Each episode on this channel will be a case study into a certain bassist. Throughout the episode, I will discuss some of their playing techniques and demonstrate a variety of their bass lines where these techniues are utilized. The series aims to expand the community awareness and understanding of influential bass players. Legends of bass can be enjoyed by casual or more serious players as well as general music fans.
Omg. When are the fanatics gonna realize the evidence is all out there how the Beatles were not the creators of the majority of their music, nor did they play on all their albums. WAKE UP!
Legends of Bass did a great job. A couple of key points - some of the best bass lines in the Who canon came from Townshend - just listen to Pete's unmatched demos. Also, JE himself said he liked a lot of Pete's lines so much he did not change them. Most of course, he did change, but certainly not all. I saw the Who twice in '76 - great stuff. The other point is, as unhappy as Townshend was with the tapes tour '73, there are many b&w videos from that tour that show how successful they did perform parts of Quadrophenia. One huge problem was that 60's Britian celebreated in Quad was TOTALLY foreign to USA fans. They had no idea what the songs were about. Many had never heard the album. There is nothing remotely similar in our culture. Finally, I know it's sacriliege but the vinyl, original mix of Quad was boring and claustrophobic as hell. It was remixed by JE, in fact. Just listen to Townshend's jaw-dropping demo of Punk & Godfather vs. the original Quad version. Anyway, excellent video.
A really nice piece - thanks for posting it. For me, it's James Jamerson's playing on'You Can't Hurry Love.' That bass line has been used on so many tunes, such as Stevie Wonder's 'Part Time Lover', Hall & Oates' 'Maneater,' and Phil Collins 'Two Hearts' (co-wrote by Lamont Dozier!).
Nice work my man. For the record, the Marshall cabs of so much fame are 4 X 12 cabs, not 2 X 12 as you mentioned. Kinda crucial. Kinda became the signature of any rock band’s backline who wanted to push it just a little further, just over the top. Two 4 X 12 cabs stacked is a full stack, and that just screams, “I am a true rock and roller, respect me and my taste in gear, and fear me and my power which could bruise your very soul!” Yep. That’s what it screams.
Motown Bass in general was always outstanding. Whether it was Jamerson , Babbit or who ever else they had. Jamersons very active way of playing hooked me. Hes a legend.
I found some conflict Carole Kaye claims to have worked on Bernadette ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-q4JWqK6r6N4.htmlsi=W-0lOzOJk5dCY_DI
Found this online Motown's Los Angeles Musician's Union contracts and Kaye's personal session log-this article reconstructs Kaye's involvement with Motown and, in so doing, reevaluates the merits of the Kaye/Jamerson controversy. From these sources, I document that Kaye played on more than 175 songs for Motown, including as many as five Top 40 hits. These sources confirm that Kaye's place in Motown history is larger than her critics would have us believe
No small ffeat to play Jamerson's part on "I Was Made To Love Her". But you nailed it impressively. I don't think any songwriter, producer, or vocal artist could conceive a bass part for their music like what Jamerson would come up with on the spot. He possessed such a great musical sense.He seems always to be seeking out interesting non chord tones and inversions that make every song he plays on uniquely appealling. The amount of shear talent that Berry Gordy was able to assemble for his record label is just astonishing. What an era.
What makes Quad is that there are 4 leads. You can literally listen to each individual all the way through it's entirety. But when you listen as whole you will realize it is the finest album ever written and performed 😉! I honestly believe this to be true...🤣🤣🤣. Sorry
Wow. Hard to believe you could be so wrong about the lyrics of I’m A Boy, and completely miss the point. Maybe you were short on time, and had to rush through it, so just didn’t listen carefully. You stated, “The idea is that the protagonist is a female, but feels inside that they’re a boy.” That’s the complete opposite of the truth and the message of the song!! The song is about a *boy*, whose mother is obsessed with raising him as a girl and he resents it, proclaiming that he’s a boy, and wants to do traditional boy things (that his mother won’t let him do). If you watch the original Who video of the song, it clearly shows this, the boy rebels against the female identity his mother tries to force on him, telling us he’s a BOY!! Frankly it’s child abuse by the mother, but that’s another conversation, lol. Other than that oversight I enjoyed your video, and appreciate all the info (and your bass demos). Thanks! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-QRj-NokS2xI.htmlsi=8Q-hn4hih1g5OR-9
James Jamerson no doubt was the man ) but there were many of equally Superior Musicians who played bass for motown and just like the " Funk brothers " there name aren't ever mentioned _ it's impossible anyway for " James Jamerson to be the soul bass man on so many tracks and sessions _ Berry Gordy would got o clubs and it was " Jazz mus cians " like Jamerson and many others who's skills made those awesome bass lines even a woman named " Carol Kaye " Studio musicians all alike didn't get the name recognition and had their main gigs as Jazz and blues men _ that's why the bass lines sound so great _ Jamerson gets a lot a credit but it was more than him and bob babbett some many more _ even better than most people realize Jamerson did not record all the bass tracks on all the songs he was just one of many musicians just as " record studios have more than one artist _
Thank you so much for this entire series. I have loved John and his playing ever since my mom introduced me to the Who. That's been... thirty years, now? Maybe a bit more. lol Call Me Lightning was first recorded as a demo by Pete in his home studio in 1964 [probably by himself and without John]. I believe the band recorded it in 1968, when the single came out, so my guess is it was recorded specifically for Magic Bus.
A SansAmp D.I. is unnecessary to approach John's overall tone. Turn amp treble almost full up. Turn mids slightly down from halfway up. Turn bass about 3/4 up
Any Presence/Brite on the amp should also be engaged. Use Rotosound Roundwound heavy gauge strings. Fine-tune the tone with your instrument's controls. Turn up and let 'er rip!
Love the video. Definitely John and The Who's most ambitious work. I've been covering Quadrophenia song by song for the last couple years (just finished The Rock)- I noticed an interesting thing in the last few songs: Bell Boy, Dr Jimmy and The Rock are in E flat or have parts in E flat. There are places where, if it was in E, the bass would play an open E or an A as part of a run so you would expect that the bass would be tuned down for these E flat songs. But I think he actually doesn't tune down and still plays low E's and A's but it is so fleeting it doesn't even matter. Only John could get away with that and make it sound good. Also The Rock is the only song I played with a pick, it sounded like he was doing that.
