Climbing "Ain't No Mountain" with James Jamerson

[@darrellmfume4020]

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.

[@Trill104]

I agree… Dude deserves to be world-renowned.

[@patriciolopez7686]

Jamerson’s playing pulls at my heart strings every time

[@germandiaz2684]

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.

[@shuruff904]

u must have bass strings on your heart

[@starchedownon84s]

​@@shuruff904 medium gauge Flatwounds in mine, wassup

[@mikegaston2112]

The Diana Ross version is, hands drown, one of my favorite Motown songs. So powerful. Thanks for doing this one, man.

[@dougsmith7083]

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

[@skippruitt2391]

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🔥🔥🔥🔥🔥

[@luvbasses5487]

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!

[@pmh1nic]

Was a teen when both versions were released. The MG & TT version by far is my favorite. Their voice were a beautiful blend.

[@VinceWhitacre]

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.

[@hypocycloidiaspora]

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!

[@SunnySideOfTheStreet]

The 1970 version is musically so rich. Always loved it! ❤

[@MN-dv8wc]

Marvin and Tammi are the best by far .

[@apollo972]

this guy knows his stuff. Very good documentary

[@stonedog23]

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.

[@RogerSanGabriel]

Yeah i never noticed neither I've been schooled

[@bmuhamad]

The Diana Ross is to me , more pensive, thought out, overall, in the arrangement. A more drive time variation.

[@floydturner2346]

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.

[@MrBubba171811]

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.

[@daveymeshell6337]

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.

[@tracibillington8025]

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!

[@bigtimelakersfan5836]

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.

[@sidjames5827]

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

[@Charoletterousse]

Qq

[@imkerrusin]

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. :)

[@markwilliams8488]

Sir, your bass playing is exceptional! And thanks for this vid which makes me appreciate this incredible Motown production even more!

[@mlasch1478]

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.

[@rantandroll7583]

I love James Jamerson, which makes both my favorite.

[@smokemethhailsatan]

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.

[@musicboy2003]

Man, you’re blessing all us bass players BIG TIME 🎉 thank you so much!!

[@stevekille447]

Lay it on me 🎶 musical masterpiece, I remember the Ms Ross version from when I was in 7th grade, quite a lot going on.

[@nickwilczynski3684]

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.

[@vincentrobinson3078]

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

[@gimmeagig]

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

[@kbraker510]

My favorite part of the 1970 session was the musical interlude at the end where the band really kicks it into high gear

[@menriquez89]

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.

[@josebrown5961]

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.

[@Peconrine]

Excellent! Excellent! Excellent review Man! Thank You!

[@wobblybobengland]

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.

[@polara01]

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!

[@rickstadel5285]

Yes, indeed! Excellent work, good sir! Looking forward to many more such studies -- what a fine job you've done here ! !

[@RealROI]

Unbelievable.... this music cannot be duplicated. Love your thoughtful analysis. What a song! That composition is a masterpiece.

[@markscountlessbarks]

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.

[@kevinsmith4545]

Some one needed to shòw the world how exceptional the music is ,and you have . Thank you ..

[@azuraq25]

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

[@skiddlybop8]

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.

[@LDTOK-zs8oz]

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.

[@YippeeSkippie426]

Jamerson and Kaye were both big-time jazzers and had the same musical knowledge and acumen.

[@fernandobattle9345]

PDBass, you seriously need your own show on a network. You put such a fine point on the contrast between two versions of the same song. One of the many great things you do is feature the background and contributing artists that I often wonder about but never get around to doing the research. Please keep these gems coming. Thank you.

[@jazzpunk]

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.

[@musicdude1]

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 !

[@pollcat99]

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.

[@RonGallagher]

This is genius on genius. Beautiful.

[@HershellWest]

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

[@Earhairy]

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.".

[@alfrazier8389]

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.

[@guitardude4700]

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.

[@michaelb.42112]

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...

[@johnmaher3558]

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!)

[@johnmaher3558]

If I remember correctly, didn't Paul Riser say this was the best thing he'd ever done?

[@andrewcross4845]

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!

[@RayyMusik]

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.

[@daveymeshell6337]

My very favorite bassline of all time

[@Scodiddly]

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.

[@headsetsquirrel2581]

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

[@bustabass9025]

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!!👎🏾👎🏾

[@Scodiddly]

@@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.

[@headsetsquirrel2581]

@@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.

[@LDTOK-zs8oz]

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.

[@blacjazzz]

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.

[@C.Ellis_BMI]

You hand movements are impeccable!

[@bigcladwolfdetecting6017]

Over 2 years binging bass videos and I'm just finding this channel now... 🤯

[@The_Walrus_Was_Paul_1984]

My favourite bass player, the greatest of them all. Darling Dear by The Jackson 5 is amazing.

[@motownbaby]

Truly AMAZING!

[@regsmith7604]

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.

[@xxphactor]

To me, the Diana Ross version takes me on a journey. As for the GayeTerrell version, I love the harmony between the two.

[@deannye1543]

I was four years old when the Diana Ross & Supremes version was released. I thought it was the original. I was wrong, but even at that age, I remember loving that bass line and the rest of the music and feeling the heartache and the way the song built up at the end. James Jamerson blew my little four year old mind! Thank you for taking the time to deconstruct it and show the differences between it and the original. I know a lot of people love the first one, but in my opinion, it can't hold a candle to Diana Ross & the Supremes. Your mileage may vary.

[@pdbass]

FINALLY. LOL. Thanks so much!

[@z98133]

I love the way you break it down. I find myself glued to your every word.

[@pdbass]

Thank you for watching!!!

[@tacoque]

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

[@andersingram]

... the 1981 Inner Life version with Patrick Adams' take on the chord progression is also amazing ... the harmony really seems to anticipate the sound of house music ....

[@Tubulous123]

Yes!!! Thank you!!! 1Nation4Life

[@pdbass]

Thanks, Jeff!!

[@renderuntocaesarwhatiscaes2300]

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..

[@DCronk-qc6sn]

Professor, you set such a high standard in your work - bravo.

[@drummersagainstitk]

Jamerson's best 2nd best bass line. The best being I'm Gonna Make You Love Me. IMO

[@mv11000]

WOW when Jamerson "cuts loose" the sun comes up :) Another perfect video, Paul, thank you!

[@10acious_D]

I've always preferred the Gaye/Terrell version, but after seeing this video, I'm willing to give Diana's version another chance.

[@mermiriam]

Yep!

[@GabrielRodriguez-wo8rd]

WOW after watching this video now I understand after so many years, why I like the Diana Ross version better, it is a MASTERPIECE!! Thank you so much for the post🙏

[@ericward8010]

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.

[@whatthefunkisgoingon3820]

Is it because of the music and the perfect production? is it because of the lyrics? Diana's version can always make me cry. How powerful it is that such music can touch a human soul. Ain't no feeling high enough.

[@danielpalmersofficial]

James Jamerson is great, I wish I could play like him. ✌️😙

[@tomjohnson5597]

Tying into your description “triumphant, glorious, hopeful,” the best and perhaps silliest proof of that is the ending of the animated movie Chicken Little. They play it at the end of the movie adaptation of the animated Chicken Little’s story. Not only does it bring those very words to that scene; it illustrates how amazing Diana Ross’ version was, and how powerful music really is. Great analysis!

[@tracibillington8025]

Please share more comparisons of different versions of well known songs. I enjoy the compare/contrast conversation.

[@kibagami1]

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.

[@fearclownz]

Your informative videos always are golden! Truly! But, it was this one that finally made me need to share.. I heard the Diana Ross version many years ago, this particular track was the highlight of the whole completely motown music cassette that I had found. For me, it was always the music and never the lyrics that ever mattered. But, this song changed that, and not during the era that I discovered the song. Later in my life, I found the love of my life and she re introduced me to the this song through the 'Tammy and Marvin' version. (Not that I hadn't heard it, just wasn't a fan, yet.) The lyrics, however, became incredibly meaningful, important, and full of optimism for us. I had never even thought about the lyrics in the Diana Ross version, for I was continually lost in the music filled with perfect bass notes and equally perfect drumming and simply never cared about words. We had 7 and half fantastic years together, and after fighting in her way that she fought, she lost her battle with cancer. Watching your video and your story sharing about your wife made me very happy.. Well, let's just say Music is such an important part of all our lives. Please continue :)

[@jimmyGerm601]

Excellent video 👍🏾👍🏾

[@fanadiana]

In my always correct opinion -- kidding, kinda -- Diana's version is the greatest pop music recording ever made. Your analysis has helped me understand what before I only knew. And yours is the only analysis of the song I have seen that acknowledges the DRTS and Temptations' version, which certainly merits mention! Thank you so much for sharing!

[@timjordan8911]

We’ve all heard it, but thank you so much for telling this story so that we can love and appreciate it even more!

[@eugenebrandon3914]

Another great video. Sadly, after listening to Motown from the sixties on, I only recently (a few years ago) heard about James Jamerson through the epic documentary, "Standing in The Shadows of Motown." He and others were truly the unsung heroes of my generation. I guess my excuse for not recognizing this genius years ago is that I was a youngster in the sixties and could only love the music without fully comprehending the depth of the musicianship.

[@briananderson687]

i'm glad somebody still cares about music -- and is smart enough to explain it -- thank you!

[@gil3green]

What's funny is that this is just about one of many Motown masterpieces!

[@lockedin60]

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.

[@daniellemeyer5159]

My mom listened to Motown on a little one speaker transistor radio in the kitchen every morning while making breakfast for us kids. This song always stuck out as being exceptional to me even when I was too young to understand what the words were about. As I got a little older and especially when I started playing bass, this became my favorite song of Motown and it is the song I go to whenever I teach any of my students about how special James Jamerson's basslines are I cant pick which version I like better as they are both exceptional and both have bass lines that to me are the masterpieces in the art of bass. Extra big thanks for this video.

[@donnamariebrown2478]

Thank you so much for your great video. I grew up to Motown and saw the Temps live. It is still the music that moves me the most

[@OOICU812]

That bass playing sure was sounding hood, bruh. I was playing my air bass right along with you.

[@JoeMidnightSpookShow]

BEST. EPISODE. EVER. You rule!! Fantastic breakdown.

[@eddisonbuenano5282]

HAD to click the notification! This video can't be missed

[@timpayne8238]

It's great how you play Jamerson's ad lib part towards the end on the Diana Ross version. - Gives me a better insight regarding one of my bass idols.

[@curtislawrence7096]

Your analysis of this - and all your videos - is produced so masterfully. You sir, are a true scholar !

[@pdbass]

Wow, thank you!

[@1mespud]

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.

[@yiriba57]

Thanks! For sharing your historical perspectives, research, break downs, and scholarship daring to disect the genious of these amazing artiists.

[@pdbass]

THANK YOU 🙏🏽

[@dfreeman120]

Yes Paul, from The Elgins ( Heaven Must Have Sent You) written & produced by Holland Dozier & Holland to Marvin, Tammi and Diana Ross including every engineer, arranger, The Andantes ( who sang & arranged backing vocals on loads of Motown classics ) The Funk Brothers etc etc… the genius songwriters & producers all at the top of their game not only in the studio but on stage as well !!! In my opinion you’re at the top of your game as the host, presenter and teacher breaking down all these different styles and genres. Keep grinding brother ! Bomaye ❤

[@jeffwolinski2659]

You just keep getting better and better, great breakdown!!

[@ronaldgraygray1460]

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!!!

[@mattatsu]

I’ve always prefer the MG&TT version myself because it’s just so rhtyhmic and I love how Jamerson enphasizes the upbeats during the verses. It’s honestly in my top 5 favourite basslines of all time - may be even be 1st. For that reason, I didn’t like Diana’s version as much, and while I understood how it was different emotionally, your analysis was great and gave me an appreciation of it that I didn’t have before, so thank you for that! Also, I always assumed Diana’s version was first, haha.

[@charlescdt6509]

I wish I could afford to take lessons from you, your technique is killer. Keep up the awesome work and dropping that knowledge.

[@DJVarMar]

This is an awesome breakdown. Thank you.

[@imjustjoshing550]

Sir, thank you so much for this. I prefer the Diana Ross version also!

[@sossecurity7811]

Good video, bro. The same can be said about "I Heard It Through The Grapevine" , both renditions by Marvin Gaye and Gladys Knight and Pips. Motown did lots of renditions of their own with their own artists. Two more groups to consider for the song "Get Ready" are the Temptations and Rare Earth. As a bassist myself, I listen to a lot of music. The fact you focused on Motown makes sense. Here's another one! "I'll Be There" recorded by the Four Tops and the Jackson 5. Need I say more?