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Love Child & Supremes A'Gogo Compilation

4.0 étoiles sur 5 1 commentaire client

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Page Artiste Diana Ross and The Supremes


Détails sur le produit

  • CD (29 janvier 2001)
  • Nombre de disques: 1
  • Format : Compilation
  • Label: Motown
  • ASIN : B00004WZ5R
  • Autres éditions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 4.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 942.538 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Love child
  2. Keep an eye
  3. How long has that evening train been gone
  4. Does your mama know about me
  5. Honey bee (keep on stinging me)
  6. Some things you never get used to
  7. He's my sunny boy
  8. You've been so wonderful to me
  9. (don't break these) chains of love
  10. You ain't livin' till you're lovin'
  11. I'll set you free
  12. Can't shake it loose
  13. Love is like an itching in my heart
  14. This old heart of mine (is weak for you)
  15. You can't hurry love
  16. Shake me wake me (when it's over)
  17. Baby I need your loving
  18. These boots are made for walking
  19. I can't help myself
  20. Get ready
  21. Put yourself in my place
  22. Money (that's what I want)
  23. Come and get these memories
  24. Hang on sloopy

Descriptions du produit

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Ils avaient atteint des cotes faramineuses en vinyle : les voici enfin réunis pour la première fois en CD, deux des plus beaux fleurons des Supremes, les albums Supremes A' Go-Go (1966) et Love Child (1968). Sur le premier, Florence Ballard fait encore partie du trio , mais sa rivalité avec Diana Ross et son penchant pour l'alcool entraîneront son limogeage par Berry Gordy et auront raison de sa carrière après ce disque. Love Child marque l'arrivée d'une nouvelle chanteuse, Cindy Birdsong qui, dans le même registre que celui de Florence Ballard, s'en tire avec tous les honneurs. Chaque titre est un véritable travail d'orfèvre et amorce un peu plus le virage funky. On remarquera particulièrement "These Boots Are Made For Walking", composé par Lee Hazlewood pour Nancy Sinatra, et "You Can't Hurry Love" (repris par les Stray Cats et qui offrira au chanteur de Genesis, Phil Collins, un des plus gros hits de sa carrière solo). --Hervé Comte

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Par earthlingonfire TOP 500 COMMENTATEURSMEMBRE DU CLUB DES TESTEURS le 14 juillet 2005
Format: CD
Deux 33 tours sur ce CD, comme dans le reste de la série, et pas dans l'ordre chronologique :
Love Child (1968) est typique du dilemme cornélien affronté par tant d'artistes populaires des années 1960 après 1967 : comment continuer à vendre du clean family entertainment à un public déniaisé politiquement par la guerre du Vietnam, mentalement par la drogue, culturellement par Dylan ? Tout est à refaire : les chansons, d'abord, car il est difficile d'aborder les mêmes thèmes et plus encore de les aborder de la même manière, la façon de faire un LP, ensuite, qui n'est plus un récipient qu'on remplit de chansons jusqu'à ce qu'il soit plein, mais qui est devenu, pour les chanteurs populaires eux aussi et plus seulement pour les artistes de musique classique et de jazz, un format à part entière, et le plus "noble". On verra ainsi James Brown se battre avec des doubles 33 tours jusqu'en 1974 pour reconquérir une légitimité artistique. Le virage est particulièrement difficile à négocier pour les Supremes, devenues Diana Ross and the Supremes pour des raisons "sentimentales" et après éviction de Florence Ballard, posant dans la rue pour gagner littéralement une street credibility hors d'atteinte. il faut continuer à juger les Supremes selon leurs critères, qui sont ceux de la chanson pop, et dans ce contexte Love Child n'est pas trop raté, même s'il représente de toute évidence l'extrême limite de plausibilité du groupe.
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Amazon.com: HASH(0x8f969d20) étoiles sur 5 14 commentaires
5 internautes sur 5 ont trouvé ce commentaire utile 
HASH(0x8f97c8b8) étoiles sur 5 Two very different albums 27 juillet 2002
Par Peter Durward Harris - Publié sur Amazon.com
Format: CD
The oldest album (actually the second half of this twofer) was A go go, recorded in 1966 when Florence was still a member. It includes two hits (Love is like an itching in my heart and You can't hurry love) and is padded out with covers, mostly of other Motown songs. It was common practice in those days to record albums like this. Even the Beatles recorded covers for their early albums, though they stopped doing so before 1966. The covers on this set mostly work very well - and the album is clearly a Supremes album.
By 1968, when the first half of this twofer was recorded, the practice of recording covers was less common. The Beatles had proved that you could be successful with albums of entirely original material, providing it was good enough. Motown thought of themselves (rightly) as the Beatles main competitor, so they followed suit. To provide enough new songs, they needed more songwriters so they no longer relied on Holland/Dozier/Holland.
The hits from this album were Love child and Some things you never get used to. Overall, the songs are not as strong as the other album - but they are originals. So, any preference for one album over the other may depend on your attitude to covers. The other major difference is that the Love child album is a Diana Ross solo album in all but name.
I don't know why these albums were paired - they don't really go together, but I enjoy them both in different ways. Earlier reviewers often seem to like one of these albums and not the other, yet it's not always the same one they like, and I can understand that. You must make up your own mind.
5 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x8f97c90c) étoiles sur 5 LOVE CHILD ALBUM REALLY SHINES--ESSENTIAL LATE '60s SUPREMES 3 mai 2005
Par VINCENT P TARSITANO - Publié sur Amazon.com
Format: CD
While Diana Ross is clearly the "star" of LOVE CHILD, The Album, this set has a very strong group feel. And yes, the background vocals, except for the 2 singles ["Love Child," and "Some Things You Never Get Used To," the latter a very good Motown effort, but strange choice for single release] prominently feature founding member Mary Wilson and Florence Ballard's replacement Cindy Birdsong, from Patti LaBelle and the Bluebelles. In fact, in Mary Wilson's autobiography DREAMGIRL, she lists the recording (and re-recording) dates for many of the selections that ended up on this album. The executive producer made sure that the Supremes' sound was re-invigorated for this album. The tunes are well-written, beautifully arranged, produced and performed. "How Long Has That Evening Train Been Gone," a late 60's soul masterpiece, features a killer (and much studied) James Jamerson bass line, and lyrically, tells a compelling story. "I'll Set You Free," is so dramatic, and features CLASSIC "Supreme" background vocals, including well-placed "baby-baby's." You will get chills! Besides these and the excellent title tune, there are many other standouts, including "(Don't Break These) Chains of Love," which has BIG HIT written all over it, the lilting "You've Been So Wonderful To Me," and the very good (and very fun) "Honey Bee (Keep on Stinging Me)," "Can't Shake It Loose," and Ashford and Simpson's "You Ain't Livin' Till You're Lovin' (a cover of Marvin Gaye & Tammi Terrell's original). "He's My Sunny Boy" is a minor Smokey Robinson tune that is punched up by it's horn arrangement and sparkling performance by Ross, whose performance on "Does Your Mama Know About Me" equally sparkles. This album climbed into the top 20 pop chart, and, thus, was one of the group's biggest late 60's successes.

SUPREMES A' GO-GO was the first album by a girl group to reach #1 pop. A great accomplishment, especially since this is, for the greater part, a so-so effort. The album certainly benefitted from featuring the classic "You Can't Hurry Love," and one of Holland-Dozier-Holland's best rocking dance grooves, "Love Is Like An Itching in My Heart." This album includes 8 Motown covers, the best, by far, of which are the Four Tops' "Shake Me, Wake Me," and the Elgins' "Put Yourself in My Place" (the latter which was recorded prior to virtually all of this material, and features strong backing by Wilson and Ballard). The non-Motown covers, "Hang on Sloopy" and "These Boots Are Made for Walking," are always hard for me to listen to, as Ms. Ross' lead vocal is mismatched. Reportedly, the latter was slated to be lead by Ms. Ballard. Pity that didn't happen. And, speaking of alternate lead vocals, Mary Wilson's on "Come and Get These Memories" is fairly subdued in the recording, if not in the performance. Her voice actually WAS perfectly matched to this tune. Overall, aside from the hits and 1 or 2 other selections, this is not a terribly satisfying mid-sixties effort by Motown and the Supremes though, clearly, it should have been. It comes across as a rushed effort to capitalize on a hot streak.
While all of the Supremes' hits are well anthologized, this collection is still absolutely essential, although primarily for LOVE CHILD.
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x8f97cd44) étoiles sur 5 Go Supremes 1 novembre 2000
Par Un client - Publié sur Amazon.com
Format: CD
Two classic albums on one disc....the labeling says it all. If you are a fan of the Supremes you will not want to miss buying discs from this series. LOVE CHILD contains the title song which was a number one hit....A GO G0 ...a number one albums by the Supremes features YOU CAN'T HURRY LOVE and the girls singing cover versions of other Motown songs and other songs that were on the charts at the time. Mary Wilson is front and center singing solo on COME AND GET THESE MEMORIES.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x8faaf114) étoiles sur 5 Two Great Supremes LPs on One CD 17 janvier 2001
Par James A. Allio - Publié sur Amazon.com
Format: CD
Motown UK is to be commended for combining two of Diana Ross and The Supremes' finest LPs on one CD. "Supremes A Go-Go" was a massive hit album in 1966, anchored by the percolating "You Can't Hurry Love" and discotheque-ready "Love Is Like An Itching in My Heart." Produced by Brian Holland and Lamont Dozier, this set plays like a non-stop dance party, hence the go-go title, and Diana, Florence Ballard and Mary Wilson pump up the volume on a superb collection of covers of The Four Tops, Isley Brothers, Nancy Sinatra, Martha and The Vandellas, The McCoys, even the Elgins. Two years later, 1968 found the all-time great trio getting socially conscious with "Love Child," another huge #1 single, and the title song of a brilliant pop-soul album with production and writing from Ashford and Simpson (the head-nodding "Keep An Eye," devastated "Some Things You Never Get Used To" and exuberant "You Ain't Livin' Till You're Lovin'"), Frank Wilson and Smokey Robinson (the sweet "He's My Sunny Boy"). "Love Child" is my favorite LP of material mostly written with The Supremes in mind. There's not a bad cut on either album, and now they're combined in one great CD. Only one quibble, and that's with the mastering: I have to turn the volume all the way up to hear the CD at its best.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x8faaf210) étoiles sur 5 Not the same old thing! 18 mai 2010
Par Andito Toquito - Publié sur Amazon.com
Format: CD
Love Child is a bit of a darker album for Diana Ross and The Supremes. It's quite a gem, and I was thrilled to find it on CD. I hadn't heard most of the tunes before since they tend to not be included on the greatest hits compilations. I originally purchased it to hear some of James Jamerson's bass playing, and it is a fantastic album for that. The other album on the disc is almost the polar opposite--pretty much the Supremes doing their rendition of hits other artists made popular at the time, some of which come kind of close in quality to the originals. It's a clear ploy for Motown to make the most money out of a good thing, something they had down back in the day. Fortunately, Love Child comes first, so if you're playing it at a party, the second half can serve as decent background music after you indulge in the first half.
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