24 Songs, 1 Hour 19 Minutes

EDITORS’ NOTES

Berry Gordy guided Diana Ross with a steady hand, from the teenage pop of early Motown (“Baby Love,” “Stop! In the Name of Love), to the more mature sounds of the Seventies (“Touch Me in the Morning”). From disco (“Love Hangover”) through to the Eighties funk of producer Nile Rodgers (“I’m Coming Out”), Ross had a chameleon’s ability to adapt to her surroundings.

EDITORS’ NOTES

Berry Gordy guided Diana Ross with a steady hand, from the teenage pop of early Motown (“Baby Love,” “Stop! In the Name of Love), to the more mature sounds of the Seventies (“Touch Me in the Morning”). From disco (“Love Hangover”) through to the Eighties funk of producer Nile Rodgers (“I’m Coming Out”), Ross had a chameleon’s ability to adapt to her surroundings.

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Ratings and Reviews

4.4 out of 5
258 Ratings
258 Ratings
Sword Of Damocles ,

This is the one to get

If you are a casual Supremes fan than this is the one for you, all the hits. Good from start to finish.

Bokiluis ,

Diana Ross & The Supremes "No. 1's"

After mountains of compilations and Greatest Hits packaging on inarguably the #1 Female Group of All Time, Motown still have a few secrets left in the vaults. The extra seconds at the end of each track are magical and make this a worthwhile investment for any lover of pop/r&b hits. Diana is clearly at centerstage, but, you do hear how the harmonies made them "America's Sweethearts". Diana's laughter on "Love is Here", the added strings on "I Hear a Symphony" and oh I forgot, great new mastering makes this a must for an iPod!

SkipINFJ ,

A Tiny Step towards Acknowledging THE Female Group of All Time

I don't understand the negative comments some purists have made about this compilation. They bemoan that the songs are extended, and the backing vocals brought forward. Before now, Motown had released numerous mixes of its artists' hits. Even the album "More Hits by The Supremes" was re-mixed and re-design while still on the charts.

Anyway, the treatment is good (except for "Stoned Love"), and I wish Motown would do this to all of the 60's era Supremes singles (especially "My World Is Empty Without You"), since the only reason for burying the backing vocals so low had more to do with BG's desire to highlight Diana Ross than to acquire a good mix. I am disappointed with the Almighty Remix of "You Keep Me Hangin' On." There are far better remixers out there. If anyone's interested, Almighty Records has a compilation featuring a longer remix as well as on of "Love Child" that includes additional lyrics.

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