The story of how some songs become iconic hits is often paved with unexpected twists and turns. One such tale revolves around what we might affectionately call the “Shoop Shoop Song,” though you might know it better as “Where Did Our Love Go” by The Supremes. This track, which catapulted the group to superstardom, wasn’t initially embraced by anyone involved. In fact, according to the legendary Motown songwriter Lamont Dozier, everyone from The Marvelettes to The Supremes themselves had reservations about it.
From Marvelettes’ Rejection to Supremes’ Hesitation
Dozier, one third of the famed Holland-Dozier-Holland songwriting team, originally envisioned the song for The Marvelettes. He even cut the initial track in the key of Gladys Horton, The Marvelettes’ lead singer. Motown’s policy at the time put the financial burden on songwriters for tracks that weren’t picked up by their artists, so Dozier was confident in the song’s appeal to The Marvelettes. However, to his utter shock, Horton declared, “Oh, honey, we don’t do stuff like that. And it’s the worst thing I ever heard.” This blunt rejection left Dozier in a precarious position, needing to quickly find another artist to record the track.
He turned to The Supremes, then known around Motown as the “no-hit Supremes.” Presenting it as “tailor-made” for them, Dozier was surprised to encounter further resistance. It turns out Gladys Horton had shared her negative opinion with The Supremes, influencing their initial reluctance. Undeterred, Holland-Dozier-Holland persisted, eventually convincing the group that this song could be their breakthrough, a lifeline they couldn’t afford to refuse. This persuasion was crucial, as Martha and the Vandellas had already seen Top 40 success with Holland-Dozier-Holland, but The Supremes were still searching for their signature sound.
Studio Tension and Serendipitous Simplicity
Entering the studio, The Supremes’ annoyance was palpable. Diana Ross immediately voiced her displeasure with the song’s key, deeming it too low for her vocal range. Indeed, the song was crafted for Gladys Horton’s lower register. With the track already laid down, Ross had to adapt, singing in a lower key than she was accustomed to. Ironically, as Lamont Dozier recounted, “her bad attitude and the low key were exactly what the song needed!”
Further complicating the recording process, Dozier had meticulously arranged intricate background vocals for Florence Ballard and Mary Wilson. However, the group refused to learn them. In a moment of resourceful improvisation, Dozier instructed them to simply sing “Baby, baby, baby.” This seemingly simplistic solution proved to be another stroke of accidental genius. The repetitive, almost chant-like background vocals became an unforgettable hook, perfectly complementing Diana Ross’s lead.
Despite the creative breakthrough, tensions remained high. Diana Ross even complained to Berry Gordy Jr. about Dozier’s studio conduct. Gordy visited the studio to mediate and, while there, listened to the track. Although unsure if it was a definite hit, he predicted it would reach the Top 10.
From Studio Squabbles to Stardom
Released amidst internal doubts and studio friction, “Where Did Our Love Go” defied all expectations. It soared to the #1 spot on the charts, marking the beginning of an unprecedented run of success for The Supremes and Holland-Dozier-Holland. It became the first of an astounding 13 consecutive number-one hits for the group.
The transformation was rapid and dramatic. As Dozier recalled, the next encounter with The Supremes at the airport was a scene of stark contrast. They emerged from a plane, Yorkshire terriers in tow and draped in mink stoles – overnight sensations. The “shoop shoop song,” initially met with resistance and complaints, had inadvertently become the golden key that unlocked The Supremes’ legendary career, proving that sometimes, the most unexpected paths lead to the greatest triumphs.
