The Supremes, an American female singing group, were the premier act of Mot… Read Full Bio ↴The Supremes, an American female singing group, were the premier act of Motown Records during the 1960s.
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, HollandโDozierโHolland. 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 HollandโDozierโHolland. 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 Rossโs 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 groupโand 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 lobbiedโunsuccessfullyโto 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 actsโa lead singer and a groupโinstead 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 candidatesโmost notably Syreeta Wrightโwere 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.
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, HollandโDozierโHolland. 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 HollandโDozierโHolland. 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 Rossโs 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 groupโand 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 lobbiedโunsuccessfullyโto 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 actsโa lead singer and a groupโinstead 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 candidatesโmost notably Syreeta Wrightโwere 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.
You Can't Hurry Love
Diana Ross & The Supremes Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I need love, love to ease my mind,
I need to find, find someone to call mine,
But mama said you can't hurry love,
No you just have to wait,
She said love don't come easy,
It's a game of give and take.
You can't hurry love,
No, you just have to wait,
You gotta trust, give it time,
No matter how long it takes;
But how many heartaches must I stand
Before I find a love to let me live again.
Right now the only thing that keeps me hanging on,
When I feel my strength, yeah, it's almost gone,
I remember mama said,
You can't hurry love,
No you just have to wait,
She said love don't come easy,
It's a game of give and take.
How long must I wait how much more can I take,
Before loneliness will 'cause my heart, heart to break?
No, I can't bear to live my life alone.
I grow impatient for a love to call my own,
But when I feel that I, I can't go on,
These precious words keeps me hanging on,
I remember mama said,
Can't hurry love,
No you just have to wait,
She said love don't come easy,
it's a game of give and take.
You can't hurry love,
No you just have to wait,
She said love don't come easy,
It's a game of give and take
No matter how long it takes.
No love, love don't come easy,
But I keep on waiting, anticipating for that
Soft voice to talk to me at night,
For some tender arms to hold me tight.
I keep waiting; I keep on waiting,
But it ain't easy, it ain't easy when mama said
You can't hurry love no,
You just have to wait,
She said trust, give it time
No matter how long it takes.
You can't hurry love
You just have to wait,
She said love don't come easy
It's a game of give and take.
I need to find, find someone to call mine,
But mama said you can't hurry love,
No you just have to wait,
She said love don't come easy,
It's a game of give and take.
You can't hurry love,
No, you just have to wait,
No matter how long it takes;
But how many heartaches must I stand
Before I find a love to let me live again.
Right now the only thing that keeps me hanging on,
When I feel my strength, yeah, it's almost gone,
I remember mama said,
You can't hurry love,
No you just have to wait,
She said love don't come easy,
It's a game of give and take.
How long must I wait how much more can I take,
Before loneliness will 'cause my heart, heart to break?
No, I can't bear to live my life alone.
I grow impatient for a love to call my own,
But when I feel that I, I can't go on,
These precious words keeps me hanging on,
I remember mama said,
Can't hurry love,
No you just have to wait,
She said love don't come easy,
it's a game of give and take.
You can't hurry love,
No you just have to wait,
She said love don't come easy,
It's a game of give and take
No matter how long it takes.
No love, love don't come easy,
But I keep on waiting, anticipating for that
Soft voice to talk to me at night,
For some tender arms to hold me tight.
I keep waiting; I keep on waiting,
But it ain't easy, it ain't easy when mama said
You can't hurry love no,
You just have to wait,
She said trust, give it time
No matter how long it takes.
You can't hurry love
You just have to wait,
She said love don't come easy
It's a game of give and take.
"You Can't Hurry Love" by Diana Ross & The Supremes is an enduring classic about the anticipation of love and the importance of waiting patiently for it. It talks about the singer's yearning for true love and the difficulties in finding it. The song describes the universal human experience of longing for a meaningful romantic relationship, but also the wisdom of taking the time to find the right person.
The song conveys the message that love is not something that can be rushed or forced. The chorus repeats the phrase "You can't hurry love" as a mantra, reminding us that it's worth waiting for the right person to come along. The song also emphasizes the importance of trust and giving love time to develop. The lyrics suggest that a successful relationship requires both partners to be willing to give and take equally.
Moreover, the song's lyrics are based on a larger concept in life than love. Each line has its own meaning, offering snippets of wisdom for anyone facing tough times. The songโs theme can be connected to almost any period in life from attempting to make a career work to other things a person might attempt to force into place against their will.
Line by Line Meaning
I need love, love to ease my mind,
I require love to alleviate my anxiety.
I need to find, find someone to call mine,
I need to discover someone who belongs to me.
But mama said you can't hurry love,
My mother told me love must be given time and cannot be rushed.
No you just have to wait,
There is no choice but to be patient.
She said love don't come easy,
Mother indicates that love is not readily obtainable.
It's a game of give and take.
A relationship requires equal efforts from both partners.
No, you just have to wait,
Being impatient will not hasten the arrival of love.
You gotta trust, give it time,
Trust in the process and be willing to wait patiently.
No matter how long it takes;
Love may take longer than expected, and that should be accepted.
But how many heartaches must I stand
How many disappointments must one endure?
Before I find a love to let me live again.
Before I discover a love that rejuvenates me.
Right now the only thing that keeps me hanging on,
Currently, my only support is the prospect of love.
When I feel my strength, yeah, it's almost gone,
When my will is faltering.
I remember mama said,
The reminder of my mother's advice is helpful.
How long must I wait how much more can I take,
How much longer and how much more can I endure?
Before loneliness will 'cause my heart, heart to break?
Before isolation causes my heart to break.
No, I can't bear to live my life alone.
I cannot imagine living my life without a partner.
I grow impatient for a love to call my own,
I am increasingly desperate for a love that is solely mine.
But when I feel that I, I can't go on,
But when I am at my lowest point.
These precious words keeps me hanging on,
These invaluable words provide emotional support.
Can't hurry love,
Love cannot be rushed.
No you just have to wait,
Patience is required.
She said trust, give it time
Trusting the process and being patient is key.
No matter how long it takes.
Regardless of how long it may take, it is worth waiting for.
No love, love don't come easy,
Love is not easily achieved.
But I keep on waiting, anticipating for that
But I persist in waiting, eagerly awaiting
Soft voice to talk to me at night,
A caring and gentle voice to converse with at night.
For some tender arms to hold me tight.
For somebody to embrace me warmly.
I keep waiting; I keep on waiting,
I keep waiting patiently.
But it ain't easy, it ain't easy when mama said
But it is not easy when my mother said
It's a game of give and take.
A relationship requires equal efforts from both partners.
You can't hurry love
Love cannot be rushed.
You just have to wait,
Patience is required.
She said love don't come easy
Mother indicates that love is not readily obtainable.
It's a game of give and take.
A relationship requires equal efforts from both partners.
Lyrics ยฉ Sony/ATV Music Publishing LLC
Written by: BRIAN HOLLAND, EDWARD HOLLAND, EDWARD JR. HOLLAND, LAMONT DOZIER, LAMONT HERBERT DOZIER
Lyrics Licensed & Provided by LyricFind
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@wannabegamergirl7222
I need love, love
Oh, ease my mind
And I need to find time
Someone to call mine
My mama said, "you can't hurry love
No, you'll just have to wait"
She said, "love don't come easy
But it's a game of give and take"
You can't hurry love
No, you'll just have to wait
Just trust in a good time
No matter how long it takes
How many heartaches must I stand
Before I find the love to let me live again
Right now the only thing that keeps me hanging on
When I feel my strength, ooh, it's almost gone
I remember mama said, "you can't hurry love
No, you'll just have to wait"
She said, "love don't come easy
It's a game of give and take"
How long must I wait
How much more must I take
Before loneliness
Will cause my heart, heart to break
No, I can't bear to live my life alone
I grow impatient for a love to call my own
But when I feel that i, I can't go on
Well these precious words keep me hanging on
I remember mama said, "you can't hurry love
No, you'll just have to wait"
She said, "love don't come easy
But it's a game of give and take"
You can't hurry love
No, you'll just have to wait
Just trust in a good time
No matter how long it takes
Now wait
Now love, love don't come easy
But I keep on waiting
Anticipating for that soft voice
To talk to me at night
For some tender arms
Hold me tight
I keep waiting
Ooh, till that day
But it ain't easy (love don't come easy)
No, you know it ain't easy
My mama said you can't hurry love
No, you'll just have to wait
She said "love don't come easy
But it's a game of give and take"
You can't hurry love
No, you'll just have to wait
She said "love don't come easy
But it's a game of give and take"
You can't hurry love, no you'll just have to wait
@ladynikki
I need love, love to ease my mind
I need to find, find someone to call mine
But Mama said
You can't hurry love
No, you just have to wait
She said love don't come easy
It's a game of give and take
You can't hurry love
No, you just have to wait
You got to trust, give it time
No matter how long it takes
But how many heartaches must I stand
Before I find a love to let me live again?
Right now the only thing that keeps me hangin' on
When I feel my strength, yeah, is almost gone
I remember Mama said
You can't hurry love
No, you just have to wait
She said love don't come easy
It's a game of give and take
How long must I wait?
How much more can I take?
Before loneliness will cause my heart
Heart to break?
No, I can't bear to live my life alone
I grow impatient for a love to call my own
But when I feel that I, I can't go on
These precious words keeps me hangin' on
I remember Mama said
You can't hurry love
No, you just have to wait
She said love don't come easy
It's a game of give and take
You can't hurry love
No, you just have to wait
She said trust, give it time
No matter how long it takes
No, love, love, don't come easy
But I keep on waiting, anticipating
For that soft voice to talk to me at night
For some tender arms to hold me tight
I keep waiting, I keep on waiting
But it ain't easy, it ain't easy
But Mama said
You can't hurry love
No, you just have to wait
She said to trust, give it time
No matter how long it takes
You can't hurry love
No, you just have to wait
She said love don't come easy
It's a game of give and take
Quelle Google
@tupacatracho
I just found out Mary Wilson passed away today. In 1996, I used to volunteer at a youth center called Sunset Junction. The director of the youth center was Michael McKinley, who was the organizer of the Sunset Junction Street Fair and he is a HUGE fan of the supremes. That year (1996) he booked Mary Wilson to be one of the headliners where she performed hits like โyou canโt hurry loveโ and โstop in the name of loveโ at the Edgecliff stage. After she performed, Michael had arranged a big dinner for her at El Conquistador restaurant (now el condor). I had worked at the tickets booths that day and was invited to the dinner. I happened to sit directly across Mary Wilson and I was amazed by her beauty. She was super nice and told us some stories about her journey into music and some of the places it took her. She then opened up about the loss of her son in a car accident on their way back from a Las Vegas performance two years prior. Then she continued to charm the dozen of us at the table with her beautiful smile and stories. Suddenly she looked at me and we made eye contact for what seemed to be an entire minute although Iโm sure it was only 3 seconds. She smiled and said to me โyou know, you are really handsome!โ. I smiled and blushed hard. When it was over she gave me a nice hug and I told her it was an honor meeting her. โThank you sweetie, it was a pleasureโ, she said. And a pleasure it was indeed. Iโll never forget that moment of my life. Rest In Peace Mary Wilson, I hope sheโs now reunited with her son Rafael.
@mercedeslowe7842
Thank you ..Supreme for giving me comfort in some difficult years in my life..Your voice was my baby sitter...Thanks Mary Wilson Rip ๐ with Flo
@ekitiemmanuel4381
Such a beautiful story. I wish I could " blush hard " too๐ณ๐ณ๐๐
@meredithedwards7238
That's a beautiful story. What luck that you got to meet her! She sounds like a classy lady, which is not a surprise.
@bryanthomas4959
Beautiful story
@harryknackers7892
OMG
@dzulkifleymohdsaid728
My mom told us that this is such a wonderful song from her era. In mid 60s she was a sweet 16, and that she'd that time, regularly ask for 20 cents from my late grandpa and head out to nearby cafe's jukebox to air the song. At 70+ today, she still loves Diana Ross' songs and is still keeping it inside her Apple IP.
@azwanabdullah148
A hit song never end and it will always have repeated until today. I dedicated this song to you.
@kennethotieno8835
RIP Mary Wilson..... thanks for the memories that were the soundtrack to our childhood and youth; your music will live in our hearts and minds
@AJNorth
We have lost another of the truly great stars โ but she will shine forever in the heavens.
"Sic itur ad astra" (Thus one journeys to the stars)
โ Virgil, "The Aeneid" (Book IX, line 641)