Renowned session bassist and 2025 Rock and Roll Hall of Fame inductee Carol Kaye has announced her decision to skip this year’s highly anticipated ceremony. She argues that the event fails to accurately represent “the contributions that studio musicians made during the golden era of the 1960s.” This statement reflects her deep concern for the recognition of behind-the-scenes artists who significantly shaped the music industry.
Kaye, who has been honored this year under the Musical Excellence category, has an impressive legacy, having played on an estimated 10,000 recordings. Her extensive discography includes iconic tracks by legendary artists such as The Beach Boys, Simon & Garfunkel, and Frank Zappa. Additionally, she was a pivotal member of the Los Angeles-based musical collective known as the Wrecking Crew, which was instrumental in producing numerous hit records during that era.
In a recent Facebook post, which has since been deleted or made private, the pioneering bassist shared her reasons for abstaining from the Rock Hall ceremony, asserting that it does not honor the collective achievements of studio musicians.
Understanding Carol Kaye’s Perspective on the 2025 Rock Hall Ceremony
“Many people have been inquiring: NO, I won’t be attending,” Kaye expressed. “I am choosing to decline the Rock and Roll Hall of Fame awards show because it does not truly reflect the invaluable work that studio musicians accomplished during the 1960s when we recorded many hit songs.” Her statement underscores the need for broader recognition of the collaborative efforts of musicians behind the scenes.
Kaye also mentioned her rejection of the “Denny Tedesco process,” referring to the director of the acclaimed 2008 documentary The Wrecking Crew, which highlighted her contributions. Even though she was part of this influential group, Kaye clarified that they were not widely recognized by that name during their active years. The term was coined later by renowned drummer Hal Blaine.
“You are always part of a TEAM, not a solo artist,” she emphasized. Throughout the bustling 1960s, there were approximately 350-400 studio musicians affiliated with AFM Local 47 Hollywood actively contributing to the music scene. Kaye asserted, “Since the 1930s, I have never associated myself with the term ‘wrecker’—that is a deeply insulting label.”
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Kaye further elaborated on her musical journey, explaining how she transitioned from guitar to bass out of necessity and ultimately became one of the most prolific recording artists to ever embrace the instrument.
“For context, I was a working jazz musician focused on soloing jazz guitar in the 1950s, having started my career in 1949. In 1957, I was unexpectedly invited to record by producer Bumps Blackwell, which opened doors for me to collaborate with artists like Sam Cooke. In mid-1963, I was fortuitously placed on a Fender Precision Bass when another musician failed to show up,” she recounted.
“Despite having never played bass before, my background as an experienced recording guitarist made it clear that the three bass players initially hired to play simple lines were not meeting the creative demands of the music. I quickly adapted and began to create compelling bass lines. As a jazz musician, improvisation is key, and many jazz musicians and seasoned big-band players were also involved in those rock and pop sessions, contributing their unique skills,” she explained.
Kaye expressed that, fundamentally, she believes the Rock Hall ceremony does not adequately honor the collaborative spirit and contributions of countless session musicians she worked alongside. “I cannot participate in a process that misrepresents the truth for the sake of others’ agendas,” she stated. “We all deeply valued the collaborative nature of our work together. Thank you for your understanding.”
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Gallery Credit: Chad Childers, Loudwire
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