Category: Supremes

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)