Fondly recalled for their 1963 chart-topper "Easier Said Than Done," R&B vocal quintet the Essex was formed in 1961 by Walter Vickers and Rodney Taylor, a pair of U.S. Marines stationed in Japan; upon returning stateside to Camp LeJeune, NC, the duo recruited fellow leathernecks Anita Humes, Billie Hill, and Rudolph Johnson and recorded a demo... [+] Read More

Fondly recalled for their 1963 chart-topper "Easier Said Than Done," R&B vocal quintet the Essex was formed in 1961 by Walter Vickers and Rodney Taylor, a pair of U.S. Marines stationed in Japan; upon returning stateside to Camp LeJeune, NC, the duo recruited fellow leathernecks Anita Humes, Billie Hill, and Rudolph Johnson and recorded a demo tape which earned them a contract with the Roulette label. Highlighted by Humes' distinctively sassy lead vocal, "Easier Said Than Done" reached the top of the American pop charts in June of 1963, although the Essex found promoting the single trying as they were forced to coordinate their live appearances around their Marine duties. Johnson's subsequent shipment to a military base in Okinawa, Japan, further complicated matters, but the group's follow-up "A Walkin' Miracle" nevertheless reached the number 12 spot; when the Essex's third single "She's Got Everything" stalled, however, their chart run was over, and after a handful of little-noticed records like "Curfew Lover," they disbanded. Humes later pursued a solo career. ~ Jason Ankeny, All Music Guide [-] Hide

The Ronettes weren't the most commercially successful girl group, but their music was some of the most groundbreaking in the field, thanks to their association with the legendary Wall of Sound producer Phil Spector. Their biggest hit, "Be My Baby," is widely regarded as one of the crowning achievements of Spector's oeuvre, and of girl-group pop... [+] Read More

The Ronettes weren't the most commercially successful girl group, but their music was some of the most groundbreaking in the field, thanks to their association with the legendary Wall of Sound producer Phil Spector. Their biggest hit, "Be My Baby," is widely regarded as one of the crowning achievements of Spector's oeuvre, and of girl-group pop in general. In fact, many critics have deemed it one of the most supremely romantic records of the rock & roll era; Spector's production frames the song's yearning lyrics and Ronnie Bennett's sweetly sultry vocals in a sweeping, near-symphonic level of emotion. Even though the Ronettes never managed another hit as big as "Be My Baby," many of their subsequent singles boasted the same kind of creative synergy between Spector and Bennett. It apparently carried over into real life as well, since the two were married in 1968, not long after Bennett went solo. Unfortunately, the union was an unhappy one, as Spector soon turned reclusive and controlling, largely preventing her from recording (or even leaving the house). After their divorce, she recorded sporadically without much success, but became something of a female rock icon when she published her survivor's-tale autobiography.

The Ronettes were formed in the Washington Heights/Spanish Harlem area of New York City. Sisters Veronica (aka Ronnie) and Estelle Bennett and their cousin Nedra Talley first started harmonizing together as teenagers in 1959, inspired by doo wop groups like Frankie Lymon & the Teenagers and Little Anthony & the Imperials. First calling themselves the Darling Sisters, the trio also worked on their dance moves, and won the famed amateur talent contest at the Apollo Theater; afterward, they began formal vocal training. In 1961, they were standing in line to get into the Peppermint Lounge -- epicenter of the twist dance craze -- when a manager mistook them for an act he'd booked. They performed to great response, and were quickly hired as regulars. Later that year, they appeared in the film Twist Around the Clock, and danced in shows staged by disc jockey Murray the K. They also got a record deal with the Colpix label, issuing their debut single "I Want a Boy" as Ronnie & the Relatives that year. Follow-up singles credited the group as the Ronettes, including "I'm on the Wagon," "Silhouettes," and "Good Girls," but none were anything more than regionally popular.

The Ronettes caught their big break when they met Phil Spector, who saw in them talent he could mold to his specifications; he was already tiring of his association with the Crystals, substituting outside singer Darlene Love on several records credited to them. Spector signed the Ronettes to his Philles label, where they were given a more defined image than most female artists of the time. They were still sweet and feminine, to be sure, but they had hints of attitude -- they were photographed with tall hairdos, heavy eyeliner, and tight skirts. Moreover, their songs dared to address the objects of their affection directly ("I love you" as opposed to "I love him"), even -- on a subliminal level -- seductively. Spector lavished all his attention on his new protégées, collaborating on material with some of the top Brill Building songwriting teams. Their first Philles single was "Be My Baby," a tune Spector co-wrote with Jeff Barry and Ellie Greenwich especially as a showcase for Ronnie Bennett. Right from the often-imitated drum kick that opened the song, "Be My Baby" announced itself as a pop classic; Spector's lush arrangement seemed to echo into infinity, while Bennett's sweet vulnerability captured the hearts of enough teenage male listeners to send the song to number two on the pop charts and number four R&B. It also became the all-time favorite record of Beach Boy Brian Wilson, who was directly inspired to emulate Spector's arsenal of production innovations; he also penned "Don't Worry Baby" for the Ronettes in tribute, but when Spector refused the song, the Beach Boys recorded it themselves for a hit.

None of the Ronettes' other singles even managed to make the Top 20, but they continued to turn out high-quality work over the next two years. Their next hit, 1964's "Baby, I Love You," featured Leon Russell as the session pianist, as well as backup vocal support from Darlene Love and a young Cher. Subsequent singles like "(The Best Part Of) Breakin' Up," "Do I Love You?," "Walking in the Rain," and "Is This What I Get for Loving You?" still rank as all-time girl-group classics; "Walking in the Rain" went on to win a Grammy for Best Sound Effects, the only one Spector ever received. Meanwhile, Spector was testing the waters for Bennett as a solo artist; she recorded a song under the name Veronica, "So Young," which nonetheless included backup harmonies by the other two Ronettes (it was withdrawn not long after release).

With his attention consumed by Tina Turner in early 1966, Spector put the Ronettes on the back burner; one of his final sides with the group, the lovely "I Wish I Never Saw the Sunshine," was never even released. Jeff Barry produced the final Ronettes single for Philles, "I Can Hear Music," in late 1966. Shattered by the cool reception afforded his magnum opus, the Ike & Tina Turner single "River Deep-Mountain High," Spector soon shut down the Philles label, and the Ronettes disbanded. Spector left his wife to marry Bennett in 1968, and the two lived together in Spector's L.A. mansion. However, his behavior grew increasingly erratic and controlling. In spite of Ronnie's ambitions for a solo career, Spector took pains to ensure that she remained at home -- not just refusing to book recording sessions, but not even allowing her to leave the house without his permission. He became psychologically abusive, allegedly threatening to kill her, monitoring her phone calls, and forbidding her to read books or see friends. When the couple failed to conceive children, Spector adopted three -- the last two without even consulting his wife -- which ensured that she was kept busy at home. Even amid all of this, two singles made their way to release -- 1969's aptly titled "You Came, You Saw, You Conquered" (which was credited to the Ronettes Featuring the Voice of Veronica), and 1971's "Try Some, Buy Some," issued on the Beatles' Apple label.

Ronnie left her husband in 1973, and their divorce was finalized the following year; reportedly, Spector made a substantial alimony payment by sending Ronnie a truckload of dimes. Nonetheless, Ronnie kept his last name, and formed a new version of the Ronettes with Denise Edwards and Chip Fields; they recorded a couple of singles for Buddah over 1973-1974, but none charted. Ronnie Spector released several solo records during the late '70s without much success; she did return to the spotlight as a guest vocalist on rocker Eddie Money's Top Five hit "Take Me Home Tonight" in 1986. Two years later, on the heels of a "Be My Baby" revival in the film Dirty Dancing, the three original Ronettes sued Spector for nonpayment of royalties; the case dragged on for years and years. In 1990, Ronnie published her autobiography Be My Baby: How I Survived Mascara, Miniskirts, and Madness; the book was a sensation thanks to its detailed account of her bizarre relationship with Spector, though she maintained that she had been genuinely in love with him at the start, and that he was never physically abusive to her. In late 2001, a New York court announced a verdict in favor of the Ronettes, ordering Spector to pay nearly three million dollars in back royalties; the judgment was later overturned on appeal, but part of the case was sent back to a lower court, renewing the group's hopes. ~ Steve Huey, All Music Guide [-] Hide

Amazingly, Darlene Love, a superb vocalist, hasn't had much of a track record as a solo singer, at least not in terms of hits. Love was a founding member of the Blossoms in 1957. They did several sessions and were resident singers on the television show Shindig. Love sang lead vocals on "He's a Rebel," which was credited to the Crystals, and... [+] Read More

Amazingly, Darlene Love, a superb vocalist, hasn't had much of a track record as a solo singer, at least not in terms of hits. Love was a founding member of the Blossoms in 1957. They did several sessions and were resident singers on the television show Shindig. Love sang lead vocals on "He's a Rebel," which was credited to the Crystals, and "Zip-A-Dee-Doo-Dah," which was issued as Bob B. Soxx and the Bluejeans. She cut six singles for Spector's Phillies label, with "Wait Till My Bobby Gets Back Home" the most successful. Love became busy as an actress, but reunited with Spector for the 1977 single "Lord, If You're a Woman." Love appeared in all four Lethal Weapon films, and was also in the Royal Shakespeare Company's co-production of Stephen King's Carrie. Her 1990 LP, Paint Another Picture, failed to chart in America. Love later toured as a background vocalist with Cher. She appeared briefly on the soap opera Another World in 1993. ~ Ron Wynn, All Music Guide [-] Hide

Little Peggy March, age 15 years old, only ever had one big hit during her decade with RCA Records, but that song, "I Will Follow Him," spent three weeks at the number one spot on the charts and even topped the R&B charts for a week as well. It pretty well helped define the early girl-group sound, as much as the Shangri-Las' "Leader of the Pack"... [+] Read More

Little Peggy March, age 15 years old, only ever had one big hit during her decade with RCA Records, but that song, "I Will Follow Him," spent three weeks at the number one spot on the charts and even topped the R&B charts for a week as well. It pretty well helped define the early girl-group sound, as much as the Shangri-Las' "Leader of the Pack" or "Great Big Kiss" did the later end of the musical genre. Her subsequent hits, "I Wish I Were a Princess" (which was featured prominently in John Waters' period romp Hairspray) and "Hello Heartache, Goodbye Love," scored much lower in the Top 40. RCA continued to record March for ten years, right into the early '70s, but she never scored an American hit of any consequence after early 1964. By contrast, in Europe, she was a popular recording artist for many years and scored several major hits, especially in Germany, where she moved in 1969.

Margaret Battavio, aka Little Peggy March, had dreamt of a singing career for most of her young life, and had been winning talent contests as a young girl. She was signed to RCA in 1962 at age 14, and made her debut that year with a cover of the song "Little Me," taken from a Sid Caesar Broadway hit, which vanished without a trace. Her second single was to ensure her place in the pop music reference books, however.

English-born girl singer Petula Clark, who'd been recording since the mid-'50s, had recently scored a hit in France with a song called "Chariot" on the Vogue label. RCA producers Hugo Peretti and Luigi Creatore ("Hugo and Luigi"), best known today for their work with Sam Cooke, found the song and got March to record the number in a new version with simpler lyrics, now known as "I Will Follow Him." Clark's recording was a slow, moody, soulful piece, with the singer seeking the depths of the song's meaning, all without the doo wop-style "did-ip, da did-ip, da did-ip" chorus. It sounded like the work of a woman. March's recording, by contrast, picked up the tempo, added a doo wop-style male chorus and a pulsing arrangement, with prominent drums and chorus, and her breathy, breathless reading of the lyrics. It sounded like the work of a passionate girl, and it defined the girl-group sound as much as numbers like "Johnny Angel."

March eventually released an entire album built around her sudden number one hit, including "I Wish I Were a Princess," which reached the Top 40 in 1963. The rest of the album was a pretty collection of tuneful teen-pop, the world of romance as seen through the persona of a 15-year-old, including such numbers as "My Teenage Castle (Is Tumbling Down) and "Johnny Cool." She subsequently saw modest chart success in America with the magnificent "Hello Heartache, Goodbye Love," a near-cousin of "I Will Follow Him" in beat and arrangement, which reached the Top 30 and also became a hit in England; and also with "The Impossible Happened," a funny, silly little teenage girl's romantic lament, which made the American Top 50. In early 1964, March was still reaching the lower reaches of the charts with Paul Anka's "(I'm Watching) Every Move You Make," but after that, music began changing very rapidly with the advent of the British Invasion sound. She recorded 18 singles for RCA between 1964 and 1971 and several albums as well, none of which charted in any serious way in America.

As it turned out, the United States comprised only one part of the audience she was trying to reach, and listeners over there were far more interested in March, as an American pop star, than Americans were. She moved to Germany with her husband/manager, Arnie Harris, and enjoyed a career in recording, variety show performances, and television appearances. In the 1980s, March returned to America, where she continues to be best known for "I Will Follow Him" and the naive early girl-group sound that it represents, some 35 years after it was first released. ~ Bruce Eder & Richie Unterberger, All Music Guide [-] Hide

Among aficionados of the girl group sound, there can't be five acts more beloved than the Crystals. Their best-known songs, which include "He's a Rebel," "Uptown," "Da Doo Ron Ron," "Then He Kissed Me," and "There's No Other Like My Baby," are among the finest examples of the best that American rock & roll had to offer in the period before the... [+] Read More

Among aficionados of the girl group sound, there can't be five acts more beloved than the Crystals. Their best-known songs, which include "He's a Rebel," "Uptown," "Da Doo Ron Ron," "Then He Kissed Me," and "There's No Other Like My Baby," are among the finest examples of the best that American rock & roll had to offer in the period before the British Invasion; and decades into the CD era, the group's records are still prized in their original vinyl pressings even by non-collectors, who seem to recognize that there was something special about the Crystals' work. The group was originally a quintet consisting of Barbara Alston (born 1945), Dee Dee Kennibrew (born 1945), Mary Thomas (born 1946), Patricia Wright, and Myrna Gerrard, organized by Benny Wells while they were still in high school. All of whom had started out singing in churches; Barbara Alston was Wells' niece, and although she later became known as their lead singer on many of their records, Alston was actually recruited as a backup singer by her uncle. Under Wells' guidance, they began performing in more of a pop vein, and one of the gigs that they got was cutting demos for the publisher Hill & Range, which brought them to the Brill Building in midtown Manhattan. It was there, while they were rehearsing, that they chanced to be heard by Phil Spector, who at that time was just starting up his own label, Philles Records. He was in the market for new talent and the Crystals -- who, by that time, had lost Gerrard and added La La Brooks to their lineup as lead singer -- were just what he was looking for, sort of. He liked their sound and their range, but he didn't initially like Brooks' voice and insisted on Alston taking the lead, somewhat reluctantly on her part.

In September of 1961, the slightly reconfigured group cut their first hit, "There's No Other Like My Baby," which rose to number 20 nationally. It was a promising beginning, putting the group, Spector, and his new label on the map; although another song cut at about the same time, "Oh, Yeah, Maybe, Baby" (which featured Patricia Wright on lead), pointed the way to the group's future, with its understated yet boldly played string accompaniment. In early 1962, the Crystals recorded a Barry Mann/Cynthia Weil song called "Uptown," using an arrangement that was a tiny bit lighter on the percussion (except for castanets, of which it had many) but pushed the guitar and the strings out in front more than "Oh Yeah, Maybe, Baby" had. Barbara Alston's strong-yet-sensuous vocals enunciated lyrics that were as steeped in topical subject matter, especially about the frustrations of life in the ghetto, as they were in romance. This gave "Uptown" a subtly two-pronged appeall; it was a gorgeous pop record, but also a new kind of pop record, eminently listenable yet serious in its subtext. No, it wasn't "Blowin' in the Wind," but it seemed to evoke a social realism that heretofore eluded the pop charts. "Uptown" reached number 13 nationally. Its production marked a major step forward in the making of rock & roll singles in its production, and heralded a newer, bolder era in pop music and R&B, very much of a piece with such hits as the Drifters' "Up On the Roof," but with an undercurrent of frustration that the latter song lacked; it all pointed the way toward the more sophisticated and socially conscious kind of songs that Sam Cooke would soon be generating.

It was at this point, in the wake of "Uptown," that the history of the Crystals gets a little more complicated. It wasn't until June of 1962 that they had another single ready to go, and it engendered all kinds of problems that "Uptown" had avoided. If that song had gotten a serious lyric across with an elegant and quietly passionate setting, "He Hit Me (It Felt Like a Kiss)" (co-authored by Carole King and Gerry Goffin, no less) was the reverse, presenting a disturbing lyric about infidelity and the physical abuse of a woman by a man, in a dark, ominous manner. Barbara Alston and company gave it everything they had, and Spector came up with a surprisingly subtle, bolero-like arrangement, but it was a lost cause. Radio stations simply wouldn't play it, and the public didn't like the song, period; according to Barbara Alston, the group didn't like it either, and to this day nobody understands exactly what was in Spector's mind when he cajoled them into cutting it.

The following month, Spector was back in the studio running another Crystals session, except that this time it wasn't really the Crystals that he was recording, but Darlene Love. As the owner of the Crystals' name and, as their producer, possessing the right to record anyone he wanted (or anything he wanted) and label it as being from "the Crystals," he decided to forego any further battles over who should sing lead, and forego using the group entirely for "He's a Rebel." A celebration of street-level machismo like no other, it was an upbeat number with gorgeous hooks and, with none of the baggage of its failed predecessor, became a number one hit, as well as engraining itself in pop culture history as a quintessential girl group classic. Darlene Love was the lead singer on the next hit by "the Crystals," "He's Sure the Boy I Love," as well.

It wasn't until early 1963 that the group again sang on one of their own records, "Da Doo Ron Ron," and by that time, Spector had accepted La La Brooks in lieu of Alston as lead singer. That record rose to number three in America and became their second biggest British hit, reaching the number five spot in the U.K. That placement, along with the U.K. number two position for "Then He Kissed Me" (which also got to number six in America), was very important, because at the time a lot of major British bands were about to break onto the charts at home, before coming to dominate American music a year later. "Da Doo Ron Ron" and "Then He Kissed Me" became among the most popular American rock & roll songs of the period in England, covered by all manner of acts on-stage and on-record.

The Crystals were in a seemingly enviable position, except for the fact that they and Spector were increasingly at odds over what he was doing with them. They'd been unhappy from the time when Spector began using their name on behalf of records made by Darlene Love, and every time they were obliged to perform those songs on-stage it grated against them, and in 1963 they were almost constantly touring and performing. By 1964, they also perceived Spector's growing inattention; he had lately discovered a girl trio called the Ronettes on whose music and lead singer, Veronica Bennett, he was lavishing ever more of his time and energy. Meanwhile, the Crystals were making good and interesting songs, such as the beautiful "Another Country, Another World," "Please Hurt Me," and "Look in My Eyes," the latter a bluesy ballad that showed a side of their sound that Spector seldom tried to explore. The group had released two LPs hooked around their major hits, Twist Uptown and He's a Rebel, in 1962 and 1963, respectively, that had some good songs on them, but Spector's attention and enthusiasm was increasingly directed elsewhere. Spector's seeming dismissive attitude toward the group may have been best illustrated by the most bizarre record with which he, the group, his label, or almost anyone else in the music business had ever been associated: "(Let's Dance) The Screw."

Spector had never been one to keep business partners very long -- in that regard, he was a lot like the movie mogul Samuel Goldwyn -- and in 1964, he'd settled a lawsuit against Lester Sill, the man with whom he'd started the Philles label. As a parting shot at Sill -- and, it is rumored, to fulfill the terms of a settlement that required him to pay a share of the proceeds from the next Crystals single -- he devised an otherwise un-releasable single that Philles pressed, called "(Let's Dance) The Screw." On it, Spector talked the lyrics while the Crystals sang backup, in a five-minute musical joke that is also one of the rarest records of the 1960s (supposedly only a handful were ever produced, one of which was sent to Sill).

Personal jokes by their producer were all well and good, but by 1964, following the failure of two consecutive genuine Crystals singles, the group -- with Frances Collins replacing Patricia Wright -- was no longer interested in working with Spector. The following year they bought out their contract and headed to the seemingly greener pastures of the Imperial label, where they found no success; by that time, the only girl groups that were still competitive in the music marketplace were associated with Motown. By 1966, the Crystals had disbanded, and for five years no one heard anything about the group except in airplay on oldies stations. Spector had even closed down Philles Records, and the resulting unavailability of their records except on the radio only raised the value of the old copies that were out there, and made his periodic reissues of the group's work that much more prized by fans. Then, in 1971, with the rock & roll revival in full swing, the groupmembers reunited and spent a few years delighting audiences on the oldies circuit. Various incarnations of the group resurfaced every so often in the late '70s and 1980s, but at the dawn of the 21st century, Dee Dee Kennibrew was still leading a version of the group and had even managed to get them recorded. ~ Bruce Eder, All Music Guide [-] Hide

Chances are that this will be the only reasonably comprehensive CD of classic '60s recordings by Little Peggy March that we'll ever see, so on that basis alone, fans will have to buy it. There are a few more sophisticated tracks here ("John, John"). But generally, apart from the towering "Hello Heartache, Goodbye Love," there are no great... [+] Read More

Chances are that this will be the only reasonably comprehensive CD of classic '60s recordings by Little Peggy March that we'll ever see, so on that basis alone, fans will have to buy it. There are a few more sophisticated tracks here ("John, John"). But generally, apart from the towering "Hello Heartache, Goodbye Love," there are no great revelations, just pleasant teen-pop, some numbers perkier ("Teasin'") than others. This is essentially the I Will Follow Him album (complete with "I Wish I Were a Princess"), augmented by the subsequent singles "Hello Heartache, Goodbye Love," "Boy Crazy" (which ought to have been used in a movie), "The Impossible Happened," her last hit, "(I'm Watching) Every Move You Make," and her very first, failed single, the novelty-like "Little Me." All of these bonus cuts, except a rather flat "Pagan Love Song," are worthwhile. ~ Bruce Eder, All Music Guide [-] Hide

The influence of the Toys is evident when one sees the group listed as the first "tribute" on page 49 of the Supremes four-CD box set on Motown. The Supremes' own "I Hear a Symphony," released October 6, 1965, was a tribute to the tribute, if you will. It says a lot about the competition as the Toys hit number two on the charts that very week,... [+] Read More

The influence of the Toys is evident when one sees the group listed as the first "tribute" on page 49 of the Supremes four-CD box set on Motown. The Supremes' own "I Hear a Symphony," released October 6, 1965, was a tribute to the tribute, if you will. It says a lot about the competition as the Toys hit number two on the charts that very week, pushing the Supremes, Diana Ross, and the production team of Holland/Dozier/Holland to one of their greatest heights. The re-write of Bach, with its boss production, is a sweeping pop sensation. And the album's 14 tracks play like the Ronettes' first and only official release, a magnificent statement of vocal harmony and pretty melodies. The songwriter/production team of Sandy Linzer and Denny Randell for Bob Crewe Productions add that remarkable Four Seasons punch to the music. A little of the boy group sound, classical music, and a refreshing collection of melodies that the airwaves were, somehow, denied. "This Night," "Back Street," solid dance hall/radio hits that never got to reign the way "Lover's Concerto" and, to a lesser degree, "Attack" climbed the Top 40. "Attack" is a brilliant song that sounds like a tribute to Frankie Valli. The Dyno Voice album, re-relased on Sundazed, is augmented by singles "Baby Toys" and "May My Heart Be Cast Into Stone," songs that lead soprano Barbara Harris said were recorded for the second, unreleased Toys disc slated for Dyno Voice. The musical camaraderie on "Baby Toys" is amazing. These voices carry. Both singles are a welcome addition to this album, and they should've been huge. June Montiero's vocal on The Beatles' "Yesterday" bridges the gap between the Vegas and new wave arrangement. Perhaps that marriage of underground rock with middle of the road pop is what makes the girl group genre so perpetually inviting. The first track on the disc, "Can't Get Enough of You Baby," is reminiscent of the Cake, a band that couldn't crack the Billboard Top 40 as the Toys did, but deserved to. "Hallelujah," not the fun Sweathog tune from 1971, but a wonderful song that should've hit, with a delicious lead vocal by Barbara Parritt. The Toys were formidable beyond their two Top 20 hits; "This Night" is a fine example. The girls continue to practice and tour with Richard Nader's rock & roll packages. Harris, with a strong solo record Barbara Now, speaks highly of Nader and his events. This CD, with its bonus tracks and replication of the original disc and liner notes, is classic pop. ~ Joe Viglione, All Music Guide [-] Hide

The Chantels were rock & roll's first great female group. This 18-track best-of gathers all of their important recordings for George Goldner's End label, along with some rarities amongst the hits. In addition to the smashes "Maybe," "He's Gone," and "Every Night," the set also includes their work with Richard Barrett and their one-off single... [+] Read More

The Chantels were rock & roll's first great female group. This 18-track best-of gathers all of their important recordings for George Goldner's End label, along with some rarities amongst the hits. In addition to the smashes "Maybe," "He's Gone," and "Every Night," the set also includes their work with Richard Barrett and their one-off single backing Willie Wilson, issued as the Tunemasters. An interesting chapter of the distaff side of rock & roll history. ~ Cub Koda, All Music Guide [-] Hide

For those who believe the Supremes' best work can be found within the bounds of their many hits, this edition of Motown's solid, late-'90s repackaging job will be the collection to get. Covering the seraphic vocal group's prime stretch, the 25-track set (nine short of the previous -- and arguably still superior -- Anthology package) includes all... [+] Read More

For those who believe the Supremes' best work can be found within the bounds of their many hits, this edition of Motown's solid, late-'90s repackaging job will be the collection to get. Covering the seraphic vocal group's prime stretch, the 25-track set (nine short of the previous -- and arguably still superior -- Anthology package) includes all the big hits, plus two fine Temptations collaborations ("I'm Gonna Make You Love Me," "I'll Try Something New") and relative obscurities from the latter days ("The Composer," "No Matter What Sign You Are"). Featuring top-drawer production by Holland-Dozier-Holland, label-chief Barry Gordy, Frank Wilson, and a young Ashford & Simpson, Diana Ross & the Supremes' Ultimate Collection makes for a very enjoyable way to get cozy with one of soul music's most regal vocal-harmony groups. ~ Stephen Cook, All Music Guide [-] Hide

This 25-song best-of actually covers most of their discography, containing all of the chart singles, and notable misses and B-sides like "Paradise" and "Dressed in Black." An excellent package, but the British Myrmidons of Melodrama (on RPM) is just a bit better, assembling a few more of their Red Bird tracks, including a couple of pretty... [+] Read More

This 25-song best-of actually covers most of their discography, containing all of the chart singles, and notable misses and B-sides like "Paradise" and "Dressed in Black." An excellent package, but the British Myrmidons of Melodrama (on RPM) is just a bit better, assembling a few more of their Red Bird tracks, including a couple of pretty notable ones ("It's Easier to Cry" and "The Boy") that this domestic anthology omits. The Mercury CD does have their rare (but unexceptional) final two singles, which don't appear on Myrmidons of Melodrama. ~ Richie Unterberger, All Music Guide [-] Hide