A majority of the songs on The Supremes A’ Go-Go were written by Eddie Holland, Lamont Dozier and Brian Holland and recorded by other artists, like Martha & the Vandellas and Marvin Gaye. “When we were doing covers of songs that had been done originally by other artists, it was our practice to try and create the feeling like these were originals for the Supremes, to make the songs their own,” Dozier says. “We would select the songs by their popularity with the public in many cases, but also we liked taking a song of ours that hadn't gone all the way and recording it again to see if we could reach that point we were going after. It was exciting for us to have a chance to redo song productions with a new feeling, having a female group versus a male group rendition. We loved it.”
While many Motown albums were made up of songs not recorded specifically for one album, Dozier explains that The Supremes A’ Go-Go was different. “We had recording sessions that we earmarked specifically for this album. It was going to be a great opportunity for a major album release for the Supremes and we wanted it to be a fabulous album. Many times Motown would assemble albums from songs that were in the can, but in this case H-D-H designed this album for the Supremes.”
One of the tracks that did make the original album was the Supremes’ version of Martha & the Vandellas’ “Come and Get These Memories.” But in a rare turn, the lead vocals are not by Diana Ross. “I felt that Mary Wilson’s voice was best suited for ‘Come and Get These Memories,’ so I made the decision to have Mary sing the lead vocal,” says Dozier. “The recording session was wonderful because it gave Mary a chance to shine in a lead vocal capacity and give new meaning to the song.”
With the No. 1 triumph of The Supremes A’ Go-Go, Motown wanted to repeat the success with the trio’s next album, which led to the similar The Supremes Sing Holland-Dozier-Holland. “Because the first album had been so successful, it was a mutual agreement by all of us at the company to have a follow-up album that would hopefully have the same results worldwide,” Dozier recalls.
Before the Supremes had their breakthrough with “Where Did Our Love Go,” they released six Hot 100-charting singles, but none went higher than No. 23. “All the other Motown artists were looking at us like we’d never have a hit record,” Mary Wilson tells Billboard. “I knew what was going on in their minds, so I coined the name, ‘No-hit Supremes.’” Then everything changed. “Berry Gordy told us he was going to put us with his top writing team – Brian Holland, Lamont Dozier and Eddie Holland. We were astonished to be working with those guys. They had a different approach and as far as we were concerned, we were working with the best. They gave us five No. 1s in a row. Each of them brought something to their team that made them unique. Lamont and Eddie had been singers before they became a writing team. Eddie would teach us how to sing a song. Brian was a musical genius. Lamont brought a churchy, gospel element. It was fun working with them and it was exciting because they knew what they were doing. They had different opinions and we would watch them work things out and come to an agreement about what the final product would be.”
Weinger says Ross and Wilson "are both enthusiastic" about the latest reissue. “Mary Wilson has been promoting the album. Diana Ross invited Andy and I to see her show at City Center in New York and she graciously posed for a photo with a then-advance copy and remarked how lovely it was.”
Although The Supremes A’ Go-Go expanded edition is being released more than 50 years after the original album was issued, people clearly aren’t tired of listening to music from Motown. “People are still enthralled with the label and all of the groups,” says Wilson. “‘The Sound of Young America’ is timeless. The music still stands on its own.”