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Number 1's: Diana Ross & The Supremes

Diana Ross & The Supremes

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iTunes Review

The Supremes might well have been Berry Gordy’s greatest creation. They were a new prototype for a pop group, effortlessly able to unite pop and R&B, and listeners young and old, male and female. Entirely non-threatening yet utterly cutting edge, under Gordy’s supervision they were able to release music at a blinding pace. Over time, however, it was revealed that Gordy’s creation wasn’t so much the Supremes as it was Diana Ross alone, and it is her career, not the career of the trio, that is traced by The No. 1’s. Styles changed through the years, but Gordy guided 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, and Gordy was there every step of the way. While one could devote an entire disc just to Ross’ disco and club music, or to her work with Holland-Dozier-Holland, the broad genealogy of The No. 1’s pays tribute to a pop tradition carried through a constantly changing musical culture.

Customer Reviews

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.

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!

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.

Biography

Born: March 26, 1944 in Detroit, MI

Genre: R&B/Soul

Years Active: '60s, '70s, '80s, '90s, '00s, '10s

As a solo artist, Diana Ross is one of the most successful female singers of the rock era. If you factor in her work as the lead singer of the Supremes in the 1960s, she may be the most successful. With her friends Mary Wilson, Florence Ballard, and Barbara Martin, Ross formed the Primettes vocal quartet in 1959. In 1960, they were signed to local Motown Records, changing their name to the Supremes in 1961. Martin then left, and the group continued as a trio. Over the next eight years, the Supremes...
Full Bio

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