Richard Lindsey said:Only if you're being literal-minded. Money and physical objects are not the only things that can be stolen. There is such a thing as stealing credit.
And that's the heart of this matter... alledgedly stealing credit.
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Richard Lindsey said:Only if you're being literal-minded. Money and physical objects are not the only things that can be stolen. There is such a thing as stealing credit.
Phil Smith said:No you didn't say totally, I did. You also didn't ask a question, you provided an answer. Now if you're referring to what someone else asked that's a different story entirely. My question for you is what do you think the impact is or will be to his legacy?
There could be a myriad of reasons why it's a big deal to Carol and one of them is that she did play on a record that may or may not have been released, remixed, whatever. I wasn't there, so I can't really challenge her especially when she's known to have done that type of work on a day to day basis and perfectly capable of playing the part. Also the lack of financial gain makes it a stretch to say that she's stealing.
And I stand by mine...Nothing to steal.
JimmyM said:Brad, when Carol starts playing one of her old songs nowadays, I think she sounds as much like she did in the old days. She certainly hasn't lost any skill. However, she doesn't really like pop music and only did it for the money. She's much more of a jazz musician, so when she plays her own stuff nowadays, it's old school jazz.
Brad Johnson said:In the big picture the only legacy it has hurt is hers. People know what Jamerson sounds like.
Phil Smith said:I like the way you state this matter of factly when Jamerson and Babbit can't even distinguish how each other sound.Oh, that's right, they play the same style so they could be mistaken for one another. But wait, no one sounds like Jamerson. I'm so confused now.
I don't think it hurts her legacy at all with the staggering amount of work she's done. Which brings up my point; What could possibly be in it for her to lie about a couple of tunes out of all the tunes she's played on? Is she a wanna be funk/R&B player? It just doesn't make sense to me. There's nothing to gain. In the abscence of those tunes, she's still kill'n.

johnvice said:First I'm a huge fan of James Jamerson and the early Mowtown (pre 1970)
That said, it was the early 1970's Motown that initially got me interested in music and playing bass. Actually it was watching the Satruday morning cartoon "Jackson 5" in 1971 and thinking the bass line for the show's theme, "ABC" was cool.
I had the opportunity to speak with Carol, told her my "ABC" story above and question who played bass on it. She was certain it was Bob West.
As I reserached this, historical evidence pointed to Wilton Felder. This was confirmed to me directly from Alan "Dr. Licks" Slutsky.
To anyone but Motown diehards like me, the names Bob West. and Wilton Felder mean nothing. As Carol has acheived name brand recognition as being a session musician (and musical educator), she would have no reason or intent to lie on such a trivial matter. I attribute it to her memory failing not necesarily out of a medical condition. To give credit where credit is due, she played on hundreds, probably thousands, of recording sessions over decades. Looking at the sheer volume of her msuical output, I can see where she just would not remember.
To give Alan Slutsky credit where credit is due, "Standing In The Shadows of Motown" (the book) should be essential practicing for bassists. He presents his arguement on Carol's Motown involvement ina very factual way that encourage the reader to look (and listen) to the facts.