Joe Cocker “Feelin’ Alright?” – with bassist Carol Kaye, from the album With A Little Help From My Friends (1968)

In my career as a bassist and journalist I have been an outspoken critic of the Rock and Roll Hall of Fame.

My three op-eds for the former Huffington Post – now HuffPost – are highly critical of the Hall’s exclusion of bassists in bands who were enshrined, along with bass playing studio musicians who are overlooked – such as Carol Kaye. Don’t get me started on producers, engineers, lyricists, composers, arrangers, radio personalities, promoters, album cover artists, and photographers, among others, who have been snubbed. 

Among the additional glaring oversights of my instrument include Lamar Williams, David Goldflies, Allen Woody, and Oteil Burbridge of the Allman Brothers Band; John York and Skip Battin of the Byrds; Dee Murray and Kenny Passarelli of the Elton John Band; Jim Rodford and John Dalton of The Kinks, Nick Simper – founding bassist of Deep Purple; along with the laundry list of Roxy Music bassists, among others. (Props to Bryan Ferry who recalled from memory all the side-persons who contributed to the band’s legacy during the band’s ceremony.) 

(If you care to read two of the said essays, they are still online – simply search engine: Huffington Post: Eleven More Bass Players Who Belong in the Rock and Roll Hall of Fame (2016), A Bass Player’s Rant: 33 Who Belong in the Rock and Roll Hall of Fame! (2017).

The positive feedback I receive from rock fans, bass players, and many of the neglected whom I cited continues to this day.

I agree – and then some – with Carol’s gripes about the Hall, the “Wrecking Crew” branding, and music industry politics – which have been documented on several news sites the past 48 hours.

In a society which becomes more divisive every day, we can concur on at least one truth: Carol’s contribution to the artform that is 20^th Century popular music is positively incalculable. There isn’t a bass player in any genre of popular music that has not been influenced by her body of work whether they realize it or not. 

Carol Kaye’s recognition is important to our instrument – the bass guitar. It is important for the legacy of all studio musicians, many of whom toiled in obscurity. 

I understand it’s not her responsibility to right the many wrongs of the music industry as we know/knew it or to champion the bass guitar, or the enormous contributions to rock by jazz artists. Let me point the finger at the Hall for its near total ignorance of jazz fusion artists. 

And if she does attend and deliver an induction speech, I am confident that she will voice her opinions to the powers that be on the issues that concern her. If I had the opportunity to speak at this event, I would do so. 

Witness Steve Miller’s post Hall induction press conference declarations regarding the institution, and Iggy Pop’s warning to the Hall, which, for better or worse, is the most recognizable of all the music halls of fame and archives.  Check out Steve and Iggy’s proclamations on YouTube. Miller’s diatribe prompted the Hall to address a few of its shortcomings. There is more work to be done as this is the institution that will represent us to future generations. 

A virtuoso player, educator, historian, and inspiration to countless generations of musicians, I hope Carol will reconsider. The Rock and Roll Hall of Fame needs more individuals like her to speak out. I forwarded this missive to Ms. Kaye via her website CarolKaye.com. If you agree with me, consider dropping a line to her or sharing your thoughts on social media. It will be a step in the right direction! We’re all in this together.  

Tom Semioli