The Supremes were more than simply the most popular and successful female group of all time, more than just the most successful American performers of the 1960s—second overall only to The Beatles—and more than the pop divas of that decade. The Supremes were also an important groundbreaking act that broke down barriers of race like no other artists ever had.
Formed in 1959, the original foursome that met in Detroit's Brewster public housing project included Diana Ross, Florence Ballard, Mary Wilson, and Barbara Martin. The teen quartet was known as the Primettes and was the sister group to The Primes, who would later evolve into the Temptations. Since Motown owner Berry Gordy, Jr., told them he wouldn't sign them to his growing record company until they had each finished high school, the Primettes originally recorded for a local independent record label.
The group finally joined the Motown family in 1961, becoming a trio after the first few recording sessions. Florence picked a new name, "Supremes," out of a hat. But they had so many flops in a row that they were soon dubbed the "no-hit Supremes." Working with Motown's master songwriter-producers Holland-Dozier-Holland changed that, and their "When the Lovelight Starts Shining Through His Eyes" became the group's first Top 30 entry in 1963. Another change was the anointing of Diana, with her gloriously pop voice, as the lead singer.
Less than a year later, The Supremes began an unprecedented run of hits with their first no. 1, "Where Did Our Love Go." Four consecutive no. 1's followed: "Baby Love," "Come See About Me," "Stop! In the Name of Love" and "Back in My Arms Again," setting a record for an American group. With their undeniable beauty, high-fashion sequined gowns, stylish hairdos, sophisticated choreography and Diana's instantly recognizable vocal style, the Supremes helped carry the Motown sound to the four corners of the globe. Importantly, they were a sensation on television as well as on record, with their numerous appearances on The Ed Sullivan Show and Hullabaloo paving the way for the crossover success of other Motown acts and other black performers. It did not matter whether they were white or black, Gordy has said, because The Supremes were "the sweethearts of the world."
Their 1966 album The Supremes A' Go-Go became the first album by a female group to chart no. 1. By early 1967, they added five more no. 1 singles: "I Hear a Symphony," "You Can't Hurry Love," "You Keep Me Hangin' On," "Love Is Here And Now You're Gone" and "The Happening." Later that year, Florence was replaced by Cindy Birdsong, formerly a member of Patti LaBelle & The Bluebelles, and the ensemble became known as Diana Ross & The Supremes.
In 1968, though Holland-Dozier-Holland were no longer in the Motown camp, the group continued to score with the "Love Child," "Reflections," and, teaming with The Temptations in 1968, "I'm Gonna Make You Love Me." But plans for Diana's solo career were also underway. The final number-one pop hit from the Supremes by whatever name was "Someday We'll Be Together."
With new lead singer Jean Terrell, the new Supremes enjoyed success with "Up the Ladder to the Roof" and "Stoned Love" along with "Nathan Jones," "River Deep—Mountain High" (a group duet with the Four Tops), and "Floy Joy." In 1972, Cindy exited and was replaced by Lynda Lawrence (from Stevie Wonder's Wonderlove). A year later, Cindy returned, Jean left, and Mary carried on with Scherrie Payne (sister of Freda Payne). In 1976, The Supremes underwent another personnel change when Susaye Green, a former member of Ray Charles' Raelettes, replaced Cindy. But the group would perform its final concert the following year.
The original trio of Diana, Mary, and Florence were the voices of an era. Though the Supremes never won a GRAMMY Award, "Where Did Our Love Go," "You Keep Me Hangin' On" and "Stop! In the Name Of Love" were songs named to the Grammy Hall of Fame. For their enduring contribution to popular music, The Supremes were inducted into the Rock and Roll Hall of Fame in 1988. Female groups that followed them, including the Three Degrees, the Pointer Sisters, En Vogue, TLC, and Destiny's Child, have acknowledged the legacy of The Supremes. Young black women with other goals, such as Oprah Winfrey, have said that they too were inspired by the empowering achievements of The Supremes.
Mary Wilson wrote in the liner notes to a Supremes anthology: "I am very proud to say that I am a Supreme. The music we recorded will live on long after we are gone. We touched the lives of millions. We proved that dreams do come true."
