Supremes


All downloads by Diana Ross & The Supremes
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At a Glance

Formed: Jan 15 1961 (53 years ago)


Biography

The Beatles and Elvis had theirs. Now it's the ladies' turn as every No. 1 Motown hit from Diana Ross, The Supremes, and Diana Ross ... Read more

The Beatles and Elvis had theirs. Now it's the ladies' turn as every No. 1 Motown hit from Diana Ross, The Supremes, and Diana Ross & The Supremes is presented on one CD for the first time. Diana Ross & The Supremes: The No. 1's (Motown/UTV Records), released February 3, 2004, features 23 classics from the Sixties, Seventies and Eighties, each newly digitally remastered, plus a new bonus remix of "You Keep Me Hangin' On," from the U.K.'s top pop remix team, Almighty Associates. In addition, all 15 of the Supremes tracks are heard in new mixes, direct from the Motown session tapes, offering the best fidelity of any Supremes and/or Ross collection.

From "Where Did Our Love Go" in 1964 to "Endless Love" in 1982, The No. 1's spans 18 years in the history of artists who changed pop music and pop culture forever. Every song influenced the next generations; every performance defines an era. The package contains a deluxe 16-page booklet with an essay by music historian Brian Chin, track annotations and classic photos, including rare images of each single's picture sleeve.

The Supremes - Miss Ross, Mary Wilson and Florence Ballard - scored an unprecedented five Billboard Pop No. 1's in a row in the Sixties: "Where Did Our Love Go," "Baby Love," "Come See About Me," "Stop! In The Name of Love" and "Back In My Arms Again" (also No. 1 R&B). Also topping the Pop charts in the decade were "I Hear A Symphony," "You Can't Hurry Love" (No. 1 R&B), "You Keep Me Hangin' On" (No. 1 R&B), "Love Is Here And Now You're Gone" (No. 1 R&B) and "The Happening." Even after two significant changes in 1967, the group's name became Diana Ross & The Supremes and Cindy Birdsong replaced Ballard, the No. 1's continued, first with "Reflections" (a Detroit and regional No. 1).

All had been written by Brian Holland-Lamont Dozier-Edward Holland, Jr. and produced by Brian Holland and Dozier. The Supremes then scored Pop No. 1's via other writer-producers with "Love Child," "I'm Gonna Make You Love Me" with The Temptations (No. 1 Pop and R&B Cashbox) and "Someday We'll Be Together" (No. 1 R&B).

In the Seventies, Ross went solo. The Supremes, with Jean Terrell in the lead, hit No. 1 R&B with "Stoned Love." Ross would claim the top spot on various charts several more times on Motown, including these eight: Ashford & Simpson's "Ain't No Mountain High Enough" (No. 1 Pop/R&B) and "The Boss" (No. 1 Dance); Michael Masser's Pop No. 1's "Touch Me In The Morning" and "Theme From Mahogany (Do You Know Where You're Going To)" (also No. 1 Adult Contemporary); "Love Hangover" (No. 1 Pop, R&B and Dance), and Bernard Edwards and Nile Rodgers' "Upside Down" (No. 1 Pop, R&B and Dance) and "I'm Coming Out" (No. 1 Dance), the latter two opening the Eighties. "Endless Love," a duet with Lionel Richie, who also wrote and produced the song, was No. 1 Pop, R&B and Adult Contemporary, and No. 1 on the U.K. Pop chart, in 1981.

Today, the most successful female group in Pop history, and most successful solo female artist in Pop history, are still No. 1.

This biography was provided by the artist or their representative.

The Beatles and Elvis had theirs. Now it's the ladies' turn as every No. 1 Motown hit from Diana Ross, The Supremes, and Diana Ross & The Supremes is presented on one CD for the first time. Diana Ross & The Supremes: The No. 1's (Motown/UTV Records), released February 3, 2004, features 23 classics from the Sixties, Seventies and Eighties, each newly digitally remastered, plus a new bonus remix of "You Keep Me Hangin' On," from the U.K.'s top pop remix team, Almighty Associates. In addition, all 15 of the Supremes tracks are heard in new mixes, direct from the Motown session tapes, offering the best fidelity of any Supremes and/or Ross collection.

From "Where Did Our Love Go" in 1964 to "Endless Love" in 1982, The No. 1's spans 18 years in the history of artists who changed pop music and pop culture forever. Every song influenced the next generations; every performance defines an era. The package contains a deluxe 16-page booklet with an essay by music historian Brian Chin, track annotations and classic photos, including rare images of each single's picture sleeve.

The Supremes - Miss Ross, Mary Wilson and Florence Ballard - scored an unprecedented five Billboard Pop No. 1's in a row in the Sixties: "Where Did Our Love Go," "Baby Love," "Come See About Me," "Stop! In The Name of Love" and "Back In My Arms Again" (also No. 1 R&B). Also topping the Pop charts in the decade were "I Hear A Symphony," "You Can't Hurry Love" (No. 1 R&B), "You Keep Me Hangin' On" (No. 1 R&B), "Love Is Here And Now You're Gone" (No. 1 R&B) and "The Happening." Even after two significant changes in 1967, the group's name became Diana Ross & The Supremes and Cindy Birdsong replaced Ballard, the No. 1's continued, first with "Reflections" (a Detroit and regional No. 1).

All had been written by Brian Holland-Lamont Dozier-Edward Holland, Jr. and produced by Brian Holland and Dozier. The Supremes then scored Pop No. 1's via other writer-producers with "Love Child," "I'm Gonna Make You Love Me" with The Temptations (No. 1 Pop and R&B Cashbox) and "Someday We'll Be Together" (No. 1 R&B).

In the Seventies, Ross went solo. The Supremes, with Jean Terrell in the lead, hit No. 1 R&B with "Stoned Love." Ross would claim the top spot on various charts several more times on Motown, including these eight: Ashford & Simpson's "Ain't No Mountain High Enough" (No. 1 Pop/R&B) and "The Boss" (No. 1 Dance); Michael Masser's Pop No. 1's "Touch Me In The Morning" and "Theme From Mahogany (Do You Know Where You're Going To)" (also No. 1 Adult Contemporary); "Love Hangover" (No. 1 Pop, R&B and Dance), and Bernard Edwards and Nile Rodgers' "Upside Down" (No. 1 Pop, R&B and Dance) and "I'm Coming Out" (No. 1 Dance), the latter two opening the Eighties. "Endless Love," a duet with Lionel Richie, who also wrote and produced the song, was No. 1 Pop, R&B and Adult Contemporary, and No. 1 on the U.K. Pop chart, in 1981.

Today, the most successful female group in Pop history, and most successful solo female artist in Pop history, are still No. 1.

This biography was provided by the artist or their representative.

The Beatles and Elvis had theirs. Now it's the ladies' turn as every No. 1 Motown hit from Diana Ross, The Supremes, and Diana Ross & The Supremes is presented on one CD for the first time. Diana Ross & The Supremes: The No. 1's (Motown/UTV Records), released February 3, 2004, features 23 classics from the Sixties, Seventies and Eighties, each newly digitally remastered, plus a new bonus remix of "You Keep Me Hangin' On," from the U.K.'s top pop remix team, Almighty Associates. In addition, all 15 of the Supremes tracks are heard in new mixes, direct from the Motown session tapes, offering the best fidelity of any Supremes and/or Ross collection.

From "Where Did Our Love Go" in 1964 to "Endless Love" in 1982, The No. 1's spans 18 years in the history of artists who changed pop music and pop culture forever. Every song influenced the next generations; every performance defines an era. The package contains a deluxe 16-page booklet with an essay by music historian Brian Chin, track annotations and classic photos, including rare images of each single's picture sleeve.

The Supremes - Miss Ross, Mary Wilson and Florence Ballard - scored an unprecedented five Billboard Pop No. 1's in a row in the Sixties: "Where Did Our Love Go," "Baby Love," "Come See About Me," "Stop! In The Name of Love" and "Back In My Arms Again" (also No. 1 R&B). Also topping the Pop charts in the decade were "I Hear A Symphony," "You Can't Hurry Love" (No. 1 R&B), "You Keep Me Hangin' On" (No. 1 R&B), "Love Is Here And Now You're Gone" (No. 1 R&B) and "The Happening." Even after two significant changes in 1967, the group's name became Diana Ross & The Supremes and Cindy Birdsong replaced Ballard, the No. 1's continued, first with "Reflections" (a Detroit and regional No. 1).

All had been written by Brian Holland-Lamont Dozier-Edward Holland, Jr. and produced by Brian Holland and Dozier. The Supremes then scored Pop No. 1's via other writer-producers with "Love Child," "I'm Gonna Make You Love Me" with The Temptations (No. 1 Pop and R&B Cashbox) and "Someday We'll Be Together" (No. 1 R&B).

In the Seventies, Ross went solo. The Supremes, with Jean Terrell in the lead, hit No. 1 R&B with "Stoned Love." Ross would claim the top spot on various charts several more times on Motown, including these eight: Ashford & Simpson's "Ain't No Mountain High Enough" (No. 1 Pop/R&B) and "The Boss" (No. 1 Dance); Michael Masser's Pop No. 1's "Touch Me In The Morning" and "Theme From Mahogany (Do You Know Where You're Going To)" (also No. 1 Adult Contemporary); "Love Hangover" (No. 1 Pop, R&B and Dance), and Bernard Edwards and Nile Rodgers' "Upside Down" (No. 1 Pop, R&B and Dance) and "I'm Coming Out" (No. 1 Dance), the latter two opening the Eighties. "Endless Love," a duet with Lionel Richie, who also wrote and produced the song, was No. 1 Pop, R&B and Adult Contemporary, and No. 1 on the U.K. Pop chart, in 1981.

Today, the most successful female group in Pop history, and most successful solo female artist in Pop history, are still No. 1.

This biography was provided by the artist or their representative.

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