neonlights said:

aardvark15 said:

Stevie's "Superstition" was meant for Jeff Beck

Jeff created the drum beat when he was in the studio with Stevie & Stevie offered it to Beck but Berry G Was pretty much like no YOU record it

Gunsnhalen said:

neonlights said:

Jeff created the drum beat when he was in the studio with Stevie & Stevie offered it to Beck but Berry G Was pretty much like no YOU record it

Now I knew Jeff had been offered the song but I had no idea he created the drum beat. A part of me also thinks he may have written at least some of the lyrics but he didn't get credit. I'm surprised he was still working with Stevie because he was bothered by that. Also this proves Berry Gordy was still trying to pull the wool on Stevie's eyes. To Berry's credit, Stevie did have a hit with it though.

[Edited 4/29/12 20:48pm]

These 2 are kind of rumors that have gone on rock boards.

But supposedly Nikki Sixx wrote Without You[The MC Song] for Vanity when there dating in the mid-80's. And that she was going ot do a full on rock album & he would play bass on it. He also supposedly wrote Falling In And Out Of Love For her to[But that eventually went to Lita Ford]

Any who i guess after there breakup he just used the song in Motley Crue & it Became a hit for them so... who know's

Timmy84 said:

Gunsnhalen said:

Jeff created the drum beat when he was in the studio with Stevie & Stevie offered it to Beck but Berry G Was pretty much like no YOU record it

Now I knew Jeff had been offered the song but I had no idea he created the drum beat. A part of me also thinks he may have written at least some of the lyrics but he didn't get credit. I'm surprised he was still working with Stevie because he was bothered by that. Also this proves Berry Gordy was still trying to pull the wool on Stevie's eyes. To Berry's credit, Stevie did have a hit with it though.

[Edited 4/29/12 20:48pm]

really? i didn't know Jeff had any issues with Stevie?

neonlights said:

ETA: Where's that stalker that always loses his shit when R. Kelly is mentioned? I'm sure he will be in here shortly.

mistermaxx? we ran him off years ago, but he's still on okayplayer from what I've heard.

or is there a new one?

Gunsnhalen said:

Timmy84 said:

Now I knew Jeff had been offered the song but I had no idea he created the drum beat. A part of me also thinks he may have written at least some of the lyrics but he didn't get credit. I'm surprised he was still working with Stevie because he was bothered by that. Also this proves Berry Gordy was still trying to pull the wool on Stevie's eyes. To Berry's credit, Stevie did have a hit with it though.

[Edited 4/29/12 20:48pm]

really? i didn't know Jeff had any issues with Stevie?

Yeah apparently he thought Stevie released it on his own without telling him or something because apparently Stevie had promised Jeff he was to have the song. I guess when Jeff was told (either by Stevie or one of his people) that Stevie was gonna release it, he was mad about that. I think even Stevie mentioned it when they interviewed him on Rolling Stone in '73.

Oh yeah & didn't Lee Garrett claim he wroe ''I just called to say i love you''?

[Edited 4/29/12 21:02pm]

Timmy84 said:

Gunsnhalen said:

really? i didn't know Jeff had any issues with Stevie?

Yeah apparently he thought Stevie released it on his own without telling him or something because apparently Stevie had promised Jeff he was to have the song. I guess when Jeff was told (either by Stevie or one of his people) that Stevie was gonna release it, he was mad about that. I think even Stevie mentioned it when they interviewed him on Rolling Stone in '73.

Damn well, i'm sure Stevie wasn't trying to piss Jeff off. So hopefully they patched thing's up.

Gunsnhalen said:

Timmy84 said:

Yeah apparently he thought Stevie released it on his own without telling him or something because apparently Stevie had promised Jeff he was to have the song. I guess when Jeff was told (either by Stevie or one of his people) that Stevie was gonna release it, he was mad about that. I think even Stevie mentioned it when they interviewed him on Rolling Stone in '73.

Damn well, i'm sure Stevie wasn't trying to piss Jeff off. So hopefully they patched thing's up.

it's been 40 years. I have a feeling everyone's moved on by now

errant said:

Gunsnhalen said:

Damn well, i'm sure Stevie wasn't trying to piss Jeff off. So hopefully they patched thing's up.

it's been 40 years. I have a feeling everyone's moved on by now

True, Stevie is a legend, Beck is a legend. Pretty sure everybody is happy:P i hope

My Motown fan senses are tingling in this thread and get ready because this is a juicy one:

In case folks didn't know, the Marvelettes were originally offered "Where Did Our Love Go". I think they were gonna pass this song to Wanda Young because it was in Wanda's key (around this time, while the Marvelettes still had two lead singers with Wanda and Gladys Horton - RIP - Wanda was getting more leads). Wanda told Lamont Dozier the song was wack and Gladys and Katherine Anderson also didn't wanna do the song.

Everyone seems to think they gave it to the Supremes immediately afterwards...

No they didn't. They were THE LAST to get it.

Martha and the Vandellas, according to Martha Reeves, also turned down the offer to do the song because they felt HDH could write better songs than that. Kim Weston and Brenda Holloway were also offered the song - they also turned it down.

The Velvelettes, who signed with Motown in 1963, was offered the song next. They had just cut "Needle in a Haystack", which sounded like a Marvelettes track (and technically was written by the same guys that did the Marvelettes' "Too Many Fish in the Sea" - Norman Whitfield and Eddie Holland). But they turned it down also. "Needle" was starting to hit when they were offered the song.

So that left the "one-hit" Supremes. Though the Supremes were the first of the girl groups to sign with Motown, they had struggled for four years with recordings that, while good, didn't exactly click with audiences. They finally had a hit with "When the Lovelight Starts Shining Through His Eyes" and I understand Martha and the Vandellas had also turned down recording the song so they gave it to the Supremes and it made them sound like Vandellas rejects ("Let Me Go the Right Way" by comparison was something that the Marvelettes could've done).

But they bombed with a Crystals reject like song ("Do Ron Ron"). When they were offered "Where Did Our Love Go", they had the same reaction to the song as the other women who were offered it: they hated it. Florence Ballard would later say they had wanted to do something as good as "Please Mr. Postman" since technically the Marvelettes were still the number-one girl group in the label and no other girl group song in Motown with the exception of the Vandellas' hits matched it.

But they convinced the girls to do it especially after being told the Marvelettes had turned it down. Mary Wilson recalled that Gladys Horton and Wanda Young tried to warn the Supremes to not record it because they felt they were too strong to record leftovers. Eventually, however, the girls agreed to record it.

An argument went on about who should sing lead on it. Lamont Dozier had wanted Mary Wilson to sing on it (at the time most of the Supremes' songs up to that point had been led by Diana and this would remain) but the Holland brothers easily voted him out to give it to Diana. Diana was told to record it dryly instead of trying to sing high as she had often done. Diana responded by singing - upset - to the song. The other Supremes boringly mumbled "baby baby, where did our love go" but didn't like that that's all they had to do.

When they were finished, the Supremes heard the playback and Diana got excited, ran to Berry's office and got him to the studio to listen to it. Berry's response to the song was "hmm this look good for a top ten record girls." And left.

Within four months after they recorded it (they recorded the song that April of '64 and it was released in August), the song became their first number-one record and the start of the changing tide in Motown's history.

----

History is funny sometimes.

Oh & Pet Shop Boys song Heart was written for Madonna :O

errant said:

Gunsnhalen said:

Damn well, i'm sure Stevie wasn't trying to piss Jeff off. So hopefully they patched thing's up.

it's been 40 years. I have a feeling everyone's moved on by now

Yeah Stevie and Jeff patched things up quickly. I just thought that was fascinating.

Timmy84 said:

My Motown fan senses are tingling in this thread and get ready because this is a juicy one:

In case folks didn't know, the Marvelettes were originally offered "Where Did Our Love Go". I think they were gonna pass this song to Wanda Young because it was in Wanda's key (around this time, while the Marvelettes still had two lead singers with Wanda and Gladys Horton - RIP - Wanda was getting more leads). Wanda told Lamont Dozier the song was wack and Gladys and Katherine Anderson also didn't wanna do the song.

Everyone seems to think they gave it to the Supremes immediately afterwards...

No they didn't. They were THE LAST to get it.

Martha and the Vandellas, according to Martha Reeves, also turned down the offer to do the song because they felt HDH could write better songs than that. Kim Weston and Brenda Holloway were also offered the song - they also turned it down.

The Velvelettes, who signed with Motown in 1963, was offered the song next. They had just cut "Needle in a Haystack", which sounded like a Marvelettes track (and technically was written by the same guys that did the Marvelettes' "Too Many Fish in the Sea" - Norman Whitfield and Eddie Holland). But they turned it down also. "Needle" was starting to hit when they were offered the song.

So that left the "one-hit" Supremes. Though the Supremes were the first of the girl groups to sign with Motown, they had struggled for four years with recordings that, while good, didn't exactly click with audiences. They finally had a hit with "When the Lovelight Starts Shining Through His Eyes" and I understand Martha and the Vandellas had also turned down recording the song so they gave it to the Supremes and it made them sound like Vandellas rejects ("Let Me Go the Right Way" by comparison was something that the Marvelettes could've done).

But they bombed with a Crystals reject like song ("Do Ron Ron"). When they were offered "Where Did Our Love Go", they had the same reaction to the song as the other women who were offered it: they hated it. Florence Ballard would later say they had wanted to do something as good as "Please Mr. Postman" since technically the Marvelettes were still the number-one girl group in the label and no other girl group song in Motown with the exception of the Vandellas' hits matched it.

But they convinced the girls to do it especially after being told the Marvelettes had turned it down. Mary Wilson recalled that Gladys Horton and Wanda Young tried to warn the Supremes to not record it because they felt they were too strong to record leftovers. Eventually, however, the girls agreed to record it.

An argument went on about who should sing lead on it. Lamont Dozier had wanted Mary Wilson to sing on it (at the time most of the Supremes' songs up to that point had been led by Diana and this would remain) but the Holland brothers easily voted him out to give it to Diana. Diana was told to record it dryly instead of trying to sing high as she had often done. Diana responded by singing - upset - to the song. The other Supremes boringly mumbled "baby baby, where did our love go" but didn't like that that's all they had to do.

When they were finished, the Supremes heard the playback and Diana got excited, ran to Berry's office and got him to the studio to listen to it. Berry's response to the song was "hmm this look good for a top ten record girls." And left.

Within four months after they recorded it (they recorded the song that April of '64 and it was released in August), the song became their first number-one record and the start of the changing tide in Motown's history.

----

History is funny sometimes.

Wow i had no idea about ANY of that. I never knew it had been offered to all those other people , Some of those bands on Motown where really chained down on there. I can't believe Barry and his hmm yeah sure why not could be a hit & leave attitude.

Gunsnhalen said:

Timmy84 said:

My Motown fan senses are tingling in this thread and get ready because this is a juicy one:

In case folks didn't know, the Marvelettes were originally offered "Where Did Our Love Go". I think they were gonna pass this song to Wanda Young because it was in Wanda's key (around this time, while the Marvelettes still had two lead singers with Wanda and Gladys Horton - RIP - Wanda was getting more leads). Wanda told Lamont Dozier the song was wack and Gladys and Katherine Anderson also didn't wanna do the song.

Everyone seems to think they gave it to the Supremes immediately afterwards...

No they didn't. They were THE LAST to get it.

Martha and the Vandellas, according to Martha Reeves, also turned down the offer to do the song because they felt HDH could write better songs than that. Kim Weston and Brenda Holloway were also offered the song - they also turned it down.

The Velvelettes, who signed with Motown in 1963, was offered the song next. They had just cut "Needle in a Haystack", which sounded like a Marvelettes track (and technically was written by the same guys that did the Marvelettes' "Too Many Fish in the Sea" - Norman Whitfield and Eddie Holland). But they turned it down also. "Needle" was starting to hit when they were offered the song.

So that left the "one-hit" Supremes. Though the Supremes were the first of the girl groups to sign with Motown, they had struggled for four years with recordings that, while good, didn't exactly click with audiences. They finally had a hit with "When the Lovelight Starts Shining Through His Eyes" and I understand Martha and the Vandellas had also turned down recording the song so they gave it to the Supremes and it made them sound like Vandellas rejects ("Let Me Go the Right Way" by comparison was something that the Marvelettes could've done).

But they bombed with a Crystals reject like song ("Do Ron Ron"). When they were offered "Where Did Our Love Go", they had the same reaction to the song as the other women who were offered it: they hated it. Florence Ballard would later say they had wanted to do something as good as "Please Mr. Postman" since technically the Marvelettes were still the number-one girl group in the label and no other girl group song in Motown with the exception of the Vandellas' hits matched it.

But they convinced the girls to do it especially after being told the Marvelettes had turned it down. Mary Wilson recalled that Gladys Horton and Wanda Young tried to warn the Supremes to not record it because they felt they were too strong to record leftovers. Eventually, however, the girls agreed to record it.

An argument went on about who should sing lead on it. Lamont Dozier had wanted Mary Wilson to sing on it (at the time most of the Supremes' songs up to that point had been led by Diana and this would remain) but the Holland brothers easily voted him out to give it to Diana. Diana was told to record it dryly instead of trying to sing high as she had often done. Diana responded by singing - upset - to the song. The other Supremes boringly mumbled "baby baby, where did our love go" but didn't like that that's all they had to do.

When they were finished, the Supremes heard the playback and Diana got excited, ran to Berry's office and got him to the studio to listen to it. Berry's response to the song was "hmm this look good for a top ten record girls." And left.

Within four months after they recorded it (they recorded the song that April of '64 and it was released in August), the song became their first number-one record and the start of the changing tide in Motown's history.

----

History is funny sometimes.

Wow i had no idea about ANY of that. I never knew it had been offered to all those other people , Some of those bands on Motown where really chained down on there. I can't believe Barry and his hmm yeah sure why not could be a hit & leave attitude.

Berry was like that with most of the songs actually. Guess he tried to keep his "boss face" on. Remember this is the same guy who thought "I Heard It Through the Grapevine" was wack, that "What's Going On" was the stupidest record he ever heard, that he felt "ABC" wasn't a hit initially, that felt too much was going on with "Ain't No Mountain High Enough"...

Timmy84 said:

Gunsnhalen said:

Wow i had no idea about ANY of that. I never knew it had been offered to all those other people , Some of those bands on Motown where really chained down on there. I can't believe Barry and his hmm yeah sure why not could be a hit & leave attitude.

Berry was like that with most of the songs actually. Guess he tried to keep his "boss face" on. Remember this is the same guy who thought "I Heard It Through the Grapevine" was wack, that "What's Going On" was the stupidest record he ever heard, that he felt "ABC" wasn't a hit initially, that felt too much was going on with "Ain't No Mountain High Enough"...

Yeah true.... he really said What's Going On was the stupidest record Marvin recorded? but he appoves whole hearted LMFAO songs

1sotrue said:

Speaking of Motown I read somewhere 'I Want You Back' by the Jackson 5 was originally meant for Gladys Knight and the Pips. 'Walk Like An Egyptian' by the Bangles was written for Toni Basil.

Yeah the original song was titled "I Wanna Be Free". Freddie Perren had written it especially for Gladys but Berry figured the song was more of a match for the Jacksons who up until then had recorded in Detroit but had only done covers of other Motown songs up to that point and had no original song with the exceptions of "You've Changed" and "I've Been Bless'd". Berry felt Bobby Taylor was not giving the Jacksons the hit they needed to break through (and Berry was still trying to map out how to present the Jackson 5) so he decided to have Freddie re-arrange and re-write the song for the Jacksons from a confident break-up song to an upbeat "come back to me" type song and base the melody off the catalog of Frankie Lymon and The Teenagers. According to Freddie, the Jacksons recorded the song 22 times before Berry felt Michael and 'em nailed it. Michael was pushed to the limit in the same way David Ruffin, Diana Ross, Mary Wells, the Marvelettes ("Please Mr. Postman" was recorded 25 times before Gladys' voice became hoarse and that's what Berry used) and Marvin Gaye were in how they got pushed to present the best version.

Gunsnhalen said:

Timmy84 said:

Berry was like that with most of the songs actually. Guess he tried to keep his "boss face" on. Remember this is the same guy who thought "I Heard It Through the Grapevine" was wack, that "What's Going On" was the stupidest record he ever heard, that he felt "ABC" wasn't a hit initially, that felt too much was going on with "Ain't No Mountain High Enough"...

Yeah true.... he really said What's Going On was the stupidest record Marvin recorded? but he appoves whole hearted LMFAO songs

Yeah shows you what kind of dude he is. He was also scared of how the public would receive "Let's Get It On" yet he's okay with his son and grandson stripping to their skivvies on national TV. What a guy huh?!

Timmy84 said:

Gunsnhalen said:

Yeah true.... he really said What's Going On was the stupidest record Marvin recorded? but he appoves whole hearted LMFAO songs

Yeah shows you what kind of dude he is. He was also scared of how the public would receive "Let's Get It On" yet he's okay with his son and grandson stripping to their skivvies on national TV. What a guy huh?!

Now i didn't know about his opinion on Let's Get It On good greif Barry.

Gunsnhalen said:

Timmy84 said:

Yeah shows you what kind of dude he is. He was also scared of how the public would receive "Let's Get It On" yet he's okay with his son and grandson stripping to their skivvies on national TV. What a guy huh?!

Now i didn't know about his opinion on Let's Get It On good greif Barry.

I'm sure there's a lot of stories of Berry that lots of folks are not saying because he's still breathing. I'm sure people will start speaking more like they did when Phil Spector finally got locked up for killing that actress.

Gunsnhalen said:

Timmy84 said:

Yeah shows you what kind of dude he is. He was also scared of how the public would receive "Let's Get It On" yet he's okay with his son and grandson stripping to their skivvies on national TV. What a guy huh?!

Now i didn't know about his opinion on Let's Get It On good greif Barry.

Of all the Motown acts, Berry was always on Marvin's dick. Even from the first hit he wrote ("Stubborn Kind of Fellow"). Only reason why one of the Gordys even got credit (brother George in that instance) was so any royalties the song would receive if it was a hit on either pop or R&B charts (Motown wasn't the hit machine it was when "Stubborn" was released) George could give his cut to Berry's publishing (Jobete). Berry had Marvin change a single chord of the song. Marvin made up his own rules even when he was singing other folks' songs. When he was finally allowed to record his own stuff, Berry wasn't sure if it would be hits because of the way Marvin sequenced his albums since Berry was still on selling singles - and not albums. Marvin also competed with Berry over political reasons. Marvin was almost something of an apolitical person. I don't think he trust politics (the reason he wrote "You're the Man") and Berry feared a backlash from that particular song (the song did a decent showing at #50 pop and #7 R&B despite the controversy). When Marvin finally did "Let's Get It On" the album, Berry got on him on the subject matter but left it alone when the title track became a hit though he felt "You Sure Love to Ball" would get banned because of its graphic sexual content so he had the song pulled. Berry had Motown release "In Our Lifetime" at a time Marvin wasn't ready to put it out. Marvin decided to leave but fought with Berry over master rights to his work before agreeing to let it go. When he was asked why he didn't set up his own publishing like Stevie did in 1971, Marvin said he wouldn't know how to do it. He also felt Berry or his people was too possessive over him and always watching his every move.

Timmy84 said:

Gunsnhalen said:

Now i didn't know about his opinion on Let's Get It On good greif Barry.

Of all the Motown acts, Berry was always on Marvin's dick. Even from the first hit he wrote ("Stubborn Kind of Fellow"). Only reason why one of the Gordys even got credit (brother George in that instance) was so any royalties the song would receive if it was a hit on either pop or R&B charts (Motown wasn't the hit machine it was when "Stubborn" was released) George could give his cut to Berry's publishing (Jobete). Berry had Marvin change a single chord of the song. Marvin made up his own rules even when he was singing other folks' songs. When he was finally allowed to record his own stuff, Berry wasn't sure if it would be hits because of the way Marvin sequenced his albums since Berry was still on selling singles - and not albums. Marvin also competed with Berry over political reasons. Marvin was almost something of an apolitical person. I don't think he trust politics (the reason he wrote "You're the Man") and Berry feared a backlash from that particular song (the song did a decent showing at #50 pop and #7 R&B despite the controversy). When Marvin finally did "Let's Get It On" the album, Berry got on him on the subject matter but left it alone when the title track became a hit though he felt "You Sure Love to Ball" would get banned because of its graphic sexual content so he had the song pulled. Berry had Motown release "In Our Lifetime" at a time Marvin wasn't ready to put it out. Marvin decided to leave but fought with Berry over master rights to his work before agreeing to let it go. When he was asked why he didn't set up his own publishing like Stevie did in 1971, Marvin said he wouldn't know how to do it. He also felt Berry or his people was too possessive over him and always watching his every move.

Wow!, and Barry likes to act it wasn't like that. He always speaks so highly of Marvin as if he always believed in him. Berry to me sounds like how L.A Reid is

Known for producing some great records, but also a control freak with little faith in his artists. And Marvin for awhile just made hit after hit for him and i guess he always had a reason to bitch

Wasn't 'Unbreak My Heart' meant for Celine Dion?

Gunsnhalen said:

Timmy84 said:

Of all the Motown acts, Berry was always on Marvin's dick. Even from the first hit he wrote ("Stubborn Kind of Fellow"). Only reason why one of the Gordys even got credit (brother George in that instance) was so any royalties the song would receive if it was a hit on either pop or R&B charts (Motown wasn't the hit machine it was when "Stubborn" was released) George could give his cut to Berry's publishing (Jobete). Berry had Marvin change a single chord of the song. Marvin made up his own rules even when he was singing other folks' songs. When he was finally allowed to record his own stuff, Berry wasn't sure if it would be hits because of the way Marvin sequenced his albums since Berry was still on selling singles - and not albums. Marvin also competed with Berry over political reasons. Marvin was almost something of an apolitical person. I don't think he trust politics (the reason he wrote "You're the Man") and Berry feared a backlash from that particular song (the song did a decent showing at #50 pop and #7 R&B despite the controversy). When Marvin finally did "Let's Get It On" the album, Berry got on him on the subject matter but left it alone when the title track became a hit though he felt "You Sure Love to Ball" would get banned because of its graphic sexual content so he had the song pulled. Berry had Motown release "In Our Lifetime" at a time Marvin wasn't ready to put it out. Marvin decided to leave but fought with Berry over master rights to his work before agreeing to let it go. When he was asked why he didn't set up his own publishing like Stevie did in 1971, Marvin said he wouldn't know how to do it. He also felt Berry or his people was too possessive over him and always watching his every move.

Wow!, and Barry likes to act it wasn't like that. He always speaks so highly of Marvin as if he always believed in him. Berry to me sounds like how L.A Reid is

Known for producing some great records, but also a control freak with little faith in his artists. And Marvin for awhile just made hit after hit for him and i guess he always had a reason to bitch

Odd thing is Berry tried to make him a song-and-dance man but Marvin couldn't dance or refuse to because he rather be like Sinatra than Sam Cooke. I'm guessing in Marvin, Berry found his Cooke and tried to mold him as such (like he tried to mold Stevie Wonder into the little Ray Charles, which flopped despite "Fingertips", in fact Stevie struggled to find his sound even when he finally was able to have hits, Berry was still trying to peg him as Ray Charles, Jr. until 1971) and Marvin complained that he felt Berry and Motown didn't know what to do with him. His feelings for Berry were complex. One minute he loved him, next minute he's dogging him ("you knew you had a brother who thought he was cool, but really I was a dumb little fool" he sang in "Is That Enough?" to Anna). But I guess he felt there were things to both love and hate about Berry. He gave Berry the respect as a pioneer in the music game but felt Berry misunderstood him and at times disrespected him.

Relating to this topic, I'm sure there were other songs from Motown artists that were intended for one artist and went into another.

neonlights said:

Wasn't 'Unbreak My Heart' meant for Celine Dion?

Hmm... I don't know. It was written by Diane Warren. It might've been written in a different arrangement because Toni's so seductive that it would seem odd for someone like Celine to sing it that way.

UnderMySun said:

Nile Rodgers tells a different story. And after listening to Aretha's disco album I find it hard to believe she rejects anything offered to her.

From what I've read, Aretha didn't get chance to turn down any song Rodgers & Edwards would have come up in the first place with since they decided not to work together after one meeting. With Diana Ross's colorful and public romances, Upside Down sounds like it was tailor made for her.

They told a funny story about meeting up with Aretha at her home.She sat down at her piano and started singing some whack lyrics about "I'm gonna be the hottest chick at the disco tonight" and the guys were perplexed "We couldn't believe that Aretha would sing some bullshit like that".

I'll have to pull out the source of this story (it's in a book written about Chic),but that part was always funny to me.

errant said:

aardvark15 said:

Madonna's "Live To Tell" was meant for Michael Jackson

the music to "La Isla Bonita," yes. but I have a hard time believing "Live To Tell"

Yeah,I never heard that "Live To Tell" was ever considered for Michael.

UnderMySun said:

I Want Your Love was intended for Sister Sledge while He's The Greatest Dancer was intended for Chic. But Rodgers & Edwards decided switch the songs.

if you listen closely,you can even hear Sister Sledge singing background vocals on "I Want Your Love".Their vocals were kept on the song.

Timmy84 said:

So that left the "one-hit" Supremes.

Corrections: The "No-Hit" Supremes