Connie Francis,RIP

The fabulous Connie Francis left us today. RIP Ms. Francis.

I certainly assumed that her other fans would be right on top of this but here we are halfway through the day, at least in my time zone, and no one has posted the word that today, July 18th, is Martha Reeves' 84th birthday. Best wishes for many more!!!

Among my favorite of the dance oriented Motown songs is Smokey Robinson and the Miracles' "Going to a Go Go". Over the years, I have included it on every Favorites party playlists I have.

Sadly, or is it really sad?, I discovered I have been mishearing the lyric in a couple of the lines:

"It doesn't matter is you don't stagger.
It doesn't matter if you don't drag."

For over 50 years, I've been jamming to the lines as being:
"It doesn't matter if you go stag.
It doesn't matter if you go drag."

Yes, I began to realize times weren't quite that progressive back in the 60s, so I did further research this morning to find my error.

I still like the freedom of still listening to it as "It doesn't matter if you go drag." To each his own!

https://www.youtube.com/watch?v=sWt4...&start_radio=1

Hi all,

I remember reading a while back that Motown originally recorded on a 2-track tape machine [[band mixed to one track and vocals overdubbed on the other.

And then there was a middle period when two 3-track machines were used, and it went something like this... drums/bass/gtr/piano recorded simultaneously to Machine A, Track 1, then horns to Track 2 and strings to track 3. And then those 3 tracks were mixed and bounced to Machine B, Track 1 where percussion was recorded to Track 2 and vocals on Track 3.

And then I remember that sometime around 1965-67 that process was replaced with a single 8-track machine.

I also read a story that around 1967-8 all the tube mics were sold or donated to schools and the whole mic locker was replaced by a fleet of Neumann KM86s.

Can anyone confirm if I have this info correct, or close to correct? I'm very curious about how the process and gear changed over time, so any details are greatly appreciated. Thanks so much - super glad to be part of the forum!!!

Anyone ever hear of this group?

JOY - High Life [[1981)

RPM, PVBL9002
Producers: Patric van Blerk, Fransua Roos & Greg Cutler
Engineer: Greg Cutler
Recorded at: RPM Studios

Made up of the late Anneline Malebo, Felicia Marion and Thoka Ndlozi, Joy pre-empted the bubblegum era with their commercially appealing sound and image, crafted by producer Patric van Blerk [[Victory, Margaret Singana), one of the first to forge a multiracial crossover sound influenced by American soul and R&B. As South Africa's answer to the Supremes, Joy supported touring acts like Lamont Dozier, Clarence Carter, Dobie Gray and Leo Sayer. They were undoubtedly best known for the massive crossover hit 'Paradise Road' in 1980, which helped them earn two Saries Awards for Best Vocal Group and Best English LP of the Year in 1980 [[a landmark moment in the ethnically divided industry) and even led to a tour of the UK. High Life followed in 1981, but lacked a hit to take the trio further. They broke up in 1983, the year that Brenda Fassie, who had once filled in for Malebo in the Joy line-up, ushered in the bubblegum era with 'Weekend Special'. Although their sound was less fresh and funky that the bubblegum acts that followed in the footsteps, Joy's contribution to the local industry should never be forgotten.