“I will never forget the first time we worked at the Copacabana. I did our makeup and hair, and this was the first time we ever signed autographs. I stood there in amazement, holding a piece of paper that someone had asked me to sign, knowing for certain that life had changed.” (Diana Ross, Secrets Of A Sparrow) “We were cooking, and after the show we all hugged, knowing we had been a real smash. Now everyone in the entertainment world knew the Supremes had what it takes, and we weren’t just girl singers anymore. We had arrived.” (Mary Wilson, Dreamgirl: My Life As A Supreme) It’s telling that in their respective autobiographies, both Diana Ross and Mary Wilson write about their experiences opening at New York’s famed Copacabana nightclub.

Though The Supremes had already performed internationally, and would go on to conquer the world’s best venues, the group’s opening night at the Copa (on July 29th, 1965) was more than just another engagement. This would become the defining moment for The Supremes, and arguably the defining moment for Motown Records; it was a culmination of a plan to establish Berry Gordy, Jr.’s stable of stars as more than just rock n’ roll singers, to elevate them to a league of highly-paid supper club singers who could win over upper-class audiences around the world. “Taking them to the Copacabana was a big plan of mine. We tried to book various supper clubs and they would not use The Supremes. The only way we could break into that circuit was to play the Copa in New York.” (Berry Gordy, Jr., The Supremes box set) Gordy knew that if anybody could win over the exclusive Copa crowds, it would be Diana Ross, Mary Wilson, and Florence Ballard. Since joining the Motown roster just a few years earlier, the group had demonstrated its fortitude singing all kinds of music, and doing it with an innate sense of elegance and poise. The group’s previous six LPs covered a wide spectrum of musical styles, from doo-wop to soul to country and pop; to play the Copacabana, the ladies would now need to master sophisticated standards and showtunes.

To that end, musical director Gil Askey was tasked with designing the show; he would remain with The Supremes and Diana Ross for many years thereafter (later gaining an Oscar nomination for his scoring work on Diana’s film debut, Lady Sings The Blues). According to Mary Wilson, preparations for the Copa booking lasted more than four months; by opening night, it was apparently obvious to everyone inside the club that group’s hard work had more than paid off. “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 resultant album also performed well, climbing to #11 on the Billboard 200 and the runner-up spot on the R&B album chart. Interestingly, according to writer J. Randy Taraborrelli in Diana Ross: A Biography, “Diana overdubbed all of her lead vocals because of inferior sound quality on the original recordings made at the Copa” (481). In other words, the singer re-sung the entire show in the studio; this is remarkable, considering everything sounds live on the recording, aside from a few instances in which Diana’s voice is audibly echoed.

If there’s an issue with the album, it’s not the audio quality; enjoyment of the LP is dependent on one’s tolerance for the setlist. The Supremes At The Copa is light on Motown, heavy on pizzazz; those seeking the hard-edged funk of Detroit had better look elsewhere. Still, The Supremes At The Copa is an invaluable addition to the group’s discography; this is a document of an important moment in music history, and a testament to the groundbreaking talent of The Supremes. *** (NOTE: The following summaries are based on the album remaster currently available for download on iTunes.) 1.

Opening Introduction: A brief, roughly 20-second musical introduction, and those immortal words, “And now, ladies and gentlemen, Jules Podell proudly presentsThe Supremes!” 2. Put On A Happy Face: The album opens with a brisk rendition of a song so familiar, it’s hard to believe that in 1965, it was still a relatively new composition! “Put On A Happy Face” initially gained fame in the 1960 Broadway musical Bye Bye Birdie and the subsequent film adaptation starring Ann-Margret. Certainly the New York crowds would have immediately recognized the time, and The Supremes glide through a chirpy performance that serves as a nice introduction to the rest of the show (although the actual live show opened with a different song, “From This Moment On,” which was cut from the LP). The months of preparation are obvious; if there were nerves for Diana, Mary, and Florence, they’re never audible for a second. The ladies sound particularly good when they break into three-part harmony, something that had been largely missing from previous LP Gil Askey’s band is really swinging, too; listen to that fantastic bassline! I Am Woman: And on to another showtune, this one from Funny Girl; the Barbra Streisand vehicle had just opened on Broadway in 1964, so it was also relatively new.

Listen to songs from the album Sam Cooke at the Copa (Live from Copacabana, New York City/July 7 & 8, 1964), including 'Opening Introduction (Live)', 'The Best Things in Life Are Free (Live)', 'Bill Bailey (Live)' and many more. Buy the album for $9.99. Songs start at $1.29. Free with Apple Music subscription. Turbo Pascal Befehle Pdf Converter. CANCIONERO PARA GUITARRA. You can download the paper by clicking the button above. Academia. Literature And Composition Jago Pdf Viewer. edu is a platform for academics to share research papers. Manage your page to keep your users updated View some of our premium pages: google.com. Upgrade to a Premium Page.

Hi Paul–I will comment on this historic recording tomorrow when I have time to reflect but for the moment I want to report a timely tidbit I am sure you will enjoy. Last night I went to see Patti Labelle in concert in Queens (My first Patti concert other than the Divas With Heart bill seven years ago). Early in the show she announced, “My good friend, Diana Ross’s daughter, Rhonda, is here tonight!” The spotlight briefly shone on Rhonda, who was in attendance with her husband. Patti next segued into her hit ballad “If Only You Knew” and ad libbed in the first verse to Rhonda, “I love you, your mama, your sisters and your brothers.” What a lovely and sweet mention of Diana. It gave me the feeling that these women form a community of classic singers, so many decades into their careers, that connect to each other on a very deep level. Hi Paul, long time no write!

I truly appreciate your embracing of the Supremes’ discography – something that in some respect is new territory for me. It was late 1967 – I was a mid-aged teen – when I became a Supremes or better a DR fan, after having watched a life performance of ‘The Happening’ on TV ( today I do not like this song at all). I bought what was currently on the market then – ‘Love Child’, an album I still enjoy, and ‘Live at the Talk of the Town’. This one really made me unsure whether I would pursue my fanship. At that time I was very much interested in the Civil Rights Movement, and for me The Supremes where too “white washed”.

But their music made me dig into the Motown catalogue, and there were so many more “grittier” voices with a rawer beat to enjoy, the Four Tops and Gladys Knight being my favorites. And, of course, Atlantic soul. Thus I did not take a closer ear to most of the Supremes’ albums from 1964 to 1966. So your reviews introduced me e.g. To “We remember Sam Cooke”, which I play a lot now. The only thing I have to critically remark in addition to your comments, Paul, is that for my ears DR’s voice is a bit penetrative in those years. And you made me aware of these beautiful harmonies the Supremes were able to do.

Such a shame, they soon vanished from one album after the other in the years to come In hindsight and through my research I have come to realize how important these barrier crossing performances such as ‘At the Copa’ were. But I had never played the album, it was only a collectible on a shelf (Expanded Edition). Under your “guidance”, I finally did listen and was really impressed. Three girls – yes – in their early twenties, singing their hearts out in front of a spoiled audience and winning their appreciation! Glad you’re “back” and reading along on these Supremes reviews. I do agree with you that Diana’s voice could be a little too “cutting” in the 60s — although I think this is mainly an issue on the group’s first three albums.

For me, as her voice matures from COUNTRY, WESTERN & POP to SAM COOKE to MORE HITS, she becomes a more deeply-felt vocalist and easier to listen to. Like you — I spent years feeling the group was too pop and watered down, especially compared to Diana’s early solo work. But now I’m appreciating the group and its artistry so much more, and enjoying the process of writing about these albums more than I expected. The H-D-H singles get SO GOOD in the mid-60s — and I can’t wait to listen to them again and also the filler tracks on these albums.