Supremes A' Go-Go (Remaster) The Supremes

Album Info

Album Veröffentlichung:


Label: Motown

Genre: R&B

Subgenre: Soul

Interpret: The Supremes

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  • 1Love Is Like An Itching In My Heart02:56
  • 2This Old Heart Of Mine (Is Weak For You)02:36
  • 3You Can't Hurry Love02:47
  • 4Shake Me Wake Me (When It's Over)02:47
  • 5Baby I Need Your Loving03:00
  • 6These Boots Are Made For Walking02:32
  • 7I Can't Help Myself02:36
  • 8Get Ready02:45
  • 9Put Yourself In My Place02:21
  • 10Money (That's What I Want)02:27
  • 11Come And Get These Memories02:19
  • 12Hang On Sloopy02:43
  • Total Runtime31:49

Info zu Supremes A' Go-Go (Remaster)

The Supremes A' Go-Go is the ninth studio album released by Motown singing group The Supremes in 1966. The album was the first album by an all-female group to reach number-one on the Billboard 200 album charts in the United States. Remaining on the Billboard album chart for 60 weeks, it sold over 3,275,000 copies in the USA according to Motown data.

Included are two of the Supremes' Top Ten Billboard Hot 100 singles; the number-nine hit 'Love Is Like an Itching in My Heart', and the number-one hit 'You Can't Hurry Love'.

„Supremes A' Go-Go was the group's first number one pop album, propelled to that place with help from a chart-topping single ('You Can't Hurry Love') and a marketing ploy that generated an irresistible song lineup. And along with The Supremes Sing Holland-Dozier-Holland, Supremes A' Go-Go has held its value better than almost any of the trio's most successful albums (which excludes We Remember Sam Cooke) -- in fact, back in the days when vinyl was the only game in town, used copies of this record sold faster and better than any of their other common '60s LPs, and for good reason. Various hits compilations had skimmed the most familiar songs off of Where Did Our Love Go, I Hear a Symphony, etc., but the very concept behind Supremes A' Go-Go -- getting the group to cover some of the top hits of other (mostly Motown) acts -- dictated that every song on this album was familiar in name, and only 'You Can't Hurry Love' was culled for any hits packages. There was a lot to recommend it musically, including the trio soaring rendition of 'Shake Me, Wake Me' and a version of 'Get Ready,' which, even if it was no threat to the Temptations, still could have been a hit. Similarly, 'Baby I Need Your Lovin'' and 'I Can't Help Myself' will always belong to the Four Tops, but Diana Ross, Mary Wilson, and Florence Ballard throw themselves into both (in a less weighty version of the former) with enough spirit to make them work as album cuts; 'Money' is diverting if less successful, and 'Come and Get These Memories' is worth checking out just to hear Florence Ballard and Mary Wilson step forward. And even the non-Motown covers, like 'These Boot Are Made for Walkin'' and 'Hang on Sloopy,' make worthwhile listening, with Ross turning in a surprisingly strong, passionate performance on the latter. A number one album in its time on the pop and R&B charts, Supremes A' Go-Go also benefited from the fact that there were no pop standards or slow ballads here, just solid R&B dance numbers.“ (Bruce Eder, AMG)

Diana Ross, lead vocals (except on 'Come and Get These Memories')
Mary Wilson, background vocals, lead on 'Come and Get These Memories'
Florence Ballard, background vocals
The Andantes, background vocals on 'Put Yourself in My Place' and 'Come and Get These Memories'
The Funk Brothers, instrumentation
The Detroit Symphony Orchestra

Produced by Brian Holland, Lamont Dozier, Hal Davis, Frank Wilson

Digitally remastered

The Supremes
It was more than a record-setting chart sweep that began when “Where Did Our Love Go” made DIANA ROSS AND THE SUPREMES into household names in the summer of 1964. It was really a love affair — between three women and the world. Along with the charmed circle of Motown singers, writers, producers and players, they re-wrote the book on pop music in the Sixties and Seventies. “Where Did Our Love Go,” written by Brian Holland, Lamont Dozier and Eddie Holland, established a sound and a group in one giant step, with Diana Ross’s bright, insinuating lead, and hypnotic repeating counterpoint from Mary Wilson and Florence Ballard. The Supremes left Detroit in early summer on a Dick Clark tour bus at the bottom of the bill, but with excitement mounting, they returned with their first No. 1 record of five in a row.

Within a year, Diana Ross and the Supremes notched up six No. 1 pop singles, and they would post another six pop chart-toppers by the end of the decade. But the fact of that accomplishment is only one facet of the group’s significance. The sound was so refreshing, the look so flawless, and the vibe so compelling that Diana Ross and the Supremes became no less than a defining reference point for America, for admiring musicians and fans worldwide, and for successive generations of female pop artists.

The Motown Sound was a powerful hybrid. Holland-Dozier-Holland and the legendary Motown rhythm players used blues, jazz, R&B, classical and pop devices to craft a run of Supremes hits that was danceable, melodic and diverse; funky and classy, all at once. When British pop-rock invaded the world and obsoleted most American teen acts, Motown’s mix of ghetto soul and pop polish rocketed Detroit’s talented artists onto center stage. The Supremes’ “Baby Love” was the only record by an American group to top the British charts in 1964. Motown’s ingenious new fusion was the new sound that no one could duplicate — and everybody in pop and R&B tried.

Every variation on the Supremes theme was recognizably theirs, yet fresh and individual. If “Baby Love,” the second Supremes No. 1, was crafted in a classic follow-up strategy, the sophisticated yet swinging “I Hear a Symphony” took the formula to the sparkling musical and emotional conclusion. In the other three No. 1’s of that magic first year, “Come See About Me,” “Stop! in the Name of Love,” and “Back in My Arms Again,” the piston-like four-four Motown beat evolved into a classic trademark sound. But each song’s fierce arsenal of hooks — in arrangement, story line, and even choreography — made each of them a real re-invention, and an unforgettable episode in a continuing love story.

With six No. 1 records in a little over a year, Diana Ross and the Supremes all but owned the word “baby” — and they put a unmistakable claim on the word “classic,” too. The dominance of the group in the pop arena reminded the entire world how much of popular culture was rooted in America’s black community. Their music was helping to redefine America as a multi-cultural society, in the eyes of the world, and in the nation’s own eyes. Motown’s hard work ethic, upward mobility and inclusive mentality exemplified the American dream for many. So pervasive was the Motown drive that founder Berry Gordy Jr. once issued a company memo directing that “We will release nothing less than Top Ten product on any artist. And because the Supremes’ world-wide acceptance is greater than the other artists, on them we will release only #1 records.”

This ambition has made the Motown system the avowed role model for every entrepreneur that followed in the music industry. It also made Diana Ross and the Supremes’ body of work an absolute amazement of riches: it’s hard, without the charts in front of you, to recall which were No. 1’s and which weren’t, since they all sound like No 1’s in retrospect. “My World is Empty Without You,” a moody introspection worthy of “Bernadette,” was followed up by the locomotive “Love is Like an Itching in My Heart,” all bluesy sentiment, with a Smokey-esque rhyme scheme. Put it on and see if that Supremes A Go Go album cover doesn’t materialize in your mind’s eye, with Diana whipping her hair back. Diana Ross and the Supremes’ hits turned out to be both timely and timeless: the rhythm and drama of “You Keep Me Hangin’ On” predicted disco’s hyperactivity, while “Reflections” and “Love Child” responded to shifting musical and social trends, but maintained the emotional immediacy of the first Supremes hits. They forged a Tin Pan Alley-like fusion in “You Can’t Hurry Love,” and more pop classicism of the purest sort followed, in “Someday We’ll Be Together.”

The visuals of Diana Ross and the Supremes were imprinted on America’s consciousness at the same time that their run of hits was mounting. The lush sound of “Love is Here and Now You’re Gone,” which kicked off 1967 at No. 1, was of a piece with the group’s runway glamor and uptown chic. The movie theme “The Happening” was another key chart-topper for a group that had led Motown off the Motortown Revue buses and onto the stages of Vegas and the New York supper clubs. Berry Gordy’s determination to groom and present Motown acts in every corner of the world, and in every entertainment medium, would lead Diana Ross and the Supremes to co-starring turns with legendary labelmates The Temptations in two top-rated television specials, Takin’ Care of Business and Get It Together on Broadway, and in a top 10 single, “I’m Gonna Make You Love Me.”

None of the music seemed to date itself, as Supremes songs were remade repeatedly while the originals continued to play on radio, in movies and TV. It proved this: the sound of young America spoke to the dreams of young America. The Supremes phenomenon is often documented with iconic images — wigs and lashes; homemade teenage dresses that transformed, Cinderella-like, into designer couture; three beautiful faces in repose or in the heat of performance; and that unforgettable Stop!, gesture, to name just a few. But the significance of this success story weren’t to be found in the freeze-famed past. The real ripple effects were to be seen in the world itself — in the cultural significance of putting three beautiful black women on The Ed Sullivan Show. (Classic Motown)

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