No announcement yet.

Cream of The Crate: Album # 191 - Carol K and The Hitmen: California Creaming


  • Cream of The Crate: Album # 191 - Carol K and The Hitmen: California Creaming

    "One of the most prolific and widely heard bass guitarists, playing on an estimated 10,000 recordings in a career spanning over 50 years" (Wikipedia)
    "The thing that really made me sit up and take notice was the bass lines." (Paul McCartney talking of Carol K's bass playing on Pet Sounds)
    "In the world of bass guitar, Carol Kaye is a legend." (Guitar World 2016)

    "This woman is, putting it bluntly, damn red hot and fabulous on both guitar and bass guitar."
    (This review)

    This is album review number One Hundred and Ninety One in the series of retro-reviews of both vinyl and CD albums from my collection.

    The series is called
    Cream of The Crate and each review represents an album that I believe represents significant musical value, either because of its rarity, because it represents the best of a style or styles of a music or because there is something unique about the music, the group or the particular production.

    The first fifty reviews were based on vinyl albums from my collection, with the following fifty on CD albums from my collection. Links to all these reviews can be found at the bottom of the page.

    The music world has always been underrepresented by women, and, those that are in the industry have to struggle for recognition. The when you hear the capabilities of great women musicians you are left wondering why is it, that they have to struggle to be heard.

    This is one of the few albums in my collection that is a recent, very recent addition and moves straight into the "Cream of The Crate" category. This woman is, putting it bluntly, damn red hot and fabulous on both guitar and bass guitar!

    Her name is Carol K and her group is the Hitmen, and this is a CD album and is titled - California Creamin'. It was released by Hot Wire Records on their own label in 1996 and has the identifying code of HOT 9024C. It only has 17 tracks, 16 of them music tracks, and one demonstration/talk track.

    There are many noteworthy things about Carol K. She is highly gifted, she has been playing across 6 decades, she has played with the most amazing muso's and yet, she is still relatively unknown.

    Her birth name is Carol Kaye and she was born on March 24, 1935. Born in Everett, Washington to musician parents, Clyde and Dot Smith, both professionals. She has played and taught guitar professionally since 1949, played bebop jazz guitar in dozens of nightclubs around Los Angeles with top groups, working in Bob Neal's jazz group with Jack Sheldon backing Lenny Bruce, with Teddy Edwards, Billy Higgins and with so many others.

    She accidentally got into studio work late 1957 with the
    Sam Cooke recordings and other big recordings on guitar for the first 5 years of studio work in Hollywood.

    A young Carol K

    Throughout the 1950s, Kaye played bebop jazz guitar in dozens of nightclubs around Los Angeles with many noted bands including, as previously indicated, Bob Neal's jazz group and others. By her own account, Kaye got into lucrative studio work "accidentally" in late 1957 with Sam Cooke and a few years later, when a bass player failed to show for a session at Capitol Records in Hollywood, she was asked to fill in on what was then often called the Fender bass. She became a member of The Wrecking Crew.

    Carol K(aye) with The Wrecking Crew [The Clique)

    The Wrecking Crew was a nickname coined by drummer Hal Blaine as recently as the 1990's for a group of studio and session musicians that played anonymously on many records in Los Angeles, California during the 1960s.

    However according to Carol their real name was "The Clique". It seems like the name "Wrecking Crew" was given by someone she associated with, who had a big ego and wouldn't listen to what the others wanted.

    In fact the "clique/crew" backed dozens of popular singers, and were one of the most successful groups of studio musicians in music history. Members included Glen Campbell, Barney Kessel, James Burton,Leon Russell, Mac Rebennack (aka Dr. John), Carol Kaye, Jim Keltner, Jack Nitzsche and many many others.

    So, in 1963 when a Fender bassist didn't show up for a record date at Capitol Records, she picked up the Fender bass and augmented her busy schedule playing bass and grew quickly to be the number one call with record companies, movie & TV film people, commercials, and industrial films.

    She enjoyed working under the direction of Michel LeGrand, Quincy Jones, Elmer Bernstein, Lalo Schifrin, David Rose, David Grusin, Ernie Freeman, Hugo Montenegro, Leonard Rosenman, John Williams, Alfred & Lionel Newman, etc. as well as the numerous hits she recorded for hundreds of recording artists.

    Of this period she said, "I was raised by musician-parents and just sort of grew up around music, we were poor, but when music was played, you had a sparkle in your life. And the sparkle is still there years later after all the recording we did, for when you turn on the radio, there are all my fellow musicians. I grew fond of so many, we were all in it together, pulling together for a hit, and loved to groove together. The looks, the feel of the music, the inside quick joke, it was a warm feeling."

    In fact Throughout the 1960s, while at the time unknown to the public, Kaye played bass on a substantial number of records that appeared on the Billboard Hot 100. By some estimates, she played on 10,000 recording sessions. Kaye actually played bass on many of the Beach Boys hit recordings, including "Help Me, Rhonda", "Sloop John B", and "California Girls".

    Carol worked on Brian Wilson's ill-fated but legendary Smile project and was present at the "Fire" session in late November 1966 when Wilson reportedly asked the studio musicians to wear toy fire hats. Kaye's work also appears extensively on well-known television and film soundtracks from the 1960s and early 1970s.

    Laying down a bass line at a Beach Boys session

    She also played 12-string guitar on Frank Zappa's album Freak Out!. Following on from that she did contribute to a few songs for his next album but declined to continue, saying she found some of the lyrics offensive. Kaye later said Zappa was good-natured and understanding about her qualms and they remained on friendly terms.

    Beginning in 1969, she wrote her first of many bass tutoring books, "How To Play The Electric Bass" effectively changing the name of Fender Bass to Electric Bass and began teaching 100s of Electric Bass students, many of them now famous themselves.

    Carol stepped out to perform live with the
    Hampton Hawes Jazz Trio in the mid 70s, has given many seminars all over the USA, and is a leader in Electric Bass education.

    Her Gear:
    Ibanez SRX700 Bass, Thomastik-Infeld Jazz Flats strings, GK MB150S-iii Amp, Ibanez RG321 with Seymour Duncan Humbucker Jazz Pickup Alnico Pro II, George Benson Elec. Jazz Guitar Flat strings etc., TI Benson Flats Strings for Jazz playing.

    Bass used in 1960s studio work: Fender Precision w/Fender Flatwound Strings, always with a pick. Fender Concertone 4-10 amp, then in late 60s, Versatone amp. Danelectro Bass and an Epiphone Emperor.

    A selection of her guitar contributions include:
    La Bamba - Richie Valens
    Zippity Doo Dah - Bob B. Soxx & the Blue Jeans
    Let's Dance - Chris Montez
    Birds & Bees - Jewel Atkens
    The Beat Goes On - Sonny & Cher
    Mexican Shuffle - Herb Alpert
    Surfin' USA - Beach Boys
    Needles & Pins - Cher
    Little Ol' Lady From Pasedena - Jan & Dean
    Dead Man's Curve - jan & Dean
    Surf City - Jan & Dean
    Do You Love me? - Isley Brothers
    The First two Frank Zappa LP's
    plus - recordings with Same Cooke, the O'Jay's, Duane Eddy, Cannonball Adderly, Lou Rawls, Chet baker, Pat Boone, Roger Miller, Neil Diamond, and many more.

    So to this album -
    California Creaming. It's hard not too think it's a play on the big hit of the 60's - California Dreaming by the Mammas and the Papas, but there is no mention of this connection anywhere that I could find.

    The Cd comes with a 4 page fold-out, with four sides full of stories from
    Carol, her personal thanks to various artists and a list of personnel on what is the music she recorded in 1965. In her words, "You're hearing my fellow studio musicians at the most exciting time of our careers - 1965".

    The quality of the writing is good, and the info other sides of the fold out are taken up with drawn pictures, producers notes, a list of some of her credits on other singles, and track list. It is disappointing that there really is no personal information on her early years and not one photo of her.

    So the album has 17 tracks of which tracks 1 to 11 are the originals as she recorded them in 1965. The lead work on tracks 10 and 11 were added by
    Carol in 1996. Tracks 12 and 13 are the original multi-tracks where she played all instruments except for drums.

    Tracks 14 through to 16 are the original playback tracks, where the lead guitar has been left off so the listener can play along and add their own lead lines. Track 17 was recorded in 1996 and features
    Carol talking about her studio sessions on guitar and where, she demonstrates a variety of licks and styles.

    Track Listing

    1. Baia
    2. Soft Winds
    3. Delicado
    4. New Love *
    5. The Searchers
    6. Ice Cream Rock *
    7. Perhaps Perhaps Perhaps (Quizas Quizas Quizas)
    8. Tico Tico
    9. Caramba Samba
    10. So What *
    11. It's Been A Long Long Time
    12. Delicado (Multitrack0
    13. Baia (Multitrack)
    14. So What (Playalong) *
    15. It's Been A Long Long Time (Playalong)
    16. Delicado (Playalong)
    17. Guitar Talk With Carol K

    Composed by Carol K

    As is my usual process in reviews, I start with track 1 on the basis as the first track heard, it should be the "calling card" of the artist. Baia is very much a Latin American track, which I have to admit to having never heard before. Written by Ary Evangelista Barroso, who was a Brazilian composer, it's little wonder that we connect immediately with that style of music while listening as she plays it faithfully to his original piece.

    This is a very laid back track, nicely played and just hinting that there might be some real talent behind the guitar playing.


    Track 3 is Delicado, and it is another South American track, and was recorded by Percy Faith in the 1950's and reached the number 1 position on the Billboard charts making it the most successful version. Other versions are by Stan Kenton, Diana Shore, and, Dr. John.

    When you listen, if you are a Baby Boomer, you may just find find yourself saying something like - "Hey that's a familiar theme" and the chances are it may have been something you heard your parents play on record when you were a child. This is a studio version that Carol lay down with The Hitmen, and we will return to it when we get to track 12.


    Track 5 - The Searchers, is an out and out surf music track. It features most of the "musical themes" the surf groups of the period used and is really a great track to relive that period. Hey check out the use of the "outer limits" theme, nicely worked in with all the other noted "surf music" sounds.

    As an old surf music fan, this was a joy to listen to.

    The Searchers

    Ice Cream Rock - Track 6, is a Carol Kaye original, and it reminded me at first of the guitar playing in a track called
    Percolator (Twist) by Billy Joe and the Checkmates, which was recorded in the early 1960's. In many ways this might be seen as a "simplistic" piece of music, but it is very much in the "instrumental" style of the period. Nonetheless there is some damn fine playing hiding behind the "simplicity"

    Playing her Epiphone

    It is so a 60's track and it shows that Carol certainly mastered that Epiphone.

    Ice Cream Rock

    However if you are yet to be convinced that this girl can play, just check out track 8 - Tico Tico! This is another Brazilian track, but Carol lays down some very nice jazz lines indeed, absolutely cementing claims made that she was indeed a fine jazz musician as well as so many other stylistic varieties. In this track, she keeps that Latin American beat true.

    Tico Tico

    Track 10 - So What, is another Carol Kaye original, and from the opening moment we know this is different to anything previously played. This is funky, this has jazz overtones to a rock beat, this has just a touch of big band sound. I love the sound of the "vibes" as played by Gary Coleman.

    It is a shame that the recording was a little overloaded for short periods, probably in the transfer from analogue to digital - where digital recordings are unforgiving if they level extend past 0Db, but enough of the technical talk, for as they say in all the best "hip" movies of the time - go dig it!

    Now while the original track was recorded in 1965, the main lead line on this was overdubbed by Carol in 1996.

    So What

    Tracks 12 and 13 have been discussed previously, and hopefully listened to, but here they are again. This time Carol re-recorded both Delicado and Baia as multitrack recordings with her playing all instruments, with the exception of drums - and this is REALLY where you hear and witness her talent.

    I have to say while the original version of Delicado (track 3) was good, listening to her in charge of all the instruments (other than drums) is an utter delight. I just wish I had been aware of her talents when I were a younger man because it took me until the 1970's to appreciate that there were some fabulous female musicians - and here was Carol almost 10 years earlier than my 70s moment of realisation that women really can be shit hot players.

    Delicado (Multitrack version)

    Baia (Multitrack version)

    The following three tracks are as recorded by Carol and The Hitmen, without her lead line, so that we, who still like to wrap our hands around the neck of a guitar, get a chance to play along. Nice touch!

    Finally we have track 17 - Guitar Talk with Carol K. This needs no description past saying Carol spends some 16 minutes playing and discussing her playing. It kicks off with her playing the first piece she ever learned, but it is the story that goes along with this and the stories she tells of who influenced her, her styles of playing, it is a both a history lesson and a music lesson.

    I don't care who you are, and how good a player you are - there is something for everyone, from beginners to the highly skilled in this talk.

    Carol playing bass - possibly the best female electric bass player ever!

    The only sad thing is I was really enjoying her stories and musical vignettes, and she was just going to play a piece she had been talking about, when the producers of the CD, ended it - dead cold! Damn!!!

    What a shame other artists haven't done this - I guess it takes a woman, eh? I'd love to play you the lot but if i do, you may not go out and buy the CD - so here is an edited version.

    Guitar Talk with Carol K (An edited selection)

    For a woman who made her name on bass, Carol Kaye (Carol K) is a consummate guitarist - hell she is a consummate artist! Carol is still alive today, still playing and, still teaching. She even offers lessons over Skype!

    A recent picture

    The CD is a rarity as it is, as far as I can ascertain, California Creamin' is the only released Carol K recording of this genre, Carol has a couple of "jazz genre" Cd's and a plethora of tutorials. So this is a must for devotees of guitar, of the 60's, of female musicians, in fact it is a must for collectors.

    Since writing this review I have been made aware by Carol that the copy I purchased in good faith via Discogs is in fact a bootleg pirated copy.

    The company I purchased it from was HOT WIRE RECORDS in Germany. I have made Discogs aware of this and am waiting on a reply.

    I now recommend you purchase directly from Carol - Purchase a legitimate copy by clicking HERE

    Click image for larger version

Name:	Carol-K-and-The-Hitmen-California-Creamin'_Sml-Front-Cover.jpg
Views:	3
Size:	41.0 KB
ID:	77237

    VIDEOS - Sadly there are no clips of carol as a younger player in the 60's, but there are some excellent clips from later years on Youtube.

    Trailer for a proposed documentary on Carol Kaye

    Making of Good Vibrations

    A short piece from her Jazz Workshop

    Carole on surprise hit sessions

    If you are interested in checking out the first fifty vinyl albums reviewed, just click here

    Click image for larger version

Name:	Vinyl_v-sml.jpg
Views:	156
Size:	14.3 KB
ID:	77245

    If you are interested in checking out the first fifty (50) CD's reviewed, just click here

    Click image for larger version

Name:	CDs-and-LPs_Sml.jpg
Views:	56
Size:	42.7 KB
ID:	77246

    If you are interested in checking out reviews 101 to 150 (Vinyl & CD) as reviewed, just click here

    Click image for larger version

Name:	CD-Rack-V_Sml.jpg
Views:	53
Size:	39.4 KB
ID:	77247

    Past album Reviews - Numbers 151 onward:

    Number 151 - The Shaggs: Philosophy Of The World

    Number 152 - The Animals: The Animals

    Number 153 - Omar Khorshid: Live in Australia 1981

    Number 154 - Alan Parsons Project: Tales of Mystery and Imagination (Edgar Allan Poe)

    Number 155 - Billy Thorpe: Tangier

    Number 156 - Aretha Franklin: The Best Of

    Number 157 - Big Bill Broonzy: Big Bill Blues [His 23 Greatest Songs]

    Number 158 - The Supremes: Where Did Our Love Go

    Number 159 - The Band: Stage Fright

    Number 160 - Ray Brown & The Whispers: Hits and More 1965 - 1968

    Number 161 - Guitar Junior: The Crawl

    Number 162 - Jimi Hendrix: Radio One

    Number 163 - Memphis Minnie: Queen Of The Blues

    Number 164 - Eno: Taking Tiger Mountain (By Strategy)

    Number 165 - The Loved Ones: Magic Box

    Number 166 - Various Artists: On The Road Again [An Anthology Of Chicago Blues 1947 - 1954]

    Number 167 - Janis Joplin: Greatest Hits

    Number 168 - David Bowie: Ziggy Stardust

    Number 169 - Red Hot Chili Peppers: Californication

    Number 170 - Chain: Two Of A Kind

    Number 171 - Bob Marley and The Wailers - Legend

    Number 172 - Coco Taylor: What It takes

    Number 173 - Stevie Wonder: Original Musiquarium

    Number 174 - Various Artists: The Unissued 1963 Blues Festival

    Number 175 - Noeleen Batley: Little Treasure

    Number 176 - B.B. King: The Best Of

    Number 177 - Fleetwood Mac: Fleetwood Mac (The White Album)

    Number 178 - Memphis Slim: I Feel So Good

    Number 179 - Manfred Mann's Earth Band: Live Budapest

    Number 180 - Flowers: Icehouse

    Number 181 - Joe Tex: The Best of

    Number 182 - Chicago [Transit Authority]: Chicago Transit Authority

    Number 183 - Deep Purple: The Deep Purple Singles

    Number 184 - The Doobie Brothers: Best of the Doobie Brothers

    Number 185 - Dig Richards: Jive After Five

    Number 186 - Stereo MC's: Connected

    Number 187 - Ricky Nelson: All My Best

    Number 188 - Frank Frost: Jelly Roll King

    Number 189 - Lonnie Mack: Memphis Wham

    Number 190 - Madder Lake: Still Point
    Attached Files
      Posting comments is disabled.





    Latest Articles


    • Listen To Older Voices: Bob Bright - Part 4
      by Rob Greaves
      Welcome to Listen To Older Voices, a program produced Rob Greaves for Wesley Mission Victoria and podcast through the Toorak Times.

      Listen To Older Voices presents the stories, views and opinions of our older citizens. It is predominantly in a life & times format, with interviewees reflecting upon their lives from earliest memories. An underlying principal of the program is to promote the concept of positive ageing, reinforcing the principle that older people have & continue to make a valuable contribution to both their local & wider community.

      11 September 2016, 08:48 AM
    • Cream of The Crate: Album # 200 - Australian Compilation: The Complete Havoc Singles (1971 - 1973]
      by Rob Greaves
      "A really stunning & great looking digi-pack from Aztec Records, compiling all the singles from the Australian Havoc Records label in the 70's." (Record Heaven)
      An excellent collection of early 70's Australian Rock / Pop/."
      (Rock On Vinyl)
      Aztec Music prides itself on preserving Australia's rich music history and with this release, they do it with class and style."
      (This review)

      This is album review number Two Hundred in the series of retro-reviews of both vinyl and CD albums from my collection.
      26 August 2016, 10:32 AM
    • Cream of The Crate: Album # 199 - Lightning Hopkins: The Gold Star Series Vol 1
      by Rob Greaves
      "The blues is born with you. When you born in this world, you were born with the blues. (Lightnin’ Hopkins, 1967)
      Sam (Lightnin') Hopkins, one of the great country blues singers and perhaps the greatest single influence on rock guitar players." (New York Times Obituary, Feb 1, 1982 )
      "These are not necessarily the best known Lightnin' Hopkins tracks, but in many ways that makes this CD even more valuable."
      (This review)

      This is album review number One Hundred and Ninety Nine in the series of retro-reviews of both vinyl and CD albums from my collection.
      19 August 2016, 10:24 AM
    • Cream of The Crate: Album # 198 - John Lennon: Plastic Ono Band
      by Rob Greaves
      "The reality of Plastic Ono Band is that it contains eleven of Lennon’s most accessible and gorgeous melodies and riffs." (Gerry Mullholand - BBC review 2010)
      "An album that will be as much analysed as Sgt. Pepper over the years." (Billboard - 1971)
      It remains one of the most audacious, iconoclastic albums in all of rock and roll." (Guitar World 2016)
      The album certainly shows that he had yet to work through many unresolved matters, and that he still had much anger in him. However he was a brilliant man and knew how to channel these elements in such a way to create some brilliant, memorable and haunting tracks." (This review)

      11 August 2016, 12:14 PM
    • Cream of The Crate: Album # 197 - Sam and Dave: The Best Of
      by Rob Greaves
      "Sam Moore and Dave Prater's string of soul and pop hits made them the '60s' most successful black vocal duo." (The Rolling Stone Encyclopedia of Rock & Roll (Simon & Schuster, 2001)
      "Sam & Dave created some of their century's most enduring music in the pop form." (Stylus Magazine January 2007)
      There can be no argument that as a duo, Sam and Dave introduced the previously successful sound of the black church music, so successfully to pop music." (This review)

      This is album review number One Hundred and Ninety Seven in the series of retro-reviews of both vinyl and CD albums from my collection.
      5 August 2016, 08:52 AM
    • Cream of The Crate: Album # 196 - Ma Rainey: Ma Rainey
      by Rob Greaves
      "Her deep, almost-vibratoless contralto sounded rough and unsophisticated compared to other commercial blueswomen but she projected a great depth of feeling and was adored by audiences." (US Library of Congress
      "Ma Rainey was one of the first singers to popularize the style (the blues)." (Joe McGasko - Bio May 2015)
      When we listen to Ma Rainey, the recordings are very crude, but even so the power and mesmerism of her voice shows that pure talent and commitment to an audience makes Ma Rainey stand out even more today.
      " (This review)

      This is album review number One Hundred and Ninety Six in the series of retro-reviews of both vinyl and CD albums from my collection.
      29 July 2016, 10:18 AM