As a solo artist, Diana Ross is one of the most successful female singers of the rock era. If you factor in her work as the lead singer of the Supremes in the 1960s, she may be the most successful. With her friends Mary Wilson, Florence Ballard, and Barbara Martin, Ross formed the Primettes vocal quartet in 1959. It included three (Lp sized) portraits, One of Diana, Mary and Florence. This Cd copy is only one copy of the original two Lp set. In order obtain the complete set, you need to buy Volume II. This Cd is Titled (Diana Ross & The Supremes-Greatest Hits Volume I) You need to also purchase (Diana Ross & The Supremes-Greatest Hits Volume II).
Artist Biography by Richie Unterberger
DIANA ROSS & THE SUPREMES-20 Greatest Hits-CD by Diana Ross And The Supremes. (1994-08-02) by The Supremes and Diana Ross 4.6 out of 5 stars 102. Audio CD $34.71 $ 34. $3.99 shipping. Only 1 left in stock - order soon. More Buying Choices $9.84 (15 used & new offers) MP3 Music.
The most successful black performers of the '60s, 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 characteristic 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 & 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 was 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 '60s for which they'll be remembered.
Diana Ross – Discography (1970 – 2012) EAC Rip | 57xCD | FLAC/APE Tracks & Image + Cue + Log | Full Scans Included Total Size: 23.9 GB | 3% RAR Recovery STUDIO ALBUMS | COMPILATIONS Label: Various | Genre: Adult Contemporary, R&B
As a solo artist, Diana Ross is one of the most successful female singers of the rock era. If you factor in her work as the lead singer of the Supremes in the 1960s, she may be the most successful. With her friends Mary Wilson, Florence Ballard, and Barbara Martin, Ross formed the Primettes vocal quartet in 1959. In 1960, they were signed to local Motown Records, changing their name to the Supremes in 1961. Martin then left, and the group continued as a trio. Over the next eight years, the Supremes (renamed “Diana Ross and the Supremes” in 1967, when Cindy Birdsong replaced Ballard) scored 12 number one pop hits. After the last one, “Someday We’ll Be Together” (October 1969), Ross launched a solo career.
Motown initially paired her with writer/producers Nickolas Ashford and Valerie Simpson, who gave her four Top 40 pop hits, including the number one “Ain’t No Mountain High Enough” (July 1970). Ross branched out into acting, starring in a film biography of Billie Holiday, Lady Sings the Blues (November 1972). The soundtrack went to number one, and Ross was nominated for an Academy Award.
She returned to record-making with the Top Ten album Touch Me in the Morning (June 1973) and its chart-topping title song. This was followed by a duet album with Marvin Gaye, Diana & Marvin (October 1973), that produced three chart hits. Ross acted in her second movie, Mahogany (October 1975), and it brought her another chart-topping single in the theme song, “Do You Know Where You’re Going To.” That and her next number one, the disco-oriented “Love Hangover” (March 1976), were featured on her second album to be titled simply Diana Ross (February 1976), which rose into the Top Ten.
Ross’ third film role came in The Wiz (October 1978). The Boss (May 1979) was a gold-selling album, followed by the platinum-selling Diana (May 1980) (the second of her solo albums with that name, though the other, a 1971 TV soundtrack, had an exclamation mark). It featured the number one single “Upside Down” and the Top Ten hit “I’m Coming Out.” Ross scored a third Top Ten hit in 1980 singing the title theme from the movie It’s My Turn. She then scored the biggest hit of her career with another movie theme, duetting with Lionel Richie on “Endless Love” (June 1981). It was her last big hit on Motown; after more than 20 years, she decamped for RCA. She was rewarded immediately with a million-selling album, titled after her remake of the old Frankie Lymon and the Teenagers hit, “Why Do Fools Fall in Love,” which became her next Top Ten hit. The album also included the Top Ten hit “Mirror, Mirror.”
Silk Electric (October 1982) was a gold-seller, featuring the Top Ten hit “Muscles,” written and produced by Michael Jackson, and Swept Away (September 1984) was another successful album, containing the hit “Missing You,” but Ross had trouble selling records in the second half of the 1980s. By 1989, she had returned to Motown, and by 1993 was turning more to pop standards, notably on the concert album Diana Ross Live: The Lady Sings…Jazz & Blues, Stolen Moments (April 1993).
Motown released a four-CD/cassette box set retrospective, Forever Diana, in October 1993, and the singer published her autobiography in 1994. Take Me Higher followed a year later, and in 1999 she returned with Every Day Is a New Day. 2000’s Gift of Love was promoted by a concert tour featuring the Supremes, although neither Mary Wilson nor Cindy Birdsong appeared — their roles were instead assumed by singers Lynda Laurence and Scherrie Payne, neither of whom had ever performed with Ross during the group’s glory days. In 2006 Motown finally released Ross’ lost album Blue, a collection of standards originally intended as the follow-up to Lady Sings the Blues. The album I Love You from 2007 featured new interpretations of familiar love songs. That same year the cable television network BET honored Ross with their Lifetime Achievement Award. ― Allmusic
[su_spoiler title=”UPDATES” icon=”plus-square-1″ style=”fancy”] 29/11/2017 – ADDED TO:
2. COMPILATION ALBUMS:
2001. The Motown Anthology (2001, Motown, 440 013 583-2, USA, 2CD)
[/su_spoiler] 1. STUDIO ALBUMS:
1970. Ain’t No Mountain High Enough (1986, Motown, 3746351352, USA) 1970. Diana Ross (2012, Universal, UICY-75381, Japan, SHM-CD)
1970. Everything Is Everything (2012, Universal, UICY-75382, Japan, SHM-CD)
1981. Why Do Fools Fall In Love (1983, Capitol, CDP 7 46023 2, W.Germany) 1981. Why Do Fools Fall In Love (2005, Toshiba-EMI, TOCP-53431, Japan) 1981. Why Do Fools Fall In Love (2014, Funky Town Grooves, FTG-383, USA, Expanded Ed)
1982. Silk Electric (2005, Toshiba-EMI, TOCP-53432, Japan) 1982. Silk Electric (2014, Funkytowngrooves, FTG-384, USA, Expanded Ed)
Diana Ross & The Supremes Greatest Hits
1983. Ross (1983, Toshiba-EMI, CP35-3068, Japan, Black Triangle) 1983. Ross (2005, Toshiba-EMI, TOCP-53433, Japan) 1983. Ross (2014, Funkytowngrooves, FTG-385, USA, Expanded Ed)
1985. Eaten Alive (1985, Toshiba-EMI, CP32-5083, Japan, Black Triangle)
1987. Red Hot Rhythm & Blues (1987, EMI, CDP 7 46787 2, UK) 1987. Red Hot Rhythm & Blues (1997, RCA-Victor, 6388-2-R, USA) 1987. Red Hot Rhythm & Blues (2005, Toshiba-EMI, TOCP-53436, Japan)
1991. The Force Behind The Power (1991, Toshiba-EMI, TOCP-6840, Japan)
Diana Ross And The Supremes Greatest Hits Rar Software Download
1995. Take Me Higher (1995, Motown, 314530586-2, USA) 1995. Take Me Higher (2005, Toshiba-EMI, TOCP-53439, Japan)
1999. Every Day Is A New Day (1999, Motown, 314 549 522-2, USA) 1999. Every Day Is A New Day (1999, Toshiba-EMI, TOCP-65206, Japan)
2006. I Love You (2006, EMI, 094637661727, Holland)
2. COMPILATION ALBUMS:
1976. Diana Ross’ Greatest Hits (1991, Motown, 3746308692, USA)
1982. Diana’s Duets (1992, Motown, 3746352142, USA)
1992. Endless Love (1992, RCA-BMG, 07863-61136-2, USA)
1993. One Woman. The Ultimate Collection (2012, EMI, TOCP-53667, Japan)
1996. Voice of Love (1996, EMI, 724385480225, Holland)
1997. Greatest Hits. The RCA Years (1997, RCA-BMG, 07863 67410-2, USA)
2001. Love & Life. The Very Best Of Diana Ross(2001, EMI, 535 862 2, Holland, 2CD)
2001. The Motown Anthology (2001, Motown, 440 013 583-2, USA, 2CD)
2009. We Love Diana Ross. The Remix Collection(2009, Almighty, ALMYPRCD71, UK, 3CD, Promo-CDR)
2010. Diana. Rarities Edition (2010, Motown, B0013613-02, USA)
2012. The Best Of Diana Ross (2012, Universal, UICY-25237, Japan, SHM-CD)
Diana Ross And The Supremes Greatest Hits Rar Software Download
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