Thank you for posting that. Wow, Mustang Sally. Yea, I been playing bass since 1974 and I remember that song being brought up so, so many times. I did it, well we did it and no matter how off to the left or the right we did the tune, it mostly went over due to the condition of the listeners at that point. Well, one day when I was home practicing new tunes that our band was doing, I remember we discussed that It would be a good idea to actually get the dam song Mustang Sally down right, as best we can. Let me tell ya, Im talking the year 2001 when technology was just not what it was today. So, I had to do this the hard way. I sat back and just listened to the dam song over and over until I had to pick up the bass and try. I am a very good " pick up by ear " bassist but Dam, I could not get the lick perfect. I had to try different headphones, studio monitors and equalize until I thought I had it right. When I finally got it ( that same thing you just showed us on your video ) I sat there trying to sink in the riff and I thought to myself, No No, this aint the dam lick! So I started playing along with the record like I did at the start. Holy Crap! It took me 4 hours to get the Mustang Sally lick! I felt stupid and satisfied at the same time. Thank you for sharing that. Helps me even more to believe I got that dam song down right. Now, it's actually more fun to play!
I probably never got the notes right, but nearly every time I’ve played that song it was the Buddy Guy version, which just murders the beautiful syncopation of the WP version. Drove me to the brink of despair some nights!
At 53 years old I’ve never heard this song one time on the radio. I had a music store for 4 years and never sold a copy. I’m intrigued by the fascination with bands playing this song in clubs. I honestly don’t get it. Played in bands in my youth, and this song was never requested. Yet every time I go see a live band, the song is always played. Glad there’s a tutorial to get it right.
Dave: You're not quite old enough. At the age of 70.5, I can tell you it burned up the AM airwaves during my early teens. I'd say this and Midnight Hour were the two most played songs by Wicked Pickett that I can recall. How it got to be a club favorite I'm not quite sure, but if I had a dollar for every time I've played it beginning at age 14...Certainly it was due in large part to the renaissance the song enjoyed in the early 90's with the movie, and soundtrack to "The Commitments." It's an infectious, greasy groove when it's not over-executed by a drunken bar band. And nobody on this planet sings it like Wilson did!
Greg I'm 70 and agree 100 % with your post. In the mid to late 60's I lived in Michigan 60 miles from Detroit and Mustang Sally and Midnight Hour got CONSTANT airplay on every station. I've played many times.
The real reason bassists get this wrong is because we can't be bothered to actually learn it. You know you get the song list and this one always gets pushed to the "it's just a 1-4-5 with a groove" pile. Well now I know it, so thanks! I might still play it wrong on purpose though. I like to do like a funky shout chorus under it.
A great breakdown! Nice that people study and appreciate the skills these "old-school" musicians had. They didn't "overthink" things, had some knowledge of theory but mostly used instinct from tradition. Music is Rhythm and Pulse in the foundation, with the vocals providing Melody while telling a Story. Learning how to interact and mind-meld within the Pulse is the key to being a good player, and not just an ego-tripper Thank you!
Partly true but most of the 60s session players had a jazz background. Learning to play walking lines and solo had a huge influence on the lines they played.
This song has the Muscle Shoals legendary rhythm section “The Swampers” on its track. These guys just knew how to groove. They don’t have much background in jazz either to my knowledge but they were amazing players
@@talkingbasslessons Cogbill played jazz guitar before becoming a studio player. The jazz background seems a parallel with Jamerson and how they both use a lot of chromatics. Really sounds like any 'out' choices he made were entirely deliberate (such as the major/dominant against minor in Chain of Fools).
Damn I have been playing this song wrong all these years. I even played with Eamonn Flynn, the road keyboard player for the Commitments for a few years. When I see him next and show him this riff, I am curious to his reaction.
I disagree. Taking the bass line in context with the sax riff, the note on the down beat is definitely the C, preceded by a B natural on the last eighth note of the preceding bar, played by both sax and bass. The next notes are G, B flat, B natural, all played on the eight notes. The sequance moves up a fourth and then back down. When this came out in 1965 I was the organist and arranger for a Motown(and Stax and Atlantic) covers band and I spent a lot of time working this out
That's how I'd actually heard it in the recording when learning the song for a covers band three years ago, but it sounded 'wrong' to my ears so I omitted the A and moved the B in its place, followed by two C 8th notes on the '1' beat 😁
I imagine a lot of people, like me, learned this a lot of years ago off a 4th or 5th hand cassette copy where any hope of hearing all the original bassline was long gone so we either played 1)what fit the bog standard major or minor chords the guitarist played (see the theory bit) 2) what our mate, mentor or bassist you admired in the local pub played 3) used the version "The Commitments" played or 4) played something different every night just to keep it interesting. I never dreamt back then we'd have access to the sort of technology that allows us to isolate these barely audible parts. Now all you (still) gigging bassists have to do is make the rest of your bands play the correct parts too 😂😂😂 thank you for a really interesting post. Now subscribed.
Mark ! ! ! Thank you so very much for this break down of Mustang Sally.... Like you have said trying to pick it out of an old 45 rpm record is tough. I have had countless arguments and a few "your fired" over this tune in the 50+ years I have been playing it. I discovered some cities different are adamant about how they perform certain oldies among the local musical populations. Your presentation style is terrific. I have been a long time lurker on Talking Bass. Thanks again. Maybe a Word on "Peter Gun" next time. :) 🤣
Kudos to you for isolating the authentic bass line. The only question I would have is, is that the best bass line for the song? The slide up from B to C on the first beat suits me fine, as does the slide from F# to G on the way back up. However the choice of the 6th (A) note instead of going to Bb, irks my ear a bit. I tend to think that the song works in spite of that choice, and because under all the instruments, the bass riff is murky anyway. In a perfect world I would lose that 6th and use the 7th.
Great video sir!!! I began 45 years ago finger plucking because, frankly, almost none of my bass heroes used a pick. I began experimenting after 3 years or so and really fell hard for the plectrum. I use the big Fender triangle heavy gauge. I found that by varying my hold location, I can get more or less flexibility and there's plenty of surface area to work with. Plus, when sweat becomes a factor, you can spin the pick to catch the closest point if it slips. Just my take on the subject. I realize it isn't for everyone.
Great analysis - your playing makes Mustang Sally almost palatable. I possibly have to play this at a jam night tomorrow and a private party on Sunday. Your insight has been invaluable. Let's hope I can keep with the proper bass line... lol
Very true that's why no matter if you play it right or wrong as long as Everybody Plays the same thing it sounds good to those listening out in the audience.
Sorry to disagree with most of the folk on here! But I think "Wrong" in the title is putting it strong, unless you're determined to play it exactly as Pickett's original - but frankly, most people - bassists, other players and most importantly the audience - will be far more familiar with the Commitments version. IMHO it's one of those rare cases where the cover surpassed the original - cleaner, somehow funkier. So, sorry, I'll be sticking to C-F#-G-Bb-C the way I've always played it Thanks for the tips re. isolation software, will no doubt come in handy in the future. Cheers John
Thanks for this Mark. After playing this for 30 years in The Solicitors (incorrectly, I might add), we finished last December, so I’m glad I don’t have to adapt this now lol. Keep giving fella…
DUDE!! Thanks! I never quite felt completely comfortable playing this song. I incorporated pretty much every version you played at the beginning. But now I can at least fake it better!! LOL!!
Never ceases to amaze me how great those Alabama white boys were. The guitar parts on MS are absolutely brilliant. Nobody plays then right either! Usually just some random idea of “funky “ with a bunch of 7th and 9th chords. There are only major chords being used. One is doing a v Cool riff using octaves (like Wes Montgomery). The other guitar is playing a Chuck Berry type of double stop parts. Anyway, great video! You got a new subscriber!
Nice work but I can't let you get away with saying the original version is by Wilson Pickett when in fact the tune's writer Sir Mack Rice recorded it a year earlier!
This was a great vid &, like almost everyone, I've not played it correctly most of the time. For the record, though, the original was the songwriter, R&B/soul artist Sir Mack Rice's, version released in 1965. Wilson covered it a year later & had the big hit.
That B natural works, as do most chromatic runs, because it's a tritone substitute. In this case it's a tritone substitute for the F which is the fourth in a C7.
It’s not a tritone sub. It’s just a basic chromatic approach into the C7. It’s the accented beat that makes it odd. Tritone substitutions are a very different thing.
Super Freak has a alternating riff that no bar band uses. I’m a guitarist in a funk groove band and nobody plays like the record of the songs we play just the hooks. Which is actually nice because I can kind of jam on the tunes.
This may sound musically blasphemous to some, but I think the original bass line sounds a bit herky jerky with no real groove to it. So I made up my own bass line using almost the exact same notes and it really puts some funk into the song (no, it's not slap & pop). I just play the line in a different way.
I bought the R&B Bass Bible HAL LEONARD, Bass recorded version. On page 100 has Mustang 🐎 Sally words and music by Bonny Rice. I don't think there is a wrong way of playing it really, the public don't give a 💩 how it's played, especially if they are hammered mate!! Are they going stop 🛑🖐️ you? Say hey!! You are playing it wrong 🤣, NO. Tommy Cogbill and Donald Duck Dunn, John Paul Jones are my top three bassists. They influence me on becoming a bassist.
Been doing covers for over 50 yrs., still pulling some of these old gems out cuz some clown yells out, "Mustang Sally" and you just automatically latch on to who ever kicks it off and try to adjust to the tempo/feel/key of what's going on. Not exactly easy when you might know the correct bass line and it doesn't mesh with the aforementioned variables. The crowd does not give a rat's Ash what you're doing. They want to dance to something that sounds like Mustang Sally and sing in the chorus. Just play, and shut the hell up and drink the free beer the guy bought you for playing his friggin' request. Ain't nobody cares who's fucking bass line you are trying to create. Give yourself a big gold star because you learned the correct MUSTANG SALLY BASSLINE! NOW, sit in your basement and relearn PROUD MARY and most everything else you've ever played wrong and try to teach your band to do the same. See where that gets you!
@@mytoosents8998 Someone here has some anger issues!! You didn't get hugged enough? There will always be some drunks idiots, yell shit at the band and throw shit at the band stand. The band play the tunes and play at the tempo, if you have adjust it oh well. The crowd has deal with it, you are going to get payed anyway for the gig. I had a drunk at a blues club jam session tell how much I sucked, and the argument got heated. Security and some friends broke it by before our fight got out of hand.
Well done! 💪 Just a question... Sorry if it was already asked... What kind of dr strings do you use? I have a squier p bass cv 70 with lindy fralyn pickup and i'm actually using thomastik.
Ah yes, lalal.ai. I've been using that a lot to create rhythm tracks to work on vocals against. A completely Brilliant and powerful tool. Hadn't applied it to this song though. I've been playing this completely wrong forever as well, so thank you for providing me with the means to correct that.
Sometimes it's hard to pick out the fundamental notes from a recording, so we're stuck with using some music theory to fill in the gaps. Which is why I always played C (1) F# (b5) G (5) Bb (b7). I guess I was wrong.
I like that you used math to solve Master of Puppets and used AI to solve Mustang Sally. Kids these days will never know what it's like transcribing from a cassette tape that someone else recorded off the radio.
Well, it turns out that because I didn't know how to play it, I played it right! 😄 A muted open string before leading up to the root note from the flat is my main bass technique when I don't know what to play! 😁
As a guitarist played this old number many times I don't doubt for a second you got it right but whare this old song has been butcherd over the years and ime included in this confusion reigns man !
Thank you so much. I love blues, Rhythm and blues, Country and western, of course 50s 60s 70s rock and roll. I play Rhythm Guitar it is time to play bass. How about getting both on one body. 😁😁
my band played the Young Rascals version of this song a year before Pickett's cover was released.....we did play it quite a bit faster than the Rascals as it was a better dance song at a faster speed....
Really interesting! Funny how dodgy one can play this song in a covers band and still get away with it. This is one of those be told the changes and be shown the rough feel of the riff and your ready to go type songs.
This is a great video, but you never sing the words so I have no idea where the first note comes in. I can't find the beat....are the first two notes (the B leading to the C) a lead in, or are they played on the one beat?
Hi Mark. No offense but I think you're wrong. I don't know which version of the song have been submitted to the track-splitting app but it's not what I'm hearing on my side. The timing on your chart is bad too, first beat on the C, not F#G. The part is easier: C__F#G_BC__F#G_BC__F#GCF#_F__... I made a complete tab transcript that I think is more accurate if you are interested. I put some time on that song because someone said to me that graduating students in bass from several reknown music schools were not even able to play it right.
On the isolated track, it sounds to me like F natural, not F#. Maybe it's the motion that's more important than the actual chord tone, with the super muddy P-bass sound... Thanks for the breakdown!
I've always wondered about this line and this is correct. But just try getting a guitar player to hear it. I've actually played this with Sir Mack Rice, and he told me to just "play it like the Buddy Guy version". Ha!
The Thrill is Gone uses the same chromaticism approach… was popular back in the day and today of course in Jazz and rockabilly.. but you have to take into account that a lot of those early bass lines were trying to replicate double basses… ( think fretless and flat wound strings ) one would need to be careful in hitting a full on B especially if you have a heavy handed keyboard player playing the b7th…. Just food for thought…..
Cogbill was part of the Swampers and on some of the earlier recordings where Cogbill was playing bass, Hood played in the horn section. From an email exchange I had with Hood, his words, "Tommy Cogbill was a friend as well as a great inspiration (even a hero) of mine, so I really kept up with all of his recordings in Muscle Shoals." Both fantastic players.
Is the lighting super weird in this shot? I'm getting a black/blue or gold/white dress vibe from your pickguard. My brain keeps telling my that's just a white pickguard in dim lighting, but the lighting doesn't seem to be dim, so I'm thinking it's a flat-gold?
![Kodak Black - Versatile 4 [Official Video]](http://i.ytimg.com/vi/VcP_1Ua__vY/mqdefault.jpg)
Lesson material here: www.talkingbass.net/mustang-sally-why-every-bassist-plays-it-wrong-tabs-and-tutorial/
This is such a funky bassline for a simple blues progression. The rhythmic placement of everything is *chefs kiss* 👌
Really hope you've planned a whole series of these "pub standards"! Great stuff as always Mark, cheers
When I wake up..
Thank you for posting that. Wow, Mustang Sally. Yea, I been playing bass since 1974 and I remember that song being brought up so, so many times. I did it, well we did it and no matter how off to the left or the right we did the tune, it mostly went over due to the condition of the listeners at that point.
Well, one day when I was home practicing new tunes that our band was doing, I remember we discussed that It would be a good idea to actually get the dam song Mustang Sally down right, as best we can.
Let me tell ya, Im talking the year 2001 when technology was just not what it was today. So, I had to do this the hard way.
I sat back and just listened to the dam song over and over until I had to pick up the bass and try. I am a very good " pick up by ear " bassist but Dam, I could not get the lick perfect. I had to try different headphones, studio monitors and equalize until I thought I had it right.
When I finally got it ( that same thing you just showed us on your video ) I sat there trying to sink in the riff and I thought to myself, No No, this aint the dam lick! So I started playing along with the record like I did at the start. Holy Crap! It took me 4 hours to get the Mustang Sally lick!
I felt stupid and satisfied at the same time.
Thank you for sharing that. Helps me even more to believe I got that dam song down right.
Now, it's actually more fun to play!
Dam more fun to play.
I probably never got the notes right, but nearly every time I’ve played that song it was the Buddy Guy version, which just murders the beautiful syncopation of the WP version. Drove me to the brink of despair some nights!
At 53 years old I’ve never heard this song one time on the radio. I had a music store for 4 years and never sold a copy. I’m intrigued by the fascination with bands playing this song in clubs. I honestly don’t get it. Played in bands in my youth, and this song was never requested. Yet every time I go see a live band, the song is always played. Glad there’s a tutorial to get it right.
This is why: ruclips.net/video/jJDOf5mEWs0/видео.html
Dave: You're not quite old enough. At the age of 70.5, I can tell you it burned up the AM airwaves during my early teens. I'd say this and Midnight Hour were the two most played songs by Wicked Pickett that I can recall. How it got to be a club favorite I'm not quite sure, but if I had a dollar for every time I've played it beginning at age 14...Certainly it was due in large part to the renaissance the song enjoyed in the early 90's with the movie, and soundtrack to "The Commitments." It's an infectious, greasy groove when it's not over-executed by a drunken bar band. And nobody on this planet sings it like Wilson did!
Greg I'm 70 and agree 100 % with your post. In the mid to late 60's I lived in Michigan 60 miles from Detroit and Mustang Sally and Midnight Hour got CONSTANT airplay on every station. I've played many times.
It was a meme before memes. The Stairway to Heaven for bar bands. Lord spare me
@@geraldfriend256 you are spared my son, go in peace and serve the groove.
I always played BC F# G.. Never heard the A or Bb ever. Learn something new everyday.
The commitments is one of the greatest films ever!! 🇮🇪
Legend doesn’t even begin to describe session players like Tommy Cogbill.
Tommy Cogbill is unarguably the most underrated bassist of all time. Period.
The real reason bassists get this wrong is because we can't be bothered to actually learn it. You know you get the song list and this one always gets pushed to the "it's just a 1-4-5 with a groove" pile.
Well now I know it, so thanks!
I might still play it wrong on purpose though. I like to do like a funky shout chorus under it.
There is no right or wrong way....it's a jam, interpet it anyway you'd like.....is there only one way to play "Feelin' Alright"?
Doug is all up and down this page trumpeting his hackdom
To be fair, the bass subtleties are extremely difficult to pick up. The software Mark used cleared things up a bit.
A great breakdown! Nice that people study and appreciate the skills these "old-school" musicians had. They didn't "overthink" things, had some knowledge of theory but mostly used instinct from tradition. Music is Rhythm and Pulse in the foundation, with the vocals providing Melody while telling a Story. Learning how to interact and mind-meld within the Pulse is the key to being a good player, and not just an ego-tripper
Thank you!
Partly true but most of the 60s session players had a jazz background. Learning to play walking lines and solo had a huge influence on the lines they played.
This song has the Muscle Shoals legendary rhythm section “The Swampers” on its track. These guys just knew how to groove. They don’t have much background in jazz either to my knowledge but they were amazing players
@@talkingbasslessons Cogbill played jazz guitar before becoming a studio player. The jazz background seems a parallel with Jamerson and how they both use a lot of chromatics. Really sounds like any 'out' choices he made were entirely deliberate (such as the major/dominant against minor in Chain of Fools).
Every time I play it I have to follow the guitar player as usual!
Guitar players love to play their version of the bass parts.
Nicely done Mark. A must know for bassists everywhere. Thank you for sharing your work.
Damn I have been playing this song wrong all these years. I even played with Eamonn Flynn, the road keyboard player for the Commitments for a few years. When I see him next and show him this riff, I am curious to his reaction.
I disagree. Taking the bass line in context with the sax riff, the note on the down beat is definitely the C, preceded by a B natural on the last eighth note of the preceding bar, played by both sax and bass. The next notes are G, B flat, B natural, all played on the eight notes. The sequance moves up a fourth and then back down.
When this came out in 1965 I was the organist and arranger for a Motown(and Stax and Atlantic) covers band and I spent a lot of time working this out
Correction: Pickett's version was not a hit in the UK until 1967, so it would have been later in that year when I analysed it for the band
That's how I'd actually heard it in the recording when learning the song for a covers band three years ago, but it sounded 'wrong' to my ears so I omitted the A and moved the B in its place, followed by two C 8th notes on the '1' beat 😁
I imagine a lot of people, like me, learned this a lot of years ago off a 4th or 5th hand cassette copy where any hope of hearing all the original bassline was long gone so we either played 1)what fit the bog standard major or minor chords the guitarist played (see the theory bit) 2) what our mate, mentor or bassist you admired in the local pub played 3) used the version "The Commitments" played or 4) played something different every night just to keep it interesting. I never dreamt back then we'd have access to the sort of technology that allows us to isolate these barely audible parts. Now all you (still) gigging bassists have to do is make the rest of your bands play the correct parts too 😂😂😂 thank you for a really interesting post. Now subscribed.
Mark ! ! ! Thank you so very much for this break down of Mustang Sally.... Like you have said trying to pick it out of an old 45 rpm record is tough. I have had countless arguments and a few "your fired" over this tune in the 50+ years I have been playing it. I discovered some cities different are adamant about how they perform certain oldies among the local musical populations. Your presentation style is terrific. I have been a long time lurker on Talking Bass. Thanks again. Maybe a Word on "Peter Gun" next time. :) 🤣
Kudos to you for isolating the authentic bass line. The only question I would have is, is that the best bass line for the song? The slide up from B to C on the first beat suits me fine, as does the slide from F# to G on the way back up. However the choice of the 6th (A) note instead of going to Bb, irks my ear a bit. I tend to think that the song works in spite of that choice, and because under all the instruments, the bass riff is murky anyway. In a perfect world I would lose that 6th and use the 7th.
Man, he just did not care whether those are dominant chords or what. You gotta love that.
Great video sir!!! I began 45 years ago finger plucking because, frankly, almost none of my bass heroes used a pick. I began experimenting after 3 years or so and really fell hard for the plectrum. I use the big Fender triangle heavy gauge. I found that by varying my hold location, I can get more or less flexibility and there's plenty of surface area to work with. Plus, when sweat becomes a factor, you can spin the pick to catch the closest point if it slips. Just my take on the subject. I realize it isn't for everyone.
This is not only instructional but very funny, Mark. I tend to do the Commitments version, but this is very interesting too!
Commitments version here, too.
Great analysis - your playing makes Mustang Sally almost palatable. I possibly have to play this at a jam night tomorrow and a private party on Sunday. Your insight has been invaluable. Let's hope I can keep with the proper bass line... lol
As a bassist I have found that even if you play the part right, it wont sound "right" if everyone else doesn't play their part correctly. Lol
Amen!!!! And “Thank you!”
Very true that's why no matter if you play it right or wrong as long as Everybody Plays the same thing it sounds good to those listening out in the audience.
Exactly.
Comment on appelle un mec qui accompagne des musiciens ? Un bassiste 😅 ou on l’appelle pas humour
Sorry to disagree with most of the folk on here! But I think "Wrong" in the title is putting it strong, unless you're determined to play it exactly as Pickett's original - but frankly, most people - bassists, other players and most importantly the audience - will be far more familiar with the Commitments version. IMHO it's one of those rare cases where the cover surpassed the original - cleaner, somehow funkier.
So, sorry, I'll be sticking to C-F#-G-Bb-C the way I've always played it
Thanks for the tips re. isolation software, will no doubt come in handy in the future. Cheers John
Cool, I love how he laid that in there. sounds a bit not right at first but makes perfect sense and sounds great.
That bass line is now forever stuck in my head ‼️Thanks, can't wait to play it 😍 🎸 #funkyfine
After playing this any old way, a new challenge! Great job. I might actually learn to unhate this for awhile.
Thanks for this Mark. After playing this for 30 years in The Solicitors (incorrectly, I might add), we finished last December, so I’m glad I don’t have to adapt this now lol. Keep giving fella…
This is the sound that made Tommy Gogbill Great. He created a great bass line without stepping on else's original music.
That's Cogbill
I play the same part that is on the record by Wilson Pickett. Fairly straightforward.
@Wayne Green My point is- it's easy. Nothing fancy about it.
Oh man the memories, 1966-1970 started in high school , top 20 stuff included lots of Motown plus British Invasion .
I really like that you call the notes. and write the music.
If you're gonna do Mustang Sally you're gonna have to do Brown Eyed Girl 😁
Just no Wagon Wheel or Turn the Page without a $100 donation to the band
....and “Hi ho, silver lining”
@@emmanuelacharithayamim3627 well…that’s another one people play wrong. The first chord!
@@talkingbasslessons For me personally there really is no "wrong" way to play anything; just good and bad 😉
@@dlawlisBig tip: Do NOT take a gig with an orchestra.
DUDE!! Thanks! I never quite felt completely comfortable playing this song. I incorporated pretty much every version you played at the beginning. But now I can at least fake it better!! LOL!!
You play it your way and I’ll play it MY way. 😎
Never ceases to amaze me how great those Alabama white boys were. The guitar parts on MS are absolutely brilliant. Nobody plays then right either!
Usually just some random idea of “funky “ with a bunch of 7th and 9th chords. There are only major chords being used. One is doing a v
Cool riff using octaves (like Wes Montgomery). The other guitar is playing a Chuck Berry type of double stop parts.
Anyway, great video! You got a new subscriber!
I just used your video while teaching a bass lesson. Thank you very much for this.
Nice work but I can't let you get away with saying the original version is by Wilson Pickett when in fact the tune's writer Sir Mack Rice recorded it a year earlier!
Amazing lesson!! Easyly explained and easy to understand. Thanks a lot.
This was a great vid &, like almost everyone, I've not played it correctly most of the time. For the record, though, the original was the songwriter, R&B/soul artist Sir Mack Rice's, version released in 1965. Wilson covered it a year later & had the big hit.
That B natural works, as do most chromatic runs, because it's a tritone substitute. In this case it's a tritone substitute for the F which is the fourth in a C7.
It’s not a tritone sub. It’s just a basic chromatic approach into the C7. It’s the accented beat that makes it odd. Tritone substitutions are a very different thing.
Thank you for showing this bass line, and the song, some proper respect, it's been trashed for far too long!
Super Freak has a alternating riff that no bar band uses. I’m a guitarist in a funk groove band and nobody plays like the record of the songs we play just the hooks. Which is actually nice because I can kind of jam on the tunes.
Very cool. Once you hear it it's quite obvious but very useful breakdown
Starting to play bass in the band ... giving the guitar a rest .... great info thanks
Pretty darn cool discovery, mister…hats off to you
A terrific lesson Mark. Thanks.
OK what a shock, I played it always wrong the last 40 years....thanks! and all the bass-t from kayo
Excellent. Just listened to the original recording. Wow that’s really cool.
GREAT, THANKS for showing the notation. I like how you teach.
This may sound musically blasphemous to some, but I think the original bass line sounds a bit herky jerky with no real groove to it. So I made up my own bass line using almost the exact same notes and it really puts some funk into the song (no, it's not slap & pop). I just play the line in a different way.
Excellent lesson!
Very cool subject and lesson, thanks.
I bought the R&B Bass Bible HAL LEONARD, Bass recorded version. On page 100 has Mustang 🐎 Sally words and music by Bonny Rice. I don't think there is a wrong way of playing it really, the public don't give a 💩 how it's played, especially if they are hammered mate!! Are they going stop 🛑🖐️ you? Say hey!! You are playing it wrong 🤣, NO.
Tommy Cogbill and Donald Duck Dunn, John Paul Jones are my top three bassists.
They influence me on becoming a bassist.
AMEN, Brother!!
Been doing covers for over 50 yrs., still pulling some of these old gems out cuz some clown yells out, "Mustang Sally" and you just automatically latch on to who ever kicks it off and try to adjust to the tempo/feel/key of what's going on. Not exactly easy when you might know the correct bass line and it doesn't mesh with the aforementioned variables. The crowd does not give a rat's Ash what you're doing. They want to dance to something that sounds like Mustang Sally and sing in the chorus. Just play, and shut the hell up and drink the free beer the guy bought you for playing his friggin' request. Ain't nobody cares who's fucking bass line you are trying to create. Give yourself a big gold star because you learned the correct MUSTANG SALLY BASSLINE!
NOW, sit in your basement and relearn PROUD MARY and most everything else you've ever played wrong and try to teach your band to do the same. See where that gets you!
@@mytoosents8998 Someone here has some anger issues!! You didn't get hugged enough? There will always be some drunks idiots, yell shit at the band and throw shit at the band stand. The band play the tunes and play at the tempo, if you have adjust it oh well. The crowd has deal with it, you are going to get payed anyway for the gig. I had a drunk at a blues club jam session tell how much I sucked, and the argument got heated. Security and some friends broke it by before our fight got out of hand.
loved this. really informative and brilliantly presented. Thank you!
I've been playing totally different and it sounded good...but liked this version better..thank you
My motto will be from now on: "It wasn't wrong note, it was my chromatic approach!" 😂
Thank you for great info 😊! And stay cool - literally😥!
However, Mark: You are a Dangerous Genius Bassist at LARGE! - Thanks for Another Great Video.💯
Mustang Sally are written and was first recorded by Mack Rice.
Well done! 💪
Just a question... Sorry if it was already asked... What kind of dr strings do you use? I have a squier p bass cv 70 with lindy fralyn pickup and i'm actually using thomastik.
Ah yes, lalal.ai. I've been using that a lot to create rhythm tracks to work on vocals against. A completely Brilliant and powerful tool.
Hadn't applied it to this song though.
I've been playing this completely wrong forever as well, so thank you for providing me with the means to correct that.
I've been using the program called RipX to extract, isolate, and analyze songs. It runs about $100 so it isn't necessarily cheap.
Sometimes it's hard to pick out the fundamental notes from a recording, so we're stuck with using some music theory to fill in the gaps. Which is why I always played C (1) F# (b5) G (5) Bb (b7). I guess I was wrong.
I like that you used math to solve Master of Puppets and used AI to solve Mustang Sally.
Kids these days will never know what it's like transcribing from a cassette tape that someone else recorded off the radio.
Well, it turns out that because I didn't know how to play it, I played it right! 😄
A muted open string before leading up to the root note from the flat is my main bass technique when I don't know what to play! 😁
As a guitarist played this old number many times I don't doubt for a second you got it right but whare this old song has been butcherd over the years and ime included in this confusion reigns man !
You rock Mark! Thanks again!
Been half-steppin' this tune for many, many Years.
Thank you so much. I love blues, Rhythm and blues, Country and western, of course 50s 60s 70s rock and roll. I play Rhythm Guitar it is time to play bass. How about getting both on one body. 😁😁
Thanks for breaking this down!
Whoa! Definitely guilty of playing this wrong many, many times lol. It's like this bassline is pulled from an alternate timeline. 🙃
Amazing how hard easy things can be!
Wow, what an eye-opener!! Thanks a lot.
Man the Wicked Wilson Pickett version is Thee Version 👌 🙌 🔥
my band played the Young Rascals version of this song a year before Pickett's cover was released.....we did play it quite a bit faster than the Rascals as it was a better dance song at a faster speed....
So start on the major 7 on a dominant chord? Makes sense.
Charlie Parker used to do that a lot. To mess with people's heads, I believe. 😉
Thank you , Mark.
Really interesting! Funny how dodgy one can play this song in a covers band and still get away with it. This is one of those be told the changes and be shown the rough feel of the riff and your ready to go type songs.
What a treat - thank you!!!
Ok, now that you've done this how about Paint it Black? I keep seeing two slightly different versions. Does it have the F?
From where I am sitting, the original is not as aurally pleasing as some of the modern interpretations.
I really liked the Commitments sound, just because it’s not like the original doesn’t mean it’s bad
Nice.
it's been decades since anyone requested this song in a bar
Ha!! Love it. The bassist in my band did it right! 😝
Never mind I was wrong 😫
I'm so, so, so glad that I'm retired from playing bass and I never have to play this song ever again.
No doubt the public agrees
@@ramonmoreno8014 As the public generally ignore the bass player, I doubt any of them have noticed.
@@ianthomson9363
Hell, bands ignore bass players. Ask me how I know😊
Ha brilliant,... I am guilty as charged. Nice one Mark.
Thnx for this ! What a motherCogbill was !! Could swear when you first play the extracted sample it starts ON A ! oh well TY
This is a great video, but you never sing the words so I have no idea where the first note comes in. I can't find the beat....are the first two notes (the B leading to the C) a lead in, or are they played on the one beat?
Hi Mark. No offense but I think you're wrong. I don't know which version of the song have been submitted to the track-splitting app but it's not what I'm hearing on my side. The timing on your chart is bad too, first beat on the C, not F#G. The part is easier: C__F#G_BC__F#G_BC__F#GCF#_F__... I made a complete tab transcript that I think is more accurate if you are interested. I put some time on that song because someone said to me that graduating students in bass from several reknown music schools were not even able to play it right.
On the isolated track, it sounds to me like F natural, not F#. Maybe it's the motion that's more important than the actual chord tone, with the super muddy P-bass sound...
Thanks for the breakdown!
I've always wondered about this line and this is correct. But just try getting a guitar player to hear it. I've actually played this with Sir Mack Rice, and he told me to just "play it like the Buddy Guy version". Ha!
The Thrill is Gone uses the same chromaticism approach…
was popular back in the day and today of course in Jazz and rockabilly..
but you have to take into account that a lot of those early bass lines were trying to replicate double basses…
( think fretless and flat wound strings )
one would need to be careful in hitting a full on B especially if you have a heavy handed keyboard player playing the b7th….
Just food for thought…..
Hahahha Very same to Guajira start.....beauty thanks
Actually thought legend,
David Hood played the bass line on this with the rest of the Swampers
Cogbill was part of the Swampers and on some of the earlier recordings where Cogbill was playing bass, Hood played in the horn section. From an email exchange I had with Hood, his words, "Tommy Cogbill was a friend as well as a great inspiration (even a hero) of mine, so I really kept up with all
of his recordings in Muscle Shoals." Both fantastic players.
Excellent video. Thanks.
Good stuff!
A great tutorial Mark👍👍👍
The Bb is often B natural on a lot of charts too.
Is the lighting super weird in this shot? I'm getting a black/blue or gold/white dress vibe from your pickguard. My brain keeps telling my that's just a white pickguard in dim lighting, but the lighting doesn't seem to be dim, so I'm thinking it's a flat-gold?
It’s gold anodized aluminum
@@cary3428 That makes sense. Thanks.