- Diana Ross, The Supremes - The Ultimate Collection (1995)
Title: The Ultimate Collection
Year Of Release: 1995
Label: Motown Records
Genre: R'n'B, Soul, Pop
Quality: FLAC (tracks) / MP3 320 Kbps
Total : 01:09:54
Total Size: 636 Mb / 190 Mb
Tracklist:
01. When The Lovelight Starts Shining Through His Eyes
02. Where Did Our Love Go
03. Baby Love
04. Come See About Me
05. Stop! In The Name Of Love
06. Back In My Arms Again
07. Nothing But Heartaches
08. I Hear A Symphony
09. My World Is Empty Without You
10. Love Is Like An Itching In My Heart
11. You Can't Hurry Love
12. You Keep Me Ha' On
13. Love Is Here And Now You're Gone
14. The Happening
15. Reflections
16. In And Out Of Love
17. Forever Came Today
18. Some Things You Never Get Used To
19. Love Child
20. I'm Livin' In Shame
21. I'm Gonna Make You Love Me / with The Temptations
22. I'll Try Something New / with The Temptations
23. The Composer
24. No Matter What Sign You Are
25. Someday We'll Be Together
The Ultimate Collection is a compact disc by Diana Ross and the Supremes, released on Motown Records, catalogue 314530827-2, in October 1997. It is a collection of singles comprising many of the group's greatest hits, with liner notes written by Diane Marie Weathers. The collection sold around 60,000 copies in the USA, also eventually earning a bpi silver disc in 2016 for UK sales of another 60,000 copies.
The disc contains every Top 40 hit on the Billboard Hot 100 enjoyed by The Supremes while Diana Ross was a member of the group. The songs "I'm Gonna Make You Love Me" and "I'll Try Something New" are collaborations with and co-credited to their Motown colleagues, The Temptations. Every iconic song by the group during this period is present, and twelve of the 25 tracks here topped the chart. Historically, only Elvis Presley, The Beatles, Michael Jackson, and Mariah Carey have had more #1 singles chart hits in the United States. The disc was part of an "Ultimate Collection" series issued that year by Motown for many of their top-selling classic artists.
Starting in the late 1960s and early 1970s, standard industry practice shifted to a focus on album sales, where a single became less a separate entity and more simply an advertisement for an LP, and a lead single would be pulled off an album as a promotional tool. Prior to this, singles were concentrated upon as a profitable commodity, especially for smaller record labels, and albums were often built around already successful singles. Since Motown fixated on the hit single until the very end of its stay in Detroit, single versions of songs often featured different mixes than versions that would be later placed on albums. Singles were usually mixed "punchier" and "hotter" to sound better on car radios receiving AM broadcast.[3] The single versions are the ones appearing here.
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