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. ) Love Child was an eventougher call for Gordy with its all-too-literal parable of ignominy,but for the fact that he approved its construction and that, with it,The Clan had hit a grand slam.And, now, it really was Gordy s ownlove child.Accordingly, he appointed himself head Clansman and returned tothe studio in earnest to work on the track on September 17, 19, and20.Joining with the arranger Paul Riser, The Clan (the production endbeing all the writers but Sawyer, plus Gordy) kept the track rooted inthe chugging HDH snare-bass-tambourine beat while vaulting intonew directions with remarkable precision and cohesion. Nothing shortof miraculous, Alan Slutsky calls the mix of classic Motown, psyche-delic soul, and proto-funk, with the low-register riffling guitar licks soahead of the game that they could have been used as is on MichaelJackson s Thriller. The wonder is that all this didn t dissolve into mawk and mire.Thesong seemed almost tempered with strings and vibes swelling only tofall away for the darker lines, holding something back as if with thenumbed emotion in Diana s brilliantly haunted lead vocal, then lettingloose at the end as she affirms that, no matter, what, I ll always loveyou-ooo-ooo, you-ooo-ooo., over fevered backing choruses of Holdon, just a little bit longer, hold on. Sadly for Mary and Cindy, Gordy had wanted them to sing backupon the song, as it was created for the Supremes.By now, though, Wil-son was nearly as inclined to spite Gordy as Ballard had been, such washer resentment at being downgraded, and informed him she needed avacation after months of nonstop touring. Things were changing, shewrote in Dreamgirl, and I felt like I was in limbo.I had no real homeand felt that I needed to get away. The truth was that Wilson, seeing what was coming, was buying ahome in L.A.and wanted to keep it from Gordy, who hadn t made hisown move yet.Neither was he okay with the vacation idea. Mary, you d better work while you can, he told her, as nastyas ever.Disappointed in her, but not really needing her, he gave her a lastchance, boasting about the new song and how hot it was.The sud-denly strong-willed Mary wouldn t relent, and off she went to the coast 0306815867_ribowsky:6.125 x 9.25 4/22/09 11:06 AM Page 337 THIS MUST BE THE DIANA ROSS SHOW 337with a side trip to Mexico.Still playing romantic musical chairs, shewent with old flame Duke Fakir.That meant Gordy would have tokeep Cindy off the record, too, since he needed tightly knitted, prac-ticed harmonies.And so, on what would be the biggest Supremesrecord in history, Diana Ross would be backed by the anonymousvoices of the ubiquitous Andantes: Marlene Barrow, Jackie Hicks, andGordy s first client at Motown, Louvain Demps.As always, they would nail the assignment, superbly complement-ing moods both dark and bright, as Wilson partied in Acapulco andBirdsong sat at home, her one shot to matter as a Supreme dashed, notby Berry Gordy or Diana Ross but by Mary Wilson.Later, perhaps feel-ing the heat, Wilson would try to pin all the blame on Gordy, saying hehad assured her Love Child was still being written, fooling her intobelieving she would do the vocal when she returned; staying on thatscript, she said that by being cut out of the song, Gordy had sen[t]Cindy and me a message, namely, that Diana Ross was all they wanted. When they would hear an early pressing of Love Child, HDH did anaural double-take. I said, Is that one of ours? Eddie Holland recalls. I give Berry all the credit in the world.That was a great record.That swhy Berry Gordy is a genius, man.We never thought of him as any-thing less.He got it all perfect: the melody, the lyrics, everything.Hesaid, I m gonna make a big hit record for the Supremes, and that swhat he did.I ll tell you what, we wished we could have made that one.The only question was if he could repeat it, keep it going, the waywe did. That The Clan wouldn t was perhaps unwittingly explained byRoss, who was not so knocked out by Love Child. Telling why in Se-crets of a Sparrow, she wrote of a disconnect she had for the post-HDHsongs given the Supremes. [T]hey weren t as wonderful as. BabyLove and Stop! In the Name of Love [which] had been written espe-cially for us [rather than for] somebody else s life. For all the acting in-volved in singing Love Child, she said, it was like doing an audiomovie. No matter how good on so many levels Love Child was, thatquality Ross wrote of, the ligature that organically ties song to artist,was not there, though Lord knows Motown tried to create one.The upshot was that it was Diana herself who asked for andobediently granted a change in the group s image to fit the new 0306815867_ribowsky:6.125 x 9.25 4/22/09 11:06 AM Page 338338 THE SUPREMES self-awareness motif.The results were on full view the fullest ever,actually when they went on the September 29 Ed Sullivan Show tobreak the song and, before millions of viewers, were seen in repose onthe stoop of a painted facsimile of a ghetto street, Mary dangling abare and quite nice leg from under a chocolate-brown shorts-suit,Cindy in a brown and white pantsuit, both barefooted, and mostshockingly Diana looking every bit the street urchin, wearing a close-cropped Afro wig, a baggy yellow sweatshirt, tattered cut-offs, her legslike matchsticks, her feet also bare.Originally, all three Supremes wereto appear like this and had rehearsed in matching yellow sweatshirtsand cutoffs before it was decided that doing so would make Dianastand out less.If this was her idea of ghetto chic she was more thanup to playing the part, etching pain in her eyes as she and the girlsslowly, desultorily, shuffled their way across the set while lip-synching.The very un-Supremely image, especially Diana s scrawny, scragglyappearance, was the talk of the pop world the next day some wereshocked, some merely amused by the preciousness of the high-fashionSupremes in their Halloween ghetto chic costumes a month earlyand the reaction no doubt helped to light a bigger fire under the record,as Diana had cannily foreseen.Released a day later, backed by WillThis Be the Day, within three weeks Love Child was all over the ra-dio [ Pobierz całość w formacie PDF ]
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. ) Love Child was an eventougher call for Gordy with its all-too-literal parable of ignominy,but for the fact that he approved its construction and that, with it,The Clan had hit a grand slam.And, now, it really was Gordy s ownlove child.Accordingly, he appointed himself head Clansman and returned tothe studio in earnest to work on the track on September 17, 19, and20.Joining with the arranger Paul Riser, The Clan (the production endbeing all the writers but Sawyer, plus Gordy) kept the track rooted inthe chugging HDH snare-bass-tambourine beat while vaulting intonew directions with remarkable precision and cohesion. Nothing shortof miraculous, Alan Slutsky calls the mix of classic Motown, psyche-delic soul, and proto-funk, with the low-register riffling guitar licks soahead of the game that they could have been used as is on MichaelJackson s Thriller. The wonder is that all this didn t dissolve into mawk and mire.Thesong seemed almost tempered with strings and vibes swelling only tofall away for the darker lines, holding something back as if with thenumbed emotion in Diana s brilliantly haunted lead vocal, then lettingloose at the end as she affirms that, no matter, what, I ll always loveyou-ooo-ooo, you-ooo-ooo., over fevered backing choruses of Holdon, just a little bit longer, hold on. Sadly for Mary and Cindy, Gordy had wanted them to sing backupon the song, as it was created for the Supremes.By now, though, Wil-son was nearly as inclined to spite Gordy as Ballard had been, such washer resentment at being downgraded, and informed him she needed avacation after months of nonstop touring. Things were changing, shewrote in Dreamgirl, and I felt like I was in limbo.I had no real homeand felt that I needed to get away. The truth was that Wilson, seeing what was coming, was buying ahome in L.A.and wanted to keep it from Gordy, who hadn t made hisown move yet.Neither was he okay with the vacation idea. Mary, you d better work while you can, he told her, as nastyas ever.Disappointed in her, but not really needing her, he gave her a lastchance, boasting about the new song and how hot it was.The sud-denly strong-willed Mary wouldn t relent, and off she went to the coast 0306815867_ribowsky:6.125 x 9.25 4/22/09 11:06 AM Page 337 THIS MUST BE THE DIANA ROSS SHOW 337with a side trip to Mexico.Still playing romantic musical chairs, shewent with old flame Duke Fakir.That meant Gordy would have tokeep Cindy off the record, too, since he needed tightly knitted, prac-ticed harmonies.And so, on what would be the biggest Supremesrecord in history, Diana Ross would be backed by the anonymousvoices of the ubiquitous Andantes: Marlene Barrow, Jackie Hicks, andGordy s first client at Motown, Louvain Demps.As always, they would nail the assignment, superbly complement-ing moods both dark and bright, as Wilson partied in Acapulco andBirdsong sat at home, her one shot to matter as a Supreme dashed, notby Berry Gordy or Diana Ross but by Mary Wilson.Later, perhaps feel-ing the heat, Wilson would try to pin all the blame on Gordy, saying hehad assured her Love Child was still being written, fooling her intobelieving she would do the vocal when she returned; staying on thatscript, she said that by being cut out of the song, Gordy had sen[t]Cindy and me a message, namely, that Diana Ross was all they wanted. When they would hear an early pressing of Love Child, HDH did anaural double-take. I said, Is that one of ours? Eddie Holland recalls. I give Berry all the credit in the world.That was a great record.That swhy Berry Gordy is a genius, man.We never thought of him as any-thing less.He got it all perfect: the melody, the lyrics, everything.Hesaid, I m gonna make a big hit record for the Supremes, and that swhat he did.I ll tell you what, we wished we could have made that one.The only question was if he could repeat it, keep it going, the waywe did. That The Clan wouldn t was perhaps unwittingly explained byRoss, who was not so knocked out by Love Child. Telling why in Se-crets of a Sparrow, she wrote of a disconnect she had for the post-HDHsongs given the Supremes. [T]hey weren t as wonderful as. BabyLove and Stop! In the Name of Love [which] had been written espe-cially for us [rather than for] somebody else s life. For all the acting in-volved in singing Love Child, she said, it was like doing an audiomovie. No matter how good on so many levels Love Child was, thatquality Ross wrote of, the ligature that organically ties song to artist,was not there, though Lord knows Motown tried to create one.The upshot was that it was Diana herself who asked for andobediently granted a change in the group s image to fit the new 0306815867_ribowsky:6.125 x 9.25 4/22/09 11:06 AM Page 338338 THE SUPREMES self-awareness motif.The results were on full view the fullest ever,actually when they went on the September 29 Ed Sullivan Show tobreak the song and, before millions of viewers, were seen in repose onthe stoop of a painted facsimile of a ghetto street, Mary dangling abare and quite nice leg from under a chocolate-brown shorts-suit,Cindy in a brown and white pantsuit, both barefooted, and mostshockingly Diana looking every bit the street urchin, wearing a close-cropped Afro wig, a baggy yellow sweatshirt, tattered cut-offs, her legslike matchsticks, her feet also bare.Originally, all three Supremes wereto appear like this and had rehearsed in matching yellow sweatshirtsand cutoffs before it was decided that doing so would make Dianastand out less.If this was her idea of ghetto chic she was more thanup to playing the part, etching pain in her eyes as she and the girlsslowly, desultorily, shuffled their way across the set while lip-synching.The very un-Supremely image, especially Diana s scrawny, scragglyappearance, was the talk of the pop world the next day some wereshocked, some merely amused by the preciousness of the high-fashionSupremes in their Halloween ghetto chic costumes a month earlyand the reaction no doubt helped to light a bigger fire under the record,as Diana had cannily foreseen.Released a day later, backed by WillThis Be the Day, within three weeks Love Child was all over the ra-dio [ Pobierz całość w formacie PDF ]