Carol Kaye Rejects Rock Hall of Fame Honor, Citing Studio Musician Disrespect
Famed bassist Carol Kaye is declining her upcoming induction into the Rock and Roll Hall of Fame. This decision highlights her dissatisfaction with how studio musicians are acknowledged, particularly those who were vital during the 1960s golden age of recording.
Kaye’s Rejection and Reasoning
Carol Kaye, the iconic musician, has declined to participate in this year’s Rock and Roll Hall of Fame ceremony. The 90-year-old made her stance known on Facebook. She objects to the event’s lack of recognition for the critical contributions of studio musicians during the 1960s era.
“NO I won’t be there,” she wrote. “I am declining the awards show… turning it down because it wasn’t something that reflects the work that Studio Musicians do and did in the golden era of the 1960s Recording Hits.”
Kaye also expressed her displeasure with the Hall’s reference to her as part of the “Wrecking Crew,” a term she has long rejected. She emphasized the collective nature of the work, stating that it was always a team effort, not the work of solo artists.
Legendary ’60s Musician Refuses Rock Hall Honor Over ‘Insulting’ Label https://t.co/T0Gq6Gq1X3
— Parade.com (@Parade) June 19, 2025
“You are always part of a TEAM, not a solo artist at all,” she wrote. “There were always 350–400 Studio Musicians… I was never a ‘wrecker’ at all… that’s a terrible, insulting name.”
—Carol Kaye
Despite Kaye’s refusal, the Rock and Roll Hall of Fame will still induct her. According to a recent report, studio musicians often receive less public recognition than the artists whose songs they play on, which can lead to lower royalty payments and fewer opportunities (Soundcharts 2024).
A Legacy Beyond the Stage
Kaye boasts over 10,000 recording credits and played a crucial role in shaping the sound of popular music. She contributed to hits by renowned artists such as The Beach Boys, Frank Sinatra, Stevie Wonder, Simon & Garfunkel, and The Supremes, among others.
Her career began in 1957 as a jazz guitarist. She transitioned to bass in 1963, unexpectedly filling in during a recording session. She quickly mastered the instrument, creating memorable basslines.
“I never played bass in my life,” she recalled, but quickly found a knack for inventing catchy bass lines. “As a jazz musician, you invent every note you play.”
Despite the honor, Kaye is standing firm. Her decision reflects her commitment to her values and the importance of honoring studio musicians.
