a bit different from RIGHT ON and NEW WAYS, BUT LOVE STAYS, the first and second original studio albums by the "new" Supremes. In fact, it took me a while to warm up to it. However, in the end, it became of one my favorite albums.

RIGHT ON was perhaps deliberately more soulful than the late 60's Diana Ross-led Supremes music, certainly more group-oriented, but most definitely in the classic Motown "sound," and intended to show off Jean Terrell's more soulful and powerful voice [You Diana fans: that doesn't mean that Ms. Ross didn't do a fantastic job on just about everything she touched, just trying to be objective re: the actual vocals]. RIGHT ON was a suite of mostly 3 and 3 and a half minute pop-soul tunes.

NEW WAYS, BUT LOVE STAYS, was in many ways more unified and bolder. Featuring the funk-soul suites "It's Time to Break Down" and "Shine on Me," and the "Together We Can Make Such Sweet Music/Stoned Love" 'medley,' in addition to a very soulful rendition of "Bridge over Trouble Water," among other great soul tunes like "I Wish I Were Your Mirror."

TOUCH was, in some ways, bolder still. Though loaded with average-length tunes, it featured songs that were, perhaps, less radio-friendly, although, in most cases, quite exciting and interesting. They were less obviously catchy, more spacious, and infused with just a hint of jazz sensibility.

Perhaps the most jazz-flavored is the title tune. It was truly a daring step to release this as a single, probably at the behest of producer Frank Wilson. It was the first Supremes single ever to feature Mary Wilson on a lead: she starts out the song, then weaves in and out with Jean as a duet. Cindy Birdsong also makes a memorable contributuion in the background, if you are listening. Unfortunately, it didn't fare well on the pop charts, probably due to promotion, not performance or production values. It is a mesmerizingly beautiful, powerful song. A great symphonic soul ditty.

"Nathan Jones," with its novel phaser effect and near-unison three-part lead, fared better, having reached #16 pop. It was the 70's Supremes' 4th top 20 hit, and was later covered by Bananarama. It was the one hit single from this album.

"This Is The Story," a slower mid-tempo gem, is an effective set opener. "Here Comes The Sunrise," in the same tempo, has a wonderful spiritual underpinning, a trademark of writer-producer Wilson. "Love It Came to Me This Time," also has a spiritual twist, but is a bit slower and more spacious.

"Johnny Raven" is a good tune, in a faster mid-tempo vibe. Kiki Dee also recorded a version of this song for her Motown album.

"Have I Lost You," is the one throwback to the 60's, and would have been at home on the REFLECTIONS album. Pretty exciting.

"Happy (Is A Bumpy Road)," is a joyful, upbeat "message" ditty, with a novel, almost cinematic instrumentation. In my opinion, the pop-y "Time and Love," was filler, though I wouldn't exactly say it detracts from the album. It just doesn't really add any value. "It's So Hard for Me to Say Goodbye" appropriately closes the set, and is spacious, bordering on meandering.

Jean Terrell sings at the top of her range on most of these songs [which took a bit of getting used to], moreso than on the 2 prior-mentioned albums, but she was often at her best there. The background vocals are prominent, in many cases exciting and original, and overall quite beautiful. There are eight very, very good, and two OK selections. The arrangements and production are excellent, with much that was novel and bold at the time of this release in 1971.

ESSENTIAL 70'S SUPREMES AND MOTOWN!