Renowned session bassist and 2025 Rock & Roll Hall of Fame inductee Carol Kaye has announced her decision not to attend this year’s prestigious Rock Hall ceremony. She expressed her belief that the event fails to honor “the work that studio musicians do and did during the golden era of the 1960s.” This statement highlights her commitment to recognizing the invaluable contributions of those behind the scenes in the music industry.

Kaye, who is being inducted this year in the Musical Excellence category, is celebrated for her extensive career, having participated in an astonishing 10,000 recordings. Her impressive discography includes iconic tracks by legendary artists such as the Beach Boys, Simon & Garfunkel, and Frank Zappa. Additionally, Kaye was a vital member of the famous Los Angeles-based musical collective known as the Wrecking Crew.

The trailblazing bassist shared her reasons for not attending the Rock Hall ceremony in a heartfelt post on her Facebook page, which you can read below, shedding light on her perspective and experiences in the music industry.

Carol Kaye’s Reasons for Skipping the 2025 Rock Hall Ceremony

“People have been asking: NO I won’t be there,” Kaye stated firmly. “I am declining the RRHOF awards show… turning it down because it doesn’t reflect the contributions that studio musicians made during the golden era of the 1960s recording hits.” Her decision underlines her desire for greater recognition of the collaborative nature of studio work.

Kaye also mentioned her refusal to participate in the “Denny Tedesco process,” which refers to the director of the acclaimed 2008 documentary The Wrecking Crew, that featured her remarkable story. Although she was part of this influential collective, Kaye pointed out that they were not known by that name during their active years, emphasizing that drummer Hal Blaine coined it later on.

“You are always part of a TEAM, not a solo artist at all,” Kaye continued passionately. She reflected on the vibrant scene in the 1960s, where as many as 350-400 studio musicians (members of AFM Local 47 Hollywood) were constantly working. Since the 1930s, she has never identified with the term ‘wrecker,’ which she considers to be a derogatory label.

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Kaye elaborated on her transformative journey from guitar to bass, which she undertook out of necessity, ultimately becoming one of the most prolific recording artists to embrace the instrument. Her journey into the world of recording is both fascinating and inspiring.

“As a working jazz musician (soloing jazz guitar work) in the 1950s starting in 1949, I was unexpectedly invited to record with producer Bumps Blackwell in 1957. This opportunity allowed me to create beautiful music alongside Sam Cooke and other notable artists, and in mid-1963, I found myself playing the Fender Precision Bass when another bassist failed to show up,” she explained, highlighting her serendipitous entrance into the realm of bass playing.

“Although I had never played bass before, my background as an experienced recording guitarist made it clear that the three bass players hired to play simple lines on recording dates were not delivering the desired results. It was easy for me to craft innovative and engaging bass lines. As a jazz musician, every note I play is a creation, and many of those recording sessions utilized talented jazz musicians and experienced big-band players for those rock and pop sessions,” Kaye added, showcasing her unique skill set.

Ultimately, Kaye feels that the Rock Hall ceremony fails to adequately recognize the collective contributions of the numerous session musicians she collaborated with over the years. “I refuse to be part of a process that does not align with my values, which serve others without reflecting the truth of our work,” she stated. “We all cherished our time working together. Thank you for your understanding.”