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Release Info: DIANA ROSS & THE SUPREMES - LET THE SUNSHINE IN (MOTOWN 1969) Jap mastering cardboard sleeve
After Ballard's exit, the group was billed as Diana Ross & the Supremes, fueling speculation that Ross was being groomed for a solo career. The Supremes had a big year in 1967, even incorporating some mild psychedelic influences into "Reflections." Holland-Dozier-Holland, however, left Motown around this time, and the quality of the Supremes' records suffered accordingly (as did the Motown organization as a whole). The Supremes were still superstars, but as a unit, they were disintegrating; it's been reported that Wilson and Birdsong didn't even sing on their final hits, a couple of which ("Love Child" and "Someday We'll Be Together") were among their best.
In November 1969, Ross' imminent departure for a solo career was announced, although she played a few more dates with them, the last in Las Vegas in January 1970. Jean Terrell replaced Ross, and the group continued through 1977, with some more personnel changes (although Mary Wilson was always involved).
"The three singles are so good, they alone justify buying this album: the Clan's tale of filial impiety "I'm Livin' In Shame"; Smokey's gorgeous "The Composer" and Berry Gordy's pop/funk "No Matter What Sign You Are" with groovy electric sitar. It's a lucky thing, because there's no depth here - there are a zillion covers, either servicable but pedestrian (Jimmy Ruffin's "What Becomes Of The Brokenhearted," Jerry Butler's "Hey Western Union Man" cowritten by Gamble and Huff, Bacharach/David's "Let The Music Play"), or painful attempts to be up to date (title track, Sly Stone's "Everyday People" including fuzz guitar). According to Mary Wilson, she and Birdsong were barely participating in the studio by this point; Ross meanwhile was indulging her taste for Vegas kitsch ("Discover Me (And You'll Discover Love)".(DBW)Here
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