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Tracklist:
1. Tears of Sorrow (the Primettes)2. Pretty Baby (the Primettes)
3. After All
4. The Boy that Got Away
5. I Want A Guy (Original 45 mix)
6. Buttered Popcorn (Alternate version)
7. Your Heart Belongs to Me (Original 45 mix)
8. Let Me Go the Right Way (live)
9. My Heart Can't Take it No More (Original 45 mix)
10. A Breath Talking First Sight Soul Shaking One Night Love Making Next Day Heart Breaking Guy
11. Run Run Run (Original 45 mix)
12. When the Lovelight Starts Shining Through His Eyes (Original 45 mix)
13. Where Did Our Love Go
14. Baby Love
15. Ask Any Girl (Original 45 mix)
16. Come See About Me
17. Ooowee Baby (Original mix)
18. Shake
19. Stop in the Name of Love (Alternate version)
20. Back in My Arms Again
21. It's All Your Fault (Original mix)
22. Nothing but Heartaches
23. Take Me Where You Go
24. People (Original version featuring Florence Ballard)
25. Hear A Symphony
26. My World is Empty Without You
27. Everything is Good About You (Stereo mix)
28. Any Girl in Love (Knows What I'm Going Through)
29. Surfer Boy (Original mix)
30. Dr. Goldfoot and the Bikini Machine
31. Love is Like an Itching in My Heart
32. You Can't Hurry Love
33. Mother Dear (version 2)
34. You Keep Me Hungin on
35. Going Down for the Third Time (Original 45 mix)
36. Love is Here and Now You're Gone (Alternate version)
37. Theres No Stopping us Now (Original 45 mix)
38. Come on and See Me (Original mix)
39. My Guy
40. Falling in Love with Love
41. The Happening (Demo version)
42. All I Know About You (Stereo mix)
43. When You Wish Upon A Star
44. Somewhere
45. Group Introduction
46. You're Nobody Til Somebody Loves You
47. Reflections
48. Inand out of Love
49. Heaven Must Have Sent You (Original mix)
50. Forever Came Today
51. Some Things You Never Get Used to
52. The Beginning of the End of Love
53. Love Child
54. How Long Has that Evening Train Been Gone
55. Does Your Mama Know About Me
56. Hes My Sunny Boy
57. I'm Gonna Make You Love Me (with the Temptations)
58. Ill Try Something New (with the Temptations)
59. Tcb (with the Temptations)
60. I'm Living in Shame
61. The Composer
62. Are You Sure Love is the Name of this Game
63. No Matter What Sign You are
64. The Young Folks (Original 45 mix)
65. Can't Take My Eyes Off You (Alternate version featuring Mary Wilson)
66. The Weight (with the Temptations)
67. The Beginning of the End
68. Someday Well Be Together
69. Up the Ladder to the Roof (Original 45 mix)
70. Bill When are You Coming Back (Original 45 mix)
71. Everybodys Got the Right to Love
72. The Day Will Come Between Sunday and Monday
73. Stoned Love
74. River Deep Mountain High (with Four Tops)
75. You Gotta Have Love in Your Heart -with Four Tops)
76. Touch (Promotion Only Stereo Single mix)
77. Nathan Jones
78. Floy Joy (Unedited version)
79. Automatically Sunshine
80. You Wonderful Sweet Sweet Love
81. I Guess Ill Miss the Man
82. 5 30 Plane
83. Bad Weather
84. Hes My Man
85. High Energy
86. I'm Gonna Let My Heart Do the Walking (Extended version)
87. You're My Driving Wheel (Promotion Only Single mix)
88. You are the Heart of Me
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About this artist
(from discogs.com)The Supremes bio:
The most successful black performers of the 1960s, the Supremes for a time rivaled even the Beatles in terms of red-hot commercial appeal, reeling off five number-one singles in a row at one point. Critical revisionism has tended to undervalue the Supremes' accomplishments, categorizing their work as more lightweight than the best soul stars' (or even the best Motown stars'), and viewing them as a tool for Berry Gordy's crossover aspirations. There's no question that there was about as much pop as soul in the Supremes' hits, that even some of their biggest hits could sound formulaic, and that they were probably the black performers who were most successful at infiltrating the tastes and televisions of middle America. This shouldn't diminish either their extraordinary achievements or their fine music, the best of which renders the pop vs. soul question moot with its excellence.The Supremes were not an overnight success story, although it might have seemed that way when they began topping the charts with sure-fire regularity. The trio that would become famous as the Supremes -- Diana Ross, Mary Wilson, and Florence Ballard -- met in the late '50s in Detroit's Brewster housing project. Originally known as the Primettes, they were a quartet (Barbara Martin was the fourth member) when they made their first single for the Lupine label in 1960. By the time they debuted for Motown in 1961, they had been renamed the Supremes; Barbara Martin reduced them to a trio when she left after their first single.
The Supremes' first Motown recordings were much more girl group-oriented than their later hits. Additionally, not all of them featured Diana Ross on lead vocals; Flo Ballard, considered to have as good or better a voice, also sang lead. Through a lengthy series of flops, Berry Gordy remained confident that the group would eventually prove to be one of Motown's biggest. By the time they finally did get their first Top 40 hit, "When the Lovelight Starts Shining Through His Eyes," in late 1963, Ross had taken over the lead singing for good.
Ross was not the most talented female singer at Motown; Martha Reeves and Gladys Knight in particular had superior talents. What she did have, however, was the most purely pop appeal. Gordy's patience and attention paid off in mid-1964, when "Where Did Our Love Go" went to number one. Written by Holland-Dozier-Holland, it established the prototype for their run of five consecutive number-one hits in 1964-1965 (also including "Baby Love," "Stop! In the Name of Love," "Come See About Me," and "Back in My Arms Again"). Ross' cooing vocals would front the Supremes' decorative backup vocals, put over on television and live performance with highly stylized choreography and visual style. Holland-Dozier-Holland would write and produce all of the Supremes' hits through the end of 1967.
Not all of the Supremes' singles went to number one after 1965, but they usually did awfully well, and were written and produced with enough variety (but enough of a characteric sound) to ensure continual interest. The chart-topping (and uncharacteristically tough) "You Keep Me Hangin' On" was the best of their mid-period hits. Behind the scenes, there were some problems brewing, although these only came to light long after the event. Other Motown stars (most notably Martha Reeves) resented what they perceived as the inordinate attention lavished upon Ross by Gordy, at the expense of other artists on the label. The other Supremes themselves felt increasingly pushed to the background. In mid-1967, as a result of what was deemed increasingly unprofessional behavior, Ballard was replaced by Cindy Birdsong (from Patti LaBelle and the Bluebelles). Ballard become one of rock's greatest tragedies, eventually ending up on welfare, and dying in 1976.
After Ballard's exit, the group would be billed as Diana Ross & the Supremes, fueling speculation that Ross was being groomed for a solo career. The Supremes had a big year in 1967, even incorporating some mild psychedelic influences into "Reflections." Holland-Dozier-Holland, however, left Motown around this time, and the quality of the Supremes' records suffered accordingly (as did the Motown organization as a whole). The Supremes were still superstars, but as a unit, they were disintegrating; it's been reported that Wilson and Birdsong didn't even sing on their final hits, a couple of which ("Love Child" and "Someday We'll Be Together") were among their best.
In November 1969, Ross' imminent departure for a solo career was announced, although she played a few more dates with them, the last in Las Vegas in January 1970. Jean Terrell replaced Ross, and the group continued through 1977, with some more personnel changes (although Mary Wilson was always involved). Some of the early Ross-less singles were fine records, particularly "Stoned Love," "Nathan Jones," and the Supremes-Four Tops duet "River Deep -- Mountain High." Few groups have been able to rise to the occasion after the loss of their figurehead, though, and the Supremes proved no exception, rarely making the charts after 1972. It is the Diana Ross-led era of the 1960s for which they'll be remembered. ~ Richie Unterberger, All Music Guide (from mp3.com)
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