The True Story...According to Kaye

Are you trying to imply that studio musicians recording albums (rather than the stars themselves) on occasion is a secret?

Many here are aware of a certain bass player who claims that almost all of the stuff from the 80s was "ghost tracked". The stars would bang out some crap during the day, and after they left to party, the "ghost" musicians would sneak in at night and play what you actually hear on the record.

I'm sure in a town like Nashville, they aren't letting the stage bands anywhere NEAR the recording in many cases. As funny as they are about $10K compressors and $12K mics do you think they are going to let some kid who bangs a bass onstage play on the recording???? Do you think those little pretty boys from The Band Perry are on the album? Ha! No way.

 

Actually Roger DID play most of the bass lines on Pink Floyd albums. Gilmour played a handful, but the rest were Roger.

 

Makes me glad that digital music has killed the old boy studio system.

Long live Milli Vanilli.

 

GASP - this incredible woman played on major song after song after song - and hit after hit after hit and - wait for it.....

Used a pick on each and every track.

Makes me smile BIG....

Seriously - wow - I can't believe the number of highly visible pop songs, movie songs, TV themes and simply the extraordinary volume of influential bass tracks this incredibly talented woman played on. Yes, Jamerson was certainly an undeniable icon in his own right, but I will take Carol Kaye any day. Carol's sheer diversity and ability to come up with hooky, undeniably contagious grooves in my opinion is unparalleled. Maybe someone should start a Jamerson vs. Carol Kaye thread to see who was the better groove merchant? OPPPS - Another edit - I didn't realize there was already a number of posts about the two of them, never knew about the controversy of who played what etc. Forgive me - learning, learning, was never much of a bass historian, but I guess I am becoming one.

BassHappy
www.innertainment.net

 

On a 34" scale bass.......

 

Yeah, too bad there weren't any medium scale options when she was making the switch over from guitar. Could have avoided dead spots and cut way back on the neck dive all at once...



Oh well, can't have everything....

BassHappy
www.innertainment.net

 

I've never understood this myth. As someone with an extensive Pink Floyd bootleg collection, I can say Roger didn't struggle to play these songs live. There's no reason for me to believe he couldn't have played them in the studio. Gilmour indeed only played just a handful.

 

Studios in the business of turning out hit records like serving up flapjacks dont let just anybody play on these things, they have reliable pro's that are a known commodity to play on these records, they know what producers want from them and they deliver.Than the bands vocalist come in and do there thing, its been done this way for a very long time. On the other end of the business the publicity dept. loves a pretty face.

 

the pompeii film bares this out, roger playing in the studio sounds very smooth and tasteful.

 

If the band wrote the song and each guy crafted their part, I would say the vast majority of albums are going to be the stars on the recordings. I agree, if it wasn't Roger, it was David, but I don't believe it was a ghost bassist ever on any Floyd records. I think it would be silly to suggest that Duff didn't record Appetite, or Jeff Ament didn't record Ten. I'm sure there are more than a few instances when the label said, "Man this bassline really sucks, go call Harry to come overdub this piece of crap tonight!". But I think that probably happened more when one of the guys in the band was too coked out or drunk to play.

But when you're talking about modern pop and country, or any of the kind of music throughout history that was manufactured by the record label and written by producers and hired song writers (yes even Motown), then yeah.. I think the label is going to use whoever they want to use, regardless of the guy who tours with the band or his feelings about it.

 

The Association en masse once walked out on the studio floor during a Wrecking Crew session on one of their tracks and tried to persuede the musicians to sign an affidavit that they would never divulge that it was The Wrecking Crew playing on their tracks and not The Association. The musicians told them all to go take a flying leap. That according to Joe Osborn.

 

+1

 

I just picked up The Association's debut album (And Then...Along Comes the Association).
The liner notes on this cd-version lists the studio guys...Scheff, et al played on all but two tracks.
Anyone know if the original LP version mentioned this?
FWIW, I have a live album by The Association & have seen their bit on the Monterey Pop DVD...the vocals are top-notch; instrumentally? Not that bad...though not as polished as their studio albums.

Also re-visited a made-for-TV Monkees movie & watched/listened to the 'bonus' comments by Dolenz, Jones, & Tork...they mentioned how their ballz were being busted when others were doing the exact same thing.

 

and she played guitar on La Bamba also........