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███▄░ Proudly Presents : ▄███
▄ ▀███▄ The_Supremes - The_Best_Of_Live_And_More ░▄▓██▀ ▄
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▓ ▄ ▀▓█▌ RiPPER........: TEAM JCE ▐██▀ ▄ ▓
█▄▄▄ ▐███ LABEL.........: BUTTERFLY PROJECTS LIMITED ███▌░▄▄▄█
▄ ▀ ▄▓██▌ ENCODER.......: Lame 3.931 ▐███▄ ▀ ▄
▀ ▄▓████▌ BiTRATE.......: 192kbps ▐▓████▄ ▀
▓▓████▀ MODE..........: Full Stereo ▀▓████▓
▐▓███▀░ DATE.RiPPED...: Nov.-12-2003 ▀████▌
▓███▌▄█▄ DATE.RELEASED.: Xxx-Xx-1997 ▄█▄▐███▓
▓███░▀▐█▌ RELEASE.SiZE..: 87,7 MB ▐█▌▀ ████
▐▓██▌▄█▀ TRACKS........: 21 ▀█▄▐███▌
░▀██▓▀ SOURCE........: CDDA ▀██▓▀░
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█ NR TRACKNAME TiME █
▓ ▓
█ 01 You Keep Me Hangin' On 02:46 █
█ 02 Nathan Jones 01:36 █
█ 03 Stop! In The Name Of Love 01:03 █
█ 04 Come See About Me 00:58 █
█ 05 Crazy 'bout The Guy 03:34 █
█ 06 Holland-Dozier-Holland Medley 04:24 █
█ 07 Up The Ladder To The Roof 03:17 █
█ 08 Stoned Love 04:01 █
█ 09 I Love Music 01:23 █
█ 10 I Hear A Symphony 02:34 █
█ 11 The Happening 02:51 █
█ 12 You Can't Hurry Love 03:02 █
█ 13 Back In My Arms Again 02:48 █
█ 14 Automatically Suschine 03:01 █
█ 15 I Guess I'll Miss The Man 02:38 █
█ 16 He's My Man 03:08 █
█ 17 I'm Gonna Let Me Heart Do The Walking 03:22 █
█ 18 You're My Driving Wheel 03:57 █
█ 19 Crumbs Off The Table 03:30 █
█ 20 Feelin' Alright 04:21 █
█ 21 Private Number (Slammin' Jammin' Mix) 05:28 █
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▓ TOTAL 63:42 min ▓
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▐████▄ ▄▄▓█████████▀▀ ▀█▌ ▐█ █▌ NOTES ▐█ █▌ ▐█▀ ▀▀▓███████▓█▄▄ ▄████▌
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▓ ▓
▓ Artist Information: 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 ▓
▓ ▓
▓ This here is a live concert of 10 songs recorded at ▓
▓ The Dominion Theatre, London on 26th November 1990, ▓
▓ and it also includes 12 bonus studio recordings... ▓
▓ ENJOY ▓
▓ ▓
▓ .....Another Classic CD From Your Uncles's DB....... ▓
▓ --------------->JCE RULEZ THIS SHIT<----------------- ▓
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█▓██▄ So you think you can contribute ? Then read below ▄▓██▓
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░▀█▀▐███▓ - Supplying linux bnc shells to the group (for free). ████▌▀█▀
░▄▓███▌ They should have 2mbit MINIMUM link. ▐███▓▄░
▄▓████▓ We are only interested in NON-HACKED/LEGAL shells. █████▓▄░
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▐▌▀██▄█▌ Remember, we do this just for FUN. We are against any ▐▓▄██▀▐▌░
▄█▄ ▀▓▀ profit or commercialisation of piracy. we BUY all our ▀█▀ ▄█▄
▐█▀██▄▐▓ own releases with our own money, as we love all music. █▌▄██▀▓▌
▓▌ ░▀██▌ The orignal is always the Best! And if you like this ▐██▀ ░▐█
▐█▄ ▀ release, BUY it. We HAVE! ▀ ▄█▌
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█ ▄ ▀▓█▌ CONTACT: ▐██▀ ▄ █
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▄ ▀ ▄██▓▌ Email: jce@hushmail.com (Read Above First) ▐███▄ ▀ ▄
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