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Album Review
Superpak Vol. I Review by Cher Fan Club
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Tracklist
Pick | # | Song | Writer(s) | Producer(s) |
|---|---|---|---|---|
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Singles
🫣 "Will You Love Me Tomorrow" (1971)
🪄 Originally recorded by the Shirelles
💡 B-side: "Reason to Believe"
🚀 WMID (Atlantic City, NJ): #11
🚀 WSER (Elkton, MD): #27
🚀 WJET (Erie, PA): #30
🔎 THE CFC BREAKDOWN: Imperial Records, Cher's solo label from 1965 to 1968, was a sublabel of Liberty Records. In 1968, United Artists (UA) acquired Liberty (and with it, Imperial) and by 1970 both labels had been shut down, their catalogs absorbed into UA.
In 1971, with Cher now a major star at MCA's Kapp label, UA saw a lucrative opportunity in its vaults. "Gypsys, Tramps & Thieves" had just become the biggest-selling single in MCA's history, and her television visibility through The Sonny & Cher Comedy Hour (1971–74) was immense. Capitalizing on that momentum, UA repackaged her old Imperial material into two compilations, SUPERPAK VOL. I and SUPERPAK VOL. II (both 1972). Cher was uninvolved in the project, which was entirely label-driven.
To promote the first volume, UA pulled "Will You Love Me Tomorrow", originally just an album track from Chér (1966), and issued it as a single in December 1971 (UA 50864). Though Cher had no involvement, the record was marketed as if it were a fresh release, complete with new radio promotion.
The move didn't pay off commercially. By December 1971, Cher's new hits on MCA were competing against her own back catalog: aside from UA's reissue of "Will You Love Me Tomorrow," Atco Records had also just revived "(Just Enough to Keep Me) Hangin' On," an album track from 3614 JACKSON HIGHWAY, more than two years after the album's original release. The result was a market flooded with overlapping Cher product from three different labels.
"Will You Love Me Tomorrow" failed to chart, but it set the tone for the SUPERPAK campaign, which nevertheless pushed both volumes into the Billboard 200's Top 100 on name recognition alone. What remains notable about this release is less its chart performance than its context: a label chasing a star it no longer had, repackaging her past to cash in on her present, and flooding the shelves with ghosts of a voice the public thought was brand-new.
✍🏻 BILLBOARD review (Dec 4, 1971): "Having made a powerhouse No. 1 comeback on Kapp via 'Gypsys, Tramps & Thieves,' the U.A. label releases one of Cher's earlier disks that should garner play and sales as well."
✍🏻 RECORD WORLD review (Dec 4, 1971): "With Cher coming off a comeback smash hit single and Goffin–King standards the surest route to the charts these days, label has dug into its vaults and come up with a sure shot."
💡 B-side: "Reason to Believe"
🚀 WMID (Atlantic City, NJ): #11
🚀 WSER (Elkton, MD): #27
🚀 WJET (Erie, PA): #30
🔎 THE CFC BREAKDOWN: Imperial Records, Cher's solo label from 1965 to 1968, was a sublabel of Liberty Records. In 1968, United Artists (UA) acquired Liberty (and with it, Imperial) and by 1970 both labels had been shut down, their catalogs absorbed into UA.
In 1971, with Cher now a major star at MCA's Kapp label, UA saw a lucrative opportunity in its vaults. "Gypsys, Tramps & Thieves" had just become the biggest-selling single in MCA's history, and her television visibility through The Sonny & Cher Comedy Hour (1971–74) was immense. Capitalizing on that momentum, UA repackaged her old Imperial material into two compilations, SUPERPAK VOL. I and SUPERPAK VOL. II (both 1972). Cher was uninvolved in the project, which was entirely label-driven.
To promote the first volume, UA pulled "Will You Love Me Tomorrow", originally just an album track from Chér (1966), and issued it as a single in December 1971 (UA 50864). Though Cher had no involvement, the record was marketed as if it were a fresh release, complete with new radio promotion.
The move didn't pay off commercially. By December 1971, Cher's new hits on MCA were competing against her own back catalog: aside from UA's reissue of "Will You Love Me Tomorrow," Atco Records had also just revived "(Just Enough to Keep Me) Hangin' On," an album track from 3614 JACKSON HIGHWAY, more than two years after the album's original release. The result was a market flooded with overlapping Cher product from three different labels.
"Will You Love Me Tomorrow" failed to chart, but it set the tone for the SUPERPAK campaign, which nevertheless pushed both volumes into the Billboard 200's Top 100 on name recognition alone. What remains notable about this release is less its chart performance than its context: a label chasing a star it no longer had, repackaging her past to cash in on her present, and flooding the shelves with ghosts of a voice the public thought was brand-new.
✍🏻 BILLBOARD review (Dec 4, 1971): "Having made a powerhouse No. 1 comeback on Kapp via 'Gypsys, Tramps & Thieves,' the U.A. label releases one of Cher's earlier disks that should garner play and sales as well."
✍🏻 RECORD WORLD review (Dec 4, 1971): "With Cher coming off a comeback smash hit single and Goffin–King standards the surest route to the charts these days, label has dug into its vaults and come up with a sure shot."
⭐ "Our Day Will Come" (1972)
🪄 Originally recorded by Ruby & the Romantics
🥇 KMEN (San Bernardino, CA): #1 (2w)
🚀 WORC (Worcester, MA): #32
🔎 THE CFC BREAKDOWN: Following its 1971 revival of "Will You Love Me Tomorrow," United Artists (UA) once again turned to Cher's old Imperial catalog—recordings made between 1965 and 1968, when Imperial was a Liberty subsidiary later absorbed by UA. The label issued two compilations during 1972, SUPERPAK VOL. I and SUPERPAK VOL. II, both drawn from Cher's Imperial vault material.
To promote the second volume, UA selected "Our Day Will Come," an album track from THE SONNY SIDE OF CHÉR (1966), releasing it as a single in late 1972. The strategy was familiar: repackage an old Imperial recording and push it to radio as if it were new.
But the formula was already worn out by the time UA tried it again. As with the two album tracks reissued in late 1971 to capitalize on the success of "Gypsys, Tramps & Thieves"—"Will You Love Me Tomorrow" on UA and "(Just Enough to Keep Me) Hangin' On" on Atco—"Our Day Will Come" failed to chart, marking the end of Cher's old labels' efforts to capitalize on her newfound MCA-era fame.
By then, THE SONNY & CHER COMEDY HOUR had made her a household name, sparking demand for anything tied to her—a demand her former labels had already drained with constant reissues, all while new Sonny & Cher singles fought for the same radio space as her own solo work. The oversaturation seemed to stall her chart momentum briefly, before she rebounded stronger than ever with "Half-Breed" in late 1973.
The bizarre single rollout of 1966's "Our Day Will Come" six years after its original album release now reads like a quiet coda to that opportunistic period; a final attempt to make old news compete with new material from an ever-evolving artist.
✍🏻 RECORD WORLD review (Oct 28, 1972): "From the SUPERPAK LP, the 'Camp Vamp' reaches back to the pop archives with this Ruby and the Romantics smash. With the TV show as hot as ever, this oldie should receive good spins and sales."
🥇 KMEN (San Bernardino, CA): #1 (2w)
🚀 WORC (Worcester, MA): #32
🔎 THE CFC BREAKDOWN: Following its 1971 revival of "Will You Love Me Tomorrow," United Artists (UA) once again turned to Cher's old Imperial catalog—recordings made between 1965 and 1968, when Imperial was a Liberty subsidiary later absorbed by UA. The label issued two compilations during 1972, SUPERPAK VOL. I and SUPERPAK VOL. II, both drawn from Cher's Imperial vault material.
To promote the second volume, UA selected "Our Day Will Come," an album track from THE SONNY SIDE OF CHÉR (1966), releasing it as a single in late 1972. The strategy was familiar: repackage an old Imperial recording and push it to radio as if it were new.
But the formula was already worn out by the time UA tried it again. As with the two album tracks reissued in late 1971 to capitalize on the success of "Gypsys, Tramps & Thieves"—"Will You Love Me Tomorrow" on UA and "(Just Enough to Keep Me) Hangin' On" on Atco—"Our Day Will Come" failed to chart, marking the end of Cher's old labels' efforts to capitalize on her newfound MCA-era fame.
By then, THE SONNY & CHER COMEDY HOUR had made her a household name, sparking demand for anything tied to her—a demand her former labels had already drained with constant reissues, all while new Sonny & Cher singles fought for the same radio space as her own solo work. The oversaturation seemed to stall her chart momentum briefly, before she rebounded stronger than ever with "Half-Breed" in late 1973.
The bizarre single rollout of 1966's "Our Day Will Come" six years after its original album release now reads like a quiet coda to that opportunistic period; a final attempt to make old news compete with new material from an ever-evolving artist.
✍🏻 RECORD WORLD review (Oct 28, 1972): "From the SUPERPAK LP, the 'Camp Vamp' reaches back to the pop archives with this Ruby and the Romantics smash. With the TV show as hot as ever, this oldie should receive good spins and sales."
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