This page will contain discussion groups about Sonic Youth, as they become available.Sonic YouthSonic Youth are an experimental rock group formed in 1981. Initially inspired by the noise experimentation of Glenn Branca—with whom most of the band have performed—as well as the heavy garage rock-acid-rock of The Stooges, they were known for using a variety of unorthodox guitar tunings, and for applying screwdrivers or other preparations to guitars to alter the instruments' timbre. MembersSonic YouthThe band currently consists of Kim Gordon (bass guitar, guitar, vocals), Thurston Moore (guitar, vocals), Lee Ranaldo (guitar, synthesizer, vocals), Steve Shelley (drums 1986- present) and Jim O'Rourke (guitar, bass guitar, synthesizer, laptop) (2000-present). Their most recent release, Sonic Nurse was released on June 7, 2004. DescriptionSupposedly their name mocks the preponderance of bands with the name 'youth' in the title in NYC in the early 1980s. They were associated with the "No Wave" art/music scene in New York City, but have outlasted most associated bands. Drummer Steve Shelley played drums for the hardcore band the Crucifucks before joining Sonic Youth. Besides Branca, Patti Smith, and the Stooges, another early influence was hardcore music of the early 1980s. Moore and Gordon, especially, were impressed by the intensity of the musicians involved, and their ability to organize nationwide. "It was great," said Moore, "the whole thing with slam dancing and stage diving, that was far more exciting than pogoing and spitting... I thought [hardcore] was very musical and very radical" (Julia and Gonzalo 51). Sonic Youth began in extremes. Their first album--greatly indebted to Branca--plays very austere and reserved, consciously arty and layered, while their next two important projects, Confusion is Sex and Kill Yr Idols, are hyper-aggressive aggregates of swirling noise. A very vocal camp maintains that Confusion is Sex in particular has never been equalled by the band; nevertheless, SY would not make records like Sonic Youth or Confusion ever again. Sonic Youth have gradually incorporated more conventional elements of pop music into their work, while still maintaining an experimental quality. Starting with Bad Moon Rising and EVOL, the listener can hear the band beginning to craft pop songs from the raw stuff of feedback and distortion. By Daydream Nation (1988), Sonic Youth had perfected this style, becoming virtuostic sculptors of guitar noise. Managing to stay afloat in the cut-throat music industry financially while maintaining some sense of self and dignity, Sonic Youth have proved highly influential on underground rock music. They were particularly important in the growth of grunge: their 1991 tour with the then-unknown Nirvana being captured in the film 1991: The Year Punk Broke. Sonic Youth's influence as tastemakers continued with their discovery of avant skateboard video director Spike Jonze and their revival of Macaulay Culkin via a video directed by the very young Harmony Korine. In the meantime, members of the band diversified their talents. Kim Gordon collaborated in Free Kitten, and started an MTV-adored fashion label X-Girl, based in L.A. Lee Ranaldo and Thurston Moore have played with many experimental/noise musicians, including William Hooker, Don Dietrich, Christian Marclay and Mission of Burma, among others. Steve Shelley has been involved in running the Smells Like Records and SYR record labels, as well as playing in backing bands for Chan Marshall (Cat Power) and Two Dollar Guitar. During the late 1990s and early 2000s, the band began releasing a number of records on their own Hoboken, New Jersey-based label SYR. These records featured experimental artists such as Jim O'Rourke, Yoko Ono, and, on Goodbye 20th Century (1999), the works of experimental classical composers such as John Cage, Steve Reich and Christian Wolff. The band was busy working in their NYC studio, Murray Street, during the September 11, 2001 attacks. A jet engine reportedly smashed into the studio, destroying it. This next album would be titled Murray Street in memory of their destroyed studio. Their next and most recent album was 2004's Sonic Nurse, which garnered critical acclaim and was mellower and poppier than previous work, but still maintained their sense of musical experimentation with SY trademarks such as feedback-rich guitar solos and alternate tunings. The band also showed their pop culture commentary and sense of humor with the track "Mariah Carey and the Arthur Conan Doyle Hand Cream", a faster-tempo song sung by Kim Gordon which spoofed the pop singer's life, including her short-lived relationship with rapper Eminem. Sonic Nurse had decent sales due to performances on TV talk shows including Late Night with Conan O"Brien and The Tonight Show with Jay Leno. The band was also slated to perform in 2004's Lalapalooza tour along with acts such as The Pixies and Flaming Lips, but the concert was cancelled due to lackluster ticket sales. In 1994, journalist Alec Foege published a full-length biography of the band called Confusion is Next: The Sonic Youth Story. Sonic Youth's career is also chronicled in Our Band Could Be Your Life, a study of several important American underground rock groups by Michael Azerrad. Former personnel include Richard Edson (drums 1981-1982), Bob Bert (drums 1982-1986), Jim Sclavunos (drums 1982-1983) and Ann DeMarinis (keyboards 1981-1982) Edson left the band to appear in movies such as Platoon and Stranger Than Paradise. Bert was later involved in No Wave descendants Pussy Galore and Boss Hogg, among others. Jim Sclavunos is currently involved in The Bad Seeds with Nick Cave, in addition to his own band The Vanity Set. Moore and Gordon are married and have a daughter, Coco Gordon Moore. DiscographyOfficial full-length releasesAlbums
* Reissued in 1988 by SST as Sonic Death -- Early Sonic 1981 - 1983 EPs
† Repackaged for CD by DGC with Confusion Is Sex in 1995 Official single releases
Sample
Works CitedJulia, Ignacio and Jaime Gonzalo. Sonic Youth: I dreamed of noise. Barcelona: RUTA 66, 1994. This page about Sonic Youth includes information from a Wikipedia article. Additional articles about Sonic Youth News stories about Sonic Youth External links for Sonic Youth Videos for Sonic Youth Wikis about Sonic Youth Discussion Groups about Sonic Youth Blogs about Sonic Youth Images of Sonic Youth |
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Barcelona: RUTA 66, 1994. Nine of the Supremes' albums, listed below, made it to the Top 10 Albums chart in either the US or the UK:. Sonic Youth: I dreamed of noise. 78 RPM album samples. Julia, Ignacio and Jaime Gonzalo. 45 RPM single samples. † Repackaged for CD by DGC with Confusion Is Sex in 1995. Twenty-three of the Supremes' singles, listed below, reached the Top 10 in either the US or the United Kingdom:. * Reissued in 1988 by SST as Sonic Death -- Early Sonic 1981 - 1983. For a detailed listing of albums & singles, see: Supremes discography.. Moore and Gordon are married and have a daughter, Coco Gordon Moore. For a detailed listing of the various lineups for the Supremes, see: Supremes chronology.. Jim Sclavunos is currently involved in The Bad Seeds with Nick Cave, in addition to his own band The Vanity Set. Fans were disappointed by both this and the shows' high ticket prices, and, after playing only half of the dates on the itinerary, the tour was cancelled. Bert was later involved in No Wave descendants Pussy Galore and Boss Hogg, among others. Eventually, the Return to Love tour went on as scheduled, but with Scherrie Payne and Lynda Laurence joining Ross, although neither of them were in the group at the same time as Ross. Former personnel include Richard Edson (drums 1981-1982), Bob Bert (drums 1982-1986), Jim Sclavunos (drums 1982-1983) and Ann DeMarinis (keyboards 1981-1982) Edson left the band to appear in movies such as Platoon and Stranger Than Paradise. However, Wilson and Birdsong both passed on the idea because while the promoters offered Ross $15 million to perform, Wilson was offered only $3 million and Birdsong less than $1 million [4] (http://news.bbc.co.uk/1/hi/entertainment/702634.stm). In 1994, journalist Alec Foege published a full-length biography of the band called Confusion is Next: The Sonic Youth Story. Sonic Youth's career is also chronicled in Our Band Could Be Your Life, a study of several important American underground rock groups by Michael Azerrad. In 2000, plans were made for Ross to join Wilson and Birdsong for the Return to Love tour. The band was also slated to perform in 2004's Lalapalooza tour along with acts such as The Pixies and Flaming Lips, but the concert was cancelled due to lackluster ticket sales. Payne and Laurence continue to tour under the FLOS name with third member Freddie Poole. Sonic Nurse had decent sales due to performances on TV talk shows including Late Night with Conan O"Brien and The Tonight Show with Jay Leno. During the mid-1980s, Jean Terrell, Scherrie Payne, and Lynda Laurence began touring the US and the UK as FLOS: Former Ladies of the Supremes; Terrell, Laurence, and Susaye Greene even recored a cover of "Stoned Love" for British producer Ian Levine in 1989. The band also showed their pop culture commentary and sense of humor with the track "Mariah Carey and the Arthur Conan Doyle Hand Cream", a faster-tempo song sung by Kim Gordon which spoofed the pop singer's life, including her short-lived relationship with rapper Eminem. Although these altercations were filmed but deleted from the broadcast edit of the special, they were widely reported and gave Ross the image of an egotistical, manipulative diva. Their next and most recent album was 2004's Sonic Nurse, which garnered critical acclaim and was mellower and poppier than previous work, but still maintained their sense of musical experimentation with SY trademarks such as feedback-rich guitar solos and alternate tunings. Their performance unfortunately ended badly when Ross pushed Wilson onstage during the performance, and later pulled the microphone from her face while Wilson was inviting Berry Gordy, sitting in the theatre balcony, to come down and join everyone onstage. This next album would be titled Murray Street in memory of their destroyed studio. Diana Ross briefly reunited with Mary Wilson and Cindy Birdsong to perform "Someday We'll Be Together" on the Motown 25: Yesterday, Today, Forever television special, broadcast on NBC on May 16, 1983. A jet engine reportedly smashed into the studio, destroying it. Fan interest made the idea of a Supremes reunion tour a very profitable one during the 1980s. The band was busy working in their NYC studio, Murray Street, during the September 11, 2001 attacks. The black girl groups that have succeeded them in popular music, including The Three Degrees, The Emotions, The Pointer Sisters, En Vogue, TLC, and Destiny's Child, have shown the influence that the Supremes and Motown had during the 1960s. These records featured experimental artists such as Jim O'Rourke, Yoko Ono, and, on Goodbye 20th Century (1999), the works of experimental classical composers such as John Cage, Steve Reich and Christian Wolff. Although the Supremes never won a Grammy award, they were inducted into the Rock and Roll Hall of Fame in 1988, received a star on the Hollywood Walk of Fame in 1994, and entered into the Vocal Group Hall of Fame in 1998. During the late 1990s and early 2000s, the band began releasing a number of records on their own Hoboken, New Jersey-based label SYR. Diana Ross had her own autobiography, Secrets of a Sparrow: Memoirs, published in 1993. Unlike Wilson's books, her book received poor reviews and disappointing sales. Steve Shelley has been involved in running the Smells Like Records and SYR record labels, as well as playing in backing bands for Chan Marshall (Cat Power) and Two Dollar Guitar. Dreamgirl remains one of the best-selling rock-and-roll books of all time. Lee Ranaldo and Thurston Moore have played with many experimental/noise musicians, including William Hooker, Don Dietrich, Christian Marclay and Mission of Burma, among others. In January 2000, the two books were released together as Dreamgirl & Supreme Faith: My Life as a Supreme, and included an afterword. Kim Gordon collaborated in Free Kitten, and started an MTV-adored fashion label X-Girl, based in L.A. Mary Wilson's autobiography Dreamgirl: My Life as a Supreme was published in 1986, and in 1990, she published a follow-up, Supreme Faith: Someday We'll Be Together. In the meantime, members of the band diversified their talents. Two of the Supremes have written autobiographies. Sonic Youth's influence as tastemakers continued with their discovery of avant skateboard video director Spike Jonze and their revival of Macaulay Culkin via a video directed by the very young Harmony Korine. A motion picture adaptation of Dreamgirls, to be written and directed by Bill Condon, is scheduled to start filming in summer 2005, with Beyoncé Knowles in talks to play the main character of Effie White[3] (http://www.wetmtv.com/entertainment/story.aspx?content_id=8F5D3FD1-C538-4EEE-8176-50A368FF0AB4). They were particularly important in the growth of grunge: their 1991 tour with the then-unknown Nirvana being captured in the film 1991: The Year Punk Broke. Mary Wilson loved the musical, but Diana Ross was reportedly angered by it and refused to see it. Managing to stay afloat in the cut-throat music industry financially while maintaining some sense of self and dignity, Sonic Youth have proved highly influential on underground rock music. The musical was loosely based on the history of the Supremes, following the story of an all-girl singing trio from Chicago who become music superstars. By Daydream Nation (1988), Sonic Youth had perfected this style, becoming virtuostic sculptors of guitar noise. On December 20, 1981, the Tony-award-winning musical Dreamgirls opened at the Imperial Theatre on Broadway and ran for 1522 performances. Starting with Bad Moon Rising and EVOL, the listener can hear the band beginning to craft pop songs from the raw stuff of feedback and distortion. That same year, Payne and Greene released an album as a duo entitled Partners under the names "Scherrie & Susaye". Sonic Youth have gradually incorporated more conventional elements of pop music into their work, while still maintaining an experimental quality. In 1979, Wilson had her first solo album, Mary Wilson, released by Motown, which included a single entitled "Red Hot". A very vocal camp maintains that Confusion is Sex in particular has never been equalled by the band; nevertheless, SY would not make records like Sonic Youth or Confusion ever again. In 1978, it was reported that Wilson had tried to arrange a new set of Supremes, and hired Karen Ragland and Karen Jackson to tour England with her as "Mary Wilson and the Supremes", but then lost rights to the Supremes' name, as it legally resided with Motown. Their first album--greatly indebted to Branca--plays very austere and reserved, consciously arty and layered, while their next two important projects, Confusion is Sex and Kill Yr Idols, are hyper-aggressive aggregates of swirling noise. After their disbanding and announcements that all three members (particularly Wilson) would begin solo careers, there were soon rumors that Payne and Greene had auditioned several candidates for Wilson's replacement, including singer/dancer Karen Jackson. Sonic Youth began in extremes. On June 12, 1977, the Supremes performed their farewell concert at the Drury Lane Theatre in London and officially disbanded. I thought [hardcore] was very musical and very radical" (Julia and Gonzalo 51). During that same year, the Supremes had their final Top 40 hit, "I'm Gonna Let My Heart Do the Walking". "It was great," said Moore, "the whole thing with slam dancing and stage diving, that was far more exciting than pogoing and spitting.. This final version of the Supremes released two albums, High Energy and Mary, Scherrie & Susaye, both of which reunited the Supremes with Holland-Dozier-Holland. Moore and Gordon, especially, were impressed by the intensity of the musicians involved, and their ability to organize nationwide. In 1976, Birdsong, dissatisfied with the management of the Supremes (handled at the time by Mary Wilson's then-husband Pedro Ferrer), left again and was replaced by Susaye Greene, another former member of Wonderlove. Besides Branca, Patti Smith, and the Stooges, another early influence was hardcore music of the early 1980s. Wilson, Payne, and Birdsong continued to record and perform with very little success, although "He's My Man" reached #1 on the US disco chart in 1975. Drummer
Steve Shelley played drums for the hardcore band the Crucifucks before joining
Sonic Youth. Almost
immediately afterward, Laurence left for the same reason as Birdsong--to start a family--and, ironically, was replaced by
Birdsong. They were associated with the "No Wave" art/music scene in New York City, but have outlasted most associated bands. At this time, Terrell decided to leave the group and was replaced by Scherrie Payne, sister of Freda Payne. Supposedly their name mocks the preponderance of bands with the name 'youth' in the title in NYC in the early 1980s. In late 1973, Laurence prevailed upon her old mentor Stevie Wonder to write and produce a hit for the Supremes, but the
resulting "Bad Weather" only made it to #87 on the US pop charts and #37 in the UK. Their most recent release, Sonic Nurse was
released on June 7, 2004. Cindy Birdsong left the group in April 1972, after recording the Floy Joy album, to start a family; her replacement was Lynda Laurence, a former member of Stevie Wonder's backup group, Wonderlove. The band currently consists of Kim Gordon (bass guitar, guitar, vocals), Thurston Moore (guitar, vocals), Lee Ranaldo (guitar, synthesizer, vocals), Steve Shelley (drums 1986- present) and Jim O'Rourke (guitar, bass guitar, synthesizer, laptop) (2000-present). Motown, which by then was moving from Detroit to
Los Angeles to break into motion pictures, put only limited effort into promoting The Supremes' new material, and their popularity
and sales began to wane. Sonic Youth are an experimental rock group formed in 1981. The Terrell-led Supremes--known unofficially at first as "The New Supremes," and in later years informally called the "70's Supremes"--had a few hits of their own, including "Up The Ladder To The Roof" (US #10, UK #6), "Stoned Love" (US #7, UK #3), and "Nathan Jones" (US #16, UK #5), all of which were produced by Frank Wilson. Songwriting/production team Nickolas Ashford & Valerie Simpson produced another Top 20 hit for the group, a Supremes/Four Tops duet version of Ike & Tina Turner's "River Deep--Mountain High" (US #14). Download sample of "Teenage Riot" from Daydream Nation. After the Frontier Hotel performance, Ross went on to record her debut solo album, Diana Ross, and Mary Wilson and Cindy Birdsong continued working with Jean Terrell on the first post-Ross Supremes album, Right On. 1996 - "Little Trouble Girl". Diana Ross & The Supremes gave their final performance together on January 14, 1970 at the Frontier Hotel in Las Vegas; a live recording the performance was released later that year in a double-LP box set entitled Farewell. 1993 - "Whores Moaning - Oz '93 Tour Edition". The next month, "Someday We'll Be Together" hit #1 on the pop charts, becoming the final #1 hit of the 1960s. 1993 - "Sugar Kane". In November 1969, Ross' solo career was officially announced. 1992 - "Youth Against Fascism". One of them, "Someday We'll Be Together", was set to be her first solo single; Gordy instead had the song released as the final Diana Ross & the Supremes single. 1992 - "100%". At the same time, Diana Ross began making her first solo recordings. 1990 - "Disappearer". Terrell was signed to Motown and began recording the first post-Ross Supremes songs with Wilson and Birdsong by day, while Wilson and Birdsong toured with Ross by night. 1990 - "Kool Thing". After seeing 24-year-old Jean Terrell performing with her brother Ernie in Florida, Berry Gordy decided that she would be Ross' replacement. 1989 - "Candle". A number of candidates, most notably Syreeta Wright, were considered to replace Ross as the lead singer. 1988 - "Teenage Riot". By 1969, Motown had begun plans for a Diana Ross solo career. 1986 - "Starpower". on Broadway (aired November 12, 1969). 1986 - "Into the Groove(y)" (as Ciccone Youth). Among the joint projects were two studio LPs (Diana Ross & the Supremes Join The Temptations, featuring the #2 hit single "I'm Gonna Make You Love Me", and Together), a joint tour, and two NBC television specials, TCB (aired December 9, 1968) and G.I.T. 1986 - "Halloween II". Besides the fact that both groups had come up together, the pairings also made financial sense, since the Supremes had a mostly white fanbase, and the Temptations a mostly black fanbase. 1986 - "Flower/Satan is Boring". In mid-1968, Motown began a number of high-profile collaborations for the Supremes with their old colleagues, The Temptations. 1985 - "Flower/Halloween". In a cultural climate now influenced more than ever by countercultural movements such as the Black Panther Party, the Supremes found themselves attacked for not being "black enough", and lost ground in the black music market as a result. SYR3: Invito Al Celo (SYR, 1998). The gospel-based soul of female performers like Aretha Franklin and Gladys Knight of The Pips had eclipsed the Supremes' pop-based sound. Silver Session (For Jason Knuth) (Sonic Knuth Records, 1998). The changes within the group and their decreasing sales were signs of changes within the music industry. SYR2: Slaapkamers Met Slagroom (SYR, 1997). Because of the tension within the group and stringent touring schedules, neither Mary Wilson nor Cindy Birdsong appear on many of these singles; they were replaced on these recordings by session singers such as The Andantes. SYR1: Anagrama (SYR, 1997). From the release of "Reflections" in 1967 to the release of "The Weight" in 1969, only six out of the eleven released singles reached the Top 20, and only one of those, 1968's "Love Child", managed to make it to #1. Kill Yr Idols (Zensor, 1983) †. Even worse, Holland-Dozier-Holland left Motown in 1968 after a dispute with the label over royalties, and the quality of Motown's output (and Diana Ross & the Supremes' records in particular) began to falter. Sonic Nurse (DGC, 2004). In 1971, Ballard sued Motown for $8.7 million, claiming that Gordy and Diana Ross had conspired to force her out of the group; the judge ruled in favor of Motown. Ballard eventually sunk into poverty and died on February 22, 1976 at the age of 32. Murray Street (DGC, 2002). Attempting a solo career with ABC Records, Ballard's two 1968 singles failed to chart and her solo album was shelved. NYC Ghosts & Flowers (DGC, 2000). Florence Ballard's release from Motown was made final on February 22, 1968, with Ballard receiving a one-time payment of $139,804.94 in royalties and earnings [2] (http://www.freep.com/motownat40/archives/102971mo.htm). SYR4: Goodbye 20th Century (SYR, 1999). 1 & 2, a #1 album in both the US and the UK, became the first album to do so that September. A Thousand Leaves (DGC, 1998). A month later, Motown released "Reflections", the first single to feature the new group name. Diana Ross & the Supremes Greatest Hits Vols. Made in USA (Rhino, 1995). After the first show, Ballard was permanently fired from the Supremes, and Birdsong officially assumed her place during second show. Washing Machine (DGC, 1995). June 28, 1967 marked the group's first appearance as Diana Ross & the Supremes at the Flamingo Hotel in Las Vegas, Nevada. Screaming Fields of Sonic Love (DGC, 1994). The Supremes continued to perform and appear with Ballard, while Birdsong was kept on-hand as a stand-in as she was groomed to replace Ballard. Experimental Jet Set, Trash and No Star (DGC, 1994). Later that month, a meeting was held between the Supremes and Berry Gordy, where it was determined that Birdsong would leave the Blue Belles and become Ballard's permanent replacement. Dirty (DGC, 1992). Birdsong first stood in for Ballard for an engagement at the Hollywood Bowl. Goo (DGC, 1990). Ballard would sometimes arrive at shows too drunk to perform, or not show up at all, and in April 1967, Gordy hired Cindy Birdsong, a member of Patti LaBelle & the Blue Belles, as a stand-in. Daydream Nation (Enigma/Blast First, 1988). Although Gordy
maintained that the name change was done so that Motown could demand more money for live bookings (because they would be
providing two acts--a lead singer and a group--instead of just one), the name change sparked rumors of a possible Ross solo
career, and helped to tear the group completely apart. "The White(y)
Album" (Enigma/Blast First, 1988, as Ciccone Youth, Bad Moon Rising (Homestead, 1985). As Ross became the focal point of the group, Florence Ballard began to feel pushed aside in the group she had started; she began drinking excessively and gained weight until she no longer could wear many of her outfits. Sonic Death* (Ecstatic Peace, 1983). A resulting romantic relationship between Gordy and Ross further complicated matters, creating a divide between Ross and the other Supremes. Confusion Is Sex (Neutral, 1983). Many of the other Motown performers, particularly Martha Reeves of the Vandellas, felt that Berry Gordy was lavishing too much attention upon The Supremes and upon Diana Ross in particular. Sonic Youth (Neutral, 1982). Personnel problems within the group and within Motown Records' stable of performers led to tension among the Supremes. The Supremes broke down many racial barriers, becoming one of the first black musical acts to appear regularly on television programs such as The Ed Sullivan Show, and achieving the crossover success Berry Gordy had been pushing for, paving the way for the mainstream success of labelmates such as The Temptations, The Four Tops, and Motown's 1970s pop sensation The Jackson 5. Partially because of Diana Ross’ pop-friendly voice, The Supremes became hugely popular with international mainstream audiences. The black rock-and-roll musicians of the 1950s saw many of their hit tunes covered by white musicians, with the covers achieving more fame & sales success than the originals. Broadway and pop standards were incorporated into their repertoire alongside their own hit songs. Resultantly, the Supremes were the first black musical act, male or female, to become a complete crossover success since arguably the days of Cab Calloway. Popular with white audiences as well as black audiences, Gordy had the Supremes cater to their middle American fan base, grooming them for performances at renowned supper clubs such as the Copacabana in New York. By the end of 1966, their #1 hits also included "I Hear a Symphony", "You Can't Hurry Love", and "You Keep Me Hangin' On"; and their 1966 album The Supremes A' Go-Go became the first album by a female group to make it to #1 on the US album chart. Almost immediately after their first #1 hits, they recorded songs for motion picture soundtracks, appeared in the 1965 film Beach Ball, and endorsed dozens of products, even at one point having their own brand of bread. They toured the globe, becoming almost as popular abroad as they were in America. By 1965, the Supremes were international stars. Gordy wanted the Supremes, like all of his performers, to be equally appealing to black and white audiences, and he also sought to erase the image of black performers as being unrefined or lacking class. Instead of the plain appearances and basic dance routines, The Supremes' on-stage appearance featured high-fashion gowns and wigs, detailed makeup, and graceful choreography. Also, unlike many of her contemporaries, Diana Ross sung in a thin, calm voice, and her vocal styling was matched by having the girls embellish their own femininity instead of imitating the qualities of male groups. Much of this was accomplished at the behest of Motown chief Berry Gordy and Maxine Powell, who ran Motown's in-house finishing school and Artist Development department. Unlike their predecessors, the Supremes became the first black female performers to embrace a more feminine image. After 1965, the Supremes' singles were less uniformly massive, though they still charted on a regular basis, the combination of Holland-Dozier-Holland's songwriting and production, Diana Ross' lead vocals, and Mary Wilson and Florence Ballard's background vocals making for a winning combination. In August 1964, while traveling as a part of Dick Clark's Caravan of Stars tour, "Where Did Our Love Go" reached #1 on the US pop charts, much to the surprise and delight of the group; it was also their first song to reach the UK pop charts, going to #3. "Where Did Our Love Go" was followed by four more #1 hits: "Baby Love" (which also went to #1 in Britain), "Come See About Me" (UK #27), "Stop! In the Name of Love" (UK #7), and "Back in My Arms Again". Although the Supremes did not like the idea of recording a second-hand song, because of their track record, they didn't feel they had a choice. The song was originally intended by Holland-Dozier-Holland for The Marvelettes, who rejected it. In the spring of 1964, the Supremes recorded a single entitled "Where Did Our Love Go". She also began going by "Diana" at this time. A few months later, Berry Gordy made Diane Ross the sole lead singer of the group, because he felt her higher register would help the group cross over to white audiences. In December 1963, the Supremes finally scored their first Top 40 hit, "When the Lovelight Starts Shining Through His Eyes," (US #23), the first of many Supremes songs written by the Motown songwriting and production team of Holland-Dozier-Holland. Most of their early material was written and produced by either Berry Gordy or Smokey Robinson. During these early years, all three members took turns singing lead on various songs; Mary Wilson favoring the ballads, Florence Ballard the more soulful and up-tempo songs, and Diane Ross the more mainstream pop numbers. Jokingly referred to as the "no-hit Supremes" around Motown's Hitsville USA offices, the girls tried to make up for their lack of a bonafide hit by taking on any chore that was available at the studio, including performing hand claps and singing backup for Motown artists such as Marvin Gaye and The Temptations. Between 1961 and 1963, the Supremes released eight singles, all of which missed the Top 40. This combination persisted into the early 1960s, with groups like the Shirelles and Motown contemporaries The Marvelettes and Martha & the Vandellas, all of whom found fame and success before the Supremes. Female groups imitated the rough, energetic vocal and performance styles of these male groups, but dressed in a modest, almost conservative, style. Miracles lead singer Smokey Robinson was Diane Ross' neighbor and the uncle of one of her friends, and his group's passionate performance styles were a significant influence on the girls. Just in their early teens when they started singing together, the Supremes, like their contemporaries, were influenced by and mimicked the styles of male doo-wop and R&B groups like The Drifters, Frankie Lymon & The Teenagers, The Isley Brothers, and their mentors The Primes. That fall, Martin left to start a family and the group continued as a trio. The Supremes signed with Motown on January 15, 1961. However, Gordy liked it, and the name stuck. She chose The Supremes, which both Wilson and Ross disliked at first, thinking it too masculine. Gordy gave Ballard a list of names to choose from. In January 1961, Gordy finally relented and decided to sign the group to Motown, on the condition that they change their name (the Primes had by this time combined with Otis Williams & the Distants and would soon sign to Motown as The Temptations). During that same year, McGlown left the group to concentrate on her school studies and was replaced by Barbara Martin. Undaunted, The Primettes made a single for the Lupine label in 1960, "Tears of Sorrow" backed with "Pretty Baby," which failed to find an audience. One of the girls' goals was to get signed to the then new local Motown record label; they auditioned a number of times for label head Berry Gordy, who turned them down on the basis that he felt the girls were too young and lacked experience. The Primettes soon began performing at record hops, social clubs, and talent shows around the Detroit area. Since Ballard herself also sung, the Primes' manager Milton Jenkins asked Florence in early 1959 to create a sister group called The Primettes. Ballard recruited her best friend Mary Wilson, who recruited classmate Diane Ross; Jenkins added Betty McGlown to complete the lineup. In 1958, Florence Ballard, a junior high school student in the Detroit, Michigan projects, met and became acquainted with Paul Williams and Eddie Kendricks, two members of a Detroit male singing group known as The Primes. After 1972, the lineup of the Supremes changed frequently, with Lynda Laurence, Scherrie Payne, and Susaye Greene all becoming members before the group ended its eighteen-year existence in 1977. Ross left the group for a solo career in 1970, and was replaced by Jean Terrell. After they achieved success in the mid-1960s with Ross as the lead singer, Motown president Berry Gordy renamed the group Diana Ross & the Supremes in 1967, and replaced Ballard with Cindy Birdsong. Martin left at the end of 1961, and Ross, Ballard, and Wilson carried on as a trio. In 1960, Barbara Martin replaced McGlown, and the group signed with Motown in 1961 as The Supremes. Founding members Florence Ballard, Mary Wilson, Diana Ross, and Betty McGlown, all from the Brewster-Douglas public housing project in Detroit, were the sister act to The Primes (later The Temptations). Founded in Detroit, Michigan in 1959, The Supremes began as a quartet called The Primettes. The crossover success of the Supremes during the mid-1960s paved the way for future black soul and R&B acts to gain mainstream audiences both in the United States and overseas. One of Motown's signature acts, The Supremes were the most successful black musical act of the 1960s [1] (http://www.allmusic.com/cg/amg.dll?p=amg&token=ADFEAEE4791FDB46AD7220E2872D4DC6A160D41BDB47FE973E21455992B63E45915B5BC944E593ADB6B674AB78A6E02CA45A0A9FCDE452FED665392DED93&sql=11:1s320r1ac48v), recording twelve #1 hits between 1964 and 1969, many of them written and produced by Motown's main songwriting and production team, Holland-Dozier-Holland. The Supremes were a very successful Motown all girl singing group active from 1959 until 1977, performing at various times during its existence doo-wop, pop, soul, Broadway showtunes, psychedelia, and disco. Holland-Dozier-Holland. The Temptations. Motown. New York: Random House. ISBN 051-716622-4. Secrets of a Sparrow: Memoirs. Ross, Diana (1993). ISBN 071-199511-7. London: Omnibus Press. Where Did Our Love Go: The Rise and Fall of the Motown. 2003). George, Nelson (1985, rev. ISBN 081-541000-X. New York: Cooper Square Publishers. Dreamgirl & Supreme Faith: My Life as a Supreme. Wilson, Mary and Romanowski, Patricia (1986, 1990, 2000). BBC News.. 5, 2000). (Apr. Supremes return for tour (http://news.bbc.co.uk/1/hi/entertainment/702634.stm). London: Muze UK. In Encyclopedia of Popular Music. (2004). The Supremes. ISBN 037-550062-6. New York: Random House. Motown : Music, Money, Sex, and Power. Posner, Gerald (2002). ISBN 082-308430-2. New York: Billboard Books/Watson-Guptill Publications. The Soulful Divas: Personal Portraits of over a Dozen Divine Divas. Nathan, David (2002). Detroit Free Press.. Ex-Supreme rejected in Motown suit (http://www.freep.com/motownat40/archives/102971mo.htm). 29, 1971). Knight, Jack (Oct. Diana Ross' tour excludes old partner, friend" (http://archives.cnn.com/2000/SHOWBIZ/Music/04/20/mary.wilson/). CNN.com.. 20, 2000). Clinton, Paul (Apr. New York: Motown Record Co./Universal Music. "Reflections Of..." The Supremes [CD Box Set]. Chin, Brian and Nathan, David (2000). WETM 18 Online.. Beyonce Knowles Set For "Dreamgirls" Role (http://www.wetmtv.com/entertainment/story.aspx?content_id=8F5D3FD1-C538-4EEE-8176-50A368FF0AB4). (Jan 21, 2005). 1968: TCB (with The Temptations) (US #2). 1968: Diana Ross & the Supremes Join the Temptations (US #2). 1 & 2 (US #1, UK #1). 1967: Diana Ross & the Supremes Greatest Hits, Vols. 1967: The Supremes Sing Holland-Dozier-Holland (US #6). 1966: The Supremes A' Go-Go (US #1). 1966: I Hear a Symphony (US #8). 1965: Merry Christmas (US #6). 1965: More Hits By The Supremes (US #6). 1964: Where Did Our Love Go? (US #2). Download sample (http://upload.wikimedia.org/wikipedia/en/7/74/Stoned-love-supremes-1970.ogg) of "Stoned Love". Download sample (http://upload.wikimedia.org/wikipedia/en/5/58/Someday-together-supremes-1969.ogg) of "Someday We'll Be Together". Download sample (http://upload.wikimedia.org/wikipedia/en/b/b2/Love-child-supremes-1968.ogg) of "Love Child". Download sample (http://upload.wikimedia.org/wikipedia/en/7/76/Reflections-supremes-1967.ogg) of "Reflections". Download sample (http://upload.wikimedia.org/wikipedia/en/8/8d/Keep-me-hangin-supremes-1966.ogg) of "You Keep Me Hangin' On". Download sample (http://upload.wikimedia.org/wikipedia/en/1/17/Cant-hurry-supremes-1966.ogg) of "You Can't Hurry Love". Download sample (http://upload.wikimedia.org/wikipedia/en/0/0c/Hear-symphony-supremes-1965.ogg) of "I Hear a Symphony". Download sample (http://upload.wikimedia.org/wikipedia/en/e/ef/Stop-supremes-1965.ogg) of "Stop! In the Name of Love". Download sample (http://upload.wikimedia.org/wikipedia/en/0/06/Baby-love-supremes-1964.ogg) of "Baby Love". Download sample (http://upload.wikimedia.org/wikipedia/en/a/ae/Where-love-go-supremes-1964.ogg) of "Where Did Our Love Go". Download sample (http://upload.wikimedia.org/wikipedia/en/e/eb/Lovelight-starts-supremes-1963.ogg) of "When the Lovelight Starts Shining Through His Eyes" (the group's first US Top 40 hit). Download sample (http://upload.wikimedia.org/wikipedia/en/9/97/Tears-sorrow-primettes-1960.ogg) of "Tears of Sorrow" (the group's 1960 single as The Primettes). 1972: "Automatically Sunshine" (UK #10). 1972: "Floy Joy" (UK #9). 1971: "Nathan Jones" (UK #5). 1970: "Stoned Love" (US #7, UK #3). 1970: "Up the Ladder to the Roof" (US #10, UK #6). 1969: "Someday We'll Be Together" (US #1). 1969: "I'm Livin' in Shame" (US #10). 1968: "I'm Gonna Make You Love Me" (with The Temptations) (US #2). 1968: "Love Child" (US #1). 1967: "In and Out of Love" (US #9). 1967: "Reflections" (US #2, UK #5). 1967: "The Happening" (US #1, UK #6). 1967: "Love Is Here and Now You're Gone" (US #1). 1966: "You Keep Me Hangin' On" (US #1, UK #8). 1966: "You Can't Hurry Love" (US #1, UK #3). 1966: "Love Is Like an Itching in My Heart" (US #9). 1966: "My World Is Empty Without You" (US #5). 1965: "I Hear a Symphony" (US #1). 1965: "Back in My Arms Again" (US #1). 1965: "Stop! In the Name of Love" (US #1, UK #7). 1964: "Come See About Me" (US #1). 1964: "Baby Love" (US #1, UK #1). 1964: "Where Did Our Love Go" (US #1, UK #3). Susaye Greene (1976 - 1977). Scherrie Payne (1973 - 1977). Lynda Laurence (1972 - 1973). Jean Terrell (1970 - 1973). Cindy Birdsong (1967 - 1972, 1973 - 1976). Barbara Martin (1960 - 1961). Betty McGlown (1959 - 1960). Diana Ross (1959 - 1970). Mary Wilson (1959 - 1977). Florence Ballard (1959 - 1967). |