The Beatles "Drive My Car" Isolated Bass

Paul McCartney is one of the most influential bass players ever, and it's always very cool to be able to listen to his isolated bass tracks. Today we'll take a listen to The Beatles "Drive My Car" from the Rubber Soul album. Here's what to listen for.

1. Listen to the pickup notes at the end of the bass phrase during the verse. He doesn't play it all the time, but it makes for a very funky bass line when he does.

2. Paul plays the bass line of the chorus differently, sometimes even within the same chorus. Sometimes each note is held out, and other times it's very staccato.

3. The bass track is far from perfect, with a major clam at 1:57 and some minor ones along the way. That said, it took another 10 years or so until production techniques really focused on each individual part and how it interacted with the other elements of the song, as well as how consistently each part was played.

In other words, it's a great track for its time, but would have been fixed or replayed in today's production environment.

----------------------------------

Help support this blog. Any purchases made through our Amazon links help support this website with no cost to you.

You should follow me on Twitter and Facebook for daily news and updates on production and the music business.

Don't forget to check out my Music 3.0 blog for tips and tricks on navigating social media and the new music business.

Louis Johnson Isolated Slap Bass

Here's a very cool example of 80's slap bass played by Louis Johnson on the Brothers Johnson hit "Strawberry Letter 23." The best part is that you get to hear the bass by itself, then hear it with the full band minus the drums from the 4:20 mark.

Here's what to listen for.

1. Slap bass is one of the most difficult instruments to record because of its transients, but Norm Kinney did a great job here. Most every note has the same level and intensity.

2. The feel of the part is great. The groove is incredibly strong, as is the timing.

3. You can barely hear the click during the spaces around 1:28.

4. Listen to how it fits into the track at 4:20.

---

Any purchases made through our Amazon links help support this blog at no cost to you (just click here).

4 Isolated Paul McCartney Bass Lines

We all know Paul McCartney as a fabulous songwriter and singer, but it's easy to overlook what an influential bass player he is as well. Paul, along with Motown's James Jamerson, changed bass playing from laying down a foundation of root notes to a melodic thing of beauty.

Although the following video may not be comprised of the best examples of Paul's genius, it does give you an idea of his style.

You'll hear individual snippets from the songs "With A Little Help From My Friends," "Come Together,""Golden Slumbers," and "Band On The Run" with the bass mostly isolated. 

Sometimes you'll hear other instruments also on the bass track (like the tambourine on "Help From My Friends"), which wasn't all that unusual, according to Beatle engineer Ken Scott's book Abbey Road To Ziggy Stardust (which I was lucky enough to help him write). Have a listen.

---

Any purchases made through our Amazon links help support this blog at no cost to you (just click here).

Wilton Felder's "I Want You Back" Isolated Bass

I always question myself when I post old song nuggets, because I don't want to seem like I'm dwelling in the past. The fact of the matter is that so many of these isolated tracks are interesting and fun to listen to, not to mention occasional teaching moments. Take for instance today's track - Wilton Felder's bass track on the Jackson 5's first hit "I Want You Back."

Felder was not only a great bass player but was actually better known as a tenor sax player, as he was one of the founding members of the great Jazz Crusaders. He was also part of Motown's studio team when the company moved to Los Angeles.

There are lots of cool things to listen for on this cut.

1. Listen to the tone of the bass. There's not a lot of really deep bottom to it, which was the case with many records of the time. Engineers didn't concentrate on the bottom end back then like they do today.

2. There's a lot of compression on it. The bass sits at the same level for every note, something also common from the era, especially from the major studios of the time.

3. The playing is very clean, but not perfect. It's about as good as you could get in the days of tape and few tracks, but it's something that we'd fix a little today (although that didn't stop anyone from enjoying the final record).

4. Check out the bridge at around 2:15. Felder plays a difficult part with ease and makes it flow like water.

---

Any purchases made through our Amazon links help support this blog at no cost to you (just click here).

The Beatles "Something" Isolated Bass

After The Beatles became hit makers Paul McCartney played more and more keyboards on basic tracks and did all his bass tracks as overdubs. Paul liked this process because he felt it helped him forge a better bass line that fit better with the other layers of the song. Some say that's why his lines were so melodic, and nowhere is this more in evidence than in George Harrison's classic "Something" from the classic Abbey Road album.

Here's the isolated bass track and some things to listen for.

1. You can hear the influence of Motown's James Jamerson in the way connects the notes between sections, weaving a line that gets from one part to another in a sometimes unusual manner.

2. The part is busy by today's standards with some sections that make you think, "How'd he think of that?"

3. The part isn't played perfectly as there are some occasional brief timing issues, usually being a little late on a note.

4. The very last note of the song is a flam.

---

Don't forget to check out my Music 3.0 blog for tips and tricks on navigating social media and the new music business.

Marvin Gaye "What's Going On" Isolated Bass

It's time for some Motown magic with the isolated bass track from the Marvin Gaye masterpiece "What's Goin' On." The song features bassist James Jamerson at his best, even though he played the song laying on his back as he was blind drunk!

Motown songs from this era were recorded on an 8 track where many instruments were mixed together, but Jamerson always got his own track. Here's what to listen for:

1. Jamerson's timing. Regardless of what physical state he was in, the man's timing is impeccable. He's always spot on. Remember, this was way before the days of DAWs and the cut and paste mentality that we have today.

2. He was free to play what he wanted. Contrary to what we do today, there was no set part for Jamerson to play, so he free-forms it for the entire song (and most of the others he played on too), and pretty much never repeats a lick.

3. Jamerson's tone is unique in that the sound was damped by a piece of foam underneath the strings at the bridge. He never replaced the strings unless one broke, and the neck of the 62 Fender Precision was reportedly so warped that it was unplayable except to him. The bass was taken direct and intentionally slightly overdriven at the console.

4. Jamerson's technique was also unique in that he only used his index finger to pluck the strings.

----------------------------------

Help support this blog. Any purchases made through our Amazon links help support this website with no cost to you.

Marvin Gaye "Ain't That Peculiar" Isolated Bass and Drums

We all love those old Motown tracks recorded in Detroit in the 60s, and one of the driving forces behind them was the innovative bass playing of James Jamerson. He's been massively influential to bass players since, and rightfully so; the man was truly original. Here's the isolated bass and drum tracks to the great Marvin Gaye's hit "Ain't That Peculiar," which reached #8 on the Billboard Hot 100 chart in 1965. Here's what to listen for.

1. The bass sound is straight out of the 60s, with all of the high-end was automatically rolled off. The thinking back then was, "It's a bass instrument. It doesn't need any high-end."

2. Likewise, the bass is out in front of the drums, while the drum sound is very undefined. Again, this was the sound of the 60s when there were only a couple of mics on the drums and the bass anchored the mix.

3. The leakage is really interesting. If you listen on headphones, you'll hear the piano and horns in the background, proving that they actually did track with the entire band.

4. This is one of the more controlled bass parts played by Jamerson, who follows the bass pattern pretty faithfully throughout the song. In other songs of the period, his playing was much more free-form.

If you like these isolated tracks, you might also like my Deconstructed Hits book series that takes an X-ray look inside different hit songs from different genres and eras.

----------------------------------

Help support this blog. Any purchases made through our Amazon links help support this website with no cost to you.

The Police "Message In A Bottle" Isolated Bass

The Police was one of the biggest bands in the world in the 80s thanks to great hooks, vocals and musicianship. Some of this is on display on this isolated bass track from the band's big hit "Message In A Bottle," from the band's second album Regatta de Blanc. It's easy to think of Sting as a singer and songwriter, but he's an excellent bass player as well, as you'll hear.  Here are some things to listen for.

1. The song was cut live with the entire band playing, as you can clearly hear both the guitar and drum leakage.

2. The bass part is very solid, but there are a few very minor timing mistakes (especially in the chorus) that we'd probably fix today.

3. There's an overdub at the end of interlude after the first chorus before the second verse begins at 1:06. You can hear the leakage go away and the sound of the bass change.

4. It sounds like the outro is from another take as the audio drops out, then changes slightly at 3:23.

5. Sting changes the bass part slightly on the outro, turning the bass riff around.

If you like looking at the x-rays of songs like this, check out my Deconstructed Hits book series.

----------------------------------

Help support this blog. Any purchases made through our Amazon links help support this website with no cost to you.

"Ramble On" Isolated Bass Track

Going back in time again, here's the isolated bass track from a Led Zeppelin song that I always loved - "Ramble On." On it you hear bassist extraordinaire John Paul Jones play a complex track very well, but listening to just his track alone isn't quite fair, as you'll see.

Here are some things to listen for:
1. Listen to how the bass sounds. Big, full and fat, with lots of lows yet plenty of definition. We sometimes have a hard time achieving that today.

2. Listen to how the level changes between the first verse and chorus from there on. It's much louder by the end, as is the rest of the band. It's a good example of dynamics.

3. Listen to how JPJ plays the verse line staccato (short and choppy) in the first verse, then legato (smooth) from there on.

4. There's a lot of missed notes that you probably didn't hear with the rest of the band playing (I know I didn't). Listen at 1:20, 1:30 and 2:31 just for starters. Then there's a mistake at 3:47.

That's not to rag on one of the best bass players ever. It's just to point out that back in those days, we had a different idea of what was acceptable than we do today, where we try to wring perfection out of each note.

5. JPJ plays some brilliant ad libs on the outro after about 4:00. Too bad we miss a lot of this thanks to the fade on the record.

This just goes to show that an isolated track does not make a song, it's how the entire band interacts. If you listen to the real thing, you'll hear how spot on JPJ is with both drummer John Bonham and guitarist Jimmy Page, which is why the band always sounded bigger than the sum of its parts.

----------------------------------

Help support this blog. Any purchases made through our Amazon links help support this website with no cost to you.

You should follow me on Twitter for daily news and updates on production and the music business.

Don't forget to check out my Music 3.0 blog for tips and tricks on navigating social media and the new music business.

"Can't Help Myself" Isolated Bass

Motown's James Jamerson is ones of the giants of the bass world, so it's always a pleasure when we can get to closely study his work. Here's a video of his isolated bass in The Four Tops hit "I Can't Help Myself (Suger Pie Honey Bunch)." As you listen, take notice to a few things:

1. The leakage of the rest of the band onto the bass track. Most of the recording of those early Motown hits recorded in Detroit were done on an 8 track tape machine, which means that many of the instruments had to be recorded together on the same tracks. The bass was the exception as it always had its own track, but that didn't mean that it was totally isolated. Since it was recorded through an amp, you can hear the rest of the band playing as well, which is something that we probably wouldn't stand for today. Didn't seem to hurt anything here.

2. Listen to how Jamerson's articulations change throughout the song. Sometimes he has a smooth release and sometimes it's staccato and chopped off. This is something else we would probably replace today, asking him to play it one way or another throughout the song.

3. There's a mistake that Jamerson makes throughout the first third of the song as he plays a major against a Dm (the third chord in the pattern) over and over. At some point he realizes the mistake and makes the change (it's only one fret difference). Not that this has ever bothered the millions of listeners that have enjoyed the song. In fact, if it weren't for the isolated track, no one would probably hear the difference.

This track is a perfect example of how modern production techniques have changed from the 1960s. Today we look for more precision and isolation, but we often lose the feel and groove as a result. That said, the track is proof that a hit is still a hit, mistakes and all.

----------------------------------

Help support this blog. Any purchases made through our Amazon links help support this website with no cost to you.

You should follow me on Twitter for daily news and updates on production and the music business.

Don't forget to check out my Music 3.0 blog for tips and tricks on navigating social media and the new music business.

Four Tops "Bernadette" Isolated Tracks

I may have posted this before, but it's so cool that it's worth posting again. Here's a great video that shows off the virtuosity of Motown bassist James Jamerson on The Four Tops 60's hit "Bernadette." For most of the song you hear just Jamerson's bass, then the other parts of the song are gradually brought in, then muted.

Jamerson was truly one of a kind in that he didn't actually play a part as much as he played a groove. He's incredibly solid time-wise even within a flurry of pickup notes, and has style that's uniquely his. In fact, what's so cool is that he's given free reign within the arrangement to play what he pretty much as he wishes while the guitars and piano hold down the rhythm.

Also keep in mind that everything you hear was done on 8 track!

----------------------------------

Help support this blog. Any purchases made through our Amazon links help support this website with no cost to you.

You should follow me on Twitter for daily news and updates on production and the music business.

Don't forget to check out my Music 3.0 blog for tips and tricks on navigating social media and the new music business.

"While My Guitar Gently Weeps" Isolated Bass

Here's the isolated bass part from The Beatles classic "While My Guitar Gently Weeps" off of the their White album. Usually isolated bass parts are somewhat boring but not this one. Listen closely for a number of unconventional techniques from Sir Paul McCartney.

1) The sound of the bass is interesting in that it has a lot of treble and sounds very much like a guitar at times.

2) Likewise, the part is played like a guitar. Listen to the second verse (and beyond) where Paul actually plays chords on the bass.

3) The bass is exactly doubled by a clean guitar in chorus, and it's a somewhat intricate line which is sometimes a little stiff feeling and sometimes very loose.

4) The bass part keeps changing throughout the song. Maybe evolving is a better word. Check out the way Paul plays the last verse and adds the extra notes.

5) There's a clear mistake on the outro at about 4;37, but it's at the end of the fade so you never hear it on the record.

----------------------------------

You should follow me on Twitter for daily news and updates on production and the music business.

Don't forget to check out my Music 3.0 blog for tips and tricks on navigating the music business.

Help support this blog. Any purchases made through our Amazon links help support this website with no cost to you.

Bootsy's Basic Funk Formula

Staying with our bass theme for the week, here's a funk lesson from the master - Bootsy Collins. Of course, Bootsy came to prominence by playing on some of James Brown's biggest hits ("Sex Machine", "Super Bad") and then with Parliament-Funkadelic before starting his own Rubber Band and Sweat Band.

Even though this is short, it's an introduction to playing funk from the man himself.

----------------------------------

Follow me on Twitter for daily news and updates on production and the music business.

Don't forget to check out my Music 3.0 blog for tips and tricks on navigating the music business.

James Jamerson Isolated Bass

Yesterday I talked about how Paul McCartney was, in my opinion, the most innovative bass player in rock besides James Jamerson. It wouldn't be fair not to listen to Jamerson after listening to Paul, so here are a number of Motown hits featuring Jamerson's signature bass playing. Of course, Jamerson was one of the mainstays of the Motown house band known as the Funk Brothers.

Here are a couple of his greatest parts including Marvin Gaye's What's Goin' On, and The Four Tops' Bernadette.

1) On What's Goin' On, listen to how Jamerson builds the intensity of the track as it goes on. You can just  feel him pushing the track as his line gets more and more complex and he digs in harder.

2) Jamerson's bass has a distorted edge to it. He supposedly went direct while recording and used an Ampeg B-15 when playing live, but the tone on this song sure sounds like a B-15 to me.

3) Bernadette may be Jamerson's masterpiece. He's playing a fairly busy part yet it's always in the pocket and always seems effortless.

) Bernadette is also a really good example of how a Motown track is put together when you hear all the instruments fall in with the bass.

-----------------------------------

Follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

Paul McCartney Bass Lines

Paul McCartney has never gotten nearly enough credit for his innovations as a bass player. I personally believe that he's the most influential bass player of the rock age besides Motown's James Jamerson.

Like Jamerson, McCartney playing evolved into mini-melodies, being part hook and part counterpoint to the rest of the instruments in the band. As a result, the band always sounds full even with a minimum of overdubs.

I believe this was because the bass became an overdub that happened in the late stages of Beatle tracks, instead of being recorded the traditional way during tracking of the basics. This allowed Paul the freedom to come up with a line that fit better with the final track.

Here's an interesting video that showcases McCartney at his best (except for the last track). Have a listen to A Little Help From My Friends, Come Together, and Band On The Run.

----------------------------------

Follow me on Twitter for daily news and updates on production and the music business.

Don't forget to check out my Music 3.0 blog for tips and tricks on navigating the music business.

Oasis "Wonderwall" - Isolated Drums And Bass

Once again from Oasis' Morning Glory album that sold 20 million copies, we'll have a look at the isolated drum and bass parts from the hit "Wonderwall." Here's what to listen for:

1) It sounds like there's no artificial ambience on the drum track and what you hear is all the room.

2) This is a really great drum track, well played by Alan White, especially the ghost notes on the snare. It's surprisingly busy for a mostly acoustic song, but oh, so very funky.

3) The sound isn't that great. Actually, it sounds like it's just a room mic as there are a lot of cymbals heard here, but it's  not that far from the final sound on the recording.



Here's the bass part for "Wonderwall."
1) It's very surprising how distorted the bass sound is.

2) Bass player, Paul McGuigan, gives a well played and solid performance that changes in intensity in conjunction with acoustic guitar (which we reviewed yesterday). There are very slight tempo flubs at 2:00, 2:22, 2:36, 2:49, and the outro is a bit shaky though.

3) This is a pretty well recorded track but you do hear the compressor snap occasionally on some transients. As with most of the imperfections that I pick out, you never hear it in the track.

----------------------------------

Follow me on Twitter for daily news and updates on production and the music business.

Don't forget to check out my Music 3.0 blog for tips and tricks on navigating the music business.

"Up Around The Bend" - Creedence Isolated Guitar And Bass

It seems like these isolated track posts are really popular so I'll keep on the running them every Monday and Tuesday (and the Wednesday) until I run out of them.

Today we take a look at the isolated guitar and bass tracks from Creedence Clearwater Revival's 60's hit "Up Around The Bend" from their Cosmos Factory LP.

First up are the guitars of brothers John and Tom Fogarty. John's electric rhythm guitar is on the left while Tom's acoustic is on the right with the lead guitar in the middle. Here are some things to listen for.

1) The two rhythm guitars fight a little during the first half of the song but eventually lock in around the 2nd chorus.

2) Listen to how the rhythm guitars disappear during Rickenbacker guitar solo starting at 1:43. As we'll hear tomorrow, it seems like the rhythm guitars were bounced to an open space of a vocal track to open up a track for the solo as were the fills during the next verse and the ending.

3) There are a few timing issues with the lead, especially at the end. Nothing big but certainly that we'd fix today with another take or a couple moves in the DAW.



OK, let's listen to the Doug Clifford's bass guitar.

1) The bass track is a little shaky time-wise, especially in the beginning of the song, but you never notice it in the track. It's something that we'd fix today if we had the chance though.

2) The sound of the bass has an interesting distorted edge to it, thanks to the amp. Going direct wasn't something that happened all that much back then.

3) There's a missed note at about 1:56 and 2:31, something we'd never let go today.

----------------------------------

Follow me on Twitter for daily news and updates on production and the music business.

Don't forget to check out my Music 3.0 blog for tips and tricks on navigating the music business.