The most successful female group of the 1960's (and one of the most popular of all-time), The Supremes appeared at a time when racial tensions and changing attitudes were sweeping the country. The combination of the team of Holland-Dozier-Hollands' catchy, well crafted soul/pop, a sweet, innocent group image and Diana Ross' unforgettable lead vocals caused a sensation that resulted in an incredible run of ten #1 pop hits in the short span of 3 years.
The Supremes (originally known as the Primettes) were formed in the late 1950's in Detroit, consisting Diana Ross, Florence Ballard, Mary Wilson and Betty McGlowen. The Primettes at that time functioned as a sister group to a male group called the Primes (of which some members later joined The Temptations), and performed locally. They also released two sides on the tiny Lupine label in 1959, "Tears of Sorrow" and "Pretty Baby", neither of which made any impact. McGlowen dropped out the grouped and was replaced by Barbara Martin. When Martin exited, Ballard, Wilson and Ross continued as a trio.
Still in high school but determined to pursue music, the Primettes approached Motown founder Berry Gordy, who ultimately signed the group after initial hesitation. Along with the new label came a new name: The Primettes would now be the Supremes.
Between 1961 and 1964 The Supremes released several singles, some of which cracked the bottom half of the Top 100 (including Florences' lead on "Let Me Go the Right Way"), but it wasnt until the writing/producing team of Holland-Dozier-Holland were given the reins that their fortunes turned. In 1963 the Supremes first appeared in the top 40 with "When the Lovelight Starts Shining Through His Eyes", with Diana singing lead (from this point on, Gordy had determined that Ross would sing lead on all singles, and ultimately be the focal point of the group). This achievement was almost undone by the followup, "Run Run Run", which barely cracked the chart at all.
For their next single, The Supremes recorded a song that had been rejected by the Marvelettes, "Where Did Our Love Go?". Ou of nowhere, the song exploded on the charts and went to #1, propelling the girls to stardom. The followup, "Baby Love", also reached the pole position and cemented the Supremes' new fame.
The following 2 years saw an impressive string of hits: "Come See About Me", "Stop! In the Name of Love", "Back in My Arms Again", "I Hear Symphony", "You Can't Hurry Love", "You Keep Me Hangin' On", Love is Here and Now You're Gone" and "The Happening" all were #1 hits, and, with the exception of "Nothing But Heartaches" (which peaked at #11), all other singles at least made the top ten through the end of 1967. The Supremes became a ubiquitous presence on television, appearing regularly on The Ed Sullivan Show, The Tonight Show and Hollywood Palace, among others.
However, internal strife was causing serious problems with the group. Other groups at Motown resented the girls for what was viewed as preferred tratment by Berry Gorsy. Rumors began circulating that Ross was leaving the Supremes to go solo. Ballard, the original lead singer (and arguably, the most talented in the group), was embittered over Ross' position as the star of the group. She began drinking heavily, gaining weight and missing performances. Ross' romantic relationship with Gordy did little to help matters. In the summer of 1967, Ballard was dismissed from the group, and replaced by Cindy Birdsong. Around the same time, the name of the group was changed to Diana Ross and the Supremes, making Ross' exit seem all the more inevitable.
All of this could not help but damage the stability of the group, but another development complicated matters further. The Holland brothers, along with partner Lamont Dozier, left Motown early in 1968 due to differences with the label, and no group felt their absence more greatly than Diana Ross and the Supremes. Their first post-HDH release, "Some Thing You Never Get Used To", stopped at #30.
Berry Gordy, sensing that the group needed rejuvination, assembled a group of writers and producers that were dubbed "The Clan". Together, they wrote and produced "Love Child" a song with topical momentum that restored Diana Ross and the Supremes to the top of the charts (unfortunately, by now Gordy was using anonymous background singers instead of Wilson and Birdsong).
Teaming with the Temptations for 3 albums and 2 TV specials (all of which DID feature Wilson and Birdsongs' vocals), the combination yielded a big hit duet, "I'm Gonna Make You Love Me". The Clan also gave the Supremes another top ten, "I'm Livin' in Shame", in early 1969.
At this point speculation was not if Diana Ross was leaving the Supremes, but rather when she was leaving. After months without word (and several singles that missed the top 20), it was finally announced that Ross was going solo, to be replaced by Jean Terrell. The final single, "Someday We'll Be Together", was a fitting swan song, topping both the R&B and pop chart at the end of the year, and Ross exited in January of 1970.
Terrell, Mary Wilson and Cindy Birdsong soldiered on, again as just "The Supremes", and surprised everyone by scoring two top 10 singles in 1970, "Up the Ladder to the Roof" and "Stoned Love" (their only #1 single after Ross left).
Further hits such as "Nathan Jones" and "Floy Joy" followed, but it soon became apparent that Motown was no longer interested in the group- The Supremes now suffered the same lack of attention that other Motown acts had long endured. Changes in the lineup did not help matters, either (Birdsong left in 1972, replaced by Lynda Laurence. Terrell and Laurence exited in 1973, at which point Birdsong returned and Scherrie Payne was brought in. Birdsong left again in 1976 and was replaced by Susaye Greene). In 1976 the Supremes had one final top 40 single, "I'm Gonna Let My Heart Do the Walking", and disbanded a year later.
The source of countless discussions, debates and curiosity, the legend of the Supremes has only grown in the ensuing years. One thing that cannot be questioned is the degree of impact the group had on popular music, particularly during a time where racial barriers were being torn down. The Supremes reached a level of crossover appeal that would not have been possible in earlier times, and set precedents for black performers in the years to come.
Bio written by: markus1976 |
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