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Posts Tagged ‘the Supremes’

By Joel Francis

Let the hit parade continue.

Sonic Youth – Washing Machine (1995) On the surface, Washing Machine appears to be just another release by avant rockers Sonic Youth. Released nine albums into their three-decade career, the band doesn’t have much to prove by this point but they certainly aren’t coasting through this set. All three of the band’s songwriters are in peak form. The album opens and closes Kim Gordon, Thurston Moore and Lee Ranaldo taking lead vocals on their respective compositions. Moore’s closing cut, “The Diamond See” is a fascinating 20-minute track that shows the quartet stretching out, yet never repeating themselves. It’s the longest they let a mood percolate on a studio album. (An even longer 25- minute version was released on The Destroyed Room rarities collection.) Overall, Washing Machine points to the more mature direction Sonic Youth would take in the early ‘00s.

One Day As a Lion – self-titled (2008) Well, this is it. The 20 minutes on this EP comprise most substantial release by Zack de la Rocha since the end of Rage Against the Machine at the end of the millennium. It boggles the mind how someone so politically aggressive during the Clinton administration could be so quiet during the Dubya and current administrations. If anything, you’d think de la Rocha would be out stumping for Bernie Sanders.

Brief as it is, the music here meets all expectations. It’s loud, combative and better than either of Rage axeman Tom Morello’s acoustic Nightwatchman full-lengths.

Andrew Hill – Point of Departure (1964) I discovered Andrew Hill about six months before he died. Even though I didn’t have a lot of history with his art, I was still deeply saddened by his loss. Selfishly, I had hoped that I would be able to see him perform at some point. I was also disappointed that such a monumental talent hadn’t achieved the renown and accolades Hill deserved.

It can be easy for pianists to get lost in the background when playing in larger groups, especially with reed-player Eric Dolphy in the mix. Hill’ steady hand is ever-present across this album, guiding every song and creating the spaces for Dolphy and saxman Joe Henderson’s solos (and delivering plenty of his own as well). “Dedication,” the final piece, is as beautiful a piece of music as you will ever hear.

Elvis Costello and the Attractions – Get Happy!! (1980) Elvis Costello has released so many great albums across so many styles it is hard to pin down a favorite. That said, of the four classics in his initial “angry young man” phase, this might be my pick as the best. Costello skitters across all forms of soul music in these 20 songs, moving quickly from Motown to Northern and blue-eyed soul. Ballads and Southern soul are also given their due. What reads like a dull, academic genre exercise on paper is a hoot to hear because of the Attractions manic energy – particularly Steve Nieve’s hopping organ – and Costello’s lyrics, that slash like a switchblade in an alley fight. You don’t realize how quickly they cut until they’ve moved on to the next victim. Best to keep dancing and sort it all out later.

Robbie Robertson – Storyville (1991) Anyone disappointed that Robbie Robertson’s debut album bore few traces of his time with The Band will find more to like with this sophomore effort. Although the performances are far more restrained and the production more polished than anything with his old group, it’s not hard to imagine Rick Danko singing on “Night Parade” (although he does contribute backing vocals on the gorgeous ballad “Hold Back the Dawn”). Taken on its own terms, this is still a very satisfying album. Neil Young stops by to help with “Soap Box Preacher” and the Neville Brothers appear on “Shake This Town,” recorded with Rebirth Brass Band, and “What About Now.” The spirit of New Orleans, where Storyville was made, also appears on “Go Back to Your Woods.” In a way, Storyville makes a nice companion piece to the Neville Brothers’ Yellow Moon, released the year before with Daniel Lanois, the man behind the boards for Robertson’s debut.

Louis Armstrong and his Hot Five – The Golden Era Series, Vol. 1 (compilation) It blows my mind that these recordings are approaching their centennial. These are among Armstrong’s first sessions as a bandleader. His solos here went a long way establish jazz as an improvisational genre. Satchmo doesn’t sing on every cut, but when he does it is always memorable. The dozen cuts here are so celebrated and influential it is impossible to have a favorite, but I’ll share some of the titles to whet the appetites of the uninitiated: “Heebie Jeebies,” “Struttin’ with some Barbeque,” “Gut Bucket Blues,” “Hotter than That.” Just reading those titles, how can you not want to dive in?

The songs here appeared roughly the same time as George Gershwin’s compositions and significantly predate Aaron Copeland’s most celebrated pieces. This is the sound of America growing up and forcing its way on the world’s artistic stage well before it became impossible to ignore as a superpower.

Ben Folds – Supersunnyspeedgraphic, the LP (compilation) The first three sides of this two-record collection encompass highlights from the digital-only mini-albums Folds released in the early 2000s. It’s fun to hear Folds give the Cure and the Darkness his own demented spin. His potty-mouthed cover of Dr. Dre and Snoop Doggy Dogg’s “Bitches Ain’t Shit” is funny the first few times, but gradually wears out its welcome. In his memoir A Dream About Lightning Bugs, Folds recounts a stint opening for John Mayer where he would perform this song several times in a row relishing the jeers. I can relate to how that audience must have felt. Original songs including “Adelaide,” “Songs of Love” and “Still” more than make up for Folds’ West Coast rap mishap. The fourth side of this set is a real treat, too. We get a half-dozen cuts from the Over the Hedge soundtrack, including a great cover of The Clash’s “Lost in the Supermarket” and an alternate version of “Rockin’ the Suburbs” with an epic William Shatner rant based on real events.

The Supremes – At their Best (compilation) Conventional wisdom holds that the Supremes were over once Diana Ross left. True, Ross had much greater success as a solo artist than the Supremes did without her, but they were still a potent force. The group had six Top 40 hits in the post-Ross era and several more hits on the R&B charts. Many of those tracks are included on this 10-track collection, which spans 1970 to 1976. “Stoned Love” and “Up the Ladder to the Roof” are as good as anything the Supremes released in their prime years. “I’m Going to Let My Heart Do the Walking” and “You’re My Driving Wheel” update the group’s sound with elements of funk and disco. The Supremes were always a better singles act than album artists and this anthology is a fitting encapsulation and the final chapter.

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Gladys Knight and the Pips – “If I Were Your Woman,” Pop #9, R&B #1

By Joel Francis
The Daily Record

Relationship fantasies were nothing new at Motown – Mary Wells’ “The One Who Really Loves You” was one of the label’s earliest singles. But Gladys Knight and the Pips’ 1971 single “If I Were Your Woman” shows how much Hitsville had grown up during the ‘60s. The song removes the concept from the realm of schoolgirl crushes and infuses it with some serious grown-up desire.

When “If I Were Your Woman” came out the Pips were on a run of three consecutive Top 5 R&B hits, dating back to 1969’s No. 3 “The Nitty Gritty.” The group was determined to keep this streak intact and also bolster their album sales; none of their LPs had cracked the Top 10. They accomplished both. The single went all the way to the top of the R&B charts, and the album – given the same name – lodged at No. 4.

Knight’s smoky, smoldering voice played no small role in that achievement. Listeners who grew up with “Baby Love” no doubt enjoyed hearing love songs that matured with them. Knight sumptuously plays the role of a woman in love with a man trapped in a bad relationship. Knight knows she can make him the man he deserves to be, if only he could muster the strength to walk away … and she could find the courage to confront him face-to-face.

Knight sings with the passion of a woman pouring out her deepest desires to the darkness, a conviction rooted in the comfort of knowing these words will never face the harsh scrutiny of daylight. As the song fades, it is easy to imagine Knight drifting off to sleep as her would-be beau lies awake in bed next to his partner, wondering how he wound up in this predicament. The next time Knight and her man meet, their only exchanges will be furtive glances across the room and brief, awkward conversation punctuated by nervous laughter.

Written by Gloria Jones, Clay McMurray and Pam Sawyer and produced by McMurray, “If I Were Your Woman” inspired several covers. The Jean Terrell-fronted Supremes recorded a version the following year, in 1972. One year later, Jones – better known as the original singer of the song “Tainted Love,” later recorded by Soft Cell, and girlfriend of T. Rex glam rocker Marc Bolan – recorded her own version for her second solo album.

Bonnie Bramlett, formerly known as half of Delaney and Bonnie, followed suit in 1976. The unfairly ignored Bettye LaVette put her stamp on the song on her only Motown album, 1980s “Tell Me A Lie.” Eight years later Stephanie Mills put the song back on the charts, where it reached No. 19 on the Hot Black Singles chart (now known as the Hot R&B/Hip Hop chart). That same year found the only male interpretation of the number, when George Michael performed it at Nelson Mandella’s 70th birthday tribute. Somehow people were still shocked when he came out of the closet a decade later.

Most recently, Alicia Keys included the song as part of a medley on her sophomore album, and gave it the stand-alone treatment on her 2005 live album “MTV Unplugged.”

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The Supremes – “Stoned Love,” Pop # 7, R&B #1

By Joel Francis
The Daily Record

“Stoned Love” was the Supremes’ biggest hit of the post-Diana Ross era, and with good reason – it sounds like a throwback to the golden Holland-Dozier-Holland age of Motown.

Motown producer Frank Wilson discovered the song when it was played over Detroit radio during a talent search contest. Amazed to find such a mature work had been penned by a local teenager, Wilson worked with Kenny Thomas, the young writer, and arranger David DePitte before presenting the number to Berry Gordy and the Supremes.

In a narrative repeated so frequently it has nearly become a cliché, Gordy hated the song. The reason for Gordy’s dislike is unclear, but there was concern over the title. Thomas and Wilson insisted the title referred to love with a solid foundation, not drug use. The original title, “Stone Love” supports this claim. Somehow the single was mislabeled “Stoned Love” at the pressing plant and the new title stuck.

Just as they had three years ago when the Doors sang “we couldn’t get much higher” on the Ed Sullivan Show, CBS freaked out over the potential reference and cut the song from the girls’ appearance on the Merv Griffin Show.

As usual, the censors paid more attention to the hysteria than the work itself. Wilson’s lyrics call for “a love for each other that will bring fighting to an end/forgiving one another” and challenge for the “young at heart” to “rise up and take your stand.”

The hope-filled lyrics brim with the optimism of youth and could easily turn into treacle. Thomas and DePitte turned them into a great showcase for Jean Terrell’s talents. All elements seem to feed off her emotion, particularly the inspired backing vocals of fellow Supremes Mary Wilson and Cindy Birdsong. Wilson and Birdsong had been banished from the final recording sessions with Ross and they seem extra happy to be operating as a group again.

From the propulsive snare driving the song, down to the swirling strings and display of voices, the arrangement recalls the Supreme’s finest moments with the Holland-Dozier-Holland team. Fans seemed to agree, sending the song to the top of the R&B chart an into the pop Top 10. Again, Gordy’s steadfast, initial instinct had been proven wrong.

The legacy of “Stoned Love” lies more with its title than its tune. Angie Stone incorporated it into the introduction on her “Stone Love” album in 2004, just one of many similar titles it inspired. These include “Stone in Love” by Journey and the smilar “Stoned in Love” by UK dance pop artist Chicane. In 2006 Justin Timberlake released the single “LoveStoned.” None of these songs hold a candle to “Stoned Love.”

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Four Tops – “Still Water (Love),” Pop # 11, R&B #4

By Joel Francis
The Daily Record

The Four Tops needed this.

The departure of Holland-Dozier-Holland was a devastating blow to all of Motown, but the Tops felt it especially hard. “Bernadette” made them the top Motown act in U.K., second only to the Temptations at home. But just when they made it to the top, their songwriters and producers left.

After the HDH exodus, the Tops dabbled on the fringes of psychedelic soul (“It’s All in the Game”), the folk revival (“If I Were A Carpenter”) and covered the Left Banke’s “Walk Away Renee” to solid, but not spectacular results.

Finally, after being passed around to Ashford and Simpson, Ivy Jo Hunter and Norman Whitfield, the tops were paired with Smokey Robinson, who, with Frank Wilson, wrote and produced “Still Water (Love).”

Singer Levi Stubbs opens the track drenched in echo, inviting the listener “Walk with me/Take my hand.” The arrangement has a distinctive Motown touch, filled with a great guitar hook, clavinet and an ornate percussion figure pushed to the front of the mix. As always, the Tops’ vocals are great, and while Stubbs isn’t given much room to cut loose, he still belts a couple notes before the chorus.

“Still Water (Love)” opened the Tops’ 1970 concept album “Still Waters Run Deep,” which inspired Marvin Gaye to compose “What’s Going On.” “Still Water (Love)” was covered by the Jean Terrell lineup of the Supremes in the early ‘70s, and soul singer O’Bryan.

Four Tops – “Still Water (Love),” Pop # 11, R&B #4.

The Four Tops needed this.

The departure of Holland-Dozier-Holland was a devastating blow to all of Motown, but the Tops felt it especially hard. “Bernadette” made them the top Motown act in U.K., second only to the Temptations at home. But just when they made it to the top, their songwriters and producers left.

After the HDH exodus, the Tops dabbled on the fringes of psychedelic soul (“It’s All in the Game”), the folk revival (“If I Were A Carpenter”) and covered the Left Banke’s “Walk Away Renee” to solid, but not spectacular results.

Finally, after being passed around to Ashford and Simpson, Ivy Jo Hunter and Norman Whitfield, the tops were paired with Smokey Robinson, who, with Frank Wilson, wrote and produced “Still Water (Love).”

Singer Levi Stubbs opens the track drenched in echo, inviting the listener “Walk with me/Take my hand.” The arrangement has a distinctive Motown touch, filled with a great guitar hook, clavinet and an ornate percussion figure pushed to the front of the mix. As always, the Tops’ vocals are great, and while Stubbs isn’t given much room to cut loose, he still belts a couple notes before the chorus.

“Still Water (Love)” opened the Tops’ 1970 concept album “Still Waters Run Deep,” which inspired Marvin Gaye to compose “What’s Going On.” “Still Water (Love)” was covered by the Jean Terrell lineup of the Supremes in the early ‘70s, and soul singer O’Bryan.

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Diana Ross – “Ain’t No Mountain High Enough,” Pop #1, R&B #1

By Joel Francis
The Daily Record

This was the moment. For years, Berry Gordy had been grooming Diana Ross to become a star. First he pushed the hesitant child to the forefront of the Supremes, then elevated her to top billing. Now she was on her own.

Ross’ first single, “Reach Out and Touch (Somebody’s Hand)” was a respectable Top 20 hit. For anyone else, it would have been a brilliant success. But at Motown, and especially for Ross, Top 20 was not good enough. She had to top the charts.

For her follow-up effort, Gordy turned to Nick Ashford and Valerie Simpson, who also penned “Reach Out.” Instead of writing a new number, however, the pair reached back to a song that had been a Top 20 hit for Marvin Gaye and Tammi Terrell three years earlier. Their choice wasn’t well received. Ross was hesitant to cut a song that had already been a hit with someone else. Besides, she had also performed the song when the Supremes paired with the Temptations for a television special and album in 1968.

Eventually, Ross was persuaded to record a re-imagined version of the song. While Gaye and Terrell’s arrangement build upon the synergy of their voices, the new vision opens with Ross’ affirmation of love, like a lonely, long-distance telephone call. The backing chorus of Ashford and Simpson, the Andantes and several other Motown studio singers builds slowly in the background underneath Ross’ promises of devotion. By waiting so long to grow into the refrain, the familiar strain is even more powerful.

When the finished track was submitted to Gordy he was not pleased. He thought the song should open with the chorus (an arrangement Ross later used in her live shows). In a story that mirrors Gaye’s recording of “I Heard It Through the Grapevine,” it wasn’t until DJs started cutting down the six-minute album track and playing it on the radio that Gordy finally acquiesced. Just as before, “Mountain” made a major star out of its singer.

“Ain’t No Mountain High Enough” has been played, performed and sampled so often it sometimes feels like a cliché. It seems every time a director wants a feel-good moment when the underdog triumphs they reach for this song (which must make Gordy, Ashford, Simpson and their bankers very happy). When the song reaches ears voluntarily, however, it is still a delight.

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Jackson 5 – “The Love You Save,” Pop # 1, R&B # 1

By Joel Francis
The Daily Record

The process behind the J5’s two previous singles was too successful and irresistible not to try again. And for the third time, the resulting song stuck at the top of the chart.

The product of a Berry Gordy and the Corporation, “The Love You Save” bears more than a passing resemblance to “ABC” and “I Want You Back.” Don’t fall into the trap of writing off the song as a carbon copy, though. “The Love You Save” has a more complex arrangement – it deviates from AABA structure – and greatly benefits from Jermaine’s supporting vocals. Plus it’s just as infectious and fun as the first two singles.

On their tours in the late ‘70s and early ‘80s, the Jacksons combined all three songs in one medley. It was an obvious and surefire idea. Put these three together and you’ve got 10 minutes of music guaranteed to put a smile on the most hardened face and get the most sedentary feet moving.

The lyrics in “The Love You Save” echo the warning Diana Ross delivered five years earlier on “Stop! In the Name of Love,” another Motown No. 1. Both songs open hard on the word “stop” and implore their partners to both slow and settle down. Playing these songs back to back shows how far Motown has pushed soul music. The excitement of the Holland-Dozier-Holland composition is tempered by Ross’ mannered delivery that almost turns her pleading into nagging. On the other hand, the Corporation’s number jumps out of the speakers with a kinetic energy and Michael’s charismatic vocals. The supporting string arrangement is only hint of the assembly line Motown sound that HDH developed.

Few artists have covered “The Love You Save.” More noteworthy are the songs penned by Joe Tex and the Holmes Brothers that bear the same name.

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Rare Earth – “Get Ready,” Pop # 4, R&B # 20

By Joel Francis
The Daily Record

Motown’s signing of Rare Earth in 1968 was the sign of a label attempting to spread its wings. Although Rare Earth wasn’t the first all-white rock group signed by to Motown (that would be the Messengers in 1967), it was the most successful.

“Get Ready” was the Earth’s second and biggest single. The song was originally recorded by the Temptations in 1966 when it rose to No. 29. It was written by Smokey Robinson and Pete Moore and Bobby Rogers of the Miracles. When the Temptations version of “Get Ready” failed to chart high enough, Robinson passed production reigns of the group over to Norman Whitfield.

But that was four years ago, before the psychedelic movement and power trios started stretching songs to fill an entire album side. Which is exactly what Rare Earth did to “Get Ready.” Modeled after their show-closing performances, the song reached more than 21 minutes and packed the entire second side of their Motown debut.

The quintet lobbied label honcho Berry Gordy to release the song as a single, but given the song’s length he balked at the proposition. Finally, a three-minute edit was released in February, 1970 and the song shot up the chart.

Despite the genre transplant, “Get Ready” emerged relatively unaltered. The horn line was replaced with electric guitar, and faux crowd noise was added. The biggest change was Pete Rivera’s gritty white soul vocals replacing Eddie Kendricks’ tough falsetto. A saxophone solo by Gil Bridges closes the number.

The song became a staple not only for Rare Earth and the Tempts, but was a sort of label warhorse. It was included on albums by the Supremes, Miracles, Smokey Robinson on his own, and again by the Temptations in 1991.”Get Ready” was also covered by pop-punk band Ash, the Scottish folk band the Proclaimers and sampled by the Black Eyed Peas, who later turned it into a full-blown cover for their singer Fergie on her solo album.

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