I feel you man ... he's the main reason why I went from playing guitar to becoming a bass player ... he's sense of melody and chromatic style captivated me. In my opinion he's the best there's ever been in the modern pop era.
Music Arrangers have NEVER gotten their dues in the music business. they don't even get royalties on record sales. Ashford and Simpson had LONG time Motown Music Arranger PAUL RISER. working with them on this Masterpiece. Paul wrote the strings and horn parts. and conducted the New York Symphony Orchestra on this. the basic tracks were recorded in Detroit. using the funk brothers.
This version of "Ain't no Mountain" is one of my all time favorite songs. I grew up in Detroit Michigan, so Motown is part of my musical DNA. The great Paul Riser recommended me for the Luther Vandross gig on soprano during the Heat tour. As I am very familiar with Paul's legendary work, I didn't know he directed the orchestra on this song🔥🔥🔥🔥🔥
The swing, elasticity and, groove on the Marvin & Tammi version is most definitively enhanced in a very positive manner by James playing with one finger (The Hook!) and, quite possibly, him reclined or seated on the floor. Genius
My sister would CRANK the Diana version of Mountain in her room back in the mid seventies. My 8 year old brain would absorb the bass part and it literally gave me goosebumps. She’d be dancing while I was listening. James’ playing needles to say captivated me. Years later when I discovered the earlier version I recognized how James made the same song sound SO different! Same goes for Grapevine where he applied his genius yet again: same song yet totally different feel from the bass part. Lastly, the Billy D Jr./Marilyn McCoo smash You Don’t Have To… is another luscious Jamerson take! It sounds fresh right up to this very day!
Both are beautiful and masterpieces, like Otis and "Respect", it goes from a pleading, to a women's rights movement anthem from Ms Aretha....... All good
It’s amazing I NEVER realized that Marvin’s version starts with a verse and Diana’s starts with the chorus. How could I not know that, lol? It’s basically two different songs.
Marvin & Tammi own everything they touch. But the version on Diana's record is transcendent in its own right; and Ashford & Simpson did an amazing thing. If I could only hear one for the rest of my life, it'd be Marvin and Tammi. But I'm VERY glad to live in a world where I don't have to make that choice.
I totally agree, @markwilliams8488. @pdbass is a new youtuber to me, but from this and a few other videos of his, it is almost mandatory to subscribe and learn from this obviously skilled and cerebral bass player. I am a novice guitar, bass, drums and even banjo player, yet I appreciate all genres of music. I really love stand up basses and the sound they produce. Learning from Mr pdbass is going to be a joy and a fundamental building block to my skill building, training my ear and so much more. Thank you pd and you too, markwilliams.
Your explanations of why a song is great from the musical perspective makes me happy and enlightened. I tend to focus on the lyrics but always agree with your musical insights - keep’em coming!
There are so many songs from the 60s and 70s where the rhythm section really starts to heat up during the fade out. I often wish that I could hear what happened after. Another example is “take me to the river“. by Al Green.
Yes and one that Prince did that for years I always felt that something cool was happening and the engineer just faded it out. The song was Little Red Corvette. That song came out in 82 and I didn’t hear the “dance mix” till the 90s. In that version it goes on a bit and to me ends the song better than the original.
Brother, you just made my day doing a deep dive into my all-time favorite Jamerson bass line. It's all here.. the drama, the Jazz, the tempo and mood swings! If I were to choose one song to play in a desert island it probably would be at the very top of the list. Every time I listen to it all the way through I feel like I've been reborn. The end part is so exhilarating and it's slowly builds up to it and the way you described it and went through it completely was just so educational and made me appreciate it even more by its amazing composition and construction. Motown really was peaking at that point everybody was bringing their "A" game to the studio. Thanks for doing this! Can never really get enough Jameson but this to me is one of his greatest Master pieces. He never really gets enough credit for his contributions (except from some of the bass community) Thank you!
Interesting to hear Kaye playing the same bass part, which means that it had been written! Of course both Kaye and Jameson were studio regulars so no problem reading.
Not really, she could just as well have learnt it by ear. Jamerson pretty famously improvised most of his lines (I say most because I do not know if there isn't a single unimprovised line, but I cannot recall one), so it seems unlikely that this line would be written for him. Especially since it matches his style so well, it would have to have been written for him specifically to sound like it had not been written which, like I said, is far less likely than Kaye just learning it by ear. Or maybe I completely misunderstood what you meant, who knows
It's a wonder she didn't try to claim credit for the bass lines in both versions. She's all too well-known for trying to usurp the bass line credits on Jamerson driven Motown Classics, as well as many of the West Coast standards of The Beach Boys (Good Vibrations, et.al) and others during the same period of the mid to late 60s. The great Joe Osborn, and Brian Wilson were responsible for most of those bass lines, including many from the Spector stable. Although she did contribute to some of the music of the times, while a member of the L.A. studio ensemble known as The Wrecking Crew and as an independent studio bassist, her claims to have worked with the original Motown Funk Brothers providing bass on hits like "Bernadette", "I Was Made To Love Her", and others, have all been adjudicated false!! Shame on her!!👎🏾👎🏾
@@headsetsquirrel2581 According to the Standing in the Shadows of Motown book (long before the movie) some of the later hits had been written out, but by people who were familiar with Jamerson's style.
Jamerson generally improvised his parts which is why Jamerson's bass lines on the same song by different artists is always completely different. Carol Kaye is your typical chart reader who played what the producers told her to play.
Thank you for making clear the distinction between a "chorus" (the B section) and a "bridge" (the C section). "Bridge" is NOT another word for the B section.
Excellent presentation Paul, Bro you reach for the sky when you prepare your videos. They all are thorough and well researched information. 👍🏾 Solid!!! Ps. I have another bassist for you to research and that would be the late and great Mr. Henry Davis.
One thing that makes James the greatest bass player of all time is that his bass lines for the same song are entirely different. Bob Babbitt and Carol Kaye play the same bass line on each version they play on. James because of his incredible musicality and understanding of music theory is able to create a fresh new version that is a counterpoint to the song as it's designed musically. A true genius.
Burt Bacharach was once asked if there was one song he wished he had written. Without a second's hesitation, he said "'Ain't No Mountain High Enough', the Diana Ross record. Nobody's matched that.".
Personally, this is my absolute favorite bass work that Jamerson ever did. The song itself is one of the greatest songs ever written. And Ashford and Simpson's production continues to amaze and surprise me (there's even a harp in the song...!) There are many. many great bass lines in James' arsenal, but this one is put together beautifully. Perfect.
"The more musicians involved, the simpler you should play" - Wow, what a pertinent and basic tenant of what every bass player should understand. Excellent!
I’ve been a bass player for 48 years. I’m lucky to be a very busy guy. I just wanted to tell you that I love you brother. Please keep up the great work with your wonderful channel. You are terrific.
Wow man, a great friend of mine went to find a new life in a new country and I requested the Diana Ross on the local radio station on the day she left, I guess that over a million people heard me telling her that I love her, it's a special song.
I'm convinced that Isaac Hayes' "Theme from Shaft" was somewhat inspired from Paul Riser's 1970 arrangement and version of "Ain't No Mountain High Enough" by Diana Ross. Musically, they both share similar orchestration, signature movement and DNA. Carefully listen for the high hat, bassline and chord progression as example minus the "wah" pedal.
That was a really great breakdown of the two versions!!! The Marvin/Tammy version was one of my favorite basslines, but I had never really looked at the Diana Ross version before.Absolutely wonderful.
Thank you so much for your brilliant work and deep musical insight analyzing the 2 best versions of this classic, highlighting the legendary Jameson. I love the great Tammy T. much more than the much overrated Diana. And thank you for also highlighting the incredible work of Ashford and Simpson !
One of the major things that made Jamerson an incredible bass player was his intuitive and instinctive nature as a musician. Sheet Music was probably provided for him to look at, but he may have only used the sheet music as a reference and felt out where he should be as the song progressed. Plus, a lot of times, Jamerson ran on a different time signature against what everyone else was doing or what was written. Jack Ashford once said: "You couldn't even touch his [Jamerson's] timing! He would have a different time signature in his head and would be playing cut time against what you were playing, and it would fit." There's a lot that can be said about the work Jamerson did from 1959-1972. His signature is very unique and can be picked out in any track. Great breakdown analysis of this tune. It's a classic regardless if it's Diana or if it Marvin and Tammi. :)
I’m a musician, which doesn’t matter. This is the best one of these “breaking songs down” type vids I’ve seen. I’m not gonna pretend I sit around all the time watching this stuff but I’ve always found your vids to be exceptional and this is (so far) my favorite. Thank you for doing this.
I love this video. It really breaks down what our role as the bass player. Next to the drummer, we are the gatekeepers. We decide the key and feel of the song. A trio like RUSH fills the space, whereas a band with an orchestra simplifies it. The More, the Less...
Just love the history of this song !!! Love both of them, but favored Marvin and Tammi’s a little more. Beautiful and wonderful breakdown of one of my favorite songs from my 60’s- 70’s time era !!! Thank you
To steal your own phrase "WOW", what a beautiful analysis of the 2 versions of this classic song. Highlighting Jamerson's bass lines and showing the common tone in one of the chord progressions, well done, sir!
Duuude. . . Pdbass this was the episode I’ve been waiting for. Thanks 🙏 My dad’s been wanting a James Jamerson episode and Diana’s version is an all-time favorite of mine. You knocked it outta the park, Doc. Keep up the series. Such great work
I never knew. Your articulation was brilliant. Ignorance is not bliss, you sir, pulled back the veil on my ‘not knowing,’ and now I hear more , enjoyably so. Keep it going! Cheers
Congrats beautiful analyses! and a love Marvins version too, but you got me on this one. My stepfather always tell me that Diana version has a great bass line on the bridge.
I got to meet my idol James Jamerson in Hollywood. He was invited to a demo session by Gil Askey just so I could meet him. Gil was the musical director for Diana, The Supremes, the Pointer Sisters, and he was one of my mentors. James told me I was playing it all wrong, but I countered that he was a part of why I played at all! My blessing came later when I got to play on Marvin's last 2 album.
My word! What a terrific communicator you are! (I just stumbled on this presentation by accident. I know both versions of the song very, very well... as a DJ and a listener, not as a musician... But your presentation had me entranced throughout! Phew! What a gift you have!)
Your videos are so insightful. You are amazing. I have been playing bass for 40 years and I'm deep into it and still...I learn something new on everyone of you videos. Thank you
Before I knew resistance, when I heard these sounds from Diana Ross at the age of three, I used to soar with delight along with the build up. Thank you so much for this appreciation. I cry every time I play this for my young daughter.
Thank you for this perfect analysis. I wasn‘t quite aware of the Marvin Gaye/Tammy Tarell version, but I remember listening to the Diana Ross version for the first time in 1970. It was an overwhelming emotional experience, but I never noticed all those peculiarities.
I think each version of this song has its own attributes .I sometimes want to listen to Marvin and Tammy's version , and sometimes I want to here the Diana's version. Both version's put me in different places at different , and when each version came out, I was having the time of my life. Such a great song.
I liked both versions. Who could not like Tammi and Marvin's version. One of the best duet groups EVER! But Ashford and Simpson were able to play to Diana Ross's strengths. How many songwriters/producers would have the guts to change elements of a song that had been a massive hit just 3 years earlier? I listen to many different styles of music but maybe my favorite genre would be high energy rock(early Doobie Brothers style). But being a musician myself I can appreciate other styles of music. I thank my parents for that. My dad was a solid old country music guy with no formal music training. Yet my mother was a singer and a piano player. I can remember hearing jazz, orchestra, pop tunes, Jim Reeves, Tennessee Ernie Ford, Movie Themes, on our big old RCA console AmFm record player. But my radio stayed on a local top 40 station out of Greensboro NC. Motown was in the thick of things. I am glad that I was able to hear and appreciate all different genres of music. I was raised in Church and those spiritual and gospel songs ring true today as they did then.
Thank you for breaking both songs down. I like the Marvin Gaye & Tammi Terrell version, but I love the Diana Ross version. The Diana Ross version is a masterpiece, and James Jamerson is cutting up on the bass.
What a pleasure to pick over these two classic recordings in your expert analysis, which gets right to why we are in our bliss hearing these records for the thousandth time. I feel we share our musical loves so intimtely in your vlogs. But wasn't it Robert Kreiner, known as Bob Babbitt on bass for Diana, who also played on Ball of Confusion and Scorpio? Thank you for gathering us together in the love of song, as Stevie would say. Namaste is what I say. Friend.
You are a wonderful person I knew what you were talking about a long time ago This goes to all the people that all they do is copy records even the artist don't copy the records
He was not lying at 9:20 about how Diana’s version hits it. I grew up with that song and STILL get goosebumps when those horn breaks come in. Sheer Genius. But his other point about how Jamerson cuts loose is nooooo joke. First time I’ve really heard his part isolated like that. Man was he sooo far ahead of what other bassists were playing in those days.
Omg🤯🤯🤯🤯 I have to explain this from the beginning… While in the grocery store 4 days ago this comes on.. fast forward last night I’m trying to fall back to sleep.. and I get to that point right before sleep my heart skips a beat which kinda scared me but this is playing in my head.. Diana’s version.. and at the time I didn’t know what song it was from. I was born a bit after that but can’t stop me baby that melody was ringin in my head.. so I eventually find the song and for some reason I’m just cryin her voice in that tone mixed with that sound just broke me down.. it’s the c minor and the whole time I’m wondering why are there songs that come to me that really just grab my emotions. This isn’t the first time it’s happened like that in the exact same way.. I feel like I’m supposed to do music like I write lyrics but I can’t make the beats. It’s really frustrating cause I feel like it’s like my calling but I can’t decode or figure it out.. I saved a clip that liked for a base to a beat. At that same time I’m hearing her voice with a rock guitar 🎸 I go looking has someone made a remake with that sound.. I end up at Diana’s 1983 entrance they use a rock guitar 🤯 i never even seen that cause like I said I’m was born a few years later I wasn’t even a baby when this stuff came out. I’m just like how is this stuff coming to me in between dreams.. it’s crazy Then I end up here explaining the c minor tone everything you said is true there’s a sadness with happiness in it and that just grabs my soul man..
Awesome! I have listened to the 1970 version of this song so many times and I absolutely LOVE the bridge. For some reason I thought Bob Babbit played Bass on that version
Thank you very much for the wonerful info behind songs. I grew up dancing intensely to the first song but now I know a lot more about the second song. Like I said, thank you so much. Keep up the world of the bass & all the comes with it!!!
@@laurence8209 She did work for the Beach Boys, Sam Cooke and Sonny and Cher to name a few.She is the real deal and has jazz chops.They didnt get much credit back in the day.
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Jamerson’s playing pulls at my heart strings every time
I feel you man ... he's the main reason why I went from playing guitar to becoming a bass player ... he's sense of melody and chromatic style captivated me. In my opinion he's the best there's ever been in the modern pop era.
u must have bass strings on your heart
@@shuruff904 medium gauge Flatwounds in mine, wassup
Music Arrangers have NEVER gotten their dues in the music business. they don't even get royalties on record sales. Ashford and Simpson had LONG time Motown Music Arranger PAUL RISER. working with them on this Masterpiece. Paul wrote the strings and horn parts. and conducted the New York Symphony Orchestra on this. the basic tracks were recorded in Detroit. using the funk brothers.
I agree… Dude deserves to be world-renowned.
this guy knows his stuff. Very good documentary
This version of "Ain't no Mountain" is one of my all time favorite songs. I grew up in Detroit Michigan, so Motown is part of my musical DNA. The great Paul Riser recommended me for the Luther Vandross gig on soprano during the Heat tour. As I am very familiar with Paul's legendary work, I didn't know he directed the orchestra on this song🔥🔥🔥🔥🔥
The 1970 version is musically so rich. Always loved it! ❤
Marvin and Tammi are the best by far .
The Diana Ross version is, hands drown, one of my favorite Motown songs. So powerful. Thanks for doing this one, man.
The swing, elasticity and, groove on the Marvin & Tammi version is most definitively enhanced in a very positive manner by James playing with one finger (The Hook!) and, quite possibly, him reclined or seated on the floor.
Genius
My sister would CRANK the Diana version of Mountain in her room back in the mid seventies. My 8 year old brain would absorb the bass part and it literally gave me goosebumps. She’d be dancing while I was listening. James’ playing needles to say captivated me. Years later when I discovered the earlier version I recognized how James made the same song sound SO different! Same goes for Grapevine where he applied his genius yet again: same song yet totally different feel from the bass part. Lastly, the Billy D Jr./Marilyn McCoo smash You Don’t Have To… is another luscious Jamerson take! It sounds fresh right up to this very day!
Lay it on me 🎶 musical masterpiece, I remember the Ms Ross version from when I was in 7th grade, quite a lot going on.
Was a teen when both versions were released. The MG & TT version by far is my favorite. Their voice were a beautiful blend.
Both are beautiful and masterpieces, like Otis and "Respect", it goes from a pleading, to a women's rights movement anthem from Ms Aretha....... All good
Qq
It’s amazing I NEVER realized that Marvin’s version starts with a verse and Diana’s starts with the chorus. How could I not know that, lol? It’s basically two different songs.
Yeah i never noticed neither I've been schooled
The Diana Ross is to me , more pensive, thought out, overall, in the arrangement. A more drive time variation.
Wow..thanks for posting this!
Marvin & Tammi own everything they touch. But the version on Diana's record is transcendent in its own right; and Ashford & Simpson did an amazing thing. If I could only hear one for the rest of my life, it'd be Marvin and Tammi. But I'm VERY glad to live in a world where I don't have to make that choice.
Sir, your bass playing is exceptional! And thanks for this vid which makes me appreciate this incredible Motown production even more!
I totally agree, @markwilliams8488. @pdbass is a new youtuber to me, but from this and a few other videos of his, it is almost mandatory to subscribe and learn from this obviously skilled and cerebral bass player. I am a novice guitar, bass, drums and even banjo player, yet I appreciate all genres of music. I really love stand up basses and the sound they produce. Learning from Mr pdbass is going to be a joy and a fundamental building block to my skill building, training my ear and so much more. Thank you pd and you too, markwilliams.
My favourite bass player, the greatest of them all. Darling Dear by The Jackson 5 is amazing.
Truly AMAZING!
I really dig that bit where you show us the E flat that finds its way into each chord in the sequence - great breakdown of a great song, Paul!
This is genius on genius. Beautiful.
Your explanations of why a song is great from the musical perspective makes me happy and enlightened. I tend to focus on the lyrics but always agree with your musical insights - keep’em coming!
My favorite part of the 1970 session was the musical interlude at the end where the band really kicks it into high gear
There are so many songs from the 60s and 70s where the rhythm section really starts to heat up during the fade out. I often wish that I could hear what happened after. Another example is “take me to the river“. by Al Green.
Yes and one that Prince did that for years I always felt that something cool was happening and the engineer just faded it out.
The song was Little Red Corvette. That song came out in 82 and I didn’t hear the “dance mix” till the 90s. In that version it goes on a bit and to me ends the song better than the original.
Brother, you just made my day doing a deep dive into my all-time favorite Jamerson bass line. It's all here.. the drama, the Jazz, the tempo and mood swings! If I were to choose one song to play in a desert island it probably would be at the very top of the list. Every time I listen to it all the way through I feel like I've been reborn. The end part is so exhilarating and it's slowly builds up to it and the way you described it and went through it completely was just so educational and made me appreciate it even more by its amazing composition and construction. Motown really was peaking at that point everybody was bringing their "A" game to the studio. Thanks for doing this! Can never really get enough Jameson but this to me is one of his greatest Master pieces. He never really gets enough credit for his contributions (except from some of the bass community) Thank you!
Yes, indeed! Excellent work, good sir! Looking forward to many more such studies -- what a fine job you've done here ! !
Interesting to hear Kaye playing the same bass part, which means that it had been written! Of course both Kaye and Jameson were studio regulars so no problem reading.
Not really, she could just as well have learnt it by ear. Jamerson pretty famously improvised most of his lines (I say most because I do not know if there isn't a single unimprovised line, but I cannot recall one), so it seems unlikely that this line would be written for him. Especially since it matches his style so well, it would have to have been written for him specifically to sound like it had not been written which, like I said, is far less likely than Kaye just learning it by ear.
Or maybe I completely misunderstood what you meant, who knows
It's a wonder she didn't try to claim credit for the bass lines in both versions. She's all too well-known for trying to usurp the bass line credits on Jamerson driven Motown Classics, as well as many of the West Coast standards of The Beach Boys (Good Vibrations, et.al) and others during the same period of the mid to late 60s. The great Joe Osborn, and Brian Wilson were responsible for most of those bass lines, including many from the Spector stable.
Although she did contribute to some of the music of the times, while a member of the L.A. studio ensemble known as The Wrecking Crew and as an independent studio bassist, her claims to have worked with the original Motown Funk Brothers providing bass on hits like "Bernadette", "I Was Made To Love Her", and others, have all been adjudicated false!!
Shame on her!!👎🏾👎🏾
@@headsetsquirrel2581 According to the Standing in the Shadows of Motown book (long before the movie) some of the later hits had been written out, but by people who were familiar with Jamerson's style.
@@Scodiddly Oh, I had no idea of that actually. I still think it's equally likely she just learnt it by ear, but that's interesting.
Jamerson generally improvised his parts which is why Jamerson's bass lines on the same song by different artists is always completely different. Carol Kaye is your typical chart reader who played what the producers told her to play.
Thank you for making clear the distinction between a "chorus" (the B section) and a "bridge" (the C section). "Bridge" is NOT another word for the B section.
I love James Jamerson, which makes both my favorite.
Excellent presentation Paul, Bro you reach for the sky when you prepare your videos. They all are thorough and well researched information. 👍🏾
Solid!!!
Ps. I have another bassist for you to research and that would be the late and great Mr. Henry Davis.
One thing that makes James the greatest bass player of all time is that his bass lines for the same song are entirely different. Bob Babbitt and Carol Kaye play the same bass line on each version they play on. James because of his incredible musicality and understanding of music theory is able to create a fresh new version that is a counterpoint to the song as it's designed musically. A true genius.
Jamerson and Kaye were both big-time jazzers and had the same musical knowledge and acumen.
Excellent! Excellent! Excellent review Man! Thank You!
I just learned a lot in eleven minutes. Thanks
Burt Bacharach was once asked if there was one song he wished he had written. Without a second's hesitation, he said "'Ain't No Mountain High Enough', the Diana Ross record. Nobody's matched that.".
Man, you’re blessing all us bass players BIG TIME 🎉 thank you so much!!
Personally, this is my absolute favorite bass work that Jamerson ever did. The song itself is one of the greatest songs ever written. And Ashford and Simpson's production continues to amaze and surprise me (there's even a harp in the song...!) There are many. many great bass lines in James' arsenal, but this one is put together beautifully. Perfect.
"The more musicians involved, the simpler you should play" - Wow, what a pertinent and basic tenant of what every bass player should understand. Excellent!
Huge SALUTE to Ashord and Simpson!!
I’ve been a bass player for 48 years. I’m lucky to be a very busy guy. I just wanted to tell you that I love you brother. Please keep up the great work with your wonderful channel. You are terrific.
Wow man, a great friend of mine went to find a new life in a new country and I requested the Diana Ross on the local radio station on the day she left, I guess that over a million people heard me telling her that I love her, it's a special song.
I'm convinced that Isaac Hayes' "Theme from Shaft" was somewhat inspired from Paul Riser's 1970 arrangement and version of "Ain't No Mountain High Enough" by Diana Ross. Musically, they both share similar orchestration, signature movement and DNA. Carefully listen for the high hat, bassline and chord progression as example minus the "wah" pedal.
My very favorite bassline of all time
That was a really great breakdown of the two versions!!! The Marvin/Tammy version was one of my favorite basslines, but I had never really looked at the Diana Ross version before.Absolutely wonderful.
I remember as a kid listening to this I thought they were two different songs, but I knew they were similar. Thanks for explaining the whole thing.
Thank you so much for your brilliant work and deep musical insight analyzing the 2 best versions of this classic, highlighting the legendary Jameson. I love the great Tammy T. much more than the much overrated Diana. And thank you for also highlighting the incredible work of Ashford and Simpson !
Over 2 years binging bass videos and I'm just finding this channel now... 🤯
Some one needed to shòw the world how exceptional the music is ,and you have .
Thank you ..
James Jamerson is great, I wish I could play like him. ✌️😙
One of the major things that made Jamerson an incredible bass player was his intuitive and instinctive nature as a musician. Sheet Music was probably provided for him to look at, but he may have only used the sheet music as a reference and felt out where he should be as the song progressed. Plus, a lot of times, Jamerson ran on a different time signature against what everyone else was doing or what was written. Jack Ashford once said: "You couldn't even touch his [Jamerson's] timing! He would have a different time signature in his head and would be playing cut time against what you were playing, and it would fit." There's a lot that can be said about the work Jamerson did from 1959-1972. His signature is very unique and can be picked out in any track.
Great breakdown analysis of this tune. It's a classic regardless if it's Diana or if it Marvin and Tammi. :)
To me, the Diana Ross version takes me on a journey. As for the GayeTerrell version, I love the harmony between the two.
I’m a musician, which doesn’t matter. This is the best one of these “breaking songs down” type vids I’ve seen. I’m not gonna pretend I sit around all the time watching this stuff but I’ve always found your vids to be exceptional and this is (so far) my favorite. Thank you for doing this.
I love this video. It really breaks down what our role as the bass player. Next to the drummer, we are the gatekeepers. We decide the key and feel of the song. A trio like RUSH fills the space, whereas a band with an orchestra simplifies it. The More, the Less...
Just love the history of this song !!! Love both of them, but favored Marvin and Tammi’s a little more. Beautiful and wonderful breakdown of one of my favorite songs from my 60’s- 70’s time era !!!
Thank you
To steal your own phrase "WOW", what a beautiful analysis of the 2 versions of this classic song. Highlighting Jamerson's bass lines and showing the common tone in one of the chord progressions, well done, sir!
Jamerson's best 2nd best bass line. The best being I'm Gonna Make You Love Me. IMO
Excellent video 👍🏾👍🏾
Nick Ashford and Valerie Simpson is soooo unsung!🥺
You hand movements are impeccable!
Duuude. . . Pdbass this was the episode I’ve been waiting for. Thanks 🙏
My dad’s been wanting a James Jamerson episode and Diana’s version is an all-time favorite of mine. You knocked it outta the park, Doc.
Keep up the series. Such great work
Interesting and Fun! I'm going to see what my Bass has to sing about it.(+ukulele...lol)🦋
Awesome content and review. You got them Jamerson licks down….🔥💯😎👍🏾
This is a great tutorial. Excellent.
Good video. I think you have educated a lot of people in many ways.
I never knew. Your articulation was brilliant. Ignorance is not bliss, you sir, pulled back the veil on my ‘not knowing,’ and now I hear more , enjoyably so. Keep it going! Cheers
I heard the Diana Ross first (with my AM transistor Radio)...got into the Gaye version later. Love both!
Never heard the version with Kaye until now.
Congrats beautiful analyses! and a love Marvins version too, but you got me on this one. My stepfather always tell me that Diana version has a great bass line on the bridge.
I've always preferred the Gaye/Terrell version, but after seeing this video, I'm willing to give Diana's version another chance.
Yep!
I got to meet my idol James Jamerson in Hollywood. He was invited to a demo session by Gil Askey just so I could meet him. Gil was the musical director for Diana, The Supremes, the Pointer Sisters, and he was one of my mentors. James told me I was playing it all wrong, but I countered that he was a part of why I played at all! My blessing came later when I got to play on Marvin's last 2 album.
My word! What a terrific communicator you are! (I just stumbled on this presentation by accident. I know both versions of the song very, very well... as a DJ and a listener, not as a musician... But your presentation had me entranced throughout! Phew! What a gift you have!)
If I remember correctly, didn't Paul Riser say this was the best thing he'd ever done?
Professor, you set such a high standard in your work - bravo.
What's funny is that this is just about one of many Motown masterpieces!
Unbelievable.... this music cannot be duplicated. Love your thoughtful analysis. What a song! That composition is a masterpiece.
That was some deep stuff. I’m from Detroit, I wish I would’ve sought out James Jamerson to teach me how to read music and play my bass.
Your videos are so insightful. You are amazing. I have been playing bass for 40 years and I'm deep into it and still...I learn something new on everyone of you videos. Thank you
Before I knew resistance, when I heard these sounds from Diana Ross at the age of three, I used to soar with delight along with the build up. Thank you so much for this appreciation. I cry every time I play this for my young daughter.
That part where you say "Jamerson finally cuts loose", that's the absolute shizz!!!
Thank you for this perfect analysis. I wasn‘t quite aware of the Marvin Gaye/Tammy Tarell version, but I remember listening to the Diana Ross version for the first time in 1970. It was an overwhelming emotional experience, but I never noticed all those peculiarities.
Very very good…Thanks
I think each version of this song has its own attributes .I sometimes want to listen to Marvin and Tammy's version , and sometimes I want to here the Diana's version. Both version's put me in different places at different , and when each version came out, I was having the time of my life. Such a great song.
I like the Diana Ross version because of what you just described in this video
I liked both versions. Who could not like Tammi and Marvin's version. One of the best duet groups EVER! But Ashford and Simpson were able to play to Diana Ross's strengths. How many songwriters/producers would have the guts to change elements of a song that had been a massive hit just 3 years earlier? I listen to many different styles of music but maybe my favorite genre would be high energy rock(early Doobie Brothers style). But being a musician myself I can appreciate other styles of music. I thank my parents for that. My dad was a solid old country music guy with no formal music training. Yet my mother was a singer and a piano player. I can remember hearing jazz, orchestra, pop tunes, Jim Reeves, Tennessee Ernie Ford, Movie Themes, on our big old RCA console AmFm record player.
But my radio stayed on a local top 40 station out of Greensboro NC. Motown was in the thick of things. I am glad that I was able to hear and appreciate all different genres of music. I was raised in Church and those spiritual and gospel songs ring true today as they did then.
Thank you for breaking both songs down. I like the Marvin Gaye & Tammi Terrell version, but I love the Diana Ross version. The Diana Ross version is a masterpiece, and James Jamerson is cutting up on the bass.
What a pleasure to pick over these two classic recordings in your expert analysis, which gets right to why we are in our bliss hearing these records for the thousandth time. I feel we share our musical loves so intimtely in your vlogs. But wasn't it Robert Kreiner, known as Bob Babbitt on bass for Diana, who also played on Ball of Confusion and Scorpio? Thank you for gathering us together in the love of song, as Stevie would say. Namaste is what I say. Friend.
James Jamerson!
You are a wonderful person I knew what you were talking about a long time ago This goes to all the people that all they do is copy records even the artist don't copy the records
Wow! Amazing. Very insightful video thanks!
He was not lying at 9:20 about how Diana’s version hits it. I grew up with that song and STILL get goosebumps when those horn breaks come in. Sheer Genius. But his other point about how Jamerson cuts loose is nooooo joke. First time I’ve really heard his part isolated like that. Man was he sooo far ahead of what other bassists were playing in those days.
Wonderful analysis on a timeless classic. Thank you!
Both are great
I've always had a lot of pride for the Gaye version.
🙄
Omg🤯🤯🤯🤯
I have to explain this from the beginning… While in the grocery store 4 days ago this comes on.. fast forward last night I’m trying to fall back to sleep.. and I get to that point right before sleep my heart skips a beat which kinda scared me but this is playing in my head.. Diana’s version.. and at the time I didn’t know what song it was from. I was born a bit after that but can’t stop me baby that melody was ringin in my head.. so I eventually find the song and for some reason I’m just cryin her voice in that tone mixed with that sound just broke me down.. it’s the c minor and the whole time I’m wondering why are there songs that come to me that really just grab my emotions. This isn’t the first time it’s happened like that in the exact same way..
I feel like I’m supposed to do music like I write lyrics but I can’t make the beats. It’s really frustrating cause I feel like it’s like my calling but I can’t decode or figure it out..
I saved a clip that liked for a base to a beat. At that same time I’m hearing her voice with a rock guitar 🎸 I go looking has someone made a remake with that sound..
I end up at Diana’s 1983 entrance they use a rock guitar 🤯 i never even seen that cause like I said I’m was born a few years later I wasn’t even a baby when this stuff came out.
I’m just like how is this stuff coming to me in between dreams.. it’s crazy
Then I end up here explaining the c minor tone everything you said is true there’s a sadness with happiness in it and that just grabs my soul man..
Great video, love both versions but I have to agree with your wife. Marvin and Tammy's versions is my favourite.
HAD to click the notification! This video can't be missed
This is an awesome breakdown. Thank you.
Awesome! I have listened to the 1970 version of this song so many times and I absolutely LOVE the bridge. For some reason I thought Bob Babbit played Bass on that version
Love how you're using the "hook"! Excellent video as usual!
Please share more comparisons of different versions of well known songs. I enjoy the compare/contrast conversation.
Great!
Thank you for your excellent videos!
Thank you very much for the wonerful info behind songs. I grew up dancing intensely to the first song but now I know a lot more about the second song. Like I said, thank you so much. Keep up the world of the bass & all the comes with it!!!
WOW when Jamerson "cuts loose" the sun comes up :)
Another perfect video, Paul, thank you!
Carol Kaye was the bomb on so many hits on bass and guitar.
Was she with Motown only. Gordy liked to hide his musicians. What else did she play on?
@@laurence8209 She did work for the Beach Boys, Sam Cooke and Sonny and Cher to name a few.She is the real deal and has jazz chops.They didnt get much credit back in the day.
Thats pretty astute my man. I happened across your channel but will damn sure be back.
i'm glad somebody still cares about music -- and is smart enough to explain it -- thank you!
Sir, thank you so much for this. I prefer the Diana Ross version also!