Originally founded as The Primettes in Detroit, Michigan, in 1959, The Supremes' repertoire included doo-wop, pop, soul, Broadway show tunes, psychedelic soul, and disco. They were the most commercially successful of Motown's acts and are, to date, America's most successful vocal group with 12 number one singles on the Billboard Hot 100. Most of these hits were written and produced by Motown's main songwriting and production team, Holland–Dozier–Holland. At their peak in the mid-1960s, The Supremes rivaled The Beatles in worldwide popularity, and their success made it possible for future African-American R&B and soul musicians to find mainstream success.
Founding members Florence Ballard, Mary Wilson, Diana Ross, and Betty McGlown, all from the Brewster-Douglass public housing project in Detroit,[3] formed The Primettes as the sister act to The Primes (with Paul Williams and Eddie Kendricks, who would go on to form The Temptations).[3] Barbara Martin replaced McGlown in 1960, and the group signed with Motown the following year as The Supremes. Martin left the act in early 1962, and Ross, Ballard, and Wilson carried on as a trio.
During the mid-1960s, The Supremes achieved mainstream success with Ross as lead singer. In 1967, Motown president Berry Gordy renamed the group Diana Ross & the Supremes, and replaced Ballard with Cindy Birdsong. Ross left to pursue a solo career in 1970 and was replaced by Jean Terrell, at which point the group's name reverted to The Supremes. After 1972, the lineup changed more frequently; Lynda Laurence, Scherrie Payne, and Susaye Greene all became members of the group during the mid-1970s. The Supremes disbanded in 1977 after an 18-year run.
The Supremes began by performing hit songs by artists such as Ray Charles and The Drifters at sock hops, social clubs and talent shows around the Detroit area. Receiving additional guidance from group friend and established performer Jesse Greer, the quartet quickly earned a local fan following. The girls crafted an age-appropriate style that was inspired by the collegiate dress of popular doo-wop group Frankie Lymon & the Teenagers; and, for the most part, Ballard, Ross and Wilson performed equal leads on songs. Within a few months, guitarist Marvin Tarplin was added to The Primettes' lineup - a move that helped distinguish the group from Detroit's many other aspiring acts by allowing the girls to sing live as opposed to lip-synch.
After winning a prestigious local talent contest, The Primettes' sights were set on making a record. In hopes of getting the group signed to the local upstart Motown label, in 1960 Ross asked an old neighbor, Miracles lead singer Smokey Robinson, to help the group land an audition for Motown executive Berry Gordy, who had already proven himself a capable songwriter. Robinson liked the girls and agreed to help, but he liked their guitarist even more; with The Primettes' permission he hired Tarplin, who became the guitarist for The Miracles. Robinson arranged for The Primettes to audition a cappella for Gordy - but Gordy, feeling the girls too young and inexperienced to be recording artists, encouraged them to return upon graduating from high school. Undaunted, later that year The Primettes recorded a single for Lu Pine Records (a label created just for them) entitled "Tears of Sorrow", which was backed with "Pretty Baby". The single, however, failed to find an audience. Shortly thereafter, McGlown became engaged and left the group. Local youth Barbara Martin was McGlown's quick replacement.
Determined to leave an impression on Gordy and join the stable of rising Motown stars, The Primettes frequented his Hitsville, U.S.A. recording studio every day after school. Eventually, they convinced Gordy to allow them to contribute hand claps and background vocals for the songs of other Motown artists including Marvin Gaye and Mary Wells. In January 1961, Gordy finally relented and agreed to sign the girls to his label - but under the condition that they change the name of their group. The Primes had by this time combined with Otis Williams & the Distants and would soon sign to Motown as The Temptations. Gordy gave Ballard a list of names to choose from that included suggestions such as "The Darleens", "The Sweet Ps", "The Melodees", "The Royaltones" and "The Jewelettes". Ballard chose "The Supremes", a name that Ross initially disliked as she felt it too masculine. Nevertheless, on January 15 the group signed with Motown as The Supremes. In the spring of 1962, Martin left the group to start a family. Thus, the newly named Supremes continued as a trio.
Between 1961 and 1963, The Supremes released eight singles, none of which charted in the Top 40 positions of the Billboard Hot 100. Jokingly referred to as the "no-hit Supremes" around Motown's Hitsville U.S.A. offices, the group attempted to compensate for their lack of hits by taking on any work available at the studio, including providing hand claps and singing backup for Motown artists such as Marvin Gaye and The Temptations. During these years, all three members took turns singing lead: Wilson favored soft ballads; Ballard favored soulful, hard-driving songs; and Ross favored mainstream pop songs. Most of their early material was written and produced by Berry Gordy or Smokey Robinson. In December 1963, the single "When the Lovelight Starts Shining Through His Eyes" peaked at number 23 on the Billboard Hot 100.
"Lovelight" was the first of many Supremes songs written by the Motown songwriting and production team known as Holland–Dozier–Holland. In late 1963, Berry Gordy chose Diana Ross as the official lead singer of the group. Ballard and Wilson were periodically given solos on Supremes albums, and Ballard continued to sing her solo number, "People", in concert for the next two years.
In the spring of 1964, The Supremes recorded the single "Where Did Our Love Go." The song was originally intended by Holland-Dozier-Holland for The Marvelettes, who rejected it. Although The Supremes disliked the song, the producers coerced them into recording it. In August 1964, while The Supremes toured as part of Dick Clark's Caravan of Stars, "Where Did Our Love Go" reached number one on the US pop charts, much to the surprise and delight of the group. It was also their first song to appear on the UK pop charts, where it reached number three.
"Where Did Our Love Go" was followed by four consecutive US number-one hits: "Baby Love" (which was also a number-one hit in the UK), "Come See About Me", "Stop! In the Name of Love" and "Back in My Arms Again". "Baby Love" was nominated for the 1965 Grammy Award for Best Rhythm & Blues Recording.
The Supremes became the first black female performers of the rock era to embrace a more feminine image. 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 many of her contemporaries, Ross sang in a thin, calm voice, and her vocal styling was matched by having all three women embellish their femininity instead of imitate the qualities of male groups. Eschewing plain appearances and basic dance routines, The Supremes appeared onstage in detailed make-up and high-fashion gowns and wigs, and performed graceful choreography created by Motown choreographer Cholly Atkins. Powell told the group to "be prepared to perform before kings and queens." Gordy wanted The Supremes, like all of his performers, to be equally appealing to black and white audiences, and he sought to erase the image of black performers as being unrefined or lacking class.
By 1965, The Supremes were international stars. They toured the world, becoming almost as popular abroad as they were in the US. Almost immediately after their initial number-one hits, they recorded songs for motion picture soundtracks, appeared in the 1965 film Beach Ball, and endorsed dozens of products, at one point having their own brand of bread. By the end of 1966, their number-one hits included "I Hear a Symphony", "You Can't Hurry Love" and "You Keep Me Hangin' On". That year the group also released The Supremes A' Go-Go, which became the first album by an all-female group to reach number one on the US Billboard 200, knocking The Beatles' Revolver out of the top spot.[28]
Because The Supremes were popular with white audiences as well as with black ones, Gordy had the group cater to its middle American fan base by grooming the women for performances at renowned supper clubs such as the Copacabana in New York. Broadway and pop standards were incorporated into their repertoire alongside their own hit songs. As a result, The Supremes became one of the first black musical acts to achieve complete and sustained crossover success. Black rock and roll musicians of the 1950s had seen many of their original hit tunes covered by white musicians, with these covers usually achieving more fame and sales success than the originals. The Supremes' success, however, counteracted this trend. Featuring three group members who were marketed for their individual personalities (a move unprecedented at the time) and Diana Ross’s pop-friendly voice, The Supremes broke down racial barriers with rock and roll songs underpinned by R&B stylings. The group became extremely popular both domestically and abroad, becoming one of the first black musical acts to appear regularly on television programs such as Hullabaloo, The Hollywood Palace, The Della Reese Show, and, most notably, The Ed Sullivan Show, on which they made 17 appearances. The Supremes' cross-cultural success effectively paved the way for the mainstream success of contemporaneous label mates such as The Temptations, The Four Tops and The Jackson 5.
Personnel problems within the group and within Motown Records' stable of performers led to tension among the members of The Supremes. Many of the other Motown performers, particularly Martha Reeves of Martha and the Vandellas, felt that Berry Gordy was lavishing too much attention upon the group—and upon Ross, in particular. A romantic relationship between Gordy and Ross further complicated matters, and created a schism between Ross and the other Supremes. As Ross became the focal point of The Supremes, Ballard felt pushed aside in the group. Depression ensued, and Ballard began to drink excessively, gaining weight until she could no longer comfortably wear many of her stage outfits. The friendship, and later the working relationship, between Ross and Ballard became strained.[30] During this turbulent period, Ballard relied heavily upon the advice of group mate Mary Wilson, with whom she had maintained a close friendship. Wilson, while outwardly demure and neutral in hopes of keeping the group stable, privately advised Ballard that Ross and Gordy were eager to oust Ballard. Although The Supremes scored two number-one hits during the first quarter of 1967, "Love Is Here and Now You're Gone" and "The Happening", the group as a unit began to disintegrate.
Rumors began to circulate in late 1966 that Motown intended to rename the group "Diana Ross & the Supremes", a change officially announced in early 1967, after a concert where they were billed as "The Supremes with Diana Ross". The Miracles had become "Smokey Robinson & the Miracles" two years prior. The fall of 1967 saw Martha & the Vandellas become "Martha Reeves & the Vandellas". Having learned that Ross would receive top billing, David Ruffin lobbied—unsuccessfully—to have the Temptations renamed as "David Ruffin & the Temptations". Although Gordy maintained that the name changes were 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 Supremes' name change sparked rumors of a possible solo career for Ross, and contributed to the professional and personal dismantling of the group. According to Mark Ribowsky's 2009 book "The Supremes: A Saga of Motown Dreams, Success, and Betrayal", Gordy intended to replace Ross with Barbara Randolph as early as 1966 during a run of live gigs in the autumn of that year, but changed his mind and instead kept Ross in the group for several more years.
By 1967, Ballard would sometimes fail to show up for recording dates, or would arrive at shows too inebriated to perform. For some early 1967 shows, she was replaced by Marlene Barrow of Motown's in-house backing group, The Andantes. Gordy contacted Cindy Birdsong in April 1967; she was a member of Patti LaBelle & the Bluebelles and superficially resembled Ballard. Gordy began plans to bring her in as Ballard's replacement. Birdsong appeared at a benefit concert at the Hollywood Bowl on April 29, 1967, but returned to The Bluebelles soon afterward due to prior commitments. In May, Ballard returned for what she believed was a probationary period. Summer 1967 marked the group's first appearance as Diana Ross & the Supremes at the Flamingo Hotel in Las Vegas. After only three days of performances, Ballard was permanently dismissed from The Supremes, and Birdsong officially assumed her place during the second July 1 show.
Ballard's release from Motown was made final on February 22, 1968, when she received a one-time payment of $139,804.94 in royalties and earnings. She attempted a solo career with ABC Records, and was forced to formally reject a solo contract offered by Motown as part of her settlement. Ballard's two 1968 singles failed to chart and her solo album was shelved. 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 sank into poverty and died abruptly on February 22, 1976 from coronary thrombosis at the age of 32. At the time of her death, she had begun to make financial and personal strides and was planning to reinvigorate her solo career.
Ross's departure
Holland-Dozier-Holland left Motown in early 1968 after a dispute with the label over royalties and profit sharing, and the quality of Motown's output (and Diana Ross & the Supremes' records in particular) began to falter. From "Reflections" in 1967 to "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", made it to number one. Due to 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. The changes within the group and their decreasing sales were signs of changes within the music industry. The gospel-based soul of female performers such as Aretha Franklin had eclipsed The Supremes' pop-based sound, which had by now evolved to include more middle-of-the-road material. 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.
In mid-1968, Motown initiated a number of high-profile collaborations for The Supremes with their old colleagues, The Temptations. Besides the fact that both groups had come up together, the pairings made financial sense: The Supremes had a mostly white fanbase, while The Temptations a mostly black fanbase. By 1969, the label began plans for a Diana Ross solo career. A number of candidates—most notably Syreeta Wright—were considered to replace Ross. After seeing 24-year-old Jean Terrell perform with her brother Ernie, Berry Gordy decided on Ross' replacement. Terrell was signed to Motown and began recording the first post-Ross Supremes songs with Wilson and Birdsong during the day, while Wilson and Birdsong toured with Ross at night. At the same time, Ross began to make her first solo recordings. In November 1969, Ross' solo career was publicly announced.
"Someday We'll Be Together" was recorded with the intent of releasing it as the first solo single for Diana Ross. Desiring a final Supremes number-one record, Gordy instead had the song released as a Diana Ross & the Supremes single, despite the fact that neither Wilson nor Birdsong sang on the record. "Someday We'll Be Together" hit number one on the American pop charts, becoming not only the Supremes' 12th and final number-one hit, but also the final number-one hit of the 1960s. This single would also mark The Supremes' final television appearance together with Ross, performing on The Ed Sullivan Show on December 21, 1969. The Supremes without Ross made their final appearance altogether on Ed Sullivan on February 15, 1970.
Ain't No Mountain High Enough
Diana Ross & The Supremes Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Ain't no valley low, ain't no river wide enough;
Baby if you need me call me no matter where you are,
No matter how far;
Just call my name; I'll be there in a hurry;
You don't have to worry,
'Cause baby there ain't no mountain high enough,
Ain't no river wide enough
To keep me from getting to you babe.
Remember the day I set you free
I told you you could always count on me
From that day on, I made a vow,
I'll be there when you want me,
Some way, some how.
'Cause baby there ain't no mountain high enough,
Ain't no valley low enough,
Ain't no river wide enough
To keep me from getting to you babe.
My love is alive
Way down in my heart
Although we are miles apart
If you ever need a helping hand,
I'll be there on the double
As fast as I can.
Don't you know that there
Ain't no mountain high enough,
Ain't no valley low enough,
Ain't no river wide enough
To keep me from getting to you babe.
No wind no rain or winters cold can stop me baby,
'Cause you are my goal.
If you're ever in trouble;
I'll be there on the double.
Just send for me, oh baby.
If you need me call me no matter where you are,
No matter how far;
Just call my name; I'll be there in a hurry;
You don't have to worry,
'Cause baby there ain't no mountain high enough,
Ain't no valley low enough,
Ain't no river wide enough
To keep me from getting to you babe.
The lyrics of "Ain't No Mountain High Enough" by Diana Ross and The Temptations describe the unwavering commitment of the singer to their loved one. The song suggests that the singer will overcome any obstacle to reach their partner, no matter how challenging the journey may be. In the first verse, the song describes the limitless love that the singer has for their partner. They assure their lover that there is no mountain, valley or river that is too great to prevent them from reaching their significant other. The commitment of the singer is even stronger when they tell their lover to call out their name, and they will come "in a hurry."
The second verse speaks about the singer's vow to be with their lover forever. Even when they were set free, they vow always to be there for their loved one, some way and somehow. The bridge reiterates the commitment of the singer by saying that even though they are miles apart, their love is still alive and vibrant. They also promise to provide a helping hand whenever necessary. The song concludes with the singer reasserting their promise to "be there on the double" whenever their lover calls.
Line by Line Meaning
Listen baby, ain't no mountain high,
My dear, there is no obstacle too great that will prevent me from being there for you.
Ain't no valley low, ain't no river wide enough;
No matter how low or wide the challenge may seem, I will always find a way to reach you.
Baby if you need me call me no matter where you are,
My love, I am always here for you no matter where you may be in the world.
No matter how far;
Even if you are miles and miles away, know that I am still by your side.
Just call my name; I'll be there in a hurry;
All you have to do is say my name and I will come running to you as fast as I possibly can.
You don't have to worry,
Do not fret, for I will never abandon you and will always be there to support you.
'Cause baby there ain't no mountain high enough,
My love for you is so strong that nothing, not even a mountain, can keep me from being there for you.
Ain't no valley low enough,
No matter how low the hurdle may be, I will climb it to be with you.
Ain't no river wide enough
Even the widest river cannot hinder my devotion to you.
To keep me from getting to you babe.
I will do whatever it takes to be there for you, my beloved.
Remember the day I set you free
The day I let you go, I promised to always be there for you no matter what.
I told you you could always count on me
It is my pleasure to assure you that I will always be there for you when you need me.
From that day on, I made a vow,
Starting from that day, I made a promise to always support you and love you unconditionally.
I'll be there when you want me,
Whenever you need me, all you have to do is ask and I will be there for you.
Some way, some how.
Through any means necessary, I will make sure I am there to help and support you.
'Cause baby there ain't no mountain high enough,
No matter how insurmountable the challenge may seem, I will take it on to be there for you.
My love is alive
My love for you is so strong, so vibrant, and so enduring.
Way down in my heart
I will always cherish and hold my love for you deep inside my heart.
Although we are miles apart
Even though we may be physically distant, our love connects us intimately and unbreakably.
If you ever need a helping hand,
If you ever need my help or support, I will be there for you without hesitation.
I'll be there on the double
I will come to you quickly and without delay when you need me.
As fast as I can.
I will use all of my strength and resources to get to you as quickly as possible.
Don't you know that there
Do you not understand or realize that there is nothing that could ever stand between us?
Ain't no mountain high enough,
There is no challenge or barrier that will ever keep me away from you.
No valley low enough,
Nothing can stop me from supporting and loving you through any difficulty or hardship.
Ain't no river wide enough
Even the widest river is no match for my love and determination to be with you.
To keep me from getting to you babe.
I will do everything in my power to be there for you always and forever.
No wind no rain or winters cold can stop me baby,
Even the harshest of weather conditions will not prevent me from being there for you.
'Cause you are my goal.
You are my ultimate destination and I will stop at nothing to be with you always.
If you're ever in trouble;
If you ever find yourself in a difficult or trying situation, know that I am here for you.
I'll be there on the double.
I will come to you quickly and without delay to help you through any challenge or difficulty.
Just send for me, oh baby.
All you need to do is ask, my love, and I will be there for you without fail.
If you need me call me no matter where you are,
No matter where you are or what you are going through, I am always here for you whenever you need me.
Just call my name; I'll be there in a hurry;
Just say my name, and I will come running to you as quickly as I can to offer my support and love.
You don't have to worry,
Do not worry, my love, for I will always be there for you, no matter what.
'Cause baby there ain't no mountain high enough,
My love for you is so strong that no mountain, no obstacle, and no barrier can ever come between us.
Ain't no valley low enough,
No matter how low the challenge may be, I will support you and love you through it all.
Ain't no river wide enough
Even the widest river cannot stop me from being there for you and loving you always.
To keep me from getting to you babe.
I will do whatever it takes to be with you, my love, no matter what obstacles may stand in our way.
Lyrics © Sony/ATV Music Publishing LLC
Written by: NICKOLAS ASHFORD, VALERIE SIMPSON
Lyrics Licensed & Provided by LyricFind
@mkd2444
Maybe the most iconic opening 20 seconds of any song in history, when you hear the opening you’re immediately hooked, it’s a classic..
@marlonaskew8364
FACTS!
@TheJetfighter666
I had a crush on Florence as a kid. God bless her memory❤️💋
@charlesljones2454
The opening is the genious of Nicholas Ashford and Valerie Simpson .......who played the incredible piano
@ivorstevenson4559
It's sheer quality
@FraternalHouse
STAR TURN
@tommymitchell2306
46 years son of Vietnam veteran raised on this motown music from my father!!! Love you Dad!!! Appreciate your service!!!
@emersonforde3223
This song speaks to the hearts of those who have loved and lost Great group singing a great song.
@GeminiShizzyTV
Man this song gives me so much joy in my spirit!!! Good vibes!!
@zandramccoy1910
Priceless and timeless music!! Never can be duplicated!