Mr. Scott Brown (below) is exactly right. This 1986 release was the first substantially sized Supremes set put out in the CD-era. It exactly duplicated the 3-LP set of the same name from 1974 and, to take advantage of added room, it reached back further for "Your Heart Belongs to Me," then included a dozen obvious selections from the post-Diana Ross era. Certainly the '74 vinyl issuing was a big deal, but by '86 this was considerably less exciting. Some substitutions might have livened things: from "A Bit Liverpool," their sassy reading of "You Can't Do That" over "A Hard Day's Night," "Cupid" over "You Send Me" from "We Remember Sam Cooke," and the comic "Sadie Sadie" or "If a Girl Isn't Pretty" over "Greatest Star" from the "Funny Girl" album.

This set was subsequently reworked in 1995 and 2001 and, in my opinion the September 1995 version, if you can find it, is the best of the three CD versions. The 'outside' material was dropped for LP and B-side rarities: "Mother Dear," "He's All I Got," "Remove This Doubt," "Long Gone Lover" and the Phil Spector-produced "Things Are Changing," among them. Best of all, it was in mono and, for us 50-ish types, this took us back to the way we remember Supremes stuff when it was REALLY new. But I also bought the 2001 version even though it went back to stereo and restored the show tunes, because it also reached all the way backward to "I Want A Guy," and finally included "Whisper You Love Me Boy." Motown ain't stupid, and each re-working has included one or two new must-haves, so you shell out the money even though you've got 90% of the stuff already. (You bet, before it was a month old, the five-disc, crushed red velvet box set of 2000 got bought too, and "70s Anthology" awaits). Such is the lot of hard-core Supremes fans.

Classy guy that he is, Mr. Brown chooses understatement when referring to the included booklet. It's downright laughable to read contemporary Motown releases stubbornly perpetuating the party line that, in 1967, Florence Ballard "wearied of the groups hectic schedule and traveling, and bowed out to spend more time with her family." As if anyone, not yet even 25, would CHOOSE obscurity over placement in the number one female entertainment act of the time. Give it up already!

This is really a great collection of the Supremes 1960s recordings. It is perhaps a bit heavy on the pre-million selling songs and a couple of the choices in the "Supreme Stylists" section on CD2 are odd even for fans, but very complete overall.

It is quite an interesting and thoroughly enjoyable journey listening to how the group's sound matures from "I Want A Guy" to their last single "Someday We'll Be Together." There are several rarities (alternate mixes of "You Keep Me Hanging On", "Love Is Like An Itching In My Heart", "Try It Baby", etc.) on both discs to make devoted fans, like myself, jump for joy.

My only real beef is that the remastering is not up to expected high standard. Most of the tracks sound as if they were run through a highly compressed FM radio signal. This is a surprise considering the great sound quality of the Supremes box set released in 2000. In spite of this, for us devoted fans, this is still an indispensible collection.

Now, how about a two-disc anthology of the post-Diana Ross (1970-1977) Supremes???

This album has been out since before Christmas. It's the FIFTH--count 'em--FIFTH Supremes anthology from Motown, not to mention countless hits collections and even uses the cover from a previous anthology, only reversed. This album is better sounding than its predecessors and has a better selection of songs. It also features rare versions of Supremes hits though many rare versions (the psychedelic original version of "Love Is Like An Itching") remain unissued. Here we get the THIRD version of "Buttered Popcorn" to appear on C.D., we get "Mother Dear" in the order it would have appeared as a single (at the last minute, after the Supremes introduced it on the Red Skelton Show, it was wisely replaced with "Nothing But Heartches") and there's the tracks from the nearly impossible to find Hollywood Palace album. There's leads by all the ladies and a splendid essay on the group, much better than a previous has-no-clue effort by a major author who found mystery in the group's history where there is none. Motown's ability to mine the same goldfield over and over is amazing; all they gotta do is stick in one unissued track and they've got a best-seller. There is, however, a TON of unissued material from the Supremes that still hasn't been issued and well worth hearing. As for the Jean Terrell-led Supremes, there's whole albums of music that never made it out, including the splendid "Promises Kept" and several live albums. Couldn't they at least release on C.D. the Supremes "Live in Japan" album? It's a crime Motown year after year after year, owner after owner after owner, simply ignores the possibilities.

This is simply an amazing collection. After *five* (!) attempts, Motown has finally compiled a proper Supremes Anthology.

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Disc Two, however, is a treat. Motown does fans well by including a section of cover versions and show tunes the Supremes cut ("Supreme Stylists"), which I thought was excellent because this chunk of the Supremes work is all too often ignored in favour of more mainstream material. The live recordings especially demonstrate the vocal virtuosity and strength of all three girls (Mary Wilson, for example, does a sensual live cover of "Can't Take My Eyes Off You").

And what about sound quality? Absolutely stupefyingly fantastic. Gone is the harshness of the 'remastered' "Ultimate Collection". Here are the *true* stereo mixes of all the Supremes' songs: the opening, stilted handclaps of "Where Did Our Love Go" travel from one set of speakers to the other and then a true, glorious wall of sound sets in. This doesn't sound like Motown, this sounds like Phil Spector in wide stereo, and it's all the better for it. The dense mono that has plagued previous remasters (especially "The Ultimate Collection") is gone, revealing tight, delinated instrumental tracks (you can hear and follow each individual player in the backing orchestra, it's that clear!) and a pristine, smooth vocal track from Ms. Ross. One listen to the stereo remasters of "I Hear A Symphony", "Nothing But Heartaches", or the astounding "Love Child" (perhaps the best thing they ever recorded), and you will throw out your previous Supremes compilation. There is no fuzziness, hissing, or popping to be found in this collection. Nothing but the best.

So, they finally got the track listing right, balancing the hits with the rarities, show tunes, live tracks, and cover versions; the digital remastering is among the best I have ever heard; and the beautiful booklet features a charming essay, gorgeous glossy photographs, complete track information, and chart listings. That makes this the best double-disc Supremes collection on the market. Worth every cent.

. . .you will love this anthology. If you can ever FIND this anthology, please, get it! This collection is scarce so snatch it up if you come across it! The songs are beautiful, not only does it include all the favorites that we have grown to love over the decades, but there are also songs that you most likely have never heard before that you will fall in love with! 'Breath taking guy' is one that I can't believe isn't part of the 'best of' of Diana Ross and the Supremes. Also 'I want a guy' is one that I sing in the shower to this day. I am trying to get my hands on another copy desperately. If you are a collector of Motown or just beautiful oldies in general, you need to hear this anthology for yourself!