How did session musicians create music without immediate credit?

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Session Musicians' Contributions Often Uncredited Amidst Industry Practices

Session musicians, such as the late Plas Johnson, frequently contributed to hit records without immediate or direct credit. This practice was often a consequence of industry norms where the focus was placed on the credited artist or band, sometimes to protect their public image or perceived creative ownership. In instances where session musicians developed a distinctive sound or musical arrangement, it was not uncommon for a separate group to be assembled later to perform the music live or be associated with the recording, further obscuring the original contributors' roles.
Omission of Credits to Preserve Band Egos

The names of session musicians were sometimes deliberately omitted from record credits as a means to safeguard the egos of the primary band members. This ensured that the featured artists received the full public recognition for the music, even if the foundational elements were laid by session players. Plas Johnson himself noted in a 2008 documentary that it was not unusual for his work on million-selling records to go uncredited, a situation he described as worse than not being paid for the performance.
Development of Sound Preceding Artist Assignment

In certain production scenarios, session musicians were instrumental in crafting the core musical sound or arrangement for a song. Following the creation of this sonic identity, a band or artist would subsequently be selected or formed to front the music. This process meant that the creative genesis of the track lay with the session players, but the eventual public face of the music might bear little or no direct connection to their initial contributions.
Financial and Recognition Disparities

The lack of credit for session musicians often translated into financial and professional recognition disparities. Johnson highlighted that even when a record achieved significant commercial success, such as selling a million copies, the individuals who contributed musically might not receive any public acknowledgment. This practice could lead to situations where "white kids out of high school" were presented as the performing artists, while the experienced session players who established the sound remained anonymous.

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How did session musicians create music without immediate credit?

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