The Lost Supreme: The Life of Dreamgirl Florence Ballard

This is a valuable book because of the direct quotes from Florence Ballard herself and the story of her circumstances following her ouster from the Supremes, an act which I absolutely believe was unfair, but this book is terribly biased and often not well researched. The earliest indication that Gordy envisaged Ross as a potential star comes from Raynoma Singleton Gordy's book "Berry Gordy, Motown and Me" in which she stated that the first time he saw Ross he wanted to hire her and not Flo, Mary and Betty McGlowan but she cautioned him that it would be cruel to break the young girl group up, so he hired them all.I loved the Supremes. Starting in 1967 I saw them every time they came to Los Angeles. Like Florence, though, I was duped - when I saw them in 1967 at the KHJ Appreciation Concert, it was Cindy I saw and no one announced she was Florence's replacement. I didn't see them at the Coconut Grove just a month later because I thought I had ALREADY seen them, and in doing so missed seeing Florence. What that experience and subsequent history has told me is that Diana had already defined the sound of the Supremes and that the company had decided that virtually anyone could sing behind her and audiences would not be the wiser. They must have been right when you realize that The Andantes sang on "Someday We'll Be Together" not Mary Wilson and Cindy Birdsong as this book asserts. The book also misses the "soundalike" multiple candidates who were suggested and/or selected as Diana's replacement. Tammi Terrell was suggested before her early death, and even after Jean Terrell (no relation) was hired, Berry tried to hire Syretta Wright instead. Just listen to Syretta's duet with Billy Preston "(With You) I'm born again." When I first heard the tune, I thought it WAS Diana Ross. In the end, it was a good thing Syretta was not Diana's replacement as the too-close resemblance would have dimmed each woman's career. Which is the big point I want to make - distinctive voices.Several times in this book, the author cites sources as saying Florence had tbe "better" voice. Yes, it was fuller, but in pop music "better" is far more relative than that. Doesn't anyone remember Frankie Avalon's first hit - "Dee Dee Dinah" where he truly sang it with his nose pinched? Or Mary Wells' own statement that when she first sang "Bye Bye Baby" that Berry Gordy had her record it several times until her voice became raspy and gritty instead of the wonderful full voice she had and that the raspy gritty one is the take he released - and had a hit with? With the birth of electronic recording, numerous "wonderful" voices were replaced with personality voices, Diana Ross (at least until "Do You Know Where You're Going To?") being one of the most notable. Florence was good, no doubt, but she had a similar sound to that of Kim Weston or any number of the other Motown female singers. It is no wonder she fit so well into the Marvelettes. As far as her own voice? I bought the at-long-last-released Florence Ballard ABC album and it doesn't cut it. The book tantalizes us with the tale of Ballard's husband going to work for Holland-Dozier-Holland's Hot Wax/Invictus label, but as his wife's manager, there is no explanation as to why Tommy Chapman didn't get Florence on that label - or better yet, why HDH didn't have Tommy bring Florence to them. The simple truth is that good is not necessarily distinctive and Diana Ross' voice is distinctive. As soon as her voice became known as that of The Supremes, even close-counts vocalists like Carla Thomas ("B-A-B-Y") and Felice Taylor ("It May Be Winter Outside (But in My Heart it's Spring)" - a ripoff of The Supreme's "Everything's Good About You" had a hard time not being mistaken for Ross. And as far as crediting the name change of the group to Diana Ross and The Supremes goes, doesn't anyone else remember how The Belmonts became Dion and the Belmonts? Frankie Valli and The Four Seasons? Gary Puckett and the Union Gap? Dennis Yost and The Classics IV? Mama Cass???? The lead(s) separating from the group was already a tradition. Marvin Gaye was a Moonglow, for heaven's sake. This book lacks perspective. Motown was the M.G.M. of black music and they truly thought they could do a two-for-one split with ALL their groups - Martha and the Vandellas became Martha Reeves and the Vandellas, The Miracles became Smokey Robinson and the Miracles. David Ruffin was out of line mostly because Eddie Kendricks sang as many leads as he did, and the other Temptations frequently got solo sections in the songs. Motown tried Florence in the lead, and even the soft Mary Wilson as late as "Touch" in which she and Cindy switched off leads with Jean Terrell. The record buying public chose. Does the author really believe that if the company kept releasing non-charting records, that eventually Florence would have caught on? What kind of investment is that?This book, contends that Florence never got the right songs, which is not saying much about her voice, because it indicates that without that "right song" her voice was not enough to make a hit record. Even with Diana Ross' early nasal tone recordings like "Run, Run, Run" it's her voice you often remember, not the song. I first heard "Where Did Our Love Go" on a cheap transistor radio and I was enthralled.Florence made some bad choices and she let things get out of control. Yes, the combination of the three original voices was wonderful, but so was the combination of Diana, Mary and Cindy. Listen to "What Becomes of the Broken-Hearted" on "Let the Sunshine In/Composer" album.This book contributes needed information on Florence to the story of The Supremes. Added to Tony Thomas' "All That Glittered" and Mary Wilson's book, we are able to collectively know Florence Ballard better. In the absence of an autobiography, this is the next best thing. Now she isn't "Lost" or forgotten. The Lost Supreme: The Life of Dreamgirl Florence Ballard

Whether The Supremes are icons of your youth or a legend you've recently discovered, don't miss "The Lost Supreme: The Life of Dreamgirl Florence Ballard." Author Peter Benjaminson skips no juicy details in this splendid biography of the group's founder and most gifted member.A former investigative reporter and author of the book "The Story of Motown," Benjaminson delivers a seamless portrayal of the R&B luminary who zoomed from projects to stardom at 20, descended into alcoholism and poverty, then died tragically at 32 while attempting a comeback. Benjaminson's exhaustive research is impeccable. Every page of "The Lost Supreme" comes alive with intimate recollections from Ballard and the people who knew her best.For lovers of showbiz backstory, "The Lost Supreme" has it all -- Ballard's harrowing rape by an NBA star; her manipulation by Berry Gordy and Diane Ross; the power struggle between the tinny-voiced singer and the throaty, sultry one; the ludicrous contracts; the catfights; the racist attacks; the bizarre meeting with the Beatles; Ballard's ignominious ouster from the Supremes; the fortune stolen from her; and her unsuccessful $8.7 million lawsuit against Motown.There are many wonderful quotes, too, like this gem from Ballard about the songs from the Supremes' first single: "... both flops, but they were good flops." And this zinger from Mary Wilson: "Whenever Diane would insist on a lead and then sing it, we would sort of look at each other and try not to laugh. She had this weird little whiny sound."There are other books about the Supremes, but only this one's author has a musician's understanding of R&B, a union spokesman's understanding of contract law, and a Detroiter's understanding of the inner city. All serve to illuminate the book's narrative without overpowering it, as when Benjaminson describes the Motown sound: "This heavy beat was a natural connection between the African past and the mechanized present ... African American tradition updated by the incessant pounding of the punch press and buffed to a shiny gloss by contact with an urban society."Benjaminson's writing style is clean and direct but never boring, painting vivid images of civil rights-era America while elegantly putting Ballard's successes and struggles into perspective. He takes great care to analyze the conflicting reports of certain pivotal events that, Rashomon-like, left fans and historians alike scratching their heads for decades. With a keen talent for juxtaposing quotes and events, he unveils interpersonal dynamics overlooked in other books on this subject.The author's wry wit keeps things lively. About Motown's notorious owner who mixed and matched artists, writers, and producers with wild abandon, he writes: "Gordy hadn't worked in a factory for nothing: he knew the value of interchangeable parts."In short, "The Lost Supreme" is can't-put-it-down reading.The exclusive input from Ballard is riveting. By allowing Flo to speak for herself (based on extensive one-on-one interviews just before her death), Benjaminson and Ballard distinguish fact from myth in the oft-romanticized central story of a beleaguered superstar who stood up to an exploitive recording industry. It all adds up to a remarkable history, brought to life by the people who lived it.

This is a rather poorly written book. It is very superficial and I felt after reading the book I that did not know the real Florence Ballard. All that came across was that she was a naive, uneducated girl who was exploited and abused at every turn. The author repeats ad nauseam that Florence was the founder of the group and the one who came up with the name of the Supremes, but to be fair the real talent at Motown were the songwriter particularly Holland - Dozier- Holland. When Berry Gordy no longer wants he in the group she is dump unceremoniously and her decent into poverty and mental illness is very sad. To sum up a quick, superficial read like reading a tabloid newspaper.

It must be said that Motown is one of the most successful record labels in the history of popular music, because of the number of hopeful artists that entered its doors and came out contributing a vast catalogue of classic songs. Berry Gordy's vision became a reality through the structure of a well run company that trained and refined its artists to become the stars we know today. Whilst previous books have rightly highlighted this, it has been well documented that certain artists were shown preferential treatment, whilst others experienced a rough deal.Florence Ballard was one of those. Although Peter's book chronicles the rise and fame of Flo along with her fellow Supremes, he has thoroughly researched the years of heartache and decline before her untimely death.It was when Peter was working as a journalist that he was approached to follow up a newspaper story about Florence Ballard living on state benefits. He tracked her down and was granted permission to interview and record her struggles. The interview forms the basis of the book and is further supported by those who knew her well. I won't say anymore so as not to spoil the read for anyone interested in buying this book. But I will say that Peter Benjaminson has written an honest and frank account of how Florence Ballard set out to get what was rightfully hers. I rate this book among the best I have ever read.

Excellent book. Florence really was the lost Supreme. It was a shame that Motown could not have had the foresight to cultivate this lady's wonderful voice. I would have loved to see this lady in concert. Flo will never be forgotten.

Sad to think that Florence was dead at 32, just 5 years after leaving the Supremes. Gordy and Motown threw fame at her feet and then broke her. Where did the love go.......

Brilliant insightful book. Sad she died at such a young age and that people including those she thought were friends abused her and left her with nothing