This compilation, in a handsome slipcase depicting the trio on-stage in pink gowns, should not be confused with the late-'80s Motown CD reissue containing the contents of same two LPs, which had indifferent sound and no frills to its packaging. This disc is part of the post-1999 upgrade of the Motown library, initially issued in England and later replicated in part in America. And it's here that these two albums, from the original group's classic period of 1964-1966, come into their own. More Hits by the Supremes and The Supremes Sing Holland-Dozier-Holland comprise an appropriate combination, the former one of their highest-charting albums and the latter their last high-charting original LP -- as it happens, everything here was authored (and produced) by Brian Holland, Lamont Dozier, and Eddie Holland, which automatically makes it a first-rate collection, rivaling even for the casual listener, in note-for-note value, any actual "best-of" on the trio. Not everything from More Hits by the Supremes matches the album's three hits, "Stop in the Name of Love," "Nothing But Heartaches," and "Back in My Arms Again," but everything on it gives Diana Ross, Mary Wilson, and Florence Ballard plenty to do that is worthwhile hearing multiple times -- and as that material dates from 1964 and 1965, all three Supremes are well represented. The Supremes Sing Holland-Dozier-Holland, released in early 1967 (and issued in England and the rest of the world as The Supremes Sing Motown), is somewhat more a showcase for Diana Ross, though Wilson and Ballard are still busy. And it's impossible to quibble about the content on purely musical terms -- a Supremes album was expected to have a bit less soul than the work of most of their rival acts, and the record had its share of hits, plus a few that should have been. The sound quality on this edition also makes it a fine showcase for the Holland-Dozier-Holland production, and the annotation gives some measure of perspective on the group's history, though not as much as one would have hoped for.
AllMusic Review by Bruce Eder