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No Carol, omaan tapaansa vastasi heti. Ei tullut vain yksi maili vaan viisi kappaletta. Tässä eka...
 
"Send them to my website, at the LIBRARY there's a FAQ page there that explains
why people are not told about the approx. 40% of top Motown recordings were
recorded in Hollywood from 1962 through the rest of the 60s, way before Motown
announced they "were moving to LA"...they've been out here with 2 floors of suites
of offices since 1962, and recorded us so much, many tho't they were an LA
company....at first, yes it was cash dates...a welcome relief from rock and roll
dates, plus...
 
they had the pick of the finest Hollywood studio musicians from 1962 on (I
played guitar at first for motown) until someone ratted on us all about 1965 when
motown finally announced (then) that they're "moving to LA'....who would have
believed back in the volatile 1960s that white and black people (along with a
blonde woman) could work happily together during a time when houses were burned
down for that kind of action?......, there were racial riots everywhere in the
1960s...prejudice everywhere and they went along with the others we recorded for
also, and not mentioned our group of finest studio musicians (non-drugs,
no-booze, only coffee and cigarettes for our all-business group of finest
most-experienced great creative studio musicians....
 
and so altho' Berry Gordy mentioned in his autobiography book about "all the
great tracks being recorded in Hollywood, coming back to Detroit for voices to be
added to"...there was no more mention of us except a few articles in various
magazine feature articles like with engineer Armin Steiner who talked about the
Supremes staying at his house early 1960s (I didn't see them in the studio no,
we just recorded tracks for them) plus another engineer talking about the
overdubbing of lead singer Levi on the 4-Tops things we also cut tracks for ....Levi
was overdubbed at TTG, owned and engineered by great engineer Ami Hadani (see
attachments)...
 
Most of us loved the music we recorded but didn't like the people at motown,
altho' Gordy was one of the best people to work for....the producers for the
Hollywood things were mostly local LA people...Hal Davis, Marc Gordon (later of the
5th Dimension fame), Frank Wilson and others out here on the west
coast....about the SAME TIME that the original owner, and Gordy's 2nd wife Anna (who later
signed the corporation papers over to Gordy) had left Detroit for NYC about 1962
when she left Gordy and motown...
 
That was about the same time that they started to record the Supremes and 4
Tops out here in Hollywood (and soon to follow, Stevie Wonder, Temps, and Miracles
but only a few of those groups recordings)....because.....Berry Gordy was left
doing Anna's chores (she was a piano-player/arranger and rehearsed the band on
the recordings - all the musicians got along great with her)...and Berry
couldn't do it, he couldn't get along with the studio musicians etc....anyway, read
the attachments, rest is there.
 
Slutsky and his fellow gay friend, Bob Lee, have picked me, stalking me on the
internet to spread visious slanderous lies about me continually for years, I'm
their target since they bled me dry with my slander lawsuit, after spending 10s
of 1,000s of dollars, I couldn't afford to continue and then that's when they
brought out that Motown documentary film....but....as most people notice the
"use" by Slutsky.....there is no official motown endorsement of that film, and NO
MOTOWN STARS either....filled with falsities and lies mostly altho' I've heard
the music is good....other studio musicians have been quoted about their
working on motown hits of the 1960s ,as well as Earl Palmer's book...but of course
they don't remember the bass parts like I do.
 
Plus....there's NEVER been any kind of recording contracts ANYWHERE, not in
Detroit, not in Hollywood for ANY Motown dates until.....just lately, when someone
made up contracts 35+ years after the fact for re-use on "My Girl" a recording
that was done in Detroit, but Hollywood horn men swore they played on that, so
it's got them on the "new" contract too.....(about 1990), it's many many things
like this that the general public, who gets confused by the vicious slander and
conterdictory lies that Slutsky argues heavily with....ever since 1990...
 
and Slutsky (and Bob Lee) are still fighting because I've got many great films
proving my fine musicianship (one with George Benson and I playing good jazz
together), and Stevie Wonder's "I Was Made To Love Her" showing how I played on
that hit on my HOME-PAGE.....so he's trying to do damage-control - there is this
later years of doubt about women musicians because...the men can't play well
and so everyone assumes that women are "worse"...but women were recognized as
fine musicians back in teh 1940s and 50s when there were lots of great women jazz
musicians who worked with the men who people today know nothing about with this
great history of women greats in music...read Quincy Jones' great book "Q"
about how he talks about the great women jazz musicians, some of whom could "leave
the men in their dust, they were so great" (yes he mentiones me among others in
his book)....
 
but.....the cat is out of the bag...Slutsky's credibility is all but destroyed
after Slutsky was fired by the Funk Brothers, turning around and SUING THEM,
(they sued back) etc.....other journalists took note and don't give him the time
of day anymore, so he's fighting on the Internet, stalking any mention of me to
try to destroy my reputation anywhere he can as well as trying to insist he's
the "real bearer of truth" which is not true...he's a sick demonizing psycho who
is bent on doing everyone who stands in his way, a lot of harm and he succeeds
sometimes because he is taking advantage of Jamerson's drug and alcholic uses
which killed him early on...and the silence of Motown for all the wrong-doing
they did
 
...we did cash dates in the early 1960s for motown, Arthur Wright was the very
1st bassist, I was #2 of 9 bassists who recorded for Motown in the
1960s....we're all sorry we ever saw Motown and sorry we worked for them, and did cash
dates, but also we don't get hardly any re-uses off the music -- see my re-use
Motown check in LIBRARY-PHOTOS).
 
Please look and read (and it's OK to quote them too) the enclosed data
attachments about this....Best, Carol Kaye
 
I was the 2nd of 9 bass players used in Hollywood, Arthur Wright was the very
1st one...for the credits see my attachments...also Yes, I'm playing on most of
those you mentioned.....tell whoever not to believe that Slutsky book....he's a
gay fellow who's a mysogynist (hates women) and fell in love with the deceased
Jamerson, speaks about Jamerson with disgusting adjectives describing Jamerson
(who he never met!) and even slandered Jamerson (I sued Slutsky for slander)
and turned around to sue the Funk Bros. after the Funk Brothers fired him - they
found out what a user he was of real musicians (Slutsky is a wannabee hack
guitar player who has always wanted to be in the music business, Bob Lee same
thing....they're both using Jamerson's memory for their own uses....
 
Jamerson has always been famous, but no the news that studio musicians did hits
is a new thing for the public. Slutsky sure doesn't want it known about how
great our group of studio musicians were....but it stands to reason that no, we
didn't do "just demo dates for motown", when we're on 1,000s of great hit
recordings, plus....we heard some "demo's from Detroit" to get the style which which
they wanted us to create our parts by....you never record "demos from demos",
you cut the hit tracks.
--
Carol Kaye "