Reconstructing the History of Motown Session Musicians: The Carol Kaye/James Jamerson Controversy

Abstract

Motown Records churned out hit singles with remarkable efficiency, thanks largely to a stable of skilled professional session musicians. However, exactly who played on their most iconic recordings remains a mystery because, as was standard within the music industry, no Motown release in the 1960s credited these musicians for their work. These practices have led to conflicting accounts, the most famous of which concerns bassists James Jamerson and Carol Kaye. To this day, Kaye alleges that she played on numerous classic Motown recordings but has been purposefully omitted from Motown history. Conversely, Jamerson—who died more than thirty years ago—continues to be vehemently defended by acolytes such as biographer Allan Slutsky, who see Kaye's claims as blasphemous. Drawing on previously unexamined sources, this article reconstructs Kaye's involvement with Motown and, in so doing, reevaluates the merits of the Kaye/Jamerson controversy. Building on the work of Andrew Flory, I explore the role of session musicians in Motown's creative process and argue that critics and fans have propagated a problematic discourse in which Jamerson has been valorized and Kaye has been dismissed. Ultimately, Kaye's story not only provides a useful corrective to the historical record, it also demonstrates the need for further research into session musicians’ contributions to popular music.

Motown Grooves: Rhythmic and Experiential Reimagination in Collaborative Composition

“…An example of the former is the bassline to 'The Tears of a Clown' (Smokey Robinson & The Miracles, 1967; Fig. 3), which has been claimed by Babbitt, although no definitive evidence has surfaced to date (Wright, 2019).…”