Carol Kaye

[blisters on my fingers]

Never seen this lady play guitar before

[url="https://www.youtube.com/watch?feature=player_detailpage&v=q4JWqK6r6N4"]https://www.youtube....e&v=q4JWqK6r6N4[/url]

what a wonderful musician she is, her knowledge of Latin rhythms and different musical styles is astonishing.

How come all of her claims to playing on the Motown stuff from the classic Detroit era have been refuted by the Funk brothers, and apparently left Stevie Wonder speechless with anger?

How can such an obviously consummate skilled musician take credit for another musicians skills ( the genius of James Jamerson) , why oh why, would somebody with this level of talent need to lie like this?

She has perfect recall of countless recording sessions with the session guys of the time.

Why, when she has played such great bass on so many classic recordings does she need to steal glory from another, far more talented deceased bass player ?

[bazzbass]

Personally I don't hear her talent on bass.

Beach Boys and Sonny and Cher songs have very pedestrian basslines ymmv

That interview when she discusses how she came up with the bassline to "And the Beat Goes On" as if she wrote YYZ or Roundabout makes me lol.

She may be awesome on guitar and have enormous musical knowledge, but her basslines aren't worth learning.

[spectoremg]

She slagged off Jaco's 'middy' sound too. The Motown claims are outrageous.

[CrackerJackLee]

[quote name='blisters on my fingers' timestamp='1479607387' post='3177844']
How can...musician take credit for another musicians skills...why...lie like this? Why...does she...steal glory from...far more talented deceased bass player ?[/quote]

Why would you start a post on Carol Kaye to malign her? You must be an insecure and jealous little creep... jealous of her bass playing... When the Fender Bass was still a new instrument, Carol Kaye was playing bass like a boss... Motown hired her in L.A. to record Motown Hits... do you think they paid her for nothing...? You don't even have facts... you're just a rumor parrot...

[quote name='bazztard' timestamp='1479614699' post='3177849']I don't hear her talent on bass...Beach Boys songs...have very pedestrian basslines...the bassline to "And the Beat Goes On"...makes me lol...her basslines aren't worth learning.[/quote]

Johnny... I've never heard of you...What hits have you played on...? You must be the A'HOLE of Australia... Carol Kaye, the woman, played bass on hit records for super stars even before you were spawned... And except for this post, you will die a legend in your own mind...

Edited November 20, 2016 by CrackerJackLee

[ColinB]

Listen carefully.... [color=#ee82ee]*ping*[/color].... I've just found the first person to put on my ignore list.

[Mykesbass]

[quote name='CrackerJackLee' timestamp='1479625043' post='3177866']


Why would you start a post on Carol Kaye to malign her? You must be an insecure and jealous little creep... jealous of her bass playing... When the Fender Bass was still a new instrument, Carol Kaye was playing bass like a boss... Motown hired her in L.A. to record Motown Hits... do you think they paid her for nothing...? You don't even have facts... you're just a rumor parrot...



Johnny... I've never heard of you...What hits have you played on...? You must be the A'HOLE of Australia... Carol Kaye, the woman, played bass on hit records for super stars even before you were spawned... And except for this post, you will die a legend in your own mind...


[/quote]
Wow, nothing like making something fit your own agenda. The way I read that last paragraph the OP's question could easily be rhetorical. They are saying she has no need to make these claims if they are not true as she has already proved her worth with other, fine and verified recordings.

[wateroftyne]

The Carol Kaye thing isn't new - there's loads of discussions about it out threre. Check Google out.

And of course it's open to discussion here, too - let's just keep it civil. Thank you.

[arthurhenry]

Allan Slutsky's View: May 1995[color=#000000]
In light of half-a-dozen magazine articles by Carol Kaye in the last few years and the distress they caused the Jamerson family, I find it necessary to state the following information about the ongoing debate. I've remained silent for the last five years but I think it's time to step forward with some hard facts. I hope it helps to clear up the issue.
[/color] Allan (Dr. Licks) Slutsky
"Who Played "I Was Made to Love" Her?
The Carol Kaye-James Jamerson Enigma"


[color=#000000]He was dead, buried, and forgotten. Even 99% of the bass players in the world had no idea who he was. But in the last seven years, his life and music have been center stage amidst an explosion of newspaper and magazine articles (more than 350 worldwide), a long overdue biography, and an upcoming film documentary. The Fender custom shop has made a signature bass in his name, flatwound strings have begun selling again, and in the last two years, the recording company that had employed him for a decade and a half finally gave him official recognition in the liner notes of 3 recent historical CD box sets. [/color]

[color=#000000]After three decades of obscurity, musicians and music lovers throughout the world were discovering the holy grail of the bass world-James Jamerson, the tormented genius whose earthquake-heavy bass lines fueled the Motown hit machine through the '60s and early '70s. Even though it was posthumous, he was finally getting his long overdue recognition. [/color]

[color=#000000]And everyone lived happily ever after, right? Not exactly. As Jamerson rose in prominence, his reputation was given a serious challenge through the media by another icon of the bass, Carol Kaye. Well aware of her claims through the years about her recording sessions with the Supremes, Four Tops, Stevie Wonder, and other stars in Berry Gordy's stable, I contacted her in 1987 when I first began my research for STANDING IN THE SHADOWS OF MOTOWN: The Life and Music of Legendary Bassist James Jamerson. This was done out of the highest regard for Carol's monumental achievements and contributions to the bass, and popular music in general. My intention was to find out first-hand what she had played on so I could avoid stepping on her toes. [/color]

[color=#000000]I had expected her to name a few significant hits but was floored when she laid claim to "Bernadette", "Reach Out", "Baby Love", "I Was Made to Love Her", "Ain't No Mountain High Enough", "Dancing In the Streets", "Can't Help Myself", and dozens of others Motown classics-in short, the majority of James Jamerson's signature performances. [/color]

[color=#000000]At that point I decided to rethink the entire project. If I could substantiate Carol's allegations, I would write the book about her instead of Jamerson. I expected my research to turn up pros and cons for each player's position, along with the usual grey areas you can expect when researching multiple claims to the same material. Instead, what I found was overwhelmingly conclusive evidence that James Jamerson played the tunes in question. Here are the facts that my research turned up: [/color]

[color=#000000]1) The songwriting-production team of [/color][url="http://www.hollanddozierholland.com/"]Holland-Dozier-Holland[/url][color=#000000] attested to the fact that James Jamerson played on almost every one of their productions, and they never allowed others to produce songs that they had written. Brian Holland signed a notarized [/color][url="http://www.bassland.net/bh1.htm"]affidavit[/url][color=#000000] categorically stating that "Bernadette", "Reach Out", "Can't Help Myself", "Keep Me Hanging On", "Standing in the Shadows of Love", "Reflections", "Baby Love", "Back In My Arms Again", "Come See About Me", and "Can't Hurry Love", (all tunes claimed by Carol) were in fact, played by James Jamerson. Most damning was his statement that he had never even heard of Carol Kaye. [/color]

[color=#000000]2) Smokey Robinson who wrote or produced probably 30-40 percent of Motown's biggest hits also denied that she had any major role in the Motown story, and had no part at all on the songs in question. [/color]

[color=#000000]3) The performance credit that Carol has pursued with the greatest tenacity over the years is the bass part on Stevie Wonder's "I Was Made to Love Her". Hank Cosby who co-wrote, produced it, and who, in his own words, "was there every step of the way from the writing of the song to the day the 45's were shipped", vehemently denied any participation by Carol Kaye on this recording. Cosby added, "Fifty percent of the song was James Jamerson's bass line. No one played like that but Jamerson." Cosby also signed an [/color][url="http://www.bassland.net/hc1.htm"]affidavit[/url][color=#000000] similar to Brian Holland's attesting to Jamerson's performance. [/color]
*********Point-Counterpoint: Carol's Side of the Story**********


[color=#000000]1) The Politics of Race and Gender-Carol contends that Motown was afraid to admit that a white female bassist was the driving force behind some of their biggest hits. They wanted to push a black male agenda. [/color]

[color=#000000]There are two faults with this argument. First of all, when it came to musicians, Motown had no racial or gender bias. They were all faceless cogs to them. Regardless of whether they were black, white, female, male, or Martian, they weren't going to get any recognition-period! It was a star driven phenomena and the company never gave the slightest thought to publicizing background figures. In addition, the Motown studio band (which was called the Funk Brothers) was not exclusively black. Guitarists Joe Messina and Dennis Coffey, percussionist Jack Brokensha, arranger Dave Van dePitte, and bassist Bob Babbit, who also played quite a few important Motown dates, were all white. [/color]

[color=#000000]2) Improvised vs. Written Parts - Her claim to "Reach Out" is based upon her contention that "discerning musicians can hear that the parts weren't improvised. It was a written part". James Jamerson regularly improvised and sight read parts of that complexity. Part of his genius was that he could take a written part and make it sound as if it was his. Regardless of this argument, I have a photocopy of the original Union contract from the "Reach Out" session. It's dated July 6, 1966 (the year of the tune's release), it lists James Jamerson as the bassist (for which he received the princely sum of $61.00), and Detroit's Hitsville studio is indicated as the place where it was recorded. Carol herself admits that she never recorded in Detroit. [/color]

[color=#000000]3) The West Coast Connection-Carol maintains that a great deal of Motown's output was being cut on the West Coast in Los Angeles. [/color]

[color=#000000]That is true, but don't forget that Motown also had acts like Tony Martin, James Darren, and Soupy Sales signed to their label. There were also various Broadway and Las Vegas style orchestrated albums produced like the the Temptations in a Mellow Mood and The Four Tops on Broadway, not to mention the constant demand for filler material on albums. There was plenty of work to go around and Detroit could not possibly handle all of it. Frank Wilson who produced hits for Motown in both Detroit and Los Angeles supports Carol's claim that she worked numerous sessions for the company. However, he qualifies it by stating, "They used her a lot but not on the hard core R&B stuff. That stuff came out of Detroit. They didn't like her sound for R&B because she played with a pick. It didn't have that fat round sound that Jamerson got with his fingers." [/color]

[color=#000000]4) "I Was Made to Love Her"-According to Carol, this tune was recorded at Armin Steiner's studio and she recalls "I didn't like the final written riff that I played high up in unison with the horns. You can also hear where I was scuffling a bit with open strings a couple of times". [/color]

[color=#000000]Now it starts to get complicated. First of all, the detailed studio log that Carol kept does not support her position. The log lists every date she played from 1963-1971. She painstakingly listed artists, studios, record labels, contractors and arrangers on each date. "I Was Made to Love Her" was released in 1967 which means it was cut in '66 or '67. There are no listings for a session at Steiner's or a Stevie Wonder date during that time span. [/color]

[color=#000000]As far as "scuffling" around, the performance is perfect. Don't trust my ears. Trust the auditory ability of one of the world's most highly regarded bassists-lifelong Jamerson devotee, Anthony Jackson. He couldn't hear what she was talking about either. The "final written riff played in unison with the horns" argument also is problematic. "I Was Made To Love Her" is rhythm section and strings. There are no horns on that record. [/color]

[color=#000000]5) Ask My Friends-Carol asked me to talk to Gene Page, Jerry Steinholtz, Earl Palmer, and some of the other studio musicians who played the West Coast Motown sessions with her. She felt they would back up her story. [/color]

[color=#000000]I didn't just call a few of them. I talked to every one she recommended, naming the songs in question and telling them about Carol's claims. Arranger Gene Page immediately burst out laughing and said, "She said that? No way . . . never. That stuff was all Jamerson". Percussionist Steinholtz remembered playing Motown sessions with Carol but that was as much as he could remember. The closest I got to her viewpoint was with veteran R&B session drummer Earl Palmer who bristled at my suggestion that perhaps they played the demo versions of the songs in question. "Hell no!", he countered. "We weren't playing demos. We were playing hits". The only problem was that he also couldn't remember any song titles. [/color]

[color=#000000]Now we all know that studio musicians live by their reputations, so remembering hits that they played on is of paramount importance. If they had even remembered one title-just one-I would have had something to pursue, but as it stood, they gave me no material at all to back up her story. Back in Detroit, In stark contrast to my California research, the Funk Brothers remembered everything- song titles, intricate details, times, dates, and fellow musicians on the session and it all revolved around James Jamerson. [/color]

[color=#000000]6) The Great Cover-Up-Carol has accused many of Motown's producers of conducting illegal non-union, under scale sessions, and in efforts to cover their backs, they refuse to admit working with her. [/color]

[color=#000000]First of all, if the sessions were illegal, why was a union musician like Carol playing them in direct violation of union rules? Secondly, the Motown story is full of lawsuits and union problems but that doesn't exactly strike fear in their hearts. It's just business as usual. James Jamerson certainly played under scale Motown sessions at different times. Why do these same producers admit working with him? [/color]

[color=#000000]7) Demos That Became Hits-Amidst the thousand of studio dates in Carol's logs, quite a few are marked as demos and many of those were with Motown. According to her, the company misled the musicians because many of these sessions became the actual records. [/color]

[color=#000000]Carol may have a legitimate grievance in this instance but not in regard to the songs in question. When the recent Platinum CD Box set The Hitsville Singles Collection was produced two years ago, most of the songs in question were pulled from the vaults and re-mastered. Motown's filing system lists whether the songs were recorded in Detroit or Los Angeles (and in a few instances in New York) on each storage box. All the disputed songs were listed as being cut in Detroit. [/color]

[color=#000000]During the sixties and seventies, Carol Kaye contributed more to popular music than most musicians, including myself, could hope to equal in several lifetimes. By all accounts of people who know her well, she is also a wonderful, warm, loving person. I have no desire in any way to hurt her or ruin her reputation, but as James Jamerson's biographer, I do have a responsibility to him. James died a brokenhearted alcoholic, tortured by the lack of recognition for his his part in the Motown story. It took the world thirty years to find out and appreciate exactly what he did and I intend to further that recognition to the best of my abilities. If that includes defending him in the face of unfounded attacks on his life's work, so be it. [/color]

[color=#000000]I'm still open to any information which would change the story and support Carol Kaye's version but so far, I've yet to find a single shred of evidence. I'd even go as far as to say that I wouldn't doubt that somewhere out there, there is some evidence that would support her claims on a few disputed songs. [/color]

[color=#000000]She has my humblest apologies for the few that I may have missed. But when you're talking about "Bernadette", "Reach Out", "Baby Love", "I Was Made to Love Her", "Ain't No Mountain High Enough", "Dancing In the Streets", "Can't Help Myself", Standing In The Shadows of Love", "You Keep Me Hangin' On", and dozens of others . . . Sorry Carol. That magical legacy belongs to someone else.[/color]

[CrackerJackLee]

[quote name='ColinB' timestamp='1479628379' post='3177877']
Listen carefully.... [color=#ee82ee]*ping*[/color].... I've just found the first person to put on my ignore list.
[/quote]

We'll miss ya...!

[CrackerJackLee]

[quote name='Mykesbass' timestamp='1479628964' post='3177879']
Wow, nothing like making something fit your own agenda. The way I read that last paragraph the OP's question could easily be rhetorical. They are saying she has no need to make these claims if they are not true as she has already proved her worth with other, fine and verified recordings.
[/quote]

Carol has shown the union receipts... Motown hired her... They paid her for something... You can't prove your conspiracy theory... But she paid taxes on those receipts...! One gets tired of hearing bass players three time younger than her complaining about her without proof... LOL! They're young enough to be her grandchildren... and they have no accomplishments to compare... Carol Kaye was in demand by the greatest producers and artists of our time... She played on the records she got paid to play on... and she has no reason to lie... why would she...? Paul McCartney learned from her playing... Back in 1969 I bought her books to learn how to play bass... Where were you people in '69...? or 1957, when she started recording hit songs..?

All I see here is jealousy... What do you know about Berry Gordy's business arrangements...? And this thread was started as a TROLL THREAD...! Spreading lies about a good woman who pioneered the bass guitar... None of you will ever add a fraction of her achievements with Leo Fender's Bass Guitar... Like Southern California, Leo Fender, Rock 'n Roll, The Beach Boys, Chuck Berry and Carol Kaye, none of you will ever come close to copying America's achievements... I can see and hear why you are jealous of Carol Kaye... You want us to worship British Rock bass players... but really... can you hear the soul in your music...? you're all so stiff, there's more rhythm in the beat of a copper...

Edited November 20, 2016 by CrackerJackLee

[Roland Rock]

[quote name='ColinB' timestamp='1479628379' post='3177877']
Listen carefully.... [color=#ee82ee]*ping*[/color].... I've just found the first person to put on my ignore list.
[/quote]

You've come this far and this is your first??


I had to laugh at the suggestion that CK's basslines are all too 'pedestrian'
This one (officially credited to her) is as pedestrian as a caffinated meerkat in an earthquake:

http://youtu.be/MlHMpOypzFg

[Mykesbass]

[quote name='CrackerJackLee' timestamp='1479633060' post='3177898']


Carol has shown the union receipts... Motown hired her... They paid her for something... You can't prove your conspiracy theory... But she paid taxes on those receipts...! One gets tired of hearing bass players three time younger than her complaining about her without proof... LOL! They're young enough to be her grandchildren... and they have no accomplishments to compare... Carol Kaye was in demand by the greatest producers and artists of our time... She played on the records she got paid to play on... and she has no reason to lie... why would she...? Paul McCartney learned from her playing... Back in 1969 I bought her books to learn how to play bass... Where were you people in '69...? or 1957, when she started recording hit songs..?

All I see here is jealousy... What do you know about Berry Gordy's business arrangements...? And this thread was started as a TROLL THREAD...! Spreading lies about a good woman who pioneered the bass guitar... None of you will ever add a fraction of her achievements with Leo Fender's Bass Guitar... Like Southern California, Leo Fender, Rock 'n Roll, The Beach Boys, Chuck Berry and Carol Kaye, none of you will ever come close to copying America's achievements... I can see and hear why you are jealous of Carol Kaye... You want us to worship British Rock bass players... but really... can you hear the soul in your music...? you're all so stiff, there's more rhythm in the beat of a copper...
[/quote]

I don't think you read my post. The original wasn't mine. I responded as I felt you had misinterpreted the final paragraph. Have a second read and see that the OP could quite easily be being supportive of Ms Kaye.

Edited November 20, 2016 by Mykesbass

[Happy Jack]

Wow! And people say that old-fashioned courtesy is dead.

Mind you, they also say that all Canadians are really nice people, so what do they know?

Just what Basschat needed just now, a gold-plated Troll on the run from the Mounties.

[wateroftyne]

[i][size=6]'Let's keep it civil, eh?'[/size][/i]

[steve-bbb]

[Thunderbird]

Oh dear

[Coilte]

[quote name='blisters on my fingers' timestamp='1479607387' post='3177844']
Never seen this lady play guitar before [/quote]

Guitar was her first instrument. A bassist could not make it to a recording session, and she was asked to stand in. She made such a good impression on everyone with her bass playing, that she was asked to do more recordings.

The rest, as we know, is history.


To the people who are putting her down, I can only say.... I respect your opinion, but as she is one of the most recorded bassists around, she must be doing something right.

[molan]

For many years I tended to put Carol down as a fraud because of her claims to have played on some Motown classics that all the evidence appears to prove were false.

I guess it still rankles a little but I've grown to really appreciate a lot of her work and, alongside Jamerson, her role in making the bass a more prominent instrument in popular music.

Some of her basslines, especially some of the simpler ones, are just absolutely perfect for the songs.

I quite liked this recent video demonstrating some of her lines and techniques:

https://reverb.com/uk/news/the-bass-sounds-and-techniques-of-carol-kaye

Edited November 20, 2016 by molan

[CrackerJackLee]

You may place me on Colin's "Ignore List" if your little hearts desire, or Ban Me From The Kingdom... But I think the trick here is to not accuse women of lying unless you have some proof. And British people should know better. Why does a Canadian have to come all this way to teach you some manners. Especially someone as accomplished as Carol Kaye. Laddies, if you do it again.. I'll be back...!

Edited November 20, 2016 by CrackerJackLee

[timhiggins]

I love her song Silly Games .. http://youtu.be/-cG-e4cf39E

[Raymondo]

[quote name='CrackerJackLee' timestamp='1479636711' post='3177929']
You may place me on Colin's "Ignore List" if your little hearts desire, or Ban Me From The Kingdom... But I think the trick here is to not accuse women of lying unless you have some proof. And British people should know better. Why does a Canadian have to come all this way to teach you some manners. Especially someone as accomplished as Carol Kaye. Laddies, if you do it again.. I'll be back...!
[/quote]


I think you should be congratulated for your excellent trolling.

Getting all fired up defending Carol Kaye over disputed Jamerson tracks, whilst having Jamerson listed as one of your interest in your avatar....

Bravo......well done .....are you enjoying yourself?

These argumentative threads are the reason there is a thread in off topic asking if basschat is quieter these days.

[Graham]

[quote name='CrackerJackLee' timestamp='1479636711' post='3177929']
You may place me on Colin's "Ignore List" if your little hearts desire, or Ban Me From The Kingdom... But I think the trick here is to not accuse women of lying unless you have some proof. And British people should know better. Why does a Canadian have to come all this way to teach you some manners. Especially someone as accomplished as Carol Kaye. Laddies, if you do it again.. I'll be back...!
[/quote]

Any chance you could engage with the post quoting Jamerson's biographer, who offers up what appears to be an even handed exploration of the question and finds no evidence Kaye played on many of the big hits she claimed to?

[lowdown]

Carol Kaye, Pedestrian?

CK was great at documenting her career, usually backed up by her fellow studio musicians.
Back in those days,'demo' sessions were big business, usually paying the top rates. It was quite possible you played on something, but in fact, that particular cue didn't make the final cut.
So, it was possible that CK may have mistaken her part for someone else's part on the same tune.
Not saying that was the case, but might go some way in explaining some of her disputed track claims.
Demo tracks were still invoiced and tax deducted. All in a days work of the studio musician.

There where an awful lot of top, top arrangers, producers, Musicians, Conductors, MD's, Fixers and Orchestrators who sure did love 'Pedestrian'.

[color=#1D2129][font=Helvetica, Arial, sans-serif][i]"Parts of 1970 and 1971, from my LOG and Appointment books....notice how I started quitting here - photo is Academy Awards rehearsal at Chandler Pavilion, and aside from a nice chat with Gregory Peck and seeing Harry Belafonte, it was pretty boring, pic is in the Pit with Quincy Jones...."[/i][/font][/color]
[color=#1D2129][font=Helvetica, Arial, sans-serif][i]LOG & Appointment books:[/i]
>>>>>>>Feb. 2 Studio Center, Storefront Lawyers, Berardinelli, CBS
Feb. 3 Sound, Bob Thompson, Yada
Feb. 3 Fox, Theil. Room 222, Fox
Feb. 3 United A, Group and 1 Singer, Hal Blaine,
2//4 Sun. Sound, Joe - Tipton, MGM
2//4 Col. Gary Puckett, Helfer, CBS Records
2//5 Univ. TV Film, Helfer, Univ.
2/6 TTG, Stern Agy., Botkin-Stern
2/6 Harmony Hse. Girl Singer, Roxy Roth, Bob Florence, 4-Star
2/9 Para. TV Pilot, Murderous Davidson, Lyn Murray, Paramount
2/9 Sound, Group Bob thompson, Corduroy
2/10 Univ. “Dial Hot”, Kellaway, Helfer, Univ.
2/11 Univ. “Dial Hot”, Kellaway, Helfer, Univ
2/12 RCA B, Group, John Flores, Botkin, RCA
2/12 Gold Star, Elliot Fisher, Hi Lesnick Viking
2/16 Liberty, Artie Butler, - Dallas, Renaissance
2/18 Univ. Helfer, Univ.
2/18 TTG, Frankie Laine, Lanier, Bowen, Entertain Ind.
2/19 TTG, Frankie Laine, Lanier, Bowen, Entertain Ind.
2/20 TTG, Frankie Laine, Lanier, Bowen, Entertain Ind.
2/24 TTG, Jimmie Rodgers,Lanier, Bowen, A&M
2/24 Indep. Jingle, Allyn Ferguson, Berman, tal. Fiscal
2/25 Record Plant, Hedge & Donna, Jim Bond, Cap.
2/26 Record Plant, Hedge & Donna, Jim Bond, Cap.
2/27 Record Plant, Hedge & Donna, Jim Bond, Cap.[/font][/color]
[color=#1D2129][font=Helvetica, Arial, sans-serif]Mar 2 Record Plant, Hedge & Donna, Jim Bond, Cap.
3/3 Record Plant, Hedge & Donna, Jim Bond, Cap.
3/9 Unit. A, Mae West, Theil. CBS
3/10 Studio Center, TV film, David Shire, Berardinelli
3/11 Studio Center, TV film, David Shire, Berardinelli
3/16 Sun. Sound, Styner, Dirty Movie,
3/18 Record Plant, Dory Previn, Bond, Ent. Ind.
3/19 Record Plant, Dory Previn, Bond, Ent Ind.
3/20 Record Plant, Dory Previn, Bond, Ent. Ind.
3/19 RCA, Al DeLory, Bob Felts, Cap.
3/20 Dimension, Nancy Sinatra, Strange, Caton, W.B.
3/23 RPM, Ray Charles, Tangerine
3/23 W. B. Film, Kurt Wolfe, W.B.
3/24 W.B. Film, Kurt Wolfe, W.B.
3/25 W.B. Film, Kurt Wolfe, W.B.
3/26 RPM, Jimmie Lewis, Ray Charles, Tangerine
3/30 MGM, David Racine, Helfer, Magellan[/font][/color]
[color=#1D2129][font=Helvetica, Arial, sans-serif]Apr. 2 Disney, Bikini-Boats, Bob Bruno, Disney
4//6 Studio Center, Film, Grusin-Bernardinelli
4/9 Studio Center, Film, Grusin-Bernardinelli
4/7 Music Center, Academy Awards, Helfer, Helfer
4/9 Col. A, Union Gap,. Gary Puckett, Kellaway, CBS
4/10 Col. B, O.C. Smith, Art Butler, CBS
4/10 Sun W, Styner, Dave ? ,Hendon
4/14 Studio Center, Berardinelli, CBS
4/14 Record Plant, Bob Lind, Jim Bond, Doug Weston
4/16 Record Plant, Bob Lind, Jim Bond, Doug Weston
4/17 Record Plant, Bob Lind, Jim Bond, Doug Weston
4/16 Haselov’s, spots, Artie Butler, Stern Agency, Tal. Payments
4/17 United, Hal Blaine, Wes Farrell Cap.
4/30 Record Plant, Bond, Doug Weston, Not Rep.
QUIT RECORDING. Only did Publishing Co. but began to teach, and then play seminars with Joe Pass.[/font][/color]
[color=#1D2129][font=Helvetica, Arial, sans-serif]8/4 Talent Payments, Mattel, 7250 Beverly Blvd, LA 90036.
9/5 Rec’d Phonograph Mfg. Royalties.
9/31 2 jingles, Talent Payments
11/13 Univ. Universal
11/16 Univ. Universal
11/20 Sound Factory, Jim Helms
11/23 Col. Gary Puckett, Chaiken, Columbia
11/23 Cap. !, Cap.
End of 1970 dates.[/font][/color]
[color=#1D2129][font=Helvetica, Arial, sans-serif]CHAPTER 22. 1971.[/font][/color]
[color=#1D2129][font=Helvetica, Arial, sans-serif]Jan. 4 RPM Ray Charles, Sharp, RPM
Jan. 5 Univ. Sendry, Univ.
1/7 West. 1, jingle, Thompson, Yada
1/7 Holly Video, Stern, This is Your Life
1//8 TTG, West. A, Stern, Tal. Pay
1/11 Univ. Sandy, Univ.
1/12 Para - M, Mod Squad
1/14 Para F, Brady Bunch, Frank Devol, Para.
1/15 Univ. Sandy, Univ.
1/18 ID Sound, Art Freeman, Janus
1/21 MGM - Fairfax, Us, Stern, MGM
1/22 Holly. Sound, Jingle, Chaiken, Chaiken
1/25 Palace, Pilot, Klein-Mancini, ABC
1/25 Bell Sound, Air West, Stern
1/26 A&M, Bobby Sherman,Len. Metromedia
1/26 H. Video, This Is Your Life, Stern
1/28 A&M, Herb Alpert, A&M
1/29 A&M, Herb Alpert, A&M
1/29 Para-M, unreadable, “Scared Stiff”?, Davidson
Feb.4 West. 1, Barnaby Jones, Artie Butler,
2/8 Mat?? Heart Ass. Klein, DAK
2/9 Holly Sound, Guerin, B/B
2/15 RCA A. This Is Your Life, Nelson Riddle, Tal. Pay.
2/16 Goldwyn, ABC Film, Nate, ABC
2/18 Larabie, Joyce[/font][/color]
[color=#1D2129][font=Helvetica, Arial, sans-serif]Mar. 2 Independent, jingle, Haskell
3/11 Holly Sound, Jerry Fuller, Fullness Mg.
3/12 Sound Factory, D’Andrea, Cap.
3/15 RPM, Ray Charles, Sharpe, jingle, Tal. Center Pay
3/17 Col. C, Al Kooper,
3/18 Col. C, Al Kooper,
3/20 Col. A, Johnny Mathis
3/23 Sound Factory, D’Andrea, Buddah
3/24 West. 3, Dennis Lambert, ABC
3/25 West. 3, Dennis Lambert, ABC
3/26 Alex. Haselov - Stern
3/30 Alex. Haselov - Stern[/font][/color]
[color=#1D2129][font=Helvetica, Arial, sans-serif]Apr. 2 Poppi, Fuller - D’Andrea Entertainment Ind.
4/5 Talent Pay.
4/7 United, Man & Boy fim, Berman, Martina
4/8 and 4/9 Fox, Fox
4/8 RCA, Stern, Tal. Pay
April Academy Awards, 8 days, Berman,
4/16 MGM, Man & Boy film, J.J. Johnson, Martina
4/19 MGM, Man & Boy film and Shaft, J.J. Johnson, Martina
4/20 Univ. Sandy, Uni
4/20 Whitney, Clark Gassman, Whitney
4/20 TTG-2 Glen Campbell, Capitol
4/21 Univ. Billy Goldenberg, Sandy
4/21 Western, Butler,
4/22 Col. A, Glasser, CBS
4/23 Poppi, Claudine, Glasser, Barnaby
4/29 Record Plant, Haskell, MCA[/font][/color]

Edited November 20, 2016 by lowdown

[chris_b]

In the cut throat West Coast studio business you don't become a first call bass player on thousands of hit records by not being one of the best.

She made her Motown claims and doesn't seem to have added further information so it's difficult to know exactly what was going on there. Until we know more it's pretty easy to throw insults around but impossible to back any of them up with facts.

Get a grip guys.

[grandad]

Thank you arthurhenry for your input, an interesting read.

I confess to know little about famous bassists. I can't put names to styles or tell you who they are and what band/s they played for. In fact I have difficulty understanding the mentality that leads to this sort of, I don't know what to call it, hero worship or some sort of fixation. And to get so het up and angry! Stay cool, learn to agree and disagree.

I'm quite happy with the fact that opposite viewpoints may be stated in good faith and the point in hand may not be resolved. That makes for good discussion, with passion - yes, with vitriol - no. That's just impolite.

I tend to remember particular bass lines and not who played them.