Not sure if you guys gives a shit but if you're bored like me during the covid times then you can stream pretty much all the latest series on InstaFlixxer. Have been streaming with my gf during the lockdown =)
I remember the first time I heard this track it was incredible to me that even with Stevie Wonder’s amazing vocals and harmonica it was James Jamerson’s bass track that jumps out and absolutely drives the whole song…. It says something about your ability when you’re playing with one of the greatest vocalists ever and it’s your rhythm section that stands out so distinctly. Man these folks were so talented!
You can hear the influence all over the Beatles. This isn't Paul McCartney's fault, since he's always been up front about his influences, but people act like he invented good bass lines. And McCartney is very, very good, but most of the time he's in territory that was very much in place before he picked up the instrument.
I laugh at people still thinks she played on this ... listen to good vibrations by The Beach Boys , which she did play on ... then listen to this again... totally different sound... she uses a pick... Jamerson didn’t , plus he put a sponge to change the sound of the bass to a more staccato sound... the difference between the two is extremely noticeably
It is not as clear cut as this- she could get different sounds by using different picks and different techniques- and the Beach Boys archivist reckons her bass playing does not appear on Good Vibrations as released although she definitely played on the sessions, but they did so many takes and mixes, involving so many musicians. We also know that Motown did many sessions in LA before they moved there, many off the Musician Union books, Motown did not keep good records, and did not credit the great musicians that played on their records. The only thing we can say for certain? JJ , SW, CK and BW all made huge contributions to music and their influence lives on today
14 notes in total and not one 4 bar pattern is repeated - verse, chorus, whatever. Ive spent nearly 30 years trying to nail this and I usually fail around the 1:01 mark.
It's the poster's cover. It's a very good take, but hera and there there's just a bit of fret buzz, which, if Jamerson didn't want it, you didn't hear it. That would be an automatic cut.
@@jessejordache1869 It's not fret buzz, it's an amp speaker rattle or some kind of tube distortion. Which is actually very authentic because if you listen to actual Jamerson isolated multitracks you can hear an absolute ton of buzz and drive.
LOL, this is not Carol Kaye.. Carol used a pick on pretty much everything, and did not have this style. This is 100% James Jamerson. You can also tell it is an Early P-Bass with Flats being plucked on the original recording.
@@JonHop1 YES! Carol did have this style! That is Carol! I know Carol! James style is way more complicated, Carols fills are a little more simple then James. She played a Fender with flats ALL the time. Motown matched their tone in the studio, but you can who is who.
@@jankradler5483 Umm, you have NO CLUE what you are talking about, and Im sorry to break it to you... I didnt really want to bring out the big guns here, but you can believe whatever you want... On top of Stevie and literally everyone at Hitsville saying Jamerson was the bassist on this session, Bob Ohlsson is my Uncle. He was literally at this session at Hitsville. Jamerson, was the bassist on this recording. There is literally pictures of that session, with my Uncle, that has Stevie, James and the Funk Brothers, the DAY IT WAS RECORDED at Hitsville! Case Closed bud!..... But just to add, Carol's style is NOTHING like James. Carol was not that good of a bassist! She was simply a genius musician who understood music at a Paul McCartney-level... She was never hired for her individual bass chops.. She was hired because she made recording so much easier because you didnt have to tell her anything. She was just that musically gifted. Also, Carol could fill many roles not just on Bass. Jamerson, was a NIGHT AND DAY more skilled and original bassist. Not even close. Carol was very "by the book" for the most part. Her syncopation and phrasing was by the book, she rarely ever went off track. The reason you can tell this is Jamerson, so clearly, is not just his phrasing here, but his note delays, his chromatics, and his open string usage. Carol rarely ever used open strings. She played further down the neck. And when you watch her play this tune live, she doesnt even play it anywhere like the transcribed Jamerson version that she included in her own book! And lastly, to put the final dagger in, it has been proven scientifically as well though sound imaging software, that this was not Carol. You know why? Because there was no pick signature on any of the notes. Even when muted and edited, the reverberation and resonance of a pick is ALWAYS left on old recordings from the 60's, 70s and 80's.
That is nonsense and has long since been adjudicated false. Carol Kaye did NOT play the bass on this or any other Motown classic hit, cut in Detroit prior to their move to L. A. in the early 70s. This track was laid down in Detroit in 1966 and released in 1967. The legendary Funk Brothers which included James Jamerson among other great but unsung musicians, never recorded with Carol Kaye in the studio nor remotely, during their Golden Age in Detroit circa 1960-70. This fact was verified by Motown songwriters Holland Dozier Holland, in legal proceedings unsuccessfully brought by Kaye, in an attempt to hijack the bass line credits for this and other Motown classic hits. If you knew anything about bass playing, The Motown Sound, or music in general, you would be able to tell the difference in their sound, and the style of play between the two. She used a pick on all of her recordings, he never used a pick! In addition, his well-known string dampened pizzicato outlines, achieved using foam rubber under the strings, (articulated by his singularly omnipresent right index finger which he referred to as "The Hook") gave his Coltrane-like arpeggiated runs their unmistakable signature quality. Carol Kaye is a legendary bass player in her own right, with a legitimate string of well known California based tracks to her credit. This isn't one of them. Moreover, her erroneous claims regarding this matter, and her other legally adjudged, patently false disputes over authorship and bass playing credits for songs in the history of popular music, only serve to tarnish her actual accomplishments. Plagiarism, rather intentional or mistakenly represented, is never an elevatable foundation to build upon. You would think a music industry session giant like her would understand that fact.
Soryy Holmes... you need to have your ears checked (or maybe give up trolling). Anyone who's played bass or even just gets it, and who knows Motown music can feel 'JJ' all over this piece of brilliant work. Listen to 'For Once In My Life' after this and the style might smack you into reality. Carol was very good at what she did - but this wasn't it.
I am sorry but cymbal bleed through the master bass track shows no overdub from Carol Kaye and Papa Zita is Benny Benjamin who she admits to NEVER doing a session with (his name is called at the beginning of the master)....Affidavits from all involved (producers, writers)....no written bassline, all improvised, no horns, only strings and no pick....Sorry but stop already
LA Bass Session great Scott Edwards also, aside from an entire mountain of evidence, called Stevie Wonder, who he worked for in the early 70s, who stated emphatically that it was James Jamerson on HIS released version of this song. Check the TalkBass forum to verify. Listen to the Beach Boys version if you would like to hear Carol Kaye.
![Stevie Wonder- "I Was Made To Love Her"/Interview 1967 [Reelin' In The Years Archives]](http://i.ytimg.com/vi/ykezvBZd35w/mqdefault.jpg)
James Jamerson is pure Legend, no one can touch him when it comes to the Bass.
This is the best bass line I've ever heard. I've been amazed by it since I were a wee lad in the 60s
The improvisational aspect of it is incredible, I wish I had the depth/breadth to play like that!
He got his shit off on this!
My buddy Spencer played this for me note for not back in the early eighties along with the song. He too is a very talented guy.
Me too! Been marveling at its genius all my life❤❤❤❤❤
I was just listening to this song with my wife and I was like that’s gotta be James Jameson 🥲
This is the best bass riffing OF ALL TIME!!
Highly subjective, lol! This is a great line, but have you heard Darling Dear?
@@wmdbassplayer I think we can all agree that JJ was and remains the best!
Not sure if you guys gives a shit but if you're bored like me during the covid times then you can stream pretty much all the latest series on InstaFlixxer. Have been streaming with my gf during the lockdown =)
@Frederick Nixon Definitely, been using InstaFlixxer for years myself =)
I remember the first time I heard this track it was incredible to me that even with Stevie Wonder’s amazing vocals and harmonica it was James Jamerson’s bass track that jumps out and absolutely drives the whole song…. It says something about your ability when you’re playing with one of the greatest vocalists ever and it’s your rhythm section that stands out so distinctly. Man these folks were so talented!
The person who downvoted this has no soul... like literally no soul.
Say that again!!!
But, that person has their opinion--which is wrong! 🤣
They’re probably dead
Probably a guitar player or sound guy because you can actually hear the bass.
Tell the truth! Sounds like he murdered his own soul.....
Listen to "Hey Bulldog" by The Beatles.
Paul loved James and I think you can hear the influence of this song in that one.
You can hear the influence all over the Beatles. This isn't Paul McCartney's fault, since he's always been up front about his influences, but people act like he invented good bass lines. And McCartney is very, very good, but most of the time he's in territory that was very much in place before he picked up the instrument.
Amazing how simple sounding this bass line is and yet so difficult to duplicate
SUPER DIFFICULT! I can't do it...
It's all about muting
I could listen to this over and over. James was the best!
It's unexplainable why it never gets old or boring
Amen to that! Love this Motown stuff and I’m white!
Best Baseline Ever!
James Jameson At His Finest!
This bassline is a balm to my soul
Love all his bass playing but this and Bernadette are my favs. Legendary bass player!!
Check out James on Darling Dear by The Jackson Five.
Sounds so beautiful man you wanna cry 😭😭😭
Thomasville
Thomasville....It Touches the soul my man!
Pure Detroit Genius- thank you James Jamerson! never, ever forgotten-Amen!
Not a man alive today who could match Jameson’s playing/ear
😏😏Yeah the best bassist of all time👍🏾👍🏾
One of my favorite riffs of all time from one of the greatest songs (and performances) in the world.
Simply beautiful
🗣 I BEEN LOOKING FOR A WHILE NOW 👏🏾👏🏾👏🏾👏🏾
And he played with one finger , He called the Hook.
I laugh at people still thinks she played on this ... listen to good vibrations by The Beach Boys , which she did play on ... then listen to this again... totally different sound... she uses a pick... Jamerson didn’t , plus he put a sponge to change the sound of the bass to a more staccato sound... the difference between the two is extremely noticeably
It is not as clear cut as this- she could get different sounds by using different picks and different techniques- and the Beach Boys archivist reckons her bass playing does not appear on Good Vibrations as released although she definitely played on the sessions, but they did so many takes and mixes, involving so many musicians. We also know that Motown did many sessions in LA before they moved there, many off the Musician Union books, Motown did not keep good records, and did not credit the great musicians that played on their records. The only thing we can say for certain? JJ , SW, CK and BW all made huge contributions to music and their influence lives on today
@@hudcrauf it wasnt Carol Kaye... This is 100% JJ's syncopated style.. Carol did not play like this at all...
You did a great job playing this one. Great job locking in with the groove of this tune and rolling with it:)
Well, thank you Lori!
@@PlayBassLines This is the original recording right?
@@bassplayer1966 Actually this is I, playing along with the original with my 1963 P-Bass.
@@bassplayer1966 Here's the link to the old video with the original track playing along ua-cam.com/video/ZfaNiBNmcG4/v-deo.html
I'd like to hear the original but isolated somehow
that song is a miracle of groove....JJ did not give a f*ck...@ 2:10
Killer bass line
James was a fucking monster…
Amazing, but is his G string tuned slightly sharp?
14 notes in total and not one 4 bar pattern is repeated - verse, chorus, whatever. Ive spent nearly 30 years trying to nail this and I usually fail around the 1:01 mark.
👍🏼
Good cover my friend
Did you know Stevie Wonders first job was the lookout man on The Titanic !! 😎😎
Too soon. Lol
That before he became blind bro.😯
If you say so .. BRO ! Pmsl 😂
And he played it with one finger.
You don't realize how much is going on until you hear the bassline by itself. At least with my cheap-ass equipment.
It was Carol kaye on the recording. She also played guitar on labamba.
Lol I see what you did there...🤣 but Stevie didn't
it was not... It was Jamerson
Romans 10:9
Because, if you confess with your mouth that Jesus is Lord and believe in your heart that God raised him from the dead, you will be saved.
This isn't Jameson...its someone else....I've studied the great man enough to know this is FAKE
It's the poster's cover. It's a very good take, but hera and there there's just a bit of fret buzz, which, if Jamerson didn't want it, you didn't hear it. That would be an automatic cut.
@@jessejordache1869 It's not fret buzz, it's an amp speaker rattle or some kind of tube distortion. Which is actually very authentic because if you listen to actual Jamerson isolated multitracks you can hear an absolute ton of buzz and drive.
@@Cloud-xw8nksame with McCartney post 66 - his tone wasn't anything special, and wasn't clean in the slightest. But hell fire, it worked.
This is actual Carol Kaye on bass!
Hey Jank, actually it's not Carol Kaye. I recorded along the original song, it is my performance of James Jamerson's bassline.
Carol played with a pick. Maybe she played on Tom Jones version ua-cam.com/video/VRv0N6LKwWg/v-deo.html
LOL, this is not Carol Kaye.. Carol used a pick on pretty much everything, and did not have this style. This is 100% James Jamerson. You can also tell it is an Early P-Bass with Flats being plucked on the original recording.
@@JonHop1 YES! Carol did have this style! That is Carol! I know Carol! James style is way more complicated, Carols fills are a little more simple then James. She played a Fender with flats ALL the time. Motown matched their tone in the studio, but you can who is who.
@@jankradler5483 Umm, you have NO CLUE what you are talking about, and Im sorry to break it to you... I didnt really want to bring out the big guns here, but you can believe whatever you want... On top of Stevie and literally everyone at Hitsville saying Jamerson was the bassist on this session, Bob Ohlsson is my Uncle. He was literally at this session at Hitsville. Jamerson, was the bassist on this recording. There is literally pictures of that session, with my Uncle, that has Stevie, James and the Funk Brothers, the DAY IT WAS RECORDED at Hitsville! Case Closed bud!..... But just to add, Carol's style is NOTHING like James. Carol was not that good of a bassist! She was simply a genius musician who understood music at a Paul McCartney-level... She was never hired for her individual bass chops.. She was hired because she made recording so much easier because you didnt have to tell her anything. She was just that musically gifted. Also, Carol could fill many roles not just on Bass. Jamerson, was a NIGHT AND DAY more skilled and original bassist. Not even close. Carol was very "by the book" for the most part. Her syncopation and phrasing was by the book, she rarely ever went off track. The reason you can tell this is Jamerson, so clearly, is not just his phrasing here, but his note delays, his chromatics, and his open string usage. Carol rarely ever used open strings. She played further down the neck. And when you watch her play this tune live, she doesnt even play it anywhere like the transcribed Jamerson version that she included in her own book! And lastly, to put the final dagger in, it has been proven scientifically as well though sound imaging software, that this was not Carol. You know why? Because there was no pick signature on any of the notes. Even when muted and edited, the reverberation and resonance of a pick is ALWAYS left on old recordings from the 60's, 70s and 80's.
Sorry to disillusion you young man but Carol Kaye played on the actual recording.. They just couldn’t sober ol JJ up for the session ! Lol 🥃
That is nonsense and has long since been adjudicated false. Carol Kaye did NOT play the bass on this or any other Motown classic hit, cut in Detroit prior to their move to L. A. in the early 70s. This track was laid down in Detroit in 1966 and released in 1967. The legendary Funk Brothers which included James Jamerson among other great but unsung musicians, never recorded with Carol Kaye in the studio nor remotely, during their Golden Age in Detroit circa 1960-70. This fact was verified by Motown songwriters Holland Dozier Holland, in legal proceedings unsuccessfully brought by Kaye, in an attempt to hijack the bass line credits for this and other Motown classic hits.
If you knew anything about bass playing, The Motown Sound, or music in general, you would be able to tell the difference in their sound, and the style of play between the two. She used a pick on all of her recordings, he never used a pick! In addition, his well-known string dampened pizzicato outlines, achieved using foam rubber under the strings, (articulated by his singularly omnipresent right index finger which he referred to as "The Hook") gave his Coltrane-like arpeggiated runs their unmistakable signature quality.
Carol Kaye is a legendary bass player in her own right, with a legitimate string of well known California based tracks to her credit. This isn't one of them. Moreover, her erroneous claims regarding this matter, and her other legally adjudged, patently false disputes over authorship and bass playing credits for songs in the history of popular music, only serve to tarnish her actual accomplishments. Plagiarism, rather intentional or mistakenly represented, is never an elevatable foundation to build upon. You would think a music industry session giant like her would understand that fact.
Soryy Holmes... you need to have your ears checked (or maybe give up trolling). Anyone who's played bass or even just gets it, and who knows Motown music can feel 'JJ' all over this piece of brilliant work. Listen to 'For Once In My Life' after this and the style might smack you into reality. Carol was very good at what she did - but this wasn't it.
I am sorry but cymbal bleed through the master bass track shows no overdub from Carol Kaye and Papa Zita is Benny Benjamin who she admits to NEVER doing a session with (his name is called at the beginning of the master)....Affidavits from all involved (producers, writers)....no written bassline, all improvised, no horns, only strings and no pick....Sorry but stop already
LA Bass Session great Scott Edwards also, aside from an entire mountain of evidence, called Stevie Wonder, who he worked for in the early 70s, who stated emphatically that it was James Jamerson on HIS released version of this song. Check the TalkBass forum to verify. Listen to the Beach Boys version if you would like to hear Carol Kaye.
NOPE
Nice try, but...
*Thank you.*
what are you doing? You can't post porn on UA-cam
Doesn’t sound like Jamerson to me
May be Wilton Felder