Berry Gordy picked a big winner when he hired Jean Terrell to replace Diana Ross in The Supremes. Vocally, she was stunning, stylish, strong and completely compatible with her colleagues in the group: a kind of cross between Diana Ross and Dionne Warwick, with a little Natalie Cole sprinkled in [in spite of the fact that Ms. Cole had yet to make her debut on record]. The Terrell-Wilson-Birdsong blend was sheer musical perfection. There was an instantly noticeable renewed vigor to the vocals, as well as a focus on group singing and harmony. Ms. Terrell frequently added her voice to the background harmonies, as well.

As the first Supremes album recorded and released after Ms. Ross's departure, this collection is an historical statement. The fact that the music, songs, production and performances are very, very good also makes it a treat.

In fact, 8 of the 12 selections are quite strong, and, in many cases, excellent soul-infused pop.

Of course, "Up The Ladder to The Roof," the "new" group's first single release, is featured. It went top ten pop, and actually bested Ms. Ross's debut single. It is a rollicking romp, upbeat, with angelic vocals, gloriously led by Ms. Terrell, and featuring fill-in phrases by Mary Wilson and Cindy Birdsong. Quite a statement lyrically and performance-wise.

The second single, the quasi-anthemic "Everybody's Got The Right to Love," reached the upper half of the top forty, but due to it's rather unusual rhythm, was not a smash. It was a very good record, and the group performed it in all of their live shows, as well as on TV, in 70 and 71.

"The Loving Country," co-written by Smokey Robinson, is quite a symphonic soul masterpiece, featuring breathtaking harmonies, and an incredibly strong lead by Ms. Terrell. It is a song of universal love that preceded the similar themed "Stoned Love," the cornerstone of the group's second album release.

"Wait A Minute Before You Leave Me," is a soft-funk gem, featuring a standout soulful lead, and background harmonies that hark back to "Love Child," which always led me to suspect it was either the Andantes featured on or augmenting the harmonies. It had "hit" written all over it.

"You Move Me," features a lead vocal performance that precedes Natalie Cole's "This Will Be." Deserves to be heard.

"But I Love You More," a lovely ballad, features Mary Wilson doing a Melvin Franklin-type [the bass voice in The Temptations] riff just before the first lead line is sung. Pretty cool.

"Then We Can Try Again," "(I Got Hurt)Trying to Be The Only Girl in Your Life," "Baby, Baby," are the weakest songs on the album, because the songwriting is not first-rate. The performances, however, redeem these tunes.

"Take A Closer Look at Me," is most notable for the strong lead and backing harmonies. The backings are particularly soulful.

"Then I Met You," is a beautiful ballad, with a tender lead line, and very sweet background harmonies. It's about a formerly lonely girl, whose life and outlook brightened with the start of a wonderful relationship.

"Bill, When Are You Coming Back," is a rolling, moving, soulful song about a girl hoping that her love gets back (from VietNam) safe and soon. There's just enough desperation here to make a mild anti-war statement and create a sense of drama.

The album sold quite well, reaching #25 on the pop chart. It renewed interest in The Supremes as contenders on the r&b charts, as well.

It featured the typical flawless Motown production, incredible playing from the Funk Brothers, great arrangements from the studio's finest, and 8 memorable (and 3 pretty good) songs. We fans could not have asked for much more at the time of it's release. ESSENTIAL 70'S SUPREMES. HISTORICAL VALUE, AS WELL, AS IT IS THE FIRST POST-DIANA SUPREMES LP.

Jean,Mary, and Cindy nailed this album. With Frank Wilson at the production helm, the new group sans Ross found a new style and sound that was "right on" target.

The set contains maybe a couple of songs you would consider filler material but the songs as a whole are great.That unmistakeable motown sound is still there with bass and tambourines working their magic.

The songs range from smooth ballads to contemporary to pop/soul. The song that gets the most oldies airplay is "Up the ladder" yet i wonder why i never heard much of the others. Many of them were potential smash hit material.

Legend has it the album was not promoted as heavily as it should have been by motown (as all eyes were on Ms. Ross).This was a fate subsequent Supremes albums would also meet.

Record company indiference still seems to haunt the group. Even With their legions of fans i am flabbergasted at the fact that Motown has not re-release all of the Supremes albums from the seventies. If you can find an original compact disc copy of "Right On"..... at an affordable price...GET IT !!

I agree with reviewer "Vincent" on so many points. Right On was a great album to usher in the "new" Supremes and the new decade. But I think "(I Got Hurt) Trying to Be The Only Girl in Your Life" is one of the BEST songs on the album; a lost Motown mid-tempo gem that tells a great little story and has Top-40 Hit written all over it. This song would've sounded great on radio!