Reflections Expanded Edition

[mysterysinger]

Well that's quite positive - all is not lost as far as "Refelctions" Expanded is concerned - and maybe other Motown too - and Andy you mentioned revisiting "next year" - which just happens to be Motown's 65th Anniversary.

[daviddh]

I am not clear as to why universal declined Reflections?
I thought the expanded editions sold well ,with some selling out..

[captainjames]

i would imagine In and Out was in the act for a few months. prob Jan 67 through Feb or March maybe. by that time, it was pretty much done on the charts and wasn't a massive seller. then you had the hopes for Forever [[although it didn't do much either)

then you have the girls dealing with the assassination's of MLK, starting the duets work in the studios, endorsing Humphrey, some more dates in europe, their debut at the Frontier in July.

Both Forever and Some Things were probably only in the act for short times. they were pretty much using their same show through this time and touring.

August is when they seemed to do a reset of sorts - tCB and Love Child were radical advancements for the group, along with the release of I'm Gonna Make You Love Me.

so for the first half of 68, the singles weren't really doing much but they seemed so busy with things that they were just running and running

they lost HDH around this time as well so the SUPREMES and Motown were hit hard.

[carlo]

I am not clear as to why universal declined Reflections?
I thought the expanded editions sold well ,with some selling out..

I also tend to wonder what the thought process/strategy is, when it comes to their senior executives, green-lighting a release? I Hear A Symphony Expanded Edition was limited to 2,000 copies. I was surprised that release made it out the door, in such a small number. I would imagine it's a sardine, in the revenue pond for them. I was also surprised and happy that in light of that small 2,000 copy CD run, that we ended up getting A Go Go and Sing HDH as well, a few years later, along with Merry Christmas and Funny Girl, via Real Gone. I would imagine that the decision-makers tend to be strategic with the timing of when they are willing to greenlight any release, but I'm sure like any organization, there can be inconsistencies with that decision-making process, as well as the usual politics, which can make it all that much more frustrating for those who are trying to get their projects out the door. Having worked in the business sector myself for quite some time, I've seen this first-hand. In light of that, I also have a lot of gratitude for the work and advocating that Andy, George and their entire team does.

I've read on other forums that for quite some time now, the major labels are generally much more reluctant to greenlight projects that involve licensing their musical assets to third-party reissue labels. I get the sense there are a few things at play, one being dwindling CD sales, two being the resurgence in vinyl, three being the possibility of creating specialty subscription-based artist-specific streaming platforms in the future, and four being the eventual deaths of legendary artists. All of these factors mean that it's more financially advantageous for the big labels to time their releases differently [which sometimes means waiting years], and to limit them to specific formats. This protects the market value of their musical assets, to prevent over-exposure/over-supply and to maximize their sales potential to the fullest. However, will that strategy really work when the fan base continues to age and decline? Maybe no one really knows the answer to that, especially when the music industry has never been able to formulate a consistent long-term strategy in the midst of constantly changing technology, demographics and preferences [think of the sudden introduction of online music piracy/downloading, just as one example, and how much it affected sales]. One thing is for sure, which is that the long-term waiting game is not fun for anyone, especially for us fans.

I always say that if anyone is truly desiring more product, the best thing you can do as a fan is to buy whatever is being put out, even if that means buying something you didn't ask for, like another compilation. Every additional copy that is sold shows that there is still someone who is interested and listening. For all of the fans who like to dwell on The Supremes drama in the forums, in Facebook groups and via YouTube comments, I tend to wonder what percentage of them went out and bought Diana's Thank You album and/or Mary's Anthology? I can only hope that both albums have done well.

[Ollie9]

I also tend to wonder what the thought process/strategy is, when it comes to their senior executives, green-lighting a release? I Hear A Symphony Expanded Edition was limited to 2,000 copies. I was surprised that release made it out the door, in such a small number. I would imagine it's a sardine, in the revenue pond for them. I was also surprised and happy that in light of that small 2,000 copy CD run, that we ended up getting A Go Go and Sing HDH as well, a few years later, along with Merry Christmas and Funny Girl, via Real Gone. I would imagine that the decision-makers tend to be strategic with the timing of when they are willing to greenlight any release, but I'm sure like any organization, there can be inconsistencies with that decision-making process, as well as the usual politics, which can make it all that much more frustrating for those who are trying to get their projects out the door. Having worked in the business sector myself for quite some time, I've seen this first-hand. In light of that, I also have a lot of gratitude for the work and advocating that Andy, George and their entire team does.

I've read on other forums that for quite some time now, the major labels are generally much more reluctant to greenlight projects that involve licensing their musical assets to third-party reissue labels. I get the sense there are a few things at play, one being dwindling CD sales, two being the resurgence in vinyl, three being the possibility of creating specialty subscription-based artist-specific streaming platforms in the future, and four being the eventual deaths of legendary artists. All of these factors mean that it's more financially advantageous for the big labels to time their releases differently [which sometimes means waiting years], and to limit them to specific formats. This protects the market value of their musical assets, to prevent over-exposure/over-supply and to maximize their sales potential to the fullest. However, will that strategy really work when the fan base continues to age and decline? Maybe no one really knows the answer to that, especially when the music industry has never been able to formulate a consistent long-term strategy in the midst of constantly changing technology, demographics and preferences [think of the sudden introduction of online music piracy/downloading, just as one example, and how much it affected sales]. One thing is for sure, which is that the long-term waiting game is not fun for anyone, especially for us fans.

I always say that if anyone is truly desiring more product, the best thing you can do as a fan is to buy whatever is being put out, even if that means buying something you didn't ask for, like another compilation. Every additional copy that is sold shows that there is still someone who is interested and listening. For all of the fans who like to dwell on The Supremes drama in the forums, in Facebook groups and via YouTube comments, I tend to wonder what percentage of them went out and bought Diana's Thank You album and/or Mary's Anthology? I can only hope that both albums have done well.

Interesting post Carlo. I thought an expanded Ross 78 was ready to go, but that now seems doubtful with the update from Andy regarding “Reflections”.

[thanxal]

This protects the market value of their musical assets, to prevent over-exposure/over-supply and to maximize their sales potential to the fullest. However, will that strategy really work when the fan base continues to age and decline? .

No. It is a slippery slope of declining return on investment that turns into a free fall and then the music is largely abandoned. I'm an avid fan of 1930's hot jazz, which is probably a fraction of a fraction of the Motown market. There is NOTHING released except the occasional [[every 5-10 year) compilation. I get excited when I find a clean shellac disc. Those are my "new releases". LOL.

In short and to be brutal about it, new people don't generally get interested in old music, even given the anecdotal "hey a young kid said they love this song". Balancing the equation between supply and demand becomes impossible when demand is too small to be measured.

I know we feel like there are lot of us willing to buy the latest releases, but in reality, there are likely not enough to even justify "charity" releases.

And the big music conglomerates are not charities; they exist to make profit. I tend to think all of our EE releases were done to be charitable to the fans and because we have an awesome team in Andy, George and all making a case for the releases. UMe may have broken even or even made a little on each release but I can't imagine the margins were great or the volume even made it on to a balance sheet.

I'm happy to be corrected on any/all of these assumptions as I'm not privy to any actual data.

[sup_fan]

I feel like such a bad Supremes fan for saying this but I wouldn't be too heartbroken if the DRATS albums weren't given expanded editions. I would love it and I would buy them if it happened but I was always more into the DMF years. Love Child is really the only DRATS album I can say that I love.

What I would love though is if I could easily buy the earlier released expanded editions. I kick myself for not getting them back in the days. The one I did buy back then was Rodgers and Hart. I was surprised when I saw it in Tower Records. But I finally started buying them starting with More Hits and starting with A Go Go I bought more than one copy.

Anyway Andy, you guys have brought a lot of joy into us crazy fans lives. Disregard the very few loons that lurk around here.

while i agree much of the music of the DRATS period isn't my all-time favorite, the dorky completist nerd in me wants it all lol. for me, the top priorities are:

1. the booklet - i'm the nerd that made up the excel timeline, compiling all of the booklet info, charts, etc. so i'd love to learn more about what the girls were doing, where they were performing, etc

2. alt versions - since we have recent digital releases of the studio albums, i'm more interest in the extended versions, alt vocals, etc. Having the Stereo vs Mono is nice but usually there are only the subtlest of differences so not as fascinating IMO as the alts

3. live shows


while i do enjoy having each individual EE on each lp, at this point i'd be happy with a couple L&F. maybe 1 more from the Diana era and 1 or 2 [[wouldn't 2 be amazing!!) from the 70s.

[carlo]

No. It is a slippery slope of declining return on investment that turns into a free fall and then the music is largely abandoned. I'm an avid fan of 1930's hot jazz, which is probably a fraction of a fraction of the Motown market. There is NOTHING released except the occasional [[every 5-10 year) compilation. I get excited when I find a clean shellac disc. Those are my "new releases". LOL.

In short and to be brutal about it, new people don't generally get interested in old music, even given the anecdotal "hey a young kid said they love this song". Balancing the equation between supply and demand becomes impossible when demand is too small to be measured.

I know we feel like there are lot of us willing to buy the latest releases, but in reality, there are likely not enough to even justify "charity" releases.

And the big music conglomerates are not charities; they exist to make profit. I tend to think all of our EE releases were done to be charitable to the fans and because we have an awesome team in Andy, George and all making a case for the releases. UMe may have broken even or even made a little on each release but I can't imagine the margins were great or the volume even made it on to a balance sheet.

I'm happy to be corrected on any/all of these assumptions as I'm not privy to any actual data.

I agree with you, thanxal, on all of the points you've made above. I'm a casual Judy Garland fan and I've noticed that the releases have pretty well dried up for years now, in a similar manner to the market you described for 1930's hot jazz. If anything comes out now, it's a budget release of material that has entered the public domain, which sometimes leaves a lot to be desired in terms of sound quality, etc. The nice thing is that there have been a few rare live broadcasts and things of that nature, that have been released by third-party labels. In those cases, it seems those releases have been financially-backed by passionate fans, and they have taken the time to restore the audio to the best form possible [ie. charity releases]. Other than that, there was a small handful of Judy Garland vinyl reissues, all of which I suspect were only put out because of the Renée Zellweger movie, otherwise there would be nothing at all. It's sadly inevitable that we'd be heading down this same road with The Supremes and many of our favourite acts from that era.

Having mentioned Judy Garland, we of course still get tons of releases on Ella Fitzgerald. I suspect that Marvin Gaye will continue to get the same treatment, far into the future. It's unfortunate, as it seems that only certain artists tend to be celebrated for their genius, by the industry and general public.

Just as I was writing this post, I discovered that 10 Judy Garland albums were reissued on CD in Japan last year, to celebrate her 100th birthday. God Bless the Japanese. They are true appreciators of yesterday's music.

[thanxal]

Just as I was writing this post, I discovered that 10 Judy Garland albums were reissued on CD in Japan last year, to celebrate her 100th birthday. God Bless the Japanese. They are true appreciators of yesterday's music.

Did you see this????? It is OUTSTANDING!

[carlo]

Did you see this????? It is OUTSTANDING!

It's funny you mentioned it because I just found out about it this week! This specialty label isn't all that far from my home, and it's amazing to see them putting out these recordings. I had bought the Swan Songs and First Flights 3 CD set some years ago, but have been meaning to get this latest title, as well as their latest remaster of her final concert in Denmark and the Carnegie Hall album. Did you buy this lost Vegas show release, thanxal? I've read that it's a long lost recording that fans have been searching for, for years, and it was recently unearthed. I think I will need to place an order!

[thanxal]

It's funny you mentioned it because I just found out about it this week! This specialty label isn't all that far from my home, and it's amazing to see them putting out these recordings. I had bought the Swan Songs and First Flights 3 CD set some years ago, but have been meaning to get this latest title, as well as their latest remaster of her final concert in Denmark and the Carnegie Hall album. Did you buy this lost Vegas show release, thanxal? I've read that it's a long lost recording that fans have been searching for, for years, and it was recently unearthed. I think I will need to place an order!

I did and the version of "Lucky Day" alone is worth it. This concert is in her "old" style, e.g the Palace style, not the later more polished Carnegie style. There is a lot of dialog and lots of back ground singers [[probably the Andantes, LOL). "Rainbow" is unique, but the sound quality is off.
<<Sorry for the tangent everyone>>

[carlo]

I did and the version of "Lucky Day" alone is worth it. This concert is in her "old" style, e.g the Palace style, not the later more polished Carnegie style. There is a lot of dialog and lots of back ground singers [[probably the Andantes, LOL). "Rainbow" is unique, but the sound quality is off.
<<Sorry for the tangent everyone>>

Love the sound of that! Thanks thanxal! And I'm sure everyone will survive our Judy tangent...after having read billions of recurring RTL discussions. Lol!

[jack020]

Hey Carlo, SDE posts about the Judy releases all the time!

https://theseconddisc.com/2023/04/10...miere-release/

https://theseconddisc.com/2022/08/23...al-cd-formats/

https://theseconddisc.com/2022/07/15...gital-formats/

[carlo]

Hey Carlo, SDE posts about the Judy releases all the time!

https://theseconddisc.com/2023/04/10...miere-release/

https://theseconddisc.com/2022/08/23...al-cd-formats/

https://theseconddisc.com/2022/07/15...gital-formats/

Thanks Jack! Yes, those were live recordings I was referencing in my earlier post above. It's nice that this label HDTT Tracks has picked up the ball and has been able to put out some great releases on her. They are a Canadian label [the one that I referenced as being not far from where I live, in my previous post]. I believe this label is run by a passionate audiophile who finances everything himself. I like that he prioritizes the sound quality and dynamic range to the highest level possible, utilizing the best methods to complete his analogue transfers from the tapes. It also gives that extra incentive for music fans to re-buy the same music again, if they know it's a true improvement over earlier releases that were edited and/or badly compressed in the remastering process. That's when you have the potential to draw in extra sales from the audiophiles.

It's encouraging to know that there are still little guys out there who are willing and able to pick up the ball from the big labels, who can no longer be bothered, when it comes to certain artists and their catalogue. You'd definitely have to be very passionate and devoted, as I can't imagine it's an easy situation to navigate and turn a profit from.

[thanxal]

You'd definitely have to be very passionate and devoted, as I can't imagine it's an easy situation to navigate and turn a profit from.

You are 100% correct on this. I'm just trying to decide if our Motown catalog has finally moved into this category or not. Maybe UMe doesn't know which is why we haven't gotten Reflections yet.

[ejluther]

But at some point shouldn’t it be just as much about preservation and celebration as it is about profit? Especially for a massive mass media company that is surely not hurting for money?! I know, I know…I’m a dreamer…

[SatansBlues]

Why not just license the album to Real Gone Music like UM did with the groups EE Christmas album and the Funny Girl expanded album?

[daviddh]

Why not just license the album to Real Gone Music like UM did with the groups EE Christmas album and the Funny Girl expanded album?

Just what I was thinking honestly.
If Universal doesn't want to be involved, move out of the way

[daviddh]

Andy, George
Anyone interestedin a Q@A to discuss Motown ,supremes releases etc

[RanRan79]

Andy, George
Anyone interestedin a Q@A to discuss Motown ,supremes releases etc

I second the request. Perhaps we could establish a thread where we post questions that the guys could visit whenever their schedules allow and answer the questions, as permitted. I have a question about 60s recordings that I'm dying to ask about. [[And no, it has nothing to do with the Andantes.)

[floyjoy678]

I'd love this as well. I also have a non-Andantes question.

[thanxal]

I second the request. Perhaps we could establish a thread where we post questions that the guys could visit whenever their schedules allow and answer the questions, as permitted. I have a question about 60s recordings that I'm dying to ask about. [[And no, it has nothing to do with the Andantes.)

Great! You just scared them off.

[pj1]

Great! You just scared them off.

Lions and tigers and bears. Oh my!
Why just George & Andy?
Should Harry & Kevin be invited to the party?

[thanxal]

Lions and tigers and bears. Oh my!
Why just George & Andy?
Should Harry & Kevin be invited to the party?

Oh, hell, go ahead and invite Ms. Ross and Ms. Terrell and Ms. Lawrence and Ms. Payne and Ms. Greene while we're at it! [[Ms. Birdsong is presumed too ill). We'll call it Andy George & The Supremes.

[BayouMotownMan]

Andy, George
Anyone interestedin a Q@A to discuss Motown ,supremes releases etc

I wouldn't recommend that. Those things tend to go off the rails

[sup_fan]

i wonder in we could get the interviews Andy, George and team did with Midnight Johnny [[i think i got the dj correct). this was the guy that would do these interviews shortly after the EE were released. I believe unfortunately he has passed away. but the interviews were great, entertaining and often had tidbits of info that wasn't included in the EE booklet.

[carlo]

i wonder in we could get the interviews Andy, George and team did with Midnight Johnny [[i think i got the dj correct). this was the guy that would do these interviews shortly after the EE were released. I believe unfortunately he has passed away. but the interviews were great, entertaining and often had tidbits of info that wasn't included in the EE booklet.

A lot Midnight Johnny's interviews that he did on his show Nightlight, can still be heard via WOMR's archives...

https://womr.org/podcast_category/night-flight/

[daviddh]

Andy, George
anyone WE could email to help get things up and running

[thanxal]

A lot Midnight Johnny's interviews that he did on his show Nightlight, can still be heard via WOMR's archives...

https://womr.org/podcast_category/night-flight/

Carlo, I really miss Johnny. I've downloaded his Youtube Archive so his work will never disappear. He was one in a million.

[carlo]

Carlo, I really miss Johnny. I've downloaded his Youtube Archive so his work will never disappear. He was one in a million.

I agree, thanxal. He is missed. Good idea in regards to downloading his YouTube archive, in order to ensure his treasured work will be preserved.

[daviddh]

Just rediscovered a song Slow Down ,apparently an out take from Go Go.
I think it would have fit well here on Refections in place of lesser songs,....Up Up and Away.
I think a song I vaguely remember also little Breeze would be a good fit.
Any thoughts.
I like side 1 ,but side 2 seems weak to me.
Include the Happening in place of What The world Needs
Imo
Any thoughts

[marybrewster]

Just rediscovered a song Slow Down ,apparently an out take from Go Go.
I think it would have fit well here on Refections in place of lesser songs,....Up Up and Away.
I think a song I vaguely remember also little Breeze would be a good fit.
Any thoughts.
I like side 1 ,but side 2 seems weak to me.
Include the Happening in place of What The world Needs
Imo
Any thoughts

According to Wiki, "Happening" and "Reflections" had recording dates of March 2nd. Interesting that two so totally different sounds and concepts were recorded on the same day. "Happening" would have made a good fit on the album.

[RanRan79]

Just rediscovered a song Slow Down ,apparently an out take from Go Go.
I think it would have fit well here on Refections in place of lesser songs,....Up Up and Away.
I think a song I vaguely remember also little Breeze would be a good fit.
Any thoughts.
I like side 1 ,but side 2 seems weak to me.
Include the Happening in place of What The world Needs
Imo
Any thoughts

I'm not a fan of "Slow Down", but I do think it could have worked on the Reflections album. "The Happening" would have also fit very well, but I think it was a good idea to include it on the GH set.

[ejluther]

Carlo, I really miss Johnny. I've downloaded his Youtube Archive so his work will never disappear. He was one in a million.

Amen! He is sorely missed…

[RanRan79]

According to Wiki, "Happening" and "Reflections" had recording dates of March 2nd. Interesting that two so totally different sounds and concepts were recorded on the same day. "Happening" would have made a good fit on the album.

The released tracks may have been completed on the same day, but the vocals were not. The first version of "The Happening" was done in February. The second, single version was recorded in March, both track and vocals. "Reflections" I think didn't get vocals until May.

When you consider how prolific the Funks- in particular- were in the studio, with producers scheduling sessions often, it shouldn't come as a surprise, but it is interesting to run across the various recording dates of songs that were cut on the same day that have such diverse sounds.

[sup_fan]

According to Wiki, "Happening" and "Reflections" had recording dates of March 2nd. Interesting that two so totally different sounds and concepts were recorded on the same day. "Happening" would have made a good fit on the album.

i believe that was just the backing tracks that were recorded that day. Randy once stated in his book that the girls recorded Happening, Reflections and In and Out on 1 day but it was just work on the tracks.

[sup_fan]

i've made several playlists attempting to be "producer" for the Reflections album. Breeze is a great song that should have been included. I'm sort of ok with Up Up Away, especially given that tunes like In and Out and Going All the Way were "sunshine pop" as was the 5th Dimension tune.

a few other tunes that were recorded in time that might have worked were:

Can't shake it loose
Stay in my lonely arms
Let the music play
Slow Down
Put yourself in my place [[since i did a revised A Go Go album, this song could have gone on Sing HDH or Reflections)

[marybrewster]

Wasn't "Heaven Must Have Sent You" from this time frame also?

[sup_fan]

Wasn't "Heaven Must Have Sent You" from this time frame also?

yes i think they recorded that in fall of 67.

but i've never included it on any of my Reflections playlists, even though it was from that time. i love the song and they did a great job on it but it doesn't "fit" IMO. I have the Some Things You Never Get Used To album as a playlist too and i put it on there. along with a lot of the outtakes from A Go Go

[marybrewster]

yes i think they recorded that in fall of 67.

but i've never included it on any of my Reflections playlists, even though it was from that time. i love the song and they did a great job on it but it doesn't "fit" IMO. I have the Some Things You Never Get Used To album as a playlist too and i put it on there. along with a lot of the outtakes from A Go Go

One of my favorite DRATS era recordings; I believe both Mary and Cindy are on the track.

[daviddh]

Never cared much for Heaven Must Have Sent You ,but will have another listen.
The original is a classic but I remember the Supremes version as weak..
My side 2
The Happening
Love Makes Me Do
a little Breeze
Misery Makes it Home
Then
Let The Music Play

[BayouMotownMan]

It's all about profit guys. Preservation means nothing to these young execs.

[BayouMotownMan]

I remember hearing that Heaven Must Have Sent You was Cindy's first recording with the group. Maybe George or Andy can confirm this.

[bradsupremes]

Cindy's first session was November 14, 1967 - songs cut that in session were: "Heaven Must Have Sent You," "Stay In My Lonely Arms," and "Then."

The following day, Mary and Cindy added their vocals to a good chunk of Disney tracks - "Heigh Ho," "Chim Chim Cher-ee," "The Land of Make Believe," "Zip-A-Dee-Doo-Dah," "Supercalifragilisticexpialidocious," and "A Spoonful of Sugar."

[daviddh]

Cindy's first session was November 14, 1967 -


songs cut that in session were: "Heaven Must Have Sent You," "Stay In My Lonely Arms," and "Then."

The following day, Mary and Cindy added their vocals to a good chunk of Disney tracks - "Heigh Ho," "Chim Chim Cher-ee," "The Land of Make Believe," "Zip-A-Dee-Doo-Dah," "Supercalifragilisticexpialidocious," and "A Spoonful of Sugar."

Brad, thank you for that info.
Much appreciated..
Feel free to add any other recording dates that you know ..
I weird but I love this..
Gives us an insight to the history of the group.

[SatansBlues]

Cindy's first session was November 14, 1967 - songs cut that in session were: "Heaven Must Have Sent You," "Stay In My Lonely Arms," and "Then."

The following day, Mary and Cindy added their vocals to a good chunk of Disney tracks - "Heigh Ho," "Chim Chim Cher-ee," "The Land of Make Believe," "Zip-A-Dee-Doo-Dah," "Supercalifragilisticexpialidocious," and "A Spoonful of Sugar."

Were there any recording made between July and November? That seems like a long tie for the group not to be recordings. Were there any recordings with just DR and the Andantes during this period?

[sup_fan]

Were there any recording made between July and November? That seems like a long tie for the group not to be recordings. Were there any recordings with just DR and the Andantes during this period?

my guess is not. or not many. Diana MIGHT have had a few but i think they were all watching to see how the transition went. it fans had a fit and critics cried out about the personnel change, they might have moved ahead quickly with Diana going solo.

in addition, HDH was starting their slow down some time around here. obviously they were still working through June when they did In and Out and Going All The Way. but during the second half of the year they weren't doing as much material.

and as i've played "producer" with my playlists, i tend to try and stick to only using songs that would have actually been available for an album. there really is just sort of a gap of not much from late 67 through early 68. We've had discussions on here about what else might have been released instead of Some Things and there just isn't much to pick from

[reese]

my guess is not. or not many. Diana MIGHT have had a few but i think they were all watching to see how the transition went. it fans had a fit and critics cried out about the personnel change, they might have moved ahead quickly with Diana going solo.

I wonder if there might also have been some problems with getting Cindy out of her Bluebelles recording contract with Atlantic. In the notes for the Bluebelles' Ichiban collection OVER THE RAINBOW, it is mentioned that Cindy is still listed on Atlantic session logs as late as July 1968, although she obviously wasn't there.

[bradsupremes]

Were there any recording made between July and November? That seems like a long tie for the group not to be recordings. Were there any recordings with just DR and the Andantes during this period?

They were on the road for a lot of the summer - August alone was pretty much packed with engagements [[Allentown Fair, Steele Pier, Expo '67, Ohio State Fair, Roostertail, Michigan State Fair). I assume with Cindy's transition and waiting for contracts to be signed they couldn't really record with her yet. Diana did do some vocal sessions for a few Disney tracks in September when they were home for the Michigan State Fair, but then they were back out on the road again with engagements in Massachusetts, Melodyland in California, The Hollywood Palace, The Cave in Vancouver, and then filming Tarzan. It wasn't until November that things picked back up again in the studio. HDH did record a few instrumentals tracks for the group in July and August but none of them got vocals.

If I'm not mistaken, I believe there was a chunk of time where Marvin Gaye didn't have a lot of session work in 1967 either.

[sup_fan]

They were on the road for a lot of the summer - August alone was pretty much packed with engagements [[Allentown Fair, Steele Pier, Expo '67, Ohio State Fair, Roostertail, Michigan State Fair). I assume with Cindy's transition and waiting for contracts to be signed they couldn't really record with her yet. Diana did do some vocal sessions for a few Disney tracks in September when they were home for the Michigan State Fair, but then they were back out on the road again with engagements in Massachusetts, Melodyland in California, The Hollywood Palace, The Cave in Vancouver, and then filming Tarzan. It wasn't until November that things picked back up again in the studio. HDH did record a few instrumentals tracks for the group in July and August but none of them got vocals.

If I'm not mistaken, I believe there was a chunk of time where Marvin Gaye didn't have a lot of session work in 1967 either.

my guess it that the overall frantic pace of recording pulled back a little. when motown was mostly just in the hitsville building, it was recording 24/7/365. as the moved more of the operations downtown in the late 60s, my guess is that 24/7 aspect declined a little.

there were spurts of heavy recording, the first 6 - 8 months with Jean, Diana testing things out in late 69 and into 70. but overall, once we got into the late 60s, things slowed a bit.