THE SUPREMES We Remember Sam Cooke UK 1st Press VERY RARE

	£		42
	$		56

A BREAKDOWN OF THE ARTIST/S :-

America's most successful female vocal group of all time was formed by four Detroit schoolgirls in the late 50s. Diana Ross (Born Diane Ernestine Ross, 26 March 1944, Detroit, Michigan, USA), Betty Hutton, Florence Ballard (Born 30 June 1943, Detroit, Michigan, USA, d. 22 February 1976) and Mary Wilson (Born 6 March 1944, Greenville, Mississippi, USA) named themselves the Primettes in tribute to the local male group, the Primes - who themselves found fame in the 60s as the Temptations. Having issued a solitary single on a small local label, the Primettes were signed to Berry Gordy's Motown Records stable, where they initially found public acceptance hard to find. For more than two years, they issued a succession of flop singles, despite the best efforts of top Motown writer/producer Smokey Robinson to find them a suitable vehicle for their unsophisticated talents. Only when Diana Ross supplanted Florence Ballard as the group's regular lead vocalist, at Gordy's suggestion, did the Supremes break into the US charts. The dynamic "When The Lovelight Starts Shining In His Eyes", modelled on the production style of Phil Spector, was the group's first hit in 1963.

The follow-up single flopped, so Gordy handed over the group to the newly formed Holland/Dozier/Holland writing and production team. They concocted the slight, but effervescent, "Where Did Our Love Go" for the Supremes, which topped the US charts and was also a major hit in Britain. This achievement inaugurated a remarkable run of successes for the group and their producers, as their next four releases - "Baby Love", "Come See About Me", "Stop! In The Name Of Love" and "Back In My Arms Again" - all topped the US singles charts, while "Baby Love' became the only record by an American group to reach number 1 in Britain during the beat-dominated year of 1964. All these singles were hinged around insistent, very danceable rhythms with repetitive lyrics and melodies, which placed no great strain on Ross" fragile voice. With their girl-next-door looks and endearingly unsophisticated demeanour, the Supremes became role models for young black Americans and their name was used to promote a range of merchandising, even (ironically) a brand of white bread. The rather perfunctory "Nothing But Heartaches" broke the chart-topping sequence, which was immediately restored by the more ambitious "I Hear A Symphony". As Holland/Dozier/Holland moved into their prime, and Ross increased in confidence, the group's repertoire grew ever more mature. They recorded albums of Broadway standards, played residencies at expensive nightclubs, and were expertly groomed by Motown staff as all-round entertainers. Meanwhile, the hits kept coming, with four more US number 1 hits in the shape of "You Can't Hurry Love", "You Keep Me Hanging On", "Love Is Here And Now You're Gone" and "The Happening" - the last of which was a blatant attempt to cash in on the psychedelic movement.

Behind the scenes, the group's future was in some jeopardy; Florence Ballard had grown increasingly unhappy in the supporting role into which Berry Gordy had coerced her, and her occasionally erratic and troublesome behaviour was ultimately used as an excuse to force her out of the group. Without fanfare, Ballard was ousted in mid-1967, and replaced by Cindy Birdsong (Born 15 December 1939); most fans simply did not notice. At the same time, Ross' prime position in the group's hierarchy was confirmed in public, when she was given individual credit on the group's records, a move that prompted a flurry of similar demands from the lead singers of other Motown groups. "Reflections", an eerie, gripping song that was one of Motown's most adventurous productions to date, introduced the new era. Motown's loss of Holland/Dozier/Holland slowed the group's progress in 1968, before they bounced back with two controversial slices of overt social commentary, "Love Child" and "I'm Livin' In Shame", the first of which was yet another US number 1. The Supremes also formed a successful recording partnership with the Temptations, exemplified by the hit single "I'm Gonna Make You Love Me".

During 1969, there were persistent rumours that Berry Gordy was about to launch Diana Ross on a solo career. These were confirmed at the end of the year, when the Supremes staged a farewell performance, and Ross bade goodbye to the group with the elegiac "Someday We'll Be Together" - a US chart-topper on which, ironically, she was the only member of the Supremes to appear. Ross was replaced by Jean Terrell, sister of heavyweight boxer Ernie Terrell. The new line-up, with Terrell and Mary Wilson alternating lead vocal duties, found immediate success with "Up The Ladder To The Roof" in early 1970, while "Stoned Love", the group's biggest UK hit for four years, revived memories of their early successes with its rhythmic base and repetitive hook. The Supremes also tried to revive the atmosphere of their earlier recordings with the Temptations on a series of albums with the Four Tops. Gradually, their momentum was lost, and as Motown shifted its centre of activity from Detroit to California, the Supremes were left behind.

Lynda Laurence replaced Cindy Birdsong in the line-up in 1972; Birdsong returned in 1974 when Laurence became pregnant. The latter move coincided with the departure of Jean Terrell, whose place was taken by Scherrie Payne (Born 14 November 1944, Detroit, Michigan, USA). With the group recording only rarely, Birdsong quit again, leaving Mary Wilson - at last established as the unchallenged leader - to recruit Susaye Greene in her place. This trio recorded the self-explanatory Mary, Scherrie And Susaye in 1976, before disbanding the following year. Mary Wilson attempted to assemble a new set of Supremes for recording purposes, and actually toured Britain in 1978 with Karen Rowland and Karen Jackson in the line-up. The termination of her Motown contract stymied this move, however, and since then the use of the Supremes' name has legally resided with Motown. They have chosen not to sully the memory of their most famous group by concocting an ersatz Supremes to cash in on their heritage. Jean Terrell, Scherrie Payne and Lynda Laurence won the rights to use the Supremes' name in the UK. Payne began recording disco material with producer Ian Levine in 1989, for the Nightmare and Motor City labels. Levine also signed Laurence, Wilson and ex-Supreme Susaye Greene to solo contracts and recorded Terrell, Lawrence and Greene for a remake of "Stoned Love". The career of Mary Wilson has also continued with a starring role in the Toronto, Canada production of the stage musical The Beehive in 1989 and the publication of the second volume of her autobiography in 1990. In 1988, the Supremes were inducted into the Rock And Roll Hall Of Fame.

Discography:
Meet The Supremes (Motown 1963)***, Where Did Our Love Go? (Motown 1964)***, A Bit Of Liverpool (Motown 1964)**, The Supremes Sing Country, Western And Pop (Motown 1964)*, We Remember Sam Cooke (Motown 1965)***, More Hits By The Supremes (Motown 1965)***, Merry Christmas (Motown 1965)***, The Supremes At The Copa (Motown 1965)***, I Hear A Symphony (Motown 1966)***, The Supremes A-Go-Go (Motown 1966)***, The Supremes Sing Holland, Dozier, Holland (Motown 1967)****, The Supremes Sing Rodgers And Hart (Motown 1967)**, Right On (Motown 1970)***, with the Four Tops The Magnificent Seven (Motown 1970)****, New Ways But Love Stays (Motown 1970)***, Touch (Motown 1971)**, with the Four Tops The Return Of The Magnificent Seven (Motown 1971)**, with the Four Tops Dynamite (Motown 1971)***, Floy Joy (Motown 1972)***, The Supremes (Motown 1975)**, High Energy (Motown 1976)**, Mary, Scherrie And Susaye (Motown 1976)***. As Diana Ross And The Supremes: Reflections (Motown 1968)***, Diana Ross And The Supremes Sing And Perform "Funny Girl" (Motown 1968)*, Diana Ross And The Supremes Live At London's Talk Of The Town (Motown 1968)***, with the Temptations Diana Ross And The Supremes Join The Temptations (Motown 1968)***, Love Child (Motown 1968)***, with the Temptations TCB (Motown 1968)***, Let The Sunshine In (Motown 1969)**, with the Temptations Together (Motown 1969)***, Cream Of The Crop (Motown 1969)**, with the Temptations Diana Ross And The Supremes On Broadway (Motown 1969)**, Farewell (Motown 1970)**.

Compilations:
Diana Ross And The Supremes Greatest Hits (Motown 1967)****, Diana Ross And The Supremes Greatest Hits, Volume 2 (Motown 1967)****, Diana Ross And The Supremes Greatest Hits, Volume 3 (Motown 1969)***, Anthology 1962-69 (Motown 1974)****, Supremes At Their Best (Motown 1978)***, 20 Greatest Hits (Motown 1986)****, 25th Anniversary (Motown 1986)****, Early Classics (Spectrum 1996)***, The Ultimate Collection (Motown 1998)****, The Supremes 5-CD box set (Motown 2000)****, The '70s Anthology (Motown 2002)****, The Best Of The Supremes: The Christmas Collection (Motown 2003)***, Number 1's (Motown 2004)*****, with the Temptations Joined Together: The Complete Studio Duets (Motown 2004)****.

THE HISTORY OF THE RECORD :- The album is a tribute album dedicated to soul musician Sam Cooke, who had died the previous December. Notable selections on the album, consisting entirely of Cooke covers, included covers of "A Change Is Gonna Come", "You Send Me" and "(Ain't That) Good News" (led by Florence Ballard).

It was the second most successful in a series of themed albums enjoying a #5 peak on the Billboard R&B chart. It showcased the versatility of the group with a Brit pop album under their belt, as well as, a country and western themed album

THE COVER :- Single laminated sleeve

THE LABEL :- Tamla Motown labels

THE VINYL VISUALLY :- On initial inspection of this piece of vinyl I have noted a number of light scratches and a few sleeve removal scuffs. There is nothing deep but as  I say there are a number of marks on both sides. Graded visually as Very Good.

THE VINYL PLAY GRADED :- The playgrading of the vinyl reveals a little lessening in the sound quality. It lives up to its visual grading but plays better in my opinion. There is very some surface noise throughout but in the main it is restricted the run-ins and run-outs of track and the deadwax. There is a little distortion occassionaly but it is not consistant throughout. I would by no means say it is a minter but it is a perfectly playable copy with no skips or jumps. I would grade the playback as Very Good condition in places and Excellent in other places.

THE SLEEVE FRONT CONDITION :- This is the very earliest 1st press laminated Garrod & Lofthouse sleeve. The front of the sleeve is free from writing, free from stickers but there is evidence of a previously removed one which has caused a very small removal of the top surface about 3mm in diameter, you may just be able to see it in the top right near the box outline. The sleeve reveals some moderate ringwear and a few handling creases near the opening edge. There is some minor corner wear and a little feathering of the opening edge. Still for this type of early cover it is fairly nice as the vast majority are in awfull shape. I would grade this one as Very Good condition.

THE SLEEVE REAR CONDITION :- The rear of the sleeve is free from writing, free from stickers or evidence of previously removed stickers. There are no creases on the rear of the sleeve but some ringwear that has created a tidemark. Just some light corner wear. The colours have aged somewhat and gone a little grubby. All the text is clear and the flipbacks are all in nice shape. I would grade the rear as Very Good condition.

THE LABEL SIDE ONE CONDITION :- Original Tamla Motown label in excellent order free from stickers or writing and no damage at all, mediumish signs of play around the spindle hole. Excellent condition.

THE LABEL SIDE TWO CONDITION :- Original Tamla Motown label in excellent order free from stickers or writing and no damage at all, mediumish signs of play around the spindle hole. Excellent condition.

THE SPINE CONDITION :- The writing on the spine is crystal clear, no spine splits at all just very light signs of shelfwear in the two corners. Excellent condition

THE INNER SLEEVE CONDITION :- Generic white inner in Excellent condition

THE EXTRAS :- No extras were given with this album

THE CATALOGUE NUMBER :- TML 11012

THE YEAR OF RELEASE :-  1965

THE LABEL :- TAMLA MOTOWN

THE COUNTRY OF ORIGIN :-  UK

PLAYING FORMAT :- MONO

THE MATRIX NUMBERS :-  TML 11012 A-1  &  TML 11012 B-1

TRACK LISTING :-

SIDE ONE :-

1. YOU SEND ME
2. NOTHING CAN CHANGE THIS LOVE
3. CUPID
4. CHAIN GANG
5. BRING IT ON HOME TO ME
6. ONLY SIXTEEN

SIDE TWO :-

1. HAVIN' A PARTY
2. SHAKE
3. WONDERFUL WORLD
4. A CHANGE IS GONNA COME
5. AINT THAT GOOD NEWS

WHAT WE PLAY THE RECORD ON :- 

We use a Project 6 Perspex Turntable to play grade our records which delivers a rich authoritative sound and achieves a rich and weighty vibrancy unrivalled by the majority of decks within its price range

HOW WE CLEAN YOUR RECORD :- 

We use a V.P.I. HW-16.5 record cleaning machine to clean your vinyl. "A highly recommended machine" as quoted by Stereophile magazine. This removes any excess dirt before playing

HOW WE PACKAGE YOUR RECORD :- 

Your record will be package very securely to minimise any risk of damage during transit. We remove the record from the outer sleeve unless asked not to do so. This helps to minimise the risk of seam spliting. We use a high quality record mailer which is designed to give superior protection for your vinyl record. We place stiffeners either side of the record for added protection. The album will also be placed in a 450 gram Poly outer sleeve for even extra added protection

POSTAGE AND PACKAGING CHARGES FOR UK CUSTOMERS :-

We advise that items reaching over £50 in price to be insured and sent by Special Delivery. This protects both of us and ensures better handling of the parcel during transit.We are in no way out to make money from postage. The postage price includes the record mailer, stiffeners and plastic sleeve. We just want your item to reach you in the best possible condition. A breakdown of insured postal services are listed below. Please choose to use the relevant postal service for your own protection as once these rare records are lost they can quite often seldom be replaced

SECOND CLASS RECORDED (INSURED UP TO £50) :- FREE

FIRST CLASS RECORDED (INSURED UP TO £50) :- £0.45

SPECIAL DELIVERY NEXT DAY UPTO 500g :- £3.80

SPECIAL DELIVERY NEXT DAY FROM 500g - 1000g :- £5.00

(SPECIAL DELIVERY INSURES YOUR ITEM UPTO £500)

POSTAGE AND PACKAGING FOR THE EUROPEAN UNION :-    

All records reaching under £15 are sent to the European Union by Airmail small packets. We will not ship abroad without insured post for items reaching over £15

AIRMAIL SMALL PACKETS  :-  £6.22 (For items under £15)

INTERNATIONAL SIGNED FOR :-  £11.37 (For items £15 - £50)

INTERNATIONAL SIGNED FOR :-  £13.97 (For items £50 - £500)

(These prices are based on a package weight of no more than 500g and can vary for heavier packages)

POSTAGE AND PACKAGING FOR THE USA AND CANADA :- 

All records reaching under £15 are sent to the USA & Canada by Airmail small packets. We will not ship abroad without insured post for items reaching over £15

AIRMAIL SMALL PACKETS  :-  £8.78 (For items under £15)

INTERNATIONAL SIGNED FOR :- £13.93 (For items £15 - £50)

INTERNATIONAL SIGNED FOR :- £16.53 (For items £50 - £500)

(These prices are based on a package weight of no more than 500g and can vary for heavier packages)

POSTAGE AND PACKAGING FOR THE AUSTRALIA AND JAPAN AND ROW :- 

All records reaching under £15 are sent to the Australia & Japan by Airmail small packets. We will not ship abroad without insured post for items reaching over £15

AIRMAIL SMALL PACKETS :- £9.06 (For items under £15)

INTERNATIONAL SIGNED FOR :- £14.21 (For items £15 - £50)

INTERNATIONAL SIGNED FOR :- £16.81 (For items £50 - £500)

(These prices are based on a package weight of no more than 500g and can vary for heavier packages)

PLEASE NOTE THAT WE DO NOT PROFIT FROM POSTAGE, THE PRICES WE QUOTE ARE QUITE ACCURATE AND INCLUDE THE PACKAGING MATERIALS AT COST PRICE

NOTE FOR INTERNATIONAL BUYERS:

PLEASE AWAIT AN INVOICE BEFORE PAYING SO WE CAN WORK OUT THE CORRECT POSTAGE/SHIPPING CHARGES

BUYERS OF MULTIPLE ITEMS :- 

Postage prices and courier methods for multiple purchases will be calculated after the auction end. It is impossible for us at the pre auction stage to determine these prices as the final weight is unknown.If you are the winner of multiple items the please await contact from us or alternately contact us yourself for a breakdown of the shipping costs.You will only pay the stamp price + relevant packaging charges so there are big savings to be made with multiple purchases

HOW TO PAY FOR YOUR RECORD :-

We can accept the following payment methods

UK BUYERS :- 

• PayPal
• Personal cheque (Please allow to clear)
• Bankers Draft
• Postal Order

OVERSEAS BUYERS :-

• Paypal only

TERMS AND CONDITIONS :-

We always try to appraise the record for sale as openly and honestly as possible and provide plenty of pictures for you to look at but please be aware that errors however rare do occur and not everyone has the same audio  equipment. There is no problem that cannot be worked out in a civilised manner. We urge you to contact us so that we can discuss any small problems that may occur. We offer a refund of the purchase price for returned items within 7 days of purchase and are happy to help you with any questions or concerns you may have during the auction

SAVE US TO YOUR FAVOURITES LIST AS WE INTEND TO LIST MANY MORE RARE VINYL TREATS OVER THE COMING MONTHS AND YEARS