キャロル・ケイ

You're Nobody Till Somebody Loves You-Temptation
I Was Made To Love Her- Stevie Wonder
Love Child, Baby Love, Stop In The Name Of Love, Back In My Arms Again, You Can't Hurry Love, My World Is Empty Without You, Reflections, Love Is Here And Now You're Gone, You're All I Need To Get By etc. - Supremes
You Made Me So Very Happy-Brenda Holloway
GIT On Broadway TV Show - Diana Ross/Temptations cut 1969 NBC
I Can't Help Myself, Bernadette, I'll Be There etc. - 4 Tops
Peace Of Mind, Out Of This World - Nancy Wilson
Get Ready, I Second That Emotion - Temptations
My Guy - Mary Wells
Doo Ron Ron, And Then He Kissed Me - Crystals
Someday We'll Be together Again, Ain't No Mountain High Enough - Diana Ross
If I Could Build My Whole World Around You, Ain't Nothin' But The Real Thing - Marvin Gaye & Tami Terrell

1964年11/16ビルボード誌 48pに「モータウン社　西海岸にオフィスをオープン!」という出だしの記事がでたと同時に、62年から64年までの35-40%のモータウンレコードがLAでカットされてたと発覚された。エンジニア、アーミン・スタイナーは当時の雑誌インタビューで、シュープリームズのメンバー達からスティーヴィーワンダー等までがエンジニア、スタイナー家に宿泊してレコードを作ったと言って、ジョーサンプル、スティーヴ・ダグラス、そしてなんとスティーヴィーワンダー本人もその事実を認めた。ドラマー、ハル・ブレインはドラム専門誌で1962-1969の間のモータウン関係のレコーディングでは９人のベースプレイヤーと仕事した、と話した。
LAのミュージシャンは、自分たちがクレジットされることに拘っていなかった。当時は誰もがLAミュージシャンの関わりを知っていた。ジェマーソンの死によって、デトロイトのファンクブラザーズがあたかにもこの音楽の全てを作ったかの様にでっち上げられたことに、キャロル・ケイは腹を立てている。
ある意味、それまでは、サーフミュージックよりもましな音楽として比較的楽しんでいたはずだったが、彼女等がが無視されたことで、モータウンの仕事をしたことを深く後悔している。いったい、なぜ、こんな嘘つき会社に協力したの、と聞かれて彼女はこう答える。
「私は、家族から離れてツアーに出るような仕事をしたくなかったのよ。スタジオの仕事だったら家族の側にいられるでしょ。ただそれだけ。でも実際、あんな退屈な作業なんてありゃしない。あなたたちがもしあのときの、つまらなそうな私たちセッションミュージシャンの写真なんか見てたら、きっとレコードを買う気になれなかったでしょう。だって、私たちがやらされてたのは、もろミリ・ヴァニリ(クチパクがバレてグラミー賞を剥奪されたダンス・ユニット)の６０’sヴァージョンよ!」

60年代、未だ市民運動が盛んで、ハリウッドでは黒人と並んで白人が歩く風景は稀だった。映画とは違って音楽業界は1957年からインターレーシャルなミックスができた。スタジオのなかは、白、黒、赤、黄、が混ざって誰が何色なのかを忘れさせていた。実際、黒人音楽とラベル化されている音楽にも様々な人種が関わっていたが、マーケティング上では、それがバレない方が、なぜか売れる商売だった。

大勢の白人ミュージシャンがファンキーなレコードのセッションの仕事をしていたことが、一般に知られてなかったようだ。モータウンはLAへデモを送ってLAのシンガーがダイアナロスのパートを歌ってそれに合わせてデモを録音した。それがレコードになるとは誰も思わなかったし、ダイアナロスの事も知らなかったが、LAのシンガーでないことだけは知っていた。なぜ、デモに更にデモを作らなきゃならないの？全部あなたたちでやればいいことなのに、とケイはモータウンに言ったが、彼らに「いや、どうしても君たちにやってもらう必要がある」と頼まれた。だから、多分、デモではなくて本番なんだろうな、という予感はしてた。 ユニオンはケイたちに、オーソライズされてないレコード会社の仕事を禁じてたので、これに関しては目をつぶった。 1962 のモータウンの 30-40 %はLAで録音されている。どれほど多くの白人がモータウンのレコードに関わっていたかが世間に知られると、黒人音楽への夢が壊れるだろう、ということでメディアはこの事実を伏せてきた。普段、ベリー・ゴーディーのパートナー、ハル・デイヴィスがファーストクラスで飛んで来て、フォルモーザの小さなスタジオでデモを録音させた。その録音をまたファーストクラスに乗ってデトロイトへ届けてシンガーに歌わせてレコードを出す、という流れだった。

About the DVD inre: "Standing in the Shadows of Motown", a few people have recently asked me about that, and it's important for people to understand that Slutsky (imo) is using people for furthering his own interests (he later sued the Detroit musicians too for money)....that is NOT a movie that is officially endorsed by Motown co. people at all, note that NO Motown artists are in that movie, and Slutsky (who I sued for slander, but had to drop the case, they tried to "break" me in monies) uses it for his own personal agenda....he never met, never talked to Jamerson.

I've always been for the Detroit crew getting their credits for starting the Motown styles (have talked about them and especially about Jamerson in all 100s of my seminars across the USA since 1969), but even they don't know that we re-cut their demos.

And any musicians'"Motown" contract is a fraud - dragged out by Slutsky and his gang, written in recent times, and why they're so flawed. Our Local knows there were/are NO Musicians Union contracts down through the years, except just lately about 20 of them showed up, they are frauds. Slutsky isn't the first slanderer that backers and some people believe in and he won't be the last con-artist.

Also, on my way to Toronto to record again with the Motherlode group up there again, I had my 3 kids in the car and the kids' nanny/housekeeper too. We all stopped in Detroit Hitsville to say "hello" and I was met by 2 very nice Motown engineers. We discussed for about 10-15 minutes the LA-cut Motown hits vs. the Detroit-cut hits....all this in Spring of 1969 and no, the studio was not closed with a padlock on it as the film claims...don't believe that story. Slutsky is listed as "producer" of that film-doc as is his attny Sandy Passman (no relation to "the famous Passman"), and they did everything dirty they could to make me drop my slander lawsuit against Alan Slutsky and Bob Lee, 2 obsessed phoneys who demonize, stalk, and attack when confronted with their lies.

They've tried to shred my reputation with "she said" vicious libel and slander to protect themselves - bad people who didn't care what it did to me or to my family who has been terribly hurt by all this (my eldest daughter, vice-pres. of a big firm actually died from cancer lately) -- I later did drop the suit as I had run out of money, that's the only reason I dropped it.

My credits have been the same since 1969 - I also lectured since then about how Jamerson started Motown with his playing and I personally went out of my way to help him get studio work in the early 1970s when he lived here in LA. I've had to defend myself against Slutsky's-Lee's hate-campaign against me for years now when asked about all this. They are doing their best to keep the public from finding out who I am and what I've done and this includes anything to do with the rock-n-roll hall of fame -- I have never attacked nor tried to claim something that wasn't my credit (since 1969) and I'll be glad to file an affidavit to that effect too.

I was born in '35, I know exactly what you are speaking of....my parents were from the depression era too, much older when they had me. We were very poor but I was taught never to steal a thing.

It was so different back in the late 50s, and 60s, I was FOR the civil rights. I rushed back to help everyone in the Watts riots, taking my black friends to supermarkets for food, etc. and helping every black person I know since I was born it seems like, to get work, to get studio dates etc. I never had to fight for anyone to try to believe me in the 70s and actually long-time residents here in the LA area know of my work contributions to Motown.

Benny Golson is quoted saying something about my inventing bass parts (he said "better" than he could write, a huge compliment as Mr. Golson is a terrific composer-arranger, long-known for his excellent writings and jazz playing too) which is why I was so popularly called on Fender Bass also. Everyone counted on my creativity for good frameworks around songs and singers to make a hit recording.

19) How do you feel about the work you did for Motown in the early '60s... from a professional/business standpoint ... from a personal standpoint ... from an artistic standpoint?

I'm sorry I ever worked for Motown...Berry Gordy was very nice, I liked him and I liked Marc Gordon who later produced other groups away from Motown, but not so much others tho' I loved to work for Jerry Long and Lee Young, both fine producers, Frank Wilson was good to work for, a couple of others. Lee was the drummer with Nat King Cole btw....his son worked as attny for Motown in the 1970s.

We did dates for Motown for cash (verboten for Union musicians to do) and did that because we liked the music, it was a LOT better than recording the surf rock etc.. and honestly tho't we were giving this "new" company a break in getting going (it was 1962 and they had just rented parts of 2 floors of offices in the then-new Sunset-Vine Towers building - I played guitar on their dates at first). I got to really create some good bass lines on top of what the arrangers wrote too. Gene Page would write 2 kinds of bass parts (he told me) in case I couldn't make the date....he wrote some interesting lines but I still had to add notes to make them swing better (more up-beat notes)...

We heard "demos" which were from back east and so knew after 2-3 years what we were recording were NOT demos, but actual hit tracks, mainly the 4 Tops and Supremes which engineer Armin Steiner talked about in 2 interviews with magazines. You don't record "demos" from "demos", you cut hit recordings from "demos." I'm not the only one in Hollywood written in magazines about recording Motown, others like Joe Sample, Steve Douglas, Earl Palmer, etc. have been quoted about our work early 1960s work in recording Motown too. Sometimes even a few of our group which normally weren't called for Motown (Hal Blaine and Don Randi) had no idea of the rest of the scores of dates we all did for them too...

Motown out here in the Hollywood area, had 9 bass players recording for them since 1962 when they had offices out here. Arthur Wright was the first, I was 2nd of that group of 9 bassists recording for them...we probably recorded 35-40% of the 1960s Motown out here, after Gordy's wife left (about 1962). She was the one who played piano and rehearsed the groups, and helped with arrangements (she says in her book) back east in Detroit but at that time, around 1962, she left for NY, leaving Mr. Gordy who then writes in his book that he found it "difficult to work with the Detroit crew, and besides they were on the road with the groups - he wrote about all the great tracks coming from Hollywood in 1964....

it was after Mr. Gordy's wife (she played piano, rehearsed the groups, and claimed that she also arranged for them, and had started the company) left that they farmed work out to the west coast...knowing we were the hot group of hit-making musicians and easy to work with. I know many who feel like I do, that they're sorry they did that against Union rules. We tried to help them with cash dates (like we did with a few new fledgling record co's and then insist they join the Union which they did if they wanted more hits with us)...we let Motown go on for a long time...unfortunately.

They're the only company that was kind of shady with keeping records. All the rest of the record co's we worked for were fine, except maybe for the mixed-up recording contracts sometimes with Philles, and the occasional off-beat payment to one musician forgotten to be included on a prior contract, etc. and also, sometimes with changed dates on the contracts the record co's did, to avoid "late-fee" payments when sending our checks to the Musicians Union. YOu can't trust dates posted on the internet, nor even from the re-issue data.....record co's usually go with the date that the singers finally put their voices on the tracks, not the original tracks also.

I just did an interview a few weeks
ago with this man who is a huge Monkees fan;
we were talking about how I played on this and
that, and I finally had to tell him, “Listen, I hate
the Monkees!” I really don’t hate them, but the
music started getting to me. We beat ourselves
up, year after year, drinking coffee and smoking
cigarettes, so after a while you got a little tired of
the rock & roll, which is why we did the Motown
stuff for cash dates.
I probably shouldn't have sent you the ones about Motown, as I really don't care about my Motown credits at all, actually am very sorry I ever worked for Motown for many reasons. Arthur Wright was the first early 60s Motown-LA bass player (1962 on) - there were at least 9 bass players recording for Motown out here....

I've always been for the Detroit crew getting their credits, have always mentioned Jamerson as the "inventor of Motown bass lines", was the only one who helped him get work out here beginning in 1970s.....and always mentioned the 60-65% of the Motown recordings that were cut back in Detroit during my 100s of seminars from 1970s on....but have been cruelly singled out and viciously attacked for defending myself....

I know the rest of our crew are sorry they ever worked for Motown too....and I don't even talk about that work...so in a way, I'm sorry I ever sent those to you, as I don't want anything to do with that kind of music or people the rest of my life....altho' at the time in the 60s, it was a welcome relief from all the surf rock we were cutting....

even Gordy speaks about "all the great tracks coming out of Hollywood in 1964" in his book...and many like Earl Palmer wrote about our Motown work in his book (even Hal Blaine did some of those too)...Motown has had offices out here since 1962 after Gordy's piano-playing arranger 2nd wife left him - she was the one who got all the groups rehearsed and arranged in Detroit....after she left was about the time we all started out here - Motown has always been out here since '62...so that's the gist of all that....thanks, Carol PS. BTW, I abhor the terrible "demonizing" of Berry Gordy with that film-doc too, he was a very nice man, very friendly and good to be around. He put a lot of people to work in both places, Detroit and LA, and is a very big part of the music world and should be respected, he's a good guy.
Other studio musicians feel the same way I do, we were wrong to do Motown at first as "demos" (tho' they weren't demos!) and let them slide with the non-union stuff, and so everyone is pretty quiet about this, we knew we were wrong to do that and so they're sorry to ever have been a big part of Motown also. Being a "tune" person, I happen to remember those songs we did, but few others do, they just remember "tons of record dates for motown."

On Bernadette, that was cut a little later, and there was a very complex but kind of stiff part written in key of Gb (composed you could tell from the left-hand of a pianist), and I goofed on reading the first break..... I remember reading it and having to change the part ALL THE WAY THROUGH so it would GROOVE. The written part was stiff, kinda hokey, very lame - it did NOT groove at all and it was always my job to make the arranger sound good, but first you read it "the way it's written" and then you change it....
My mistaken first break on Bernadette is still there on the recording, the other 2 breaks are exactly the same as written and are still there also...funny how I remembered that. But you always remember your mistakes on tunes that mean a lot to you, see my attachment on this.

Plus, the part that Slutsky has written in his book is totally off - not a good transcription with so many wrong notes, amateurishly written.. He never did figure out that Db triad in the front part - he totally missed it. It all came back to me as I was transcribing it some years ago (see sheets sent out with most orders), including the fingering I had to use to quickly jump back and forth for the middle parts, the madeup runs, the little samba hook I put in there, etc.

Also, my newer transcription of IWMTLH is totally accurate. John Clayton helped me to transcribe that originally. I was so busy I asked for his help. He was one of my prized great students then and soon after he played elec. bass with the Count Basie band on tour, the start of his fascinating great musicianship/composer/arranger/conductor great career - his fine jazz orchestra "Clayton-Hamilton" Band has won grammys and is the finest band out there now. Back to the transcription, we both missed some of the repeats and so at first, the transcription got in the Elec. Bass Lines No. 4 book (pub. approx 1971 Gwyn Publishing Co. Inc., my company) like that until later corrected with the re-issue about end of 1990s.

In 1949, I used to transcribe parts from the Benny Goodman orchestra and sextet, and parts from the Artie Shaw band, etc., got good at this in 1949-50 when I was 14 and had only 78s to transcribe from. You can't get better and tougher experience at transcribing than that...

ベン・バレット

ベン・バレットはモータウンのVIPである。彼は1967年以降からモータウンの契約書を作成した人。そして「モータウンは1967年にLAへ引っ越します」とマスコミに宣言した人でもある。モータウンはその５年前からLAにもあったし、ノン・ライセンスとは言え、当時だれでも知っていたそうだ。ではなぜベン・バレットのライセンスが必要だったか？モータウンがそれ以前にLAミュージシャンが所属していたユニオンと無関係だったからだ。ユニオンを通すと規制が多いたため、レコーディング・ライセンスが採れない。ベン・バレットの営業力でモータウンはライセンスを獲得したが、過去の詳細は曖昧な状態だ。
Ben Barrett and Berry Gordy being golf buddies, the rest is history...they used Ben's recording license for awhile then when Motown couldn't get a recording license from Musicians Local 47 in Hollywood. Ben got to contract their record dates after that...including, what was touted as "the last Supremes album" from what we heard.

-------------------------------------------------

From Carol: It's interesting to note that the hits for the groups of Motown stopped with the 60s (except for Diana Ross and Stevie Wonder, both of whom radically changed their music styles then)....Motown still had the Detroit crew (but not us after the 60s) what happened?

Jamerson called me as soon as he arrived in LA, we had a couple of nice telephone conversations, I liked him and did my best to get him studio work, probably the only one to do so. Felt sorry that he was estranged from his wife and children for years before his tragic death - it's not easy being here without support from family. Jamerson also told a VIP about how much he admired my playing on the Motown hits I claimed back since 1969 and I've always mentioned his name as the "father of Motown bass" in my seminars, my early taped course book, and he was well-known before Slutsky (who never knew Jamerson) ever came along.

Alcoholism killed James Jamerson (and also my mother, so I think I have some insight into Jamerson's mentality). Near the end of his life (early '80s) Jamerson was too far gone with the alcohol and other problems to play well anymore--he could hardly write legibly, let alone play. In his mind he was still great, and he was trying to find work in L.A. At this time, while trying to find work, he made the claim that he played on "ALL" the Motown recordings (of the '60s). That was very untrue (and physically impossible, so many Motown recordings were made) but he probably believed it himself! That's what alcohol does to the brain near the end. He also told stories to family members and friends about his playing on various Motown hits (at least one of which was actually done by Carol Kaye).

Again, he probably believed these stories himself and sounded plausible. After all, "James Jamerson" and "Benny Benjamin" were the best-known names of Motown players to musicians and Motown fans anyway, even then, so his fibbing must have sounded "obviously right" (but not) to people he talked to.

>>>> Were your Motown parts (especially "I Was Made To Love Her", "Reach Out" and "Bernadette", written out or played for you in advance, or did you compose them yourself? Or was there some of each?<<<

Ask Stevie Wonder who played bass on "I Was Made To Love Her" and he'll tell you Carol Kaye, the L.A. session woman. The whole LA scene is discussed intelligently in the book Good Vibrations: A History Of Record Production by Mark Cunningham, which is now in its second edition, and in print.
"I Was Made To Love Her" (IWMTLH) had the 1st riff-line written out, the opening riff, then just the chord changes with blank bars, but I do remember that the ascending triads were written out (just before that same riff again) and I remember "crawling up the neck" and didn't play them exactly the way the triads were written. You always remember your mistakes on any take that is the final take but it turned out OK.

The rest is totally made up, all the 16ths, no problem, that has been my style on bass from almost the start (16ths were popular as rhythm guitar plus I used to play a lot of Dano Bass Guitar on dates too before ever picking up the Fender Bass)....

I remember hearing a "demo" of it and thinking "why not use the demo, same key etc., that sounded really good" but they wanted me to create in my own style of improvising along those guidelines of the few bars written out, no problem - something I did every day for recordings. I do remember Benny Benjamin coming to LA for 1-2 days to record and yes, I recorded with him etc.

Just know Slutsky has a habit of lying about things to "appear as the truth" in order to get his agenda across, including lies about things that Bob Babbitt told me about. It's unfortunate that there is a problem with so many who want to claim this hit, but Stevie Wonder personally told me at one NAMM Trade show more about
this as well as he tells his band "it was Carol Kaye who played bass on this."


I just merely played that style they wanted, but those are my own notes aside from what I said above, the few written notes....I move a lot differently on elec. bass than Jamerson did....my sound and feel with the hard pick (which was always recorded with a little compression by Armin Steiner to "match" the Motown sounds he said).