Number 1's: Diana Ross & The Supremes
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||Where Did Our Love Go||The Supremes||2:39||$1.29||View In iTunes|
||Baby Love||The Supremes||2:47||$1.29||View In iTunes|
||Come See About Me||The Supremes||2:43||$1.29||View In iTunes|
||Stop! In the Name of Love||The Supremes||3:00||$1.29||View In iTunes|
||Back In My Arms Again||The Supremes||3:01||$1.29||View In iTunes|
||I Hear a Symphony||The Supremes||2:42||$1.29||View In iTunes|
||You Can't Hurry Love||The Supremes||2:58||$1.29||View In iTunes|
||You Keep Me Hangin' On||The Supremes||3:11||$1.29||View In iTunes|
||Love Is Here and Now You're Gone||The Supremes||2:49||$0.69||View In iTunes|
||The Happening||The Supremes||3:02||$1.29||View In iTunes|
||Reflections||Diana Ross & The Supremes||3:17||$1.29||View In iTunes|
||Love Child||Diana Ross & The Supremes||3:14||$1.29||View In iTunes|
||I'm Gonna Make You Love Me||Diana Ross & The Supremes & The Temptations||3:10||$1.29||View In iTunes|
||Someday We'll Be Together||Diana Ross & The Supremes||3:31||$1.29||View In iTunes|
||Stoned Love||The Supremes||3:18||$1.29||View In iTunes|
||Ain't No Mountain High Enough||Diana Ross||3:35||$1.29||View In iTunes|
||Touch Me In the Morning||Diana Ross||3:24||$1.29||View In iTunes|
||Theme from "Mahogany" (Do You Know Where You're Going To)||Diana Ross||3:21||$1.29||View In iTunes|
||Love Hangover||Diana Ross||3:43||$1.29||View In iTunes|
||The Boss||Diana Ross||3:53||$1.29||View In iTunes|
||Upside Down||Diana Ross||3:37||$1.29||View In iTunes|
||I'm Coming Out||Diana Ross||3:55||$1.29||View In iTunes|
||Endless Love (The Soundtrack Version)||Lionel Richie & Diana Ross||4:26||$1.29||View In iTunes|
||You Keep Me Hangin' On (The Almighty Remix)||The Supremes||3:57||$1.29||View In iTunes|
iTunes Editors’ Notes
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.
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.
Born: March 26, 1944 in Detroit, MI
Years Active: '60s, '70s, '80s, '90s, '00s, '10s