Nathan, this is how I have done the majority of my work for the past like 10 years... band in a room, no headphones. The hardest part of this will be to get a clear low end from both the kit and the bass when you bring up both instruments. There is little you can do to prevent the bass from leaking into the front of the kit mic [well one of the things you can do is to use a close mic inside the drum and a small speaker on a stand outside the drum... but you lose a measure of the "band in a room" thing by doing that].
I have learned to control this 'bass/kit interaction' by moving the bass amp around until it sounds great with the front of the kit mic, if necessary, having like a 10" speaker that you can put on a stand and aim at the drummer's head can often help... that way you can move the bass player to where he can hear his amp while minimizing the bleed to the 'front of kit' mic also taking the bass DI as well as mic'd can net you a bit better control when it's time to do your final balances.
There is a tool made by "Littlelabs" called the "IBP" ["In Between Phase" device] that can be exceptionally helpful for getting the recorded bass sound to like up with the front of kit mic as well as the other mics on the kit... there are times when having a few of these things [I have 4 in my rig] has really saved my ass.
I'm not sure how they did it at Motown, but at the old Chess studios they attached clip leads to the speakers and ran the output of the amplifiers through some fairly large transformers for recording while the musicians still heard their amp in the room. Personally, I'm not a big fan of doing it this way, but it obviously can be done in that manner.
Snare rattling... not a problem... it wasn't a problem for Led Zeppelin on "Whole Lotta Love", it won't be a problem in your reality either. One thing you will really have to pay attention to while you're doing the "band in a room" thing is that you can't use a whole lot of EQ... everything is dependent on the source tone as well as microphone selection and placement... so if the drums don't sound good in the room, the guitar doesn't sound good in the room... whatever doesn't sound good in the room... it sure as hell ain't gonna sound good when you record it.
You can use 'gobos' to change the reverb time and reflective patterns of the room, they may give you some additional isolation but I wouldn't count on it a whole lot. Believe it or not, the isolation is actually pretty good even with drum mics 3-4 feet from the drums... the only thing I encounter from time to time is a bit of a struggle between the front of the kit mic and the bass.
From what I understand, the old Motown studio was relatively small and dead... the old Chess studio was also relatively small but had a bunch on non parallel hard surfaces... places like Abbey Road and Olympic were great big rooms with high ceilings but overall pretty dead so a band could move a whole lot of air without a whole lot of reflections... a big and reflective room is very often a huge pain in the ass to the proceedings which could be where things like gobos can come in handy.
Best of luck with the project.
