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BackInMyArmsAgain

Back In My Arms Again

The Supremes

Side A

Could the Supremes make it an unbelievable five no. 1 pop smashes in a row? Of course they could, thanks to Holland-Dozier-Holland and Diana’s kittenish appeal. Although the band track for "Back In My Arms Again" was cut before "Stop! In The Name Of Love," lyrically "Back In My Arms Again" is a sequel. In "Stop!," Diana wants her man to leave that other woman alone, but now she’s got him back and she’s "so satisfied." "Back In My Arms Again" featured the foot stomping beat that H-D-H cooked up for "Where Did Our Love Go" and "Stop! In The Name Of Love," its backing laced with baritone sax flourishes. H-D-H worked a cute mention of Mary and Flo into the lyrics. Again, Motown producers were savvy about creating audience identification with the stars. H-D-H were at their peak: "Back" was immediately replaced at no. 1 by "I Can’t Help Myself (Sugar Pie, Honey Bunch)," their hit for the Four Tops. "You felt like you were walking a little bit off the ground," says Dozier. "Oh, I can’t explain it. It was just surreal. That’s the only word. I hate to be so clichéd, but it was like you had one of these strange dreams, like you were walking and living in some imaginary world happening." Vocals for the B-side, "Whisper You Love Me Boy," were dubbed onto the band track for Mary Wells’ scheduled but unreleased single. (Mary’s version can be heard on Volume 4 of The Complete Motown Singles.) Diana’s "new voice" is apparent: from now on, she was the one artist H-D-H never pushed beyond her natural range. The producers later cut a version of the tune for Chris Clark on her debut album, Soul Sounds. This was the moment for Berry Gordy to make his move into a different league. Al Abrams’ efforts to break the white pop stranglehold in entertainment news were working. Artist Development, established and headed by Harvey Fuqua, was in full swing; Gordy had purchased homes on West Grand Boulevard to house rehearsals. Maxine Powell had moved from her Finishing and Modelling School to train the girls to be ladies; Cholly Atkins left his Broadway dancing partnership to handle Motown choreography. Gil Askey was lured away from Golden World Records to be the Supremes’ arranger, and Maurice King, long-time conductor at Detroit’s Flame Bar (where Anna Gordy had held the cigarette-selling commission not too many years before) joined to become the trio’s musical director. Shortly after the release of "Back In My Arms Again," Motown released The Supremes’ album, We Remember Sam Cooke. They began recording an album of standards, There’s A Place For Us, which went unreleased until 2004 (see hiposelect.com). A few weeks later, on June 29, 1965, the Supremes were headlining the holy grail of show business legitimacy – New York’s Copacabana nightclub.

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Side B

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