Since the 1981 advent of the compact disc, Motown has shamelessly released reissue after reissue of its extensive catalog. For The Supremes, just like most of the major Motown acts, there is an endless plethora of albums, compilations and box sets, all of which had wildly-varying audio quality, regardless of mono or stereo content.

These ten 2007 Japanese mini-sleeve CD's are the best sounding stereo Supremes CD's I've heard yet. The separation and clarity is absolutely nothing short of miraculous and revelatory.

For me, the real joy of these new remasters is the ability to hear James Jamerson's playing in perfect, note-for-note clarity. That cat may have been one of the greatest to ever play the instrument, and being able to hear him so clearly is so enjoyable in a manner I haven't experienced before with any other release.

I own the 2000 box set, several of the latest anthologies, and the 2006 HIP-O "Where Did Our Love Go" 2CD. None of these sound as good as these Japan issues.

I just checked my Japan-based source for mini-sleeves, and as of this writing, six of these Supremes CD's are already OOP (all `sleeves are limited edition). If you're a fan, don't delay in getting these, as they are priceless.

Link by title to the 2007 Japan mini-sleeve Supremes catalog:

Where Did Our Love Go
I Hear A Symphony
Supremes A Go-Go
Sing Holland Dozier Holland
Reflections
Join The Temptations
Love Child
Aquarius / Let The Sunshine In
Cream Of The Crop

WHAT IS A JAPAN "MINI-LP-SLEEVE" CD?

Have you ever lamented the loss of one of the 20th Century's great art forms, the 12" vinyl LP jacket? Then "mini-LP-sleeve" CD's may be for you.

Mini-sleeve CDs are manufactured in Japan under license. The disc is packaged inside a 135MM X 135MM cardboard precision-miniature replica of the original classic vinyl-LP album. Also, anything contained in the original LP, such as gatefolds, booklets, lyric sheets, posters, printed LP sleeves, stickers, embosses, special LP cover paper/inks/textures and/or die cuts, are precisely replicated and included. An English-language lyric sheet is always included, even if the original LP did not have printed lyrics.

Then, there's the sonic quality: Often (but not always), mini-sleeves have dedicated remastering (20-Bit, 24-Bit, DSD, K2/K2HD, and/or HDCD), and can often (but not always) be superior to the audio on the same title anywhere else in the world. There also may be bonus tracks unavailable elsewhere.

Each Japan mini-sleeve has an "obi" ("oh-bee"), a removable Japan-language promotional strip. The obi lists the Japan street date of that particular release, the catalog number, the mastering info, and often the original album's release date. Bonus tracks are only listed on the obi, maintaining the integrity of the original LP artwork. The obi's are collectable, and should not be discarded.

All mini-sleeve releases are limited edition, but re-pressings/re-issues are becoming more common (again, not always). The enthusiasm of mini-sleeve collecting must be tempered, however, with avoiding fake mini-sleeves manufactured in Russia and distributed throughout the world, primarily on eBay. They are inferior in quality, worthless in collectable value, a total waste of money, and should be avoided at all costs.

I received this today and have been playing it ever since. I was not so sure how it would be packaged but since it has been released (along with many other '60's Supremes albums) you can see the picture here. It is an import from Japan and worth every penny. The cd is housed in the original cover and back (with the linear notes) of this classic album. The sound is crystal clear. Do not worry, the sleeve that is covering Florence's face is just in the package and is seperate. I always loved this picture with Florence, Diana and Mary (l-r). The hits, Stop! In the Name of Love, Nothing But Heartaches and Back In My Arms Again are included along with 9 other songs.

This is the first album I ever owned, bought in August 1965 when I was 11 (it was released that July 23). Today I have a mono vinyl copy bought in 1966, a stereo vinyl bought in 1971, an American CD issue from the late 80s (back when they were still merchandizing them in long-box form) and, most cherished, another near-mint mono vinyl copy I paid $50 for in 1997. I know this album.

I had all the singles first, as they preceded the LP. "Stop! In the Name of Love," issued when we were still wearing our winter coats in February, "Back In My Arms Again" as the trees was starting to flower in April, and "Nothing But Heartaches" in July as the summer heat was building. "Mother Dear" was planned as a fourth single, but when "Nothing But Heartaches" inexplicably only reached No. 11 on the Billboard pop chart, after an unbroken string of five No. 1 singles, producer-writers Holland-Dozier-Holland went back to the drawing board for something completely fresh. The result, of course, was "I Hear A Symphony," released that October. "Mother Dear," however, was and remains a solid jam and probably should have been at least put on some 45 b-side.

Respectively, "I'm In Love Again," "Whisper You Love Me Boy," and "He Holds His Own" rode the b-sides of the singles that came first. "Ask Any Girl" had already been on the b-side of "Baby Love," as well as appearing in the "Where Did Our Love Go" album from the previous autumn. Brand new to our ears, once the album was in our hands, were "Mother Dear," "Honey Boy," "The Only Time I'm Happy," "Who Could Ever Doubt My Love" and "Heartaches Don't Last Always." There is not a flawed performance among them. Every bit as good as the "Where Did Our Love Go" LP, "More Hits" is a precious Motown album, one you can listen to all the way through, over and over, without a moment of boredom. At this point in time, both the Supremes and Motown's Funk Brothers band were all but incapable of any wrong move.

The availability of original Supremes albums, with their track listings faithfully restored has, over the years, been rather shamefully choppy and intermittent. So, if you're a Supremes fan and are missing this one in your collection, no excuses, get it and get it now.

In 1964, The Supremes had three consecutive No.1 hit titles to their credit: Where Did Our Love Go, Baby Love and Come See About Me. By 1965 Supremes mania was spreading across the globe like wild fire. They were, by far, Motowns biggest selling act and were literally pumping out hit after hit.

This aptly titled album captures The Supremes in their prime. The sensational combination of harmonies of Diana Ross, Florence Ballard and Mary Wilson was just magical. The Supremes were not least aided by the excellent production skills of the sheer genius songwriting trio, Brian Holland, Lamont Dozier and Eddie Holland, more commonly known as simply Holland-Dozier-Holland. Then of course there were Motowns legendary in-house band known as The Funk Brothers that were responsible for the vast majority of the groups biggest hits.

At the dawn of 1965, The Supremes staggeringly enjoyed their fourth consecutive chart topper with that familiar classic Stop! In The Name Of Love - undoubtedly one of their key landmarks. Stop! In The Name Of Love was more dramatic than their previous three hit singles and the groups lead singer, the divine Diana Ross, was clearly progressing as a highly adept vocalist whilst evidently developing a unique style and sound of her own. Her soft, yearning voice blends beautifully with the far grittier vocal style of the groups founder, Florence Ballard and the sweet, warm harmonies of Mary Wilson.

Even more of a progression on their part was The Supremes FIFTH consecutive chart-topper Back In My Arms Again. Stunning musically, this was somewhat sharper in its tone and Ross packs in a solid, far more assertive vocal performance. At this stage, The Supremes only real competition on the charts were Elvis Presley and The Beatles but by far The Supremes were the most succesful female vocal group.

Their sequence of chart-toppers was abruptly broken with their next single, the delightful Nothing But Heartaches. A catchy confection of Pop and traditional black Rhythm And Blues, the track all the more surprisingly dipped at No.11 - certainly a respectable position which a lot of artists at that time would have killed for, but a major disappointment when their previous five singles had raced their way to pole position. Nothing But Heartaches did admitedly sound formulaic especially as it bared a slight resemblance to Back In My Arms Again which may have been a strong factor as to why it proved less succesful.

The totally infectious Mother Dear had originally been lifted as a single but was then hastily withdrawn and replaced by Nothing But Heartaches. Mother Dear undoubtedly would have been a big hit regardless!

The rest of the More hits By The Supremes (1965) album was jam packed with potential singles. Each track carried the traditional Motown sound. Honey Boy was classic Supremes through and through which continued their Baby Love ethos where as the dramatic Who Could Ever Doubt My Love was musically similar to Stop! In The Name Of Love but yet there is still something distinct and unique about it.

The rolling Ask Any Girl was simply fabulous opening with a yearning performance from Ross, the track then catapults into the classic Motown sound with Ross sounding fantastic against the strong, thumping repetitve rhythm section. Ask Any Girl had previously surfaced on the Where Did Our Love Go (1964) album as well as being used as the B-side for their cross-Atlantic No.1 hit, Baby Love.

You could indeed argue that the early Supremes sound was formulaic, which is very true, but all the more surprisingly this project emerged as such an enjoyable and belting album. The ballads proved highly effective for the growing Diana Ross sound as she conveyed such an effortless flair on numbers such as the yearning Whipser You Love Me Boy where as she proves an even more devastating vocalist on the fantastic The Only Time I'm Happy.

He Holds His Own contains a gentle piano backdrop with Ross putting in a breathy, seamless performance which blends beautifully with the warm harmonies of Ballard and Wilson. More upbeat was the sweeping rhythm section on I'm So Glad Heartaches Don't Last Always whilst both stunning and touching by its mere simplicity is the beautifully delivered I'm In Love Again, a poignant number that Ross tackles with ease and finesse.

More Hits By The Supremes (1965) is simply ESSENTIAL to any Diana Ross and/or The Supremes/Motown fan. At this early stage in The Supremes career Motown hadn't yet fully recognised the strong potential in albums being used as pieces of musical art and true, More Hits... like any other studio album by other Motown acts at that time was crammed with singles and alternative filler and B-sides but every track on More Hits By The Supremes (1965) are indeed high graders making this more than a recommended album.

This is the begining of the glory days of the original DREAMGIRLS! The pictures in the back were blantanly copied for the movie. Mrs. Ernestine Ross, Diana's mom is seen with the Girls at the Airport. The Girls have Fish and Chips in London and sing on the BBC!! The Songs are not unified as they are in HDH or GOGO but they represent aims at Hot HIts. And they are all here. WHO COULD EVER DOUBT MY LOVE brings visions of Miss Ross in Court lamenting to the Judge' I've been good to him so good to him...a victim of circumstance." The Brilliant 'IM IN LOVE AGAIN' echoes 'no more long and sleeping nights' to those who have been gilted. The Freshness of 'ONLY TIME I'm HAPPY' Evokes the 1965 world the girls lived in. MOTHER DEAR is Mrs. Ernestine Ross briliant tribute. DREAMGIRLS Stole this album cover and combined it with 'GOGO' and set many scenes from the film against this backdrop. Diana is so beautfiul, Mary's smile is Gorgeous and FLo's Silence is broken with the cover smile. What a beautiful reminder of happier days. The girls were never cooler than when they sang 'WHISPER YOU LOVE ME BOY' - their cool, calm style is witness to their stabiity and genuis in 1965,