Search - Diana Ross & Supremes, Temptations :: Supremes Join the Temptations

Two Super Soul Groups United On Record

Ian Phillips | Bolton, Lancashire, UK | 06/16/2006

(5 out of 5 stars)

"It was in the heart of downtown Detroit, early

1959, a male vocal trio calling themselves The

Primes was formed. The Primes comprised of the

vocal talents of Eddie Kendricks, Paul Williams

and Kell Osborne. The Primes then set about about

looking for a "sister" group to compliment their

act. That "sister" group was formed by Florence

Ballard who recruited her friends Mary Wilson and

Betty Mcglown and were dubbed The Primettes. At

the recommendation of Paul Williams, a 15 year

old Diana Ross was added to the group.



The Primes and The primettes landed themselves a

record deal with the local Lu Pine Records label

in mid 1959. There, The Primes and The Primettes

cut numerous tracks but the labels boss was

eventually arrested on fraud charges and the

company closed its doors. This left the two

distraught groups without a record deal. But

their hopes and dreams were certainly not dented

and they intensely percevered.



The two groups went their own separate ways

though both acts ended up signing to Berry

Gordy's pioneering black music record label,

Tamla Motown Records. The Primes changed their

names accordingly to the Elgins and then again

permanentely to The Temptations. The Temptations

regular line up soon became Melvin Franklin, Paul

Williams, Otis Williams and David Ruffin.



Meanwhile, The Primettes switched their names to

The Supremes and were reduced to a trio with the

members now being Diana Ross, now The Supremes

permanent lead singer, Florence Ballard (founder

of the group) and Mary Wilson.



By the mid 1960's The Supremes and The

Temptations had become Motowns biggest selling

International stars. They had certainly had come

a long way from singing together in seedy

downtown nightclubs around Detroit.



It seemed inevitable that The Supremes and The

Temptations would one day be re-united and in

late 1968 they indeed were for a series of big

selling studio albums and top rated television

specials. At this stage, Dennis Edwards had taken

over as lead vocalist following the disrupt

dismissal of David Ruffin earlier that year. The

Supremes founder Florence Ballard had alos been

fired in mid 1967 being replaced by Cindy

Birdsong, a former backing vocalist with Patti

Labelle and the Bluebelles. The group had also

been re-christened as Diana Ross AND the

Supremes. This was an obvious marketing ploy on

the part of Motown as they were now grooming the

solo career of Diana Ross.



Diana Ross and the Supremes and the Temptations

proved a phenomenal and dynamic success. It was

also a suitably fitting nod to both groups past.

Of the several albums they cut together, Diana

Ross And The Supremes Join The Temptations (1968)

stands today as their strongest recording

project.



The ultimate landmark of Diana Ross And The

Supremes Join The Temptations (1968) would be the

exhilirating, I'm Gonna Make You Love Me,

produced by two of Motowns hottest new talents,

Frank Wilson and Nickolas Ashford. Injecting the

sweet, lush harmonies of Diana Ross with Eddie

Kendricks quite sensual falsetto, proved a

winning combination. An air of sexual chemistry

sizzles when their two voicesw are put togther.

I'm Gonna Make You Love Me smashed its way on to

the American charts, peaking at No.2 whilst

hitting No.3 on the U.K Charts.



What had actually been originally scheduled as

the premier single of the album was the swinging,

Try It Baby. Whilst being an excellent recording,

the jazz flavoured arrangements intertwined with

a traditionla black Rhythm and Blues feel was

(sensibly) considered not catchy enough to cross

over from the black music charts to the

mainstream Pop charts.



Try It Baby opens with a striking vocal interlude

from teh deep, husky voiced Melvin Franklin which

is set against a pattering beat. The tempo then

swiftly shifts direction when Diana Ross' soft,

exuberant delivery kicks in after Melvin

Franklins brief but effective vocal interlude.

Ross is in really great voice as always, kicking

off her heels and really getting on down with

Melvin Franklin and Dennis Edwards, though had

already proved herself a highly adept and

versatile vocalist.



I'll Try Something New was lifted as the projects second single. It was a neatly balanced ballad with lead vocal duties alternating between Diana Ross and Eddie Kendricks. The glorious musical arrangements are complimented by their divine performances. Despite the quality of the ballad, I'll Try Something New surprisingly failed to sky rocket up the charts in the way I'm Gonna Make You Love Me had done, becoming only a moderate seller.



Their upbeat, energetic cover of Smokey Robinson and the Miracles, I Second That Emotion, exceeds the original as their are such a wonderful range of harmonies from both groups though is mainly alternated between Diana Ross (of course) and the smooth vocals of Eddie kendricks. I Second That Emotion was lifted as a British single, where it flew straight into the Top 20 Charts, landing at No.18.



It is quite strange hearing Diana Ross singing Ashford and Simpsons Ain't No Mountain High Enough in a completely different arrangement than that of the more famous version she took to the top of teh charts as a solo artist in 1970. It's a total contrast to Ross' blockbuster solo classic and more of a direct re-working of the compelling version that Marvin Gaye and Tammi Terrell took high into the charts earlier that year. The splitting of lead vocal duties between Diana Ross' soft, sensual sound to the explosive, rocketing volume of Dennis Edwards credible, far grittier style, surprisingly works impeccably well.



Their cover of This Guy's in Love With You showed just how versatile and diverse The Supremes and the Temptations were and proved that their talents strectched much further than beyond the grooves of their latest hit singles. Again, this is another track that really brings out the intricate, natural qualities in Diana Ross' unique and very distinct voice. Ross effortlessly glides along the sweeping orchestrations, her voice brimming tenderly with emotion against the raw, earthy tone of Melvin Franklin.



Funky Broadway is an exciting tour de force between Dennis Edwards, who sings on the first verse and Diana Ross who picks up on the second verse before uniting with Dennis Edwards to sing the chrous against the great backing vocals from both groups. Those jamming, totally infectious musical arrangements are enhanced further by the firm, assertive two leads from Ross and Edwards.



More of a routine effort was the formulaic cover of the Motown classic, Sweet Inspiration which still proves to be contagious regardless! The Temptations often gets down to some serious group harmonising but as always was the case with The supremes, lead singer Diana Ross remains firmly in the spotlight with Mary Wilson and Cindy Birdsong backing vocals merely used as obligation - or thats how it certainly seemed!



The two groups carry off their pleasant version of Stevie Wonders A Place In The Sun withe ease and style whilst even better is their superb cover of Smokey Robinsons' Then, with Ross' vocal delivery in particular being mesmerisingly divine, sounding simply sensational when pitched against the aggressive delivery of Dennis Edwards.



The albums grand finale is a daring but riviting cover of Elvis Presleys, The Impossible Dream, which they pull off to startling effect. The dramatic, complex Motown orchestrations are coated by two super fine performances from Diana Ross and Dennis Edwards. The track really ignites and proved to be the most adventurous and diverse recording on the album. A very succesful experimnent that is carried off with style and finesse.



Diana Ross And The Supremes Join The Temptations (1968) is an enjoyable album from start to finish and is not marred by any filler. It is an essential album for any lover of soul music. Diana Ross And The Supremes Join The Temptations (1968) bounced its way to No.2 on the U.S BillBoard Album Charts whilst racing all the way into pole position on the U.K Album Charts.



Ian Phillips

"