TWELVE WEEKS on the singles chart, “Stop! In The Name Of Love” by the Supremes peaked No. 01 (2 weeks) on the Billboard Hot 100, weeks of March 21, 1965 through April 3, 1965. (source: Billboard).
MCRFB Link: For the previous No. 1 record in the U.S.A. 1965 GO HERE.
FOURTEEN WEEKS on the singles chart, “Come See About Me,” by the Supremes peaked No. 1 (twice; one week — separate dates — separate years) on the Billboard Hot 100, week of December 19-26, 1964 and week of January 10-16, 1965. (source: Billboard).
MCRFB Link: For the previous No. 1 record in the U.S.A. 1965 GO HERE.
THE SUPREMES * Children’s Christmas Song * MOTOWN (1965)
Motown Museum in winter. (To fully appreciated the beautiful Motown Museum image posted above, click on image 2x for largest detailed view).
From the MCRFB NEWS archive: 1966
R&B MAKING DENT IN HOT 100 OUTLETS, INCLUDING KHJ LOS ANGELES, WKNR DETROIT, WMCA NEW YORK
NEW YORK — If anything dramatizes the vast popularity of R&B music today, it’s the increasing use of R&B records for programming by the nation’s Hot 100 format stations. The estimates of R&B play on pop rock ‘n’ roll stations range anywhere from between 10-15 percent in Denver to “close to 50 per cent” in Miami.
WSGN, in Birmingham, has a playlist featuring 30-40 per cent R&B oriented records,, said music director Dave Roddy. Dutch Holland, music director of WFUN in Miami, who considers the Supremes as R&B artists, says WFUN’s programming is close to 50 per cent R&B oriented records because “these records seems to be what’s happening at this time.” The Miami market has two R&B stations that influence the popularity of these records.
WKNR in Detroit has six or seven records on its top 31 playlist that are R&B in nature, said deejay Scott Regen. This was considered a fairly representative week’s playlist. However, WKNR and most Hot 100 stations across the nation consider such artists as the Supremes as pop artists; they’re no longer strictly R&B artists, they say because their sales are mostly in the pop field. So stations such as KHJ in Los Angeles, the No. 1 Hot 100 format station there, may be playing more R&B oriented records than the 15 per cent now estimated. Program director Ron Jacobs said he felt that the popularity of R&B music is growing.
KIMN in Denver is playing 10-15 per cent in R&B oriented records and program director Ted Adkins said this represents an unusual display of the popularity of the music as only about 5 per cent of the population in Denver is Negro. Even some of the monster hits in the R&B field in previous years never got off the ground in Denver, he said. But this year thus far, in 1966, has seen more R&B oriented records happening in Denver than ever before.
WMCA, New York, had a playlist last week on which about 20 per cent of the tunes were R&B oriented. END
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(Information and news source: Billboard; August 13, 1966)
From the MCRFB NEWS archive: 1967
IT’S STANDING ROOM ONLY AND EXCITEMENT FOR SUPREMES IN LAS VEGAS DATE
LAS VEGAS — Florence Ballard, Mary Wilson, Diana Ross, known professionally as the Supremes, and the story of Motown Records, have played to SRO since their opening June 29 at the Hotel Flamingo and there’s no letup of reservations in sight.
The trio, in their second Las Vegas appearance, is a delight to hear and see. Their gowns and stage wardrobe airs excitement as their choreography and dance arrangements fall in sync as they performed here live on stage.
Included in their 55 minutes of songs and breezy conversations, are such show-stoppers as “Put On A Happy Face,” “Queen Of The House,” “More,” “Yesterday,” “Lady Is A Tramp,” “The Happening,” and sang a medley of their Motown recordings to the rousing delight of the audience’s applause and cheers.
Their rousing closing, “You’re Nobody Till Somebody Knows You,” brings a standing ovation. Gil Askey conducts the Russ Black Orchestra featuring the Supremes, regulars, Bob Cousar, drums; Jimmy Garret, bass; and Napoleon Allen, guitar.
The Supremes, originally exclusively deemed as favorites of the teen set, have upgraded the caliber and format of their stage presentation here, and are now enjoying the full success as adult nightclub favorites.
Their bouncy, fast-paced show is one of the best performances here. END
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(Information and news source: Billboard; July 15, 1967)
A MCRFB Note: Sadly, unbeknownst to Florence Ballard at the time, the Las Vegas engagement in July, 1967, was to be Miss Ballard’s last appearance on stage and as a member of the Supremes.
Rumors later persisted Berry Gordy wanted Florence removed from the trio and Diana Ross more than likely had known Florence was going to be replaced sometime soon — as the Las Vegas story later would unfold — by Gordy’s own hand.
As the on-going rift between Berry Gordy and Florence continued in the spring of 1967, it was also learned Diana had personally recruited Cindy, as a possible replacement, and for no other reason than in preparation for the coming void, with Gordy’s blessings.
Months before Florence was removed, and unknown to her, Berry had Cindy Birdsong, obviously a no last-minute understudy, in training, watching the Supremes for weeks on weeks earlier months before. Birdsong was there during the entire Las Vegas engagement as well, although she did not fully know for what reason Berry had placed her in that position at the time, Cindy later would say.
On July 20, 1967, the marquee at the Flamingo had been changed from “The Supremes” to “Diana Ross and The Supremes” by Berry Gordy’s insistence. But that wasn’t all he had done. One night Florence was on stage next to Diana and Mary. The next night Cindy Birdsong stood in her place. For good. Diana Ross was now “solo” officially and center-stage.
Nine-years later, destitute in career, financially bankrupt and on welfare assistance, Florence Ballard died on February 22, 1976. She was 33. [J.F.]
Source — see also: Where Did Our Love Go? The Rise And Fall Of The Motown Sound. By Nelson George. Published by St Martin’s Press; New York, 1985.
*Page 163, second paragraph; Where Did Our Love Go?
Florence Ballard’s last interview on You Tube
From the MCRFB news archives:
Supreme Quits; Ill-Health Cited
NEW YORK — Florence Ballard of the Supremes has withdrawn from the group for reasons of ill health, according to a spokesman for Tamla-Motown, the group’s recording company.
Cindy Birdsong, of Patti and the Bluebells fame, has been selected to replace Miss Ballard. This is reportedly a permanent arrangement, but Miss Birdsong has not been signed as yet. Miss Ballard, according to the spokeman, is currently hospitalized for reasons not specified at Henry Ford Hospital in Detroit.
No further word has been given as to the nature of her stay nor how long she will remain in the hospital. Motown officials declined to divulge of any further arrangements, or of any settlement, it made with Miss Ballard regarding her withdrawal from the Supremes. END.
(Information and news source: Billboard; August 12, 1967).
From the MCRFB news archives:
BACKSTAGE: Supreme Supremes
From the desk of Hal B. Cook, Publisher; Billboard
The superb Supremes, Diana, Florence and Mary, brought joy to New York’s Copacabana Club, July 29, just last week. Opening night Thursday brought an overflow audience which included Sammy Davis, Jr., Don Murray, Jack Cassidy, Marty Allen, Ed Sullivan, Bill Randall and Hal Jackson, radio personalities; Jim Schartz, Washington record distributor; Neil Keating and Bill Bell, Columbia Record Club executives, and a host of fans from other record labels.
The lovely Supremes shook up the entire block with their performance.
Berry Gordy, Barney Ales, Phil Jones, Harry Ascola and the entire Motown-Tamla organization can be proud that it was one of their groups who brought excitement to what in the summer in New York could be a pretty dull room.
A top-notch act will usually bring along enough extra musicians to get their sound. In the case of the Supremes, only two stand-in extra musicians were needed. Their attentive conductor, Gil Ashey, brought the Supremes’ own bass man Joe Mack and drummer Bob Cuosar, who proceeded to whip the Copa band at a frantic pace giving superb backing to the girls.
Choreography by Charlie Aiken created a visual impact perfectly matched to the powerful Supremes musical arrangements.
A wind-up tribute to Sam Cooke and his music developed into a standing ovation from the audience for the girls. Their attempt to retreat with only one encore proved hopeless.
This group has had fabulous success on records. We have heard of their great “in person” ability. Now we have seen it firsthand. If you get the chance, catch the Supremes in person.
Hal B. Cook, PUBLISHER
(Information and news source: Billboard; August 7, 1965).
From the MCRFB news archives:
COPA PROVING GROUND, AN ACT FOR ALL AGES; SUPREMES BLOSSOM OUT IN NYC
NEW YORK — Any doubts that the Supremes will be around for a long time as a top adult act were erased at the Copacabana on Thursday night, as the three Detroit girls put on a performance the likes of which the famed bistro has seldom experienced.
The Motown beat was polished, refined and arranged to a fare-thee-well, particularly in “Come See About Me,” the female group’s first chart topper.
But more important, Diana, the lead singer, emerged as a solo talent to be reckoned with, and the trio’s treatment of pop material like “Queen Of The House” demonstrated that the girls have a sharp comic sense and a reportorial range worthy that of a veteran group having been in the business for some time.
The first opening number in their Copa act was a sprightly “From This Moment On,” followed by a song generally more associated with the group — “Baby Love.” Another of the Supremes stand-bys — “Stop In The Name Of Love,” — was delivered in typical Motown style.
“The Girl From Ipanema” was delivered in a cool, subdued style and provided a suitable change of pace after the two beat numbers.
“Make Somebody Happy” was the showcase act for Diana’s solo potential. Her distinctive phrasing and amazing vocal range in every song confirms that she truly is one of the best in the business.
The girls proved also that they can handle the old music hall song-and-dance routine. On “Rockabye Your Rockabye Baby” they came prepared sporting straw hats and stage canes as they performed in the vaudeville tradition before the rousing, standing-room only crowd.
A bit of nostalgia was introduced with selections from their “We Remember Sam Cooke” album, delivered with taste and sentimental class.
The closing number was “You’re Nobody Till Somebody Loves You,” with Diana Ross delivering the lead vocals well into the song’s lyrics, as Mary Wilson and Florence Ballard were cutting in with appropriate asides on cue.
The Supremes’ stellar act was evident in every aspect of their stage presence on Thursday night. The event was electrified by the crowd’s numerous standing ovations throughout the evening as they performed.
While the Supremes will probably keep their teenage following for some time, there appears little question that the act will last a lot longer as an adult-generated “class act” as well, and not too dependent on chart positions of their latest chart hit.
They have all their able resources well in place — poise, polish and glamorous stage appeal — and evidently everyone who was present would unanimously agree, all were working flawlessly on stage at the Copacabana last Thursday night. END
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(Information and news source: Billboard; August 7, 1965)
