Who do they think they’re fooling? No matter how much the producers and cast of the movie musical Dreamgirls insist that it is not the story of the Supremes and Motown’s crossover success in the ’60s, we all know better.
The movie has the look of the era and Motown’s glitzy staging down to the last sequin and wig, but what about the music? Since the original Broadway production in 1981, the score for Dreamgirls is evidence that composer Henry Krieger and lyricist Tom Eyen did their homework. The Dreamgirls soundtrack is full of doppelgangers to the real Motown sound. Here’s how the movie mimics Motown.
Movie: I’m Looking For Someone, sung by The Stepp Sisters
Motown: Please Mr. Postman or Playboy, by the Marvelettes, a criminally unsung girl group eclipsed first by Martha Reeves and the Vandellas and then the Supremes (even though the Marvelettes beat the Supremes in a nightclub contest early on).
Movie: Going Downtown, sung by Little Albert and the Tru-Tones
Motown: I Can’t Help Myself (Sugar Pie, Honey Bunch), by The Four Tops, echoes the screen song with the gruff soulful sound of lead singer Levi Stubbs (the voice of the murderous plant in the film version of Little Shop of Horrors) and the tight if not repetitious backup choruses from the other three group members. Also, some Satintones.
Movie: Taking the Long Way Home, sung by Tiny Joe Dixon
Motown: Shotgun and What Does It Take (To Win Your Love), by Junior Walker, the only musician at Motown to record under his own name (with his band the All-Stars). Walker played a mean tenor sax and sang in a raspy bluesy voice straight out of the B.B. King school.
Movie: Move, sung by the Dreamettes
Motown: Let Me Go the Right Way, from the Supremes, is one of their early releases (not too long after changing their name from the Primettes), with the more aggressive stand that was really the domain of Martha Reeves and the Vandellas with Heat Wave, Dancing in the Street and Nowhere to Run To.
Movie: Fake Your Way to the Top, sung by James “Thunder” Early and the Dreamettes
Motown: Money (That’s What I Want), by Barrett Strong, was the first really big hit for Motown and gave the fledging label the capital to continue in 1960. The hit was also co-penned by Motown founder Berry Gordy (gangstered and toughened in the movie by Jamie Foxx). In the movie, Eddie Murphy is channeling Motown stars David Ruffin (Temptations) and Marvin Gaye, both who had tragic and lethal battles with drugs.
Movie: Cadillac Car, sung by Early and the Dreamettes
Motown: Shop Around, by the Miracles, featuring the lilting falsetto of Smokey Robinson … not to mention the overt commercialism and ascension in both songs.
Movie: Steppin’ to the Bad Side, sung by Early and the Dreamettes and cast.
Motown: (I Know) I’m Losing You and Papa Was a Rolling Stone, by the Temptations — the former has the soaring r&b; vocals while the latter has that dark, ominous feel. Plus the Temptations “stepped” better than any group with their tight Cholly Atkins choreography.
Movie: Dreamgirls, sung by The Dreams
Motown: TCB, sung by Diana Ross and the Supremes (with the Temptations). The Supremes didn’t have a theme song per se, but in their landmark first television special in 1968, the song TCB (a popular saying that meant taking care of business) was written for the highly rated NBC program. Afterward, the Supremes would occasionally open concerts with the song. Ross again sang TCB during her ill-fated Return to Love tour in 2000 with a reconstituted lineup of Supremes.
Movie: And I Am Telling You (I’m Not Going), sung by Effie White
Motown: You Made a Fool Out of Me or Looking for a Man, by Mabel John. An early star at Motown (in the Etta James mold), John’s more gospel- and blues-tinged voice was a powerhouse. It is a myth that fellow Supreme Florence Ballard (who Jennifer Hudson supposedly plays in the movie) was capable of such vocal pyrotechnics or indeed was the lead singer of the Supremes. Almost from the beginning, Ross was lead singer.
Movie: Patience, sung by Early and Lorell Robinson
Motown: Ain’t Nothing Like the Real Thing or You’re All I Need to Get By, by Motown duet darlings Marvin Gaye and Tammi Terrell. The message isn’t there, but the groove is. For commentary on civil rights, war, poverty and drugs, see Gaye’s What’s Going On (only slightly hinted at in the movie).
Movie: I Am Changing, sung by White
Motown: Neither One of Us (Wants To Be the First to Say Goodbye) was Gladys Knight and the Pips’ last hit on Motown (1972) before scoring big later that year at Buddah Records with Midnight Train to Georgia and The Best Thing That Ever Happenned to Me, which has similar chord progressions to I Am Changing.
Movie: I Meant You No Harm (Jimmy’s Rap), by Early
Motown: Distant Lover, by Gaye on the mega-hit album Let’s Get it On. By the way, Gaye also regularly disrobed onstage during his 1976 tour … not unlike Murphy does in the movie.
Movie: Step on Over and One Night Only, sung by the Dreams
Motown: The Boss and Love Hangover, performed by Ross, have the same disco feel, including a slow, smoky start to Love Hangover mirrored by One Night Only in the movie.
Movie: Listen, sung by Deena Jones
Motown: It’s My Turn, by Ross, has the same message essentially, but the theme song from the Jill Clayburgh/Michael Douglas 1980 movie isn’t as histrionic as Listen.
Movie: Hard to Say Goodbye, by the Dreams
Motown: Someday We’ll be Together, by Ross and the Supremes — a direct clone here. Originally Ross recorded the song for her solo debut, but execs convinced Gordy to use it as the Supremes swan song. Incidentally, Ross often recorded Supremes songs with studio singers instead of the Supremes. The background singers on Someday are actually Maxine and Julia Waters. On other hits such as Love Child Ross was backed by studio group The Adantes.
10 TRAITS OF DIVAS
BeyoncM-i … listen.
If you’re going to play a legendary diva, then you better get schooled in … um … divadom. Your Deena Jones is no Diana Ross.
We break down 10 personality traits that divas tend to share:
1. A modern-day diva must conquer more than one media. We assume she can sing, but can she act?
2. She must raise being flinty/bitchy to an art form (she does not share the stage easily or gracefully). Look for bruised background singers or chorus members tossed headfirst into the orchestra pit. God help you if the billing on the marquee is wrong.
3. She has a string of powerful men as former lovers. You call him “Svengali;” she calls him her personal ATM or sometimes simply “man-puppet.”
4. A diva has tons of gay fans. They are devoted and will never leave her. Gay men and Las Vegas are a diva’s “pension plan” and “social security.”
5. A certain sense of camp. Here’s the funny part: She has no idea what you’re talking about here. Divas may have a sense of humor, but never about themselves.
6. Divas own the room. No matter where, no matter when, no matter who else is there. They can’t help it. It’s been that way since Zeus lowered them from the heavens.
7. At the very, very least, a diva must be fashion literate, if not an out-and-out fashion icon. She doesn’t listen to stylists … she commands them.
8. A diva must have personal tragedy and career mishaps. Songbirds can’t always soar.
9. She has a palpable need to hear applause … for her and her alone. If they don’t, divas lose their glow. That’s right, just like Tinkerbell.
10. Hair and makeup are like water and air to her.
— Rod Stafford Hagwood
MORE SUPREMES
DVDs
Supremes – Reflections: The Definitive Performances 1964-1969 (2006), $20.38
Ed Sullivan’s Rock ‘n’ Roll Classics, Vol. 3 – The Soul of the Motor City (2003), $17.99
Ed Sullivan’s Rock ‘n’ Roll Classics Boxed Set (2002), $152.99
BOOKS
A Lifetime to Get Here: Diana Ross: The American Dreamgirl, by Thomas Adrahtas (AuthorHouse, $28.95)
Dreamgirl & Supreme Faith, by Mary Wilson, is being reissued this year (Cooper Square Press, $19.95)
Diana Ross: A Biography, by Randy J. Taraborrelli (Citadel, $26.95). Originally titled Call Her Miss Ross, being reissued in April with additional (probably even dishier) chapters.
ONLINE
dianaross.com — check out Ross’ latest work
classic.motown.com — all the compilations and boxed sets any fan could hope for
formerladiesof thesupremes.com — after Ross’ departure in 1970, the Supremes continued throughout the ’70s
hip-oselect.com — where you can order rare special-edition CDs
youtube.com — there are many clips of the Supremes from early daintiness to latter campiness:
1. Diana Ross and the Supremes, with the Temptations, singing The Way You Do the Things You Do, from their 1968 NBC special TCB. 2. Supremes, Hollywood Palace ’67. 3. The Supremes (The Happening). 4. The Supremes, Baby Love. 5. Diana Ross and the Supremes on The Ed Sullivan Show.
