Baby Love by The Supremes Songfacts Baby Love by The Supremes Songfacts Songfacts The Motown songwriting team of Holland-Dozier-Holland wrote this innocent song about teenage love. They wrote 14 US Top-10 hits for The Supremes. Explaining how the trio wrote to NME in 1984, Lamont Dozier said: "I would collaborate with Eddie on lyrics and with Brian on melodies. Then Brian and I would go into the studio and produce the actual record although Eddie should have been put down as one of the producers because he helped teach the artists the tune when the lyric was finished." A musician named Lorenzo Pack filed a lawsuit against Motown in 1966, claiming the Holland-Dozier-Holland songwriting team based "Baby Love" on his 1962 song "I'm Afraid." Pack had little evidence to support his assertion, and Motown won the lawsuit. The testimony, however, revealed some insights on this song, as Brian Holland told the court: "When we write a song, we try to express real feelings about a real situation.

In writing the song for The Supremes it was obvious that we were writing for pretty young girls, of whom one is the so-called lead singer. Therefore, in writing 'Baby Love,' we pictured a simple story about a girl whose boyfriend has left her and who loves him very dearly and who would like the boy to come back. The music fits this simple story." This was The Supremes' first and only song to reach #1 in the UK. The Supremes were the first girl-group to have a #1 hit in Britain. It turned out to be The Supremes' only UK #1, though they had many more in the US. In August of 1974, this song was reissued in Britain, where it reached UK #12. >> Suggestion credit: Jerro - New Alexandria, PA, for above 2 According to Rolling Stone magazine, when this song was finished, Berry Gordy thought it wasn't catchy enough and sent the group back into the studio, which is when they came up with the "Oooooh" at the beginning.

This song, " Where Did Our Love Go " and " Come See About Me " were written by Holland-Dozier-Holland in one session and were all recorded within two weeks. Berry Gordy required the songwriters to punch a clock when they came in and left for work at Motown, which is something he learned working for Ford. The H-D-H team was especially proficient, often completing 2 or 3 songs a day. This song received a Grammy nomination for Best Rhythm & Blues Recording in 1965; it lost to Nancy Wilson's "How Glad I Am." This was the second US #1 hit for The Supremes, following " Where Did Our Love Go ." They were the first Motown act with two #1 hits. >> Suggestion credit: The Supremes - Songs The Supremes - Songs ABOUT The Supremes were the top Motown act of the 1960s. They began in Detroit as a backup group known as The Primettes, the sister act to The Primes (who, with members of The Distants, would later form The Temptations).

The Primettes founding members were Diana Ross, Florence Ballard (June 30, 1943 - February 22, 1976), Mary Wilson, and Betty McGlown. In 1960, Barbara Martin replaced Betty McGlown, and in 1961, the group signed up with Motown as The Supremes. In 1962, The Supremes debuted nationally with "Your Heart Belongs To Me," which was followed by a very long string of hits on both the R&B and Pop/Rock charts through 1977. The group's fame really took off in 1964 with the smash hit, "Where Did Our Love Go." This song was soon followed by a long string of other chart-toppers that included "Baby Love" (1964), "Come See About Me" (1964), "Stop!

In The Name Of Love" (1965), "Back In My Arms Again" (1965), "I Hear A Symphony" (1965), "You Can't Hurry Love" (1966), "You Keep Me Hangin' On" (1966), "Love Is Here And Now You're Gone" (1967), "The Happening" (1967), "Love Child" (1968), and "Someday We'll Be Together" (1969). Over the years, The Supremes had a number of key personnel changes. In 1962, Barbara Martin left the group, and Ross, Ballard, and Wilson carried on as a trio. In 1967, Cindy Birdsong joined the group (renamed Diana Ross & the Supremes), replacing Florence Ballard. In 1970, lead singer Diana Ross left to pursue a highly successful solo career, and was replaced by Jean Terrell. Several other group member changes followed thereafter, and in 1977, The Supremes finally disbanded.

The Supremes were inducted into the Rock and Roll Hall of Fame in 1988. They have also received numerous other honors and accolades, including a star on the Hollywood Walk in 1994 and an induction into the Vocal Group Hall of Fame in 1998. RELATED BANDS AND ARTISTS What's That Sound? • W. W. Norton and Company, Inc. Styles from these regions raise the question about whether one style could be "blacker" than others Motown records was an independent label founded in Detroit, Michigan Had enormous commercial success that paralleled the Beatles' success timeline in the early 1960s Built the sound of the records around styles that appealed to a white audience That generated accusations that Motown had "sold out" for big profits Southern soul from the Memphis area remained truer to musical roots in black culture Motown: Black music for white audiences Founded by Berry Gordy Jr.

in 1959 Gordy had several jobs before starting a record label Professional boxer They were the studio band, "the Funk Brothers," responsible for the mid-1960s "Motown sound" In 2003 a documentary was produced about the Funk Brothers Standing in the Shadows of Motown The film featured interviews with surviving members of the studio band Attention was finally focused on the musicians who were so much a part of that style Gordy held a weekly meeting with the Motown staff to decide which records they thought would be hits Artist development was incorporated into the label Purpose was to teach low-income-bred artists how to behave in all possible social situations Former Broadway choreographer Cholly Atkins was hired to teach dance and stage movements Dance movements had to be refined and graceful Motown artists had to project an image of class and sophistication Gordy hired a charm school teacher, Maxine Powell, to teach proper manners and etiquette Artists learned how to speak and move with charm and grace They were groomed to be able to appear at elegant performance venues They were to be prepared to perform at the White House or Buckingham Palace The Motown artists The Temptations The Temptations formed in 1961 and were one of Motown's top acts from

 1964 to 1972 They were made up of members of two Detroit area groups: the Distants and the Primes Otis Williams His first hit was "Fingertips, pt.

2" at age 13 Live recording of an impromptu performance from a Motown revue concert Spontaneity made this one of Motown's biggest hits Wonder had several hits through the late 1960s (after his voice changed) on songs he co-wrote "Uptight (Everything's Alright)" (p3 r1, 1966) "I Was Made to Love Her" (p2 r1, 1967) "For Once in My Life" (p2 r2, 1968) "My Cherie Amour" (p4 r4, 1969) He began producing his own records in 1970 "Signed, Sealed, Delivered, I'm Yours" (p3 r1) He produced his own album Where I'm Coming From in 1971 That album contained two hit singles "If You Really Loved Me" (p8 r4, 1971) and "We Can Work It Out" (p13 r3, 1971): a cover of the Beatles' 1965 hit Stevie Wonder's writing and production skills helped Motown evolve

 into the 1970s Motown's impact on the civil rights movement Gordy truly believed that Motown artists should appeal to white middle class The carefully controlled choreography and charm-school training guaranteed that this would happen The Brill Building approach to the sound of the music also figured in Black Americans embraced the sound They knew it sounded "white" but the artists were from their culture Motown artists demonstrated that all blacks could assimilate into white culture Those who considered Motown to be a "sell-out" of black identity and culture looked to the South Southern soul music countered the Motown move away from black cultural roots Motown songs maintained a strong sense of heritage while also promoting change The Motown model serves as a forerunner to other labels in the 1970s George Clinton took black music in new directions that appealed to all racial groups Gamble and Huff launched the disco era using black pop as a foundation They further extended the Motown/Brill Building approach to orchestrating songs Their songs were also driven by up-tempo dance rhythms Atlantic, Stax, and Southern Soul Atlantic began the 1960s as a highly successful rhythm and blues oriented label They had incorporated the Leiber and Stoller/Brill Building approach into their song production

 Their sweet soul artists' records were successful Drifters "I've Been Loving You Too Long" (p21 r2) "Respect" (P35 r4) "Try a Little Tenderness" (p25 r4, 1966) "Sittin' on the Dock of the Bay" went to number one on pop and rhythm and blues charts in 1968 Redding appeared at the Monterey Pop Festival in the summer of 1967 His appearance helped acquaint the hippie audience to southern soul music Redding was killed in a plane crash in December 1967; he didn't live to see his impact on pop music Atlantic Records and the connection to Fame Studios in Muscle Shoals, Alabama Atlantic also recorded artists at Rick Hall's Fame Studios in Muscle Shoals Wilson Pickett Atlantic producer Jerry Wexler discovered Pickett through a demo recording he sang Wexler and Bert Berns produced the song "If You Need Me" with singer Solomon Burke in 1961 The Double L label also released the demo version with Pickett's vocalcompeting with Atlantic When Pickett came to Atlantic, Wexler immediately signed him to the label

 Wexler took Pickett to Memphis to record with Stax musicians in the Stax style They recorded "In the Midnight Hour" (p23 r 1, 1965) The song featured a delayed backbeat that Wexler showed the band Became a characteristic signature sound of the Stax records When studio time was difficult to get at Stax, Wexler moved to Fame studios in Muscle Shoals, Alabama Some of Pickett's best-known songs were recorded there "Land of 1000 Dances" (p6 r1, 1966) "Mustang Sally" (p26 r6, 1966) "Funky Broadway" (p8 r1, 1967) Atlantic had distributed songs from Dial Records in Nashville that were recorded at Fame Studios Joe Tex's hit "Hold What You've Got" (p5 r2, 1965) Wexler had licensed Percy Sledge's "When a Man Loves a Woman" (p1 r1, 1965) Sledge's hit was recorded at Quinvy Studios near Muscle Shoals, but Fame Studios would do others.

Sam and Dave with Porter and Hayes Sam and Dave were Atlantic artists who recorded at Stax studios Stax owner Jim Stewart put them together with songwriters David Porter and Isaac Hayes This team functioned similarly to Motown's pairing of writer-producers with artists Holland-Dozier-Holland with the Supremes Norman Whitfield with the Temptations Sam and Dave had several hits as a result of this teamwork "You Don't Know Like I Know" (r7, 1966) "Hold On, I'm Comin'" (p21 r1, 1966) The classic Sam and Dave number "Soul Man" (p2 r1, 1967) is also a result of their efforts The Stax sound Wilson Pickett's ''In the Midnight Hour" (one of his few hits that actually was recorded there) Simple verse form with instrumental interlude Introduction Motown, Atlantic, Stax, and issues of "blackness" Consensus is that Motown records were less true to black culture than Stax records Motown's musical style is aimed at a pop market Both labels had sales as the main goal, so Stax would have aimed at a pop market as well Motown arrangements were

 more inspired by successful pop arrangements Stax arrangements appealed to a pop market because of their contrast to Motown Stax balanced out the polish of Motown with their sincerity and spontaneity Discrepancies do confuse the issue Some Motown records sound more like Stax records Martha and the Vandellas' "Dancing in the Street" is an example Main difference is that they had backup vocal parts Rhythm groove and backing musical tracks are tight and simple like at Stax Motown was a black-owned company Motown producers and songwriters were black Motown band was black The Supremes - Baby Love - YouTube The Supremes - Baby Love Want to watch this again later?

Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Feb 21, 2011 PLEASE NOTE: I divided my uploads between multiple channels, Bookmark this link in your browser for instant access to an index with links to all of John1948's oldies classics. LINK: The most successful American performers of the 1960s, the Supremes for a time rivaled even the Beatles in terms of red-hot commercial appeal, reeling off five number one singles in a row at one point. Critical revisionism has tended to undervalue the Supremes' accomplishments, categorizing their work as more lightweight than the best soul stars (or even the best Motown stars), and viewing them as a tool for Berry Gordy's crossover aspirations. There's no question that there was about as much pop as soul in the Supremes' hits, that even some of their biggest hits could sound formulaic, and that they were probably the black performers who were most successful at infiltrating the tastes and televisions of middle America.

This shouldn't diminish either their extraordinary achievements or their fine music, the best of which renders the pop vs. soul question moot with its excellence. The Supremes were not an overnight success story, although it might have seemed that way when they began topping the charts with sure-fire regularity. The trio that would become famous as the Supremes -- Diana Ross, Mary Wilson, and Florence Ballard -- met in the late '50s in Detroit's Brewster housing project. Originally known as the Primettes, they were a quartet (Barbara Martin was the fourth member) when they made their first single for the Lupine label in 1960. By the time they debuted for Motown in 1961, they had been renamed the Supremes; Barbara Martin reduced them to a trio when she left after their first single. The Supremes' first Motown recordings were much more girl group-oriented than their later hits. Additionally, not all of them featured Diana Ross on lead vocals; Flo Ballard, considered to have as good or better a voice, also sang lead. Through a lengthy series of flops, Berry Gordy remained confident that the group would eventually prove to be one of Motown's biggest.

By the time they finally did get their first Top 40 hit, "When the Lovelight Starts Shining Through His Eyes," in late 1963, Ross had taken over the lead singing for good. Ross was not the most talented female singer at Motown; Martha Reeves and Gladys Knight in particular had superior talents. What she did have, however, was the most purely pop appeal. Gordy's patience and attention paid off in mid-1964, when "Where Did Our Love Go" went to number one. Written by Holland-Dozier-Holland, it established the prototype for their run of five consecutive number-one hits in 1964-1965 (also including "Baby Love," "Stop! In the Name of Love," "Come See About Me," and "Back in My Arms Again"). Ross' cooing vocals would front the Supremes' decorative backup vocals, put over on television and live performance with highly stylized choreography and visual style. Holland-Dozier-Holland would write and produce all of the Supremes' hits through the end of 1967.

Not all of the Supremes' singles went to number one after 1965, but they usually did awfully well, and were written and produced with enough variety (but enough of a characteristic sound) to ensure continual interest. The chart-topping (and uncharacteristically tough) "You Keep Me Hangin' On" was the best of their mid-period hits. Behind the scenes, there were some problems brewing, although these only came to light long after the event. Other Motown stars (most notably Martha Reeves) resented what they perceived as the inordinate attention lavished upon Ross by Gordy, at the expense of other artists on the label. The other Supremes themselves felt increasingly pushed to the background. In mid-1967, as a result of what was deemed increasingly unprofessional behavior, Ballard was replaced by Cindy Birdsong (from Patti LaBelle & the Bluebelles). Ballard become one of rock's greatest tragedies, eventually ending up on welfare, and dying in 1976. After Ballard's exit, the group would be billed as Diana Ross & the Supremes, fueling speculation that Ross was being groomed for a solo career.

The Supremes had a big year in 1967, even incorporating some mild psychedelic influences into "Reflections." Holland-Dozier-Holland, however, left Motown around this time, and the quality of the Supremes' records suffered accordingly (as did the Motown organization as a whole). The Supremes were still superstars, but as a unit, they were disintegrating; it's been reported that Wilson and Birdsong didn't even sing on their final hits, a couple of which ("Love Child" and "Someday We'll Be Together") were among their best. In January 1970. Jean Terrell replaced Ross, and the group continued through 1977. ~ Richie Unterberger, All Music Guide Category The Supremes: how we made Baby Love | Music | The Guardian How we made The Supremes: how we made Baby Love Mary Wilson: 'We were beginning to be known as the "no-hit Supremes". Then we had five number ones in a row' The Supremes in 1964 … (from left) Florence Ballard, Mary Wilson and Diana Ross.

Photograph: Michael Ochs Archives Tuesday 15 July 2014 03.00 EDT First published on Tuesday 15 July 2014 03.00 EDT Close Mary Wilson, singer In the early days of Motown , it felt as if all the girl groups were having hits apart from us. The Marvelettes had Please Mr Postman ; Martha and the Vandellas had Dancing in the Street . We were playing shows and people were going crazy, but in the office we were beginning to be known as the "no-hit Supremes". Mr Gordy [Motown boss Berry Gordy ] believed in us, and so he put us in with his best songwriting team, Holland-Dozier-Holland . The first song they showed us was Where Did Our Love Go , which we didn't want to record – it sounded sweet and bubblegum. At this point, Berry also appointed Diana Ross as the lead singer, with Florence [Ballard] and I providing backing. That became difficult later on, when we felt we weren't being allowed to sing enough, but it wasn't a problem in the early days.

We recorded Where Did Our Love Go and it became a hit, which changed everything. Once H-D-H found that formula for us, we had five consecutive [US] number ones. Baby Love was our second hit and our first UK number one. Again, we initially felt that the song was a bit cute, but the upbeat feeling of the music is counterbalanced by the lyrics: someone pleading with a lover not to leave them. It's the Motown way: the music is beautiful but the words are stories about life and hurt, which reflect the way life is. The combination of the two made the music last. The Holland brothers produced everything. Eddie worked on the lyrics; Brian the music. Lamont [Dozier] did a lot of the background parts, so he may have suggested the famous "Oooooh oooooh" intro. We recorded the song live with some of the Funk Brothers , the name given to the pool of Motown musicians. James Jamerson played bass on all our stuff, Hank Cosby played tenor saxophone, Mike Terry the distinctive baritone saxophone solo and I think Pistol Allen was on drums. It's hard to remember specific sessions, but sometimes we would get a song in a couple of takes.

Other times, we would record a song 30 times, then come back the next day and do it another 50 – as many as 100 takes in all. Baby Love's distinctive beat was people footstomping on the floor. H-D-H would just grab whoever was around. Motown was such a creative environment like that. I remember, one day, Mr Gordy saying: "I have this nine-year-old genius coming in," and little Stevie Wonder proceeding to play every instrument in the studio. Nine years old and blind. Motown was like Disneyland and we felt privileged to be there. Performing on the Ed Sullivan Show in 1964 was enormously important. Prior to that, you saw very few black people on television, [other than] actors playing maids or janitors. So to have three well-dressed, glamorous black women in gowns come on and be stars was significant. I've spoken to Whoopi Goldberg and Oprah Winfrey and they've both said that that moment really showed them as black people that they could succeed. Prior to that we were not considered citizens. We couldn't dream of being rich and famous.

Shelly Berger, Supremes manager Mr Gordy's favourite saying was, "The cheapest thing we have is tape." He didn't care about mistakes on recordings; he wanted to capture emotion. He made artists do take after take to the point where it became a joke, but he never did it for the sake of it. Similarly, he would pull a record off the radio and out of the shops and say, "This is not right. You've got to redo this." So there is a first version of Baby Love that maybe could have been a top 10 hit. The girls were coming off a huge smash with Where Did Our Love Go, so were guaranteed airplay. But he wasn't happy and sent them back to record it again. If you listen to that early version of Baby Love and then the version that was released, it's day and night. The saxophone and the claps are different and the first version doesn't have what became one of the most famous intros in popular music. But that's Berry. He was always reaching for something more and pushing his writers and artists to do the same, and that's why the music was so successful and has lasted.

People on the outside just see the glamour, but there was a tremendous work ethic. [Artists'] lives were very regimented: the studio, the road and the hotel. You're going from adoration to being alone in the space of an hour. It is not the easiest of lives . With the Supremes you were not just talking about stardom. It was top-of-the-heap stardom. • The album The Nation's Favourite Motown Songs is out on Universal. The Supremes - Where Did Our Love Go - 1964 Live TV Footage - YouTube The Supremes - Where Did Our Love Go - 1964 Live TV Footage Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Feb 6, 2010 "Where Did Our Love Go" is a 1964 hit song recorded by The Supremes for the Motown label.

Written and produced by Motown's main production team HollandDozierHolland, "Where Did Our Love Go" was the first single by the Supremes to go to the number-one position on the Billboard Hot 100 singles chart, a position it held for two weeks, from August 16 to August 29, 1964. It was also the first of five Supremes songs in a row to reach number one (the others are "Baby Love", "Come See About Me", "Stop! In the Name of Love", and "Back in My Arms Again"). The song also reached number one on the Cash Box R&B singles chart. This version was ranked No' 472 on Rolling Stone 's list of The 500 Greatest Songs of All Time. Overview: HollandDozierHolland had originally composed the song and prepared the instrumental track for The Marvelettes to record it. The Marvelettes rejected the song, thinking it childish, and HDH offered it to the Supremes, who by early 1964 had only one top-forty hit, ' When the Lovelight Starts Shining Through His Eyes' , and eight failed singles.

Although the Supremes were apprehensive at first about the song, they decided that they really didn't have a choice in the matter. Single - ' Where Did Our Love Go ' - Released June 17, 1964 On The Motown Label : Writen By : HollandDozierHolland : Produced By : Producer Brian Holland & Lamont Dozier : Recorded In Hitsville U.S.A. (Studio A); April 8, 1964 : Category Exclusive: The Supremes' Mary Wilson Talks No. 1 Single 'Where Did Our Love Go' 50 Years Later | Billboard Exclusive: The Supremes' Mary Wilson Talks No. 1 Single 'Where Did Our Love Go' 50 Years Later COMMENTS The Supremes' "Where Did Our Love Go" single cover with Florence Ballard, Diana Ross and Mary Wilson released in 1964. The singer reveals why the trio didn’t care for the song, how they felt about Motown’s other girl groups and how a Billboard chart-topper changed their lives.

Before Diana Ross, Mary Wilson and Florence Ballard became the most successful girl group of the rock era, Motown released eight singles by The Supremes , none of which charted in the top 20 of the Billboard Hot 100 . Only one, “When the Lovelight Starts Shining Through His Eyes,” cracked the top 30. None of their other singles peaked higher than No. 75. Then, Motown staff writers Eddie Holland, Lamont Dozier and Brian Holland brought the trio a song that had been turned down by another of the label’s girl groups, The Marvelettes. The Supremes didn’t care for the tune either, but didn’t have the power to reject it. “Where Did Our Love Go” debuted on the Hot 100 the week of July 11, 1964. Six weeks later, the single was No. 1. Over the next 10 months, The Supremes earned four more No. 1s, becoming the first American group to score five consecutive No. 1s on the Hot 100. Before the decade was over, the Supremes had collected one dozen chart-toppers.

Before the 50th anniversary of “Where Did Our Love Go” achieving pole position on Aug. 22, Billboard talked to Mary Wilson about that classic Motown hit and how it changed the fortunes of the group as well as Berry Gordy’s record label. Billboard: In 1961, Motown released the first Supremes single, “I Want a Guy.” At that point, did you feel like you had finally made it? Mary Wilson: We had been at Motown since 1960 and signed our contract in 1961. We were thrilled because we were 16 1/2 years old and we were recording at Motown. That’s all we wanted to do -- record. We had been doing record hops but now we had our own record we could sing. It was pretty big for us. We had already recorded for the Lupine label but now we were with the biggest record company in Detroit and Berry Gordy liked us. When “I Want a Guy” didn’t become a hit, were you disappointed, or did you simply move on to the next single? We weren’t disappointed at all.

All the [local] radio stations, including CKLW in Detroit, were playing it. We were very happy and we felt like we were on our way. After “I Want a Guy,” Motown released several singles that also weren’t big hits. Were you ever discouraged or was there ever any discussion of calling it a day? We never thought of giving up. We thought we were fabulous. But people were laughing behind our backs. That’s why I made up the phrase “No-Hit Supremes.” We really could not figure out why we weren’t getting a hit record. On stage we were always great, but we couldn’t transcend those live performances. The one thing that really helped is when Berry decided to have just one lead singer. That changed our course and gave us our sound. People have said that Flo and I were jealous but that wasn’t true. We were happy. There were other girl groups at Motown, like The Marvelettes and Martha & the Vandellas, and they were having hits before the Supremes. How did that feel? We were thrilled. Florence was like an Etta James and she went into the studio and helped Gladys Horton sing “Please Mr.

Postman.” We did think, they’ve got their hits, when are we going to get ours? But we weren’t envious. After working with Smokey Robinson, Clarence Paul and other Motown writers and producers, Berry Gordy teamed you up with Eddie Holland, Lamont Dozier and Brian Holland. They gave you “When the Lovelight Starts Shining Through His Eyes” and it became your first top 30 hit on the Hot 100. But the follow-up, “Run, Run, Run,” stalled at No. 93. Then they brought you a song called “Where Did Our Love Go.” What did you think of it? We were a little pissed. It wasn’t like a Martha & the Vandellas song. We told Holland-Dozier-Holland to bring on the hits. If we didn’t get a hit, our parents were going to make us go to college. I went to Eddie and I cried.

I told him, “You don’t understand, we’ve got to get a hit record right now.” He said, “Don’t worry, trust us, this is going to be a smash.” One of the things we didn’t like about it was that Flo and I just had to sing, “Baby, baby.” We were used to doing intricate harmonic patterns but on this song we didn’t do anything. You were in no position at Motown at that time to turn the song down, so you recorded it. Do you remember the first time you heard it on the radio? We were still living in the projects. “Where Did Our Love Go” was released in summer, when you could hear music outside in the neighborhood. We tuned in to every radio station, including CKLW. Hearing it on the radio for the first time was big for us even though we didn’t like the song. It was infectious. Dick Clark loved to tell the story about what happened that summer on his touring Caravan of Stars. Dick called the Motown office because he wanted Brenda Holloway to be on the tour.

She had a hit at the time called “Every Little Bit Hurts.” He already had Gene Pitney, The Drifters, The Dixie Cups and Lou Christie. Motown told Dick he could have Brenda if he also took the Supremes. He said, “I never heard of the Supremes.” Motown told him about our new single and that it was going to be a smash. Dick said, “We don’t want The Supremes, all the acts are headliners.” But he couldn’t have Brenda without us. We were billed as “and others.” Dick fell in love with us the first time he saw us. At first we got a very small amount of applause. A couple weeks into the tour, the applause got bigger and bigger and bigger, until one day the crowd went crazy. We thought Gene Pitney must have stuck his head out from behind the curtain. But “Where Did Our Love Go” became a hit while we were on the tour. We were traveling on a bus and not listening to the radio, so we had no idea. When the tour was over, they flew us home on an airplane. We went to Motown and asked for our money and they said, “What money?

We gave you away for nothing.” How did your world change once you had a No. 1 hit? It changed because at a time when it was an impossible dream for black people, we accomplished something. It was a personal accomplishment but also an accomplishment for others. We started touring the world and every country we went to, we were introduced as “Motown’s Supremes.” We helped put Motown on the map. A few weeks later, “Baby Love” topped the Hot 100. How did it feel to have a second No. 1? “Baby Love” also went to No. 1 in the U.K. It was fabulous because we were now No. 1 on two continents. Then Europe took us in because of our success in Great Britain. We were on every major TV show. Being No. 1 in the U.K. was really huge. We were taking pictures with royalty and hanging out with the Rolling Stones. In 2014, “Where Did Our Love Go” is still played on the radio and in restaurants, malls and grocery stores. How do you feel when you’re out shopping and you hear the song? It happens quite a bit and not just here in America.

I can’t comprehend how great it is. We did touch the entire world. When I hear our songs in the mall or the elevator, I want to say, “It’s me! It’s me!” I never had that feeling before. What do you think of “Where Did Our Love Go” 50 years later? And do you sing it in your live act? It’s one of those songs that is not played as much as some of our other songs. It’s a cute song and it did what it did but it’s not one of those songs that make you jump up and dance. I only just started doing it live. It took me 50 years to fall in love with it. It’s new for me and fresh. “Baby Love” I do all the time. I’ve been letting everyone know it’s the 50th anniversary of “Where Did Our Love Go” hitting No. 1 and that’s why I fell in love with it. How would you sum up the last five decades and what is your life like today? Thank God for 50 years and for having hit records that have carried me all this way. As Mary Wilson, I’ve found my own voice.

I always sang the ballads in the group. Now I do lots of chanteuse-type songs. I put together my own show, Mary Wilson Live and Up Close. All the jazz clubs are asking me to perform. I’m recording a new song with Eddie and Brian Holland, “Life’s Been Good to Me.” I’m doing what I want to do. I turned 70 this year and I want to keep on. 100 Greatest Songs From 1964 Movie Lists 100 Greatest Songs From 1964 Criteria: These songs were chosen and ranked based on their initial and lasting popularity, and on their impact on the overall scope of musical history. Edited By: Bruce Note: Yearly song lists go by earliest 'release date' (Single, Album, or Country of first release). Not necessarily the year a song peaked in the U.S. charts. No.

You've Lost That Lovin' Feeling Righteous Brothers House Of The Rising Sun Animals Where Did Our Love Go Supremes The Times They Are A'Changin' Bob Dylan All Day And All Of The Night Kinks A Change Is Gonna Come Sam Cooke Baby I Need Your Lovin' Four Tops No Particular Place To Go Chuck Berry Remember (Walkin' In The Sand) Shangri-Las How Sweet It Is (To Be Loved By You) Marvin Gaye It Hurts To Be In Love Gene Pitney Time Is On My Side Rolling Stones / Irma Thomas The Way You Do The Things You Do Temptations Goin' Out Of My Head Little Anthony & the Imperials Everybody Needs Somebody To Love Solomon Burke Ain't Nothing You Can Do Bobby "Blue" Bland The Little Old Lady (From Pasadena) Jan & Dean Can't You See That She's Mine Dave Clark Five I Should Have Known Better Beatles The Boy From New York City Ad-Libs When I Grow Up (To Be A Man) Beach Boys (The Best Part Of) Breakin' Up Ronettes J.

Frank Wilson & the Cavaliers 69 (Just Like) Romeo And Juliet Reflections Any Way You Want It Dave Clark Five Saturday Night At The Movies Drifters Come A Little Bit Closer Jay & the Americans Oh Baby Don't You Weep James Brown Keep Searchin' (We'll Follow The Sun) Del Shannon I Wanna Love Him So Bad Jelly Beans Too Many Fish In The Sea Marvelettes Oh No, Not My Baby Maxine Brown I Had A Talk With My Man Mitty Collier When You Walk In The Room Searchers The Girl's Alright With Me Temptations DigitalDreamDoor Editor Picks for 1964 Bruce's Choice: An unheralded great record from 1964 * Billy J. Kramer with The Dakotas Adam's Choice: Don't Answer The Door (Parts 1 & 2) Jimmy Johnson DigitalDreamDoor.com is to be used for entertainment, educational, or research purposes only. Copyright © 2009 DigitalDreamDoor.com All photos are property and copyright of their owners and are provided for educational purposes only.

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Question: Which group had a hit with ‘Baby Love’ in 1964?
Answer: Supremes