In six years between 1962 and 1968, The Supremes experienced many changes. Achieving a massive eleven number-one singles during that time, they improbably also released fifteen studio albums (including collaborative and cover records). On top of this, in 1967 the group was renamed Diana Ross and the Supremes, while original Vocalist Florence Ballard was replaced by Cindy Birdsong.
Historically what could have been viewed as a turbulent time for the group, let us not forget that with the cultural changes that arose during the latter part of the ‘60s, also came shifts in music styles. It could have spelled the end of a streak of dominance for the group; however, this is The Supremes, an ensemble of highly gifted performers. Adapting and growing by late 1968 they were ready to show the world a different side of their sound with the milestone record Love Child. Released on November 13th, it marked their fifteenth studio album and fourth released in 1968 alone. Unheard of these days, the trio of Diana Ross, Mary Wilson, and Birdsong (who was settling in nicely) were a part of some drastically progressive decisions. To start with, Love Child was the first original album from the group to not have any songs produced or written by Holland-Dozier-Holland. A very bold move considering these writers were responsible for some of the biggest Supreme hits, the gamble paid off, because it allowed the group to grow and inevitably mature.
Anchored by the album’s namesake track “Love Child,” ironically, it was not even the lead single, because that title went to “Some Things You Never Get Used To” which was released in May of ’68. Nonetheless, “Love Child” quickly resonated with audiences, thus becoming The Supremes’ 11th number-one single in the United States. A powerful step forward, the song stood out because of the topical lyrics about poverty, broken families, and struggles that come along with them. Something that is still quite potent in present-day society, you could argue that “Love Child” is the most significant Supremes track ever.
A matter of opinion, as a whole, Love Child the album had plenty to offer listeners. For starters, the diverse songwriting tangums of those like Pam Sawyer, R. Dean Taylor, Frank Wilson, Deke Richards, Nickolas Ashford, Valerie Simpson, and Smokey Robinson, just to name a few, it seemed the feel of their music was refreshed. Extending far beyond “Love Child” itself, other songs like “Does Your Mama Know About Me” and “How Long Has That Evening Train Been Gone” are indicative of a more Soul sound with a Pop sensibility. This is while “Honey Bee (Keep on Stinging Me),” as sweet and innocent as it may sound, is impossible to forget.
Overall, the willingness to take matters in another direction paid off for The Supremes, because not only did Love Child keep them topping charts, but put them in a different light for many listeners. An album that should absolutely never be overlooked in its vast discography, it is fantastic to see that Elemental Music has included it in their schedule of Motown vinyl reissues in 2024.
One of a plethora of unique Motown records being pressed to vinyl by the label, Love Child arrived on September 13th along with Marvin Gaye’s In The Groove, and The Temptations’ debut album, Meet The Temptations (in its original mono). A limited edition release, it is pressed to a very high-quality 140-gram vinyl while dressed in the original classic art. Not cheaply slapped together, the quality is there both in the packaging, but above all, the sound. Clean and very dynamic, just one spin on your record player and you will be completely engaged with this very memorable and significant Supremes album. That is why Cryptic Rock recommends investing in this new vinyl reissue of Love Child, giving it 5 out of 5 stars.
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