Electric Bass - Jeff Lynne

Difficulty - Beginner

There is something satisfying about an 8th note bass line executed really well, and Jeff Lynne delivers here in spades, this song featuring both on Tom Petty’s debut solo record Full Moon Fever and also the trailer for GTA6.

While the line isn’t difficult technically, it’s the consistency of that 8th note groove that really counts, along with catching those hits at the ends of the verses!

I’ve intentionally notated the line further up the neck using the E and A strings, I recorded takes playing right up by the nut and further up the neck and preferred the way that the bass sounded and sat in the track further up the neck, but by all means try playing it in different positions and using more open strings and make your own choice as to which one feels/sounds best!

I used my Yamaha BB for this playthrough, P pickup soloed and with my MXR M80 in the chain to add a little EQ and a little overdrive though much less saturated that I would usually go for!

Have fun!

You can request a Transcription below. I also offer a bespoke transcription service. I charge £40 for most transcription requests; more complex transcriptions are on a case-by-case basis, and I will provide a specific quote at my own discretion. If you pay for a transcription, you will receive a copy without a watermark.

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Love Is A Long Road WM

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Electric Bass - Deon Estus

Difficulty - Intermediate

This weeks transcription revisits the bass player Deon Estus (previously covered in George Michael’s ‘Faith’), this time looking at his line on Wham!’s Club Tropicana.

This is one of many lines that highlights the importance, when working on your slap technique, of being able to switch between it and plucking with the fingers because this line (any many others) has sections where a short phrase of slap playing has been inserted into the groove.

We also have the cool slap intro and the little bass break in the middle! It’s worth noting here that the vast majority of those are both played using thumb strikes, there are very few pops in there. If they’re too quick for you at present, slow the figures down to 50% of tempo and work on them until the strike pattern is properly internalised, THEN you can start to worry about tempo!

For this track I chose my Fodera (single coil mode, tone control wide open) paired with my Cali76 compressor and my MXR M80 preamp, overdrive on but slightly less saturation than I usually use.

Enjoy!

You can request a Transcription below. I also offer a bespoke transcription service. I charge £40 for most transcription requests; more complex transcriptions are on a case-by-case basis, and I will provide a specific quote at my own discretion. If you pay for a transcription, you will receive a copy without a watermark.

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Club Tropicana WM

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Electric Bass - Bernard Reed

Difficulty - Intermediate

This weeks transcription came out of a happy accident. I happened to be listening in the car to a Spotify gig playlist I’d put together (I often put playlists together when i’m unfamiliar with any gig material) which, when it had finished, started going to the ‘you might also like’ tracks. I almost skipped it and restarted the playlist but something about the track made me pause and listen…

The thing that initially grabbed me about Overdose Of Joy wasn’t the bass…it was the horn/string arrangement and then the vocal line in the chorus! It was only when I went back and listened carefully with headphones that I realised how great the bass line is!

Eugene Record was a complete unknown to me but his whole solo record is well worth listening to if you’re into the Detroit/Chicago music scenes. Apparently he also contributed bass to his own record but the best information i’ve been able to find is that Bernard Reed played bass on this specific cut. The use of open strings within the verse/chorus groove really stands out to me, it’s somewhat Jamerson-esque but not quite used in the same way, and pay attention to how the groove changes and varies.

I might have gone with my P bass for this recording but its badly in need of a setup so I went for my Yamaha with the tone control wide open!

One minor note, the recording is slightly flat when your bass is tuned to 440hz, so you’ll either need to tune your bass down a little or nudge the track up a little (on the recording it’s .24 up).

Enjoy!

You can request a Transcription below. I also offer a bespoke transcription service. I charge £40 for most transcription requests; more complex transcriptions are on a case-by-case basis, and I will provide a specific quote at my own discretion. If you pay for a transcription, you will receive a copy without a watermark.

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Overdose Of Joy WM

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Electric Bass - Ronald LaPread

Difficulty - Intermediate

This weeks transcription is one i’ve enjoyed playing for over a decade now, and me sitting down and transcribing it in full is somewhat overdue!

I played several Commodores tunes while I was working on ships in the Caribbean but this one never failed to get the audience moving. Ronald LaPread’s line really drives the song forward and the blend of on and off beat rhythmic elements means that, although the line is quite repetitive when you analyse it, it’s never boring to listen to and certainly not to play.

There are little things worth paying attention to, not least of which is the quick switches between the fingerstyle and the little ‘pops’, something that is often overlooked with slap playing. The technique tends to be used (within popular music) as an addition to a fingerstyle groove rather than as a standalone technique and it’s something I might touch on in a lesson at some stage. In addition to these there is the bridge unison line at letter F, always fun to nail down!

Have fun!

You can request a Transcription below. I also offer a bespoke transcription service. I charge £40 for most transcription requests; more complex transcriptions are on a case-by-case basis, and I will provide a specific quote at my own discretion. If you pay for a transcription, you will receive a copy without a watermark.

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Brick House WM

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Electric Bass - Andrew Gouche

Difficulty - Advanced

This transcription is the first in a series of bigger, more elaborate transcriptions and I thought I could kick off with the ‘alternate’ version of the Rufus song You Got The Love I put out a couple of weeks ago!! This song was one of several Rufus songs covered on the All The Hits! Live record which features the godfather that is Andrew Gouche on bass and also as Chaka’s musical director.

Andrew needs little introduction from me here, he’s one of the Godfathers of modern gospel bass playing and his work has influenced electric bass players for decades now. That same gospel flavour is all over this record and to get a feel for it, compare and contrast the studio version of this song with this arrangement, Andrew’s vocabulary really comes through and speaks for itself.

It’s been really interesting working on playing this too, because it hammers home just how important your musical upbringing is when it comes to musical interpretation, phrasing and vocabulary and mine was very, very different to Andrews and it shows in the way I play vs. how he plays. I would have to sit and study both his vocabulary, feel and placement for a LONG time to really get close to how he sounds on this record. The scope for inspiration is endless though, and there are little things that I absolutely love in this particular cut, such as the 10ths he puts in during the guitar solo, the unison hits at the end and the killer run down to start the song.

Enjoy!

You can request a Transcription below. I also offer a bespoke transcription service. I charge £40 for most transcription requests; more complex transcriptions are on a case-by-case basis, and I will provide a specific quote at my own discretion. If you pay for a transcription, you will receive a copy without a watermark.

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The first two pages are available for free below, paid subscribers can download the complete transcription

You Got The Love (Live) Sample

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Electric Bass - Steve Green/James Williams

Difficulty - Intermediate

Hey everyone,

This weeks transcription comes from the American RnB trio The Jones Girls, a group I was pointed towards by a former bandmate from the same area and as it turns out a group I wish i’d come into contact with earlier as they released some wonderful music.

Show Love Today was released as part of their debut album The Jones Girls, and is (for me) the standout bass part from the record. The chorus groove in particular really stood out, partly because it uses the kind of open voiced triad ideas i’m working on a lot at the moment but once I transcribed it how fiddly the line is to mute effectively! Keeping the lower strings quiet is really crucial to the clarity of the line when you move across onto the upper strings, along with paying attention to which of the 8th notes are played staccato vs legato.

I chose my Yamaha BB for this playthrough, with the passive tone rolled on quite a bit more than I usually do as the bass sound on the record is classic ‘flats with the tone open’.

Hope you all enjoy this! One thing to note is that the song is in that no-mans land between G and Ab, so i de-tuned the song .48 to bring it in tune with my bass (standard tuned in 440) so you’ll need to either de-tune the track as i’ve done or tune your bass up a little!

You can request a Transcription below. I also offer a bespoke transcription service. I charge £40 for most transcription requests; more complex transcriptions are on a case-by-case basis, and I will provide a specific quote at my own discretion. If you pay for a transcription, you will receive a copy without a watermark.

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Show Love Today WM

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Electric Bass - Dennis Belfield

Difficulty - Beginner

Well before I became aware of the Candi Staton/Florence And The Machine song of the same name, this was one of my favourite tunes to play in our Funk and Soul set on the Carnival Imagination. That particular cruise contract was a real education for me, both in terms of what being a professional bass player really means and being exposed to a LOT of music i’d only been peripherally aware of.

Rufus and Chaka Khan were both big parts of said education, it’s not difficult technically but consistency with the pushes (how the main groove starts on the last 16th of the bar before rather than dead on beat 1) really makes or breaks the overall feel. Also….there is something quite refreshing about grooves that have a LOT of space in them!

P with flats is the vibe here so i’ve gone for my Yamaha BB, recorded via my MXR M80 preamp.

Enjoy!

P.s…for my subscribers, there is a VERY different version of this song that i’ll be putting out a transcription of soon…

You can request a Transcription below. I also offer a bespoke transcription service. I charge £40 for most transcription requests; more complex transcriptions are on a case-by-case basis, and I will provide a specific quote at my own discretion. If you pay for a transcription, you will receive a copy without a watermark.

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You Got The Love WM

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Electric Bass - Anthony Jackson

Difficulty - Intermediate/Advanced

I first transcribed this particular tune last year for my weekly group class and since i’ve gone back down the Anthony Jackson rabbit hole for my current teaching block looking at greats of the session world, I came across Teena Marie’s Robbery record again and decided to work through this for my own benefit and post the transcription for you all! This specific version is the extended 12” mix from the US Robbery reissue.

AJ needs no introduction from me at this point but this particular line is one of his finest in the pop realm. Something that always floors me with Anthony is his incredible control of sound, time and note length and just listening to him execute the main groove from this song over and over is a real education in what consistency actually sounds like. For those of you wanting some AJ magic…take a look at the fills on the last two pages, i’ll be filming some tutorials on those in the next few days because there is a lot you can pick out of them!

Since it’s AJ, my Fodera was my choice (its always a pleasure picking this bass up and playing it!), biased slightly towards the front pickup, single coil mode and the tone control almost wide open. The only other thing in the chain before the interface was my Cali76 compressor.

Enjoy!

You can request a Transcription below. I also offer a bespoke transcription service. I charge £40 for most transcription requests; more complex transcriptions are on a case-by-case basis, and I will provide a specific quote at my own discretion. If you pay for a transcription, you will receive a copy without a watermark.

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Playboy WM

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Electric Bass - Stuart Price

Difficulty - Intermediate

Hey all,

Hope you’re all well! This week’s transcription is one of a pair of Dua Lipa tunes i’ve needed to become familiar with over the last few months (the other being Levitating) and in transcribing them properly it shows that there are still some fun bass lines out there within pop music.

While the line itself appears simple enough, some of the little details to pay attention to include slides, varied note lengths, the integration of pops into the octave patterns and the melodic lines in the final outtro.

I chose my Fodera for this take, biased slightly towards the front pickup, tone control 30% on and quite heavily compressed using my Cali76 compressor!

Enjoy!

You can request a Transcription below. I also offer a bespoke transcription service. I charge £40 for most transcription requests; more complex transcriptions are on a case-by-case basis, and I will provide a specific quote at my own discretion. If you pay for a transcription, you will receive a copy without a watermark.

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Don't Start Now WM

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Electric Bass - Chris Squire

Difficulty - Beginner/Intermediate

This weeks transcription is another from the world of prog rock, this time the British band Yes. Owner Of A Lonely Heart was part of a playlist in one of the hotels we were staying at while on the road in Europe recently and it got me thinking about the 90125 album. It’s from an interesting period in Yes’ history, given that it originated from what was supposed to be a side project (Cinema), and hearing this track on the radio prompted me to not only go and re-listen to the record but also to transcribe Chris Squire’s bass line!

This song is something of an antidote to the idea that the Prog bands of the 70s/80s didn’t know how to write ‘songs’, the main groove and the chorus melody were in my head for a good day and a half after I heard it. Executing the song properly means working on a given idea and executing it consistently and repetitively, something i’ve been working on recently with some of my students. Alongside an incredibly catchy groove there are also fun instrumental unison lines and some lovely melodic ideas.

I don’t own a Rickenbacker and the closest I could get to Squire’s sound on this track was my Fodera in dual coil mode, biased towards the front pickup, EQ flat and my Boss CEB-3 chorus.

Hope you all enjoy!

You can request a Transcription below. I also offer a bespoke transcription service. I charge £40 for most transcription requests; more complex transcriptions are on a case-by-case basis, and I will provide a specific quote at my own discretion. If you pay for a transcription, you will receive a copy without a watermark.

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Owner Of A Lonely Heart WM

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Electric Bass - Nathan East

Difficulty - Intermediate

Nathan East is one of those players that, when you listen to him, you often think “Yes. Perfect. Nothing else needed”. This is particularly the case in a lot of what he has recorded with the great singer Anita Baker, the record ‘Giving You The Best That I’ve Got’ being a favourite of mine.

This particular track, Just Because, not only demonstrates Nathan’s incredible sense of taste but also his absolute mastery of what I think of as ‘connective ideas’. The movement from one chord to another and one phrase to another appears completely fluid and rarely repeats the same exact idea twice. As the song moves on, Nathan’s ideas develop and he has some REALLY tasty fills towards the end, not that they are enormously complex or harmonically ambiguous but they suit the music and the mood just perfectly. All in all, it’s a perfect demonstration of why Nathan has been one of the first call bass players on the LA scene for decades.

I used my Fodera for this particular playthrough, pickups centred in single coil mode and the passive tone 60% open.

Hope you enjoy this one as much as I have!

You can request a Transcription below. I also offer a bespoke transcription service. I charge £40 for most transcription requests; more complex transcriptions are on a case-by-case basis, and I will provide a specific quote at my own discretion. If you pay for a transcription, you will receive a copy without a watermark.

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Just Because WM

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Electric Bass - Geddy Lee

Difficulty - Advanced

Hey everyone,

This transcription comes after checking out recent videos of Rush on the 50 Something tour with Annika Nilles on the drum chair (Spoiler altert: She’s ABSOLUTELY destroying it, as I anticipated she would. I feel that Neil is watching somewhere and smiling). This led me to going back through bits of the rush discography (i’ve got a couple of bigger cuts coming for subscribers in the next month or so) and one record that I keep coming back to is Counterparts.

This record doesn’t have the cache of Moving Pictures or Permanent Waves or the grand concept of 2112 but (for me at least) it has some great songwriting and some fantastic bass work by Geddy, chief among them Leave That Thing Alone.

This track has all the hallmarks of the ‘Rush Instrumental’, bass specific hooks (Geddy’s first entry in bar 5), bass leads, unison lines….it’s all in here! The unison line in 3/4 is particularly fun to play!

It sounds to me like Geddy is using his Fender J on this record (i’m not a Rush scholar on this point) so I went for my Fodera, pickups in single coil mode and the passive tone wide open. To get that Geddy bite I put it through my MXR M80 preamp/overdrive with the saturation dialled back a fraction and the top end boosted.

Enjoy!

You can request a Transcription below. I also offer a bespoke transcription service. I charge £40 for most transcription requests; more complex transcriptions are on a case-by-case basis, and I will provide a specific quote at my own discretion. If you pay for a transcription, you will receive a copy without a watermark.

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Leave That Thing Alone WM

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Electric Bass - Phil Lynott

Difficulty - Beginner/Intermediate

Hey everyone,

This one is a direct request from my dad and goes back to the very first band I ever played bass in! Prior to me sitting down a while back to transcribe this properly it was very much in the ‘sort of learned it but not really’ category, and having transcribed it properly (as with a lot of songs from this era), there are a range of little nuggets that jump out.

The first is the shift in inversions in the choruses, something that completely bypassed me as a teenager, but it’s a really fun little shift in the harmony! The other that comes to mind immediately is the shift to running 8th notes in the final part of the song, representing a real shift in energy that I wish I’d learned in full the first time around!

Given that I always associate Lynott with his black P bass, I grabbed my own Fender P for this recording, along with my Boss CEB-3 bass chorus plus a little additional processing in garageband.

Have fun!

You can request a Transcription below. I also offer a bespoke transcription service. I charge £40 for most transcription requests; more complex transcriptions are on a case-by-case basis, and I will provide a specific quote at my own discretion. If you pay for a transcription, you will receive a copy without a watermark.

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Dancing In The Moonlight WM

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Electric Bass - P-Nut

Difficulty - Intermediate

Hey all,

This weeks transcription features a band (and a bass player) that people keep requesting over on one of the other bass education platforms I work for, the band being 311 and the bass player being Aaron ‘P-Nut’ Wills. The track i’ve worked through here is Paradise from their debut album and there are various things about it that stand out.

The first is that active pentatonic-based line in the verses, there is a lot of life there and it’s a good example of how you can apply your pentatonic scales within a bass groove. In the chorus, P-Nut doesn’t hit the root on the second chord (C), something that really stands out given that we as bass players often fixate upon the root. Finally there are little things like the harmonics in the 4th bar of letter E (note that those need to be played just ABOVE 3rd fret) and the octave slapped figures!

P-Nut is known for his signature Warwick Streamer so I grabbed my own Warwick for this playthrough, straight into the interface with a little compression!

Enjoy!

You can request a Transcription below. I also offer a bespoke transcription service. I charge £40 for most transcription requests; more complex transcriptions are on a case-by-case basis, and I will provide a specific quote at my own discretion. If you pay for a transcription, you will receive a copy without a watermark.

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Paradise WM

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Electric Bass - Robert ‘Kool’ Bell

Difficulty - Beginner

This is a song that sometimes comes up at gigs and the challenge is always not to overplay! Much like Billie Jean, Thriller and Play That Funky Music, the groove is incredibly consistent throughout and players often tamper with that to the detriment of the music (i’m not saying don’t add anything, just be judicious!)

For those of you towards the start of your bass journey and looking to build some repertoire, this tune is a fun one to work in, it’s not difficult technically and once you get the geography of the song worked out, it’s all about consistency of execution!

Yamaha BB was once again on duty for this, P pickup with the tone rolled off and my trusty MXR M80.

Have fun!

You can request a Transcription below. I also offer a bespoke transcription service. I charge £40 for most transcription requests; more complex transcriptions are on a case-by-case basis, and I will provide a specific quote at my own discretion. If you pay for a transcription, you will receive a copy without a watermark.

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Get Down On It WM

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Electric Bass - Curt Smith

Difficulty - Beginner/Intermediate

Tears For Fears are one of those bands that i’ve heard regularly but have never sat down and seriously examined, until this particular tune came on the radio as I was on my way to a gig, and as I sat there listening in the car quite a few things in the track really struc…

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Electric Bass - Nate Watts

Difficulty - Intermediate

If you were to ask a bass player "what is a great Nate Watts bass line?” they might answer with Sir Duke, Master Blaster or maybe Do I Do (all excellent answers btw!). I would however wager that almost none of them would name this particular track, Gwen McCrae’s Keep The Fire Burning.

I was first exposed to Gwen’s music (and lots more besides) via some excellent Jonathan Maron seminars, and have loved her work ever since. This particular track has the same challenge as tunes like Billie Jean; it’s relentless, the groove never stops so there is certainly a degree of stamina required! The grooves themselves in the verse and chorus are fantastic illustrations of how you can write something catchy and propulsive with relatively simple harmony ingredients, in this case F minor pentatonic and chromatic approach notes. This is interspersed with little flashes of Nate’s phenomenal ability to lay down tasty ideas (that little fill in the last chorus before the slap line kicks in is killer). In the slap section, pay close attention to which parts are thumb and those that are popped, its quite surprising how few times Nate uses the pop!

This track suggested flats to me, so I went my my Yamaha BB, recorded through my Cali76 compressor, MXR M80 preamp into my Audient interface.

Enjoy!

You can request a Transcription below. I also offer a bespoke transcription service. I charge £40 for most transcription requests; more complex transcriptions are on a case-by-case basis, and I will provide a specific quote at my own discretion. If you pay for a transcription, you will receive a copy without a watermark.

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Keep The Fire Burning WM

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Electric Bass - Nick Fyffe

Difficulty - Intermediate/Advanced

Hey all,

Slightly later than usual this week but I’d say it’s worth it! For me, Nick Fyffe is the great underrated bass player from the trio that have played with Jamiroquai (the others being Stu Zender and Paul Turner). His work on the Live In Verona record is amazing as is his work on the Synkronized album. This track is, for me, the standout track from that particular record and it’s been both fun and challenging to get it down!

Part of this comes down to how punchy Nick’s sound is and trying my best to replicate that myself, and part of it is the switch between punchy fingerstyle playing and the octave slap groove. Something I took particular note of are the little slides and grace notes that Nick puts into the line!

I’m not 100% sure which bass that Nick used on the record, but for Jamiroquai of all eras, I tend to reach for my Warwick Streamer LX, it just has a particular punch and bite to it that just works with their music!

Have fun with this one!

You can request a Transcription below. I also offer a bespoke transcription service. I charge £40 for most transcription requests; more complex transcriptions are on a case-by-case basis, and I will provide a specific quote at my own discretion. If you pay for a transcription, you will receive a copy without a watermark.

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Soul Education WM

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Electric Bass - Jerry Jemmott

Difficulty - Intermediate

Hey all,

Hope you’re all well (and for all of you in the UK, are keeping cool!). This weeks transcription is one that has been on the periphery of my awareness for some time now and as I’ve not yet done a Jerry Jemmott transcription, I decided it was past time I sat down and worked this tune out properly.

Aretha Franklin obviously needs no introduction from me but for those less steeped in bass history, Jerry Jemmott was one of the generation of players active right before Jaco and Stanley Clarke exploded onto the scene and transformed what was possible on the instrument and Jemmott is one of the players that Jaco repeatedly namechecked as a specific influence, specifically for the 16th note fingerstyle lines that are in evidence in this track.

Something that stuck out to me was Jemmotts use of open strings, something that i’ve also always noticed about James Jamerson. The open A string works very nicely in the section in Bb Major (A being the Major 7th) but he also integrates it in the B major section (which then gives a dominant 7 vibe without actually changing chord). Pay attention to some of the fills in the outtro, not hugely difficult but so tasty!

P with flats was the vibe I was getting from listening to the track repeatedly so I grabbed the Yamaha BB with the neck pickup soloed. I thought about using the P bass but given the temperature/humidity in my home studio right now the neck has a life of its own and it needs a setup….again :P

Enjoy!!

You can request a Transcription below. I also offer a bespoke transcription service. I charge £40 for most transcription requests; more complex transcriptions are on a case-by-case basis, and I will provide a specific quote at my own discretion. If you pay for a transcription, you will receive a copy without a watermark.

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Think! WM

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Electric Bass - Melvin Dunlap

Difficulty - Intermediate

Hey all,

Hope this finds you all well! This weeks transcription is a tune I hadn’t heard in a VERY long time until a bass playing friend of mine sent me a playlist he’d put together, and listening to it reminded me just how much I like this particular line!

Express yourself was the signature song for Charles Wright and The Watts, and Melvin Dunlap delivers an absolute masterclass in varying the connective ideas while maintaining the integrity of the overall groove! Keep an eye out for where he startts dropping the first 16th of the bar, and work to nail down the various different connective fills/ideas!

My Yamaha with flatwounds was once again the bass of choice here, with my MXR M80 and a little compression added.

Have fun with this!

You can request a Transcription below. I also offer a bespoke transcription service. I charge £40 for most transcription requests; more complex transcriptions are on a case-by-case basis, and I will provide a specific quote at my own discretion. If you pay for a transcription, you will receive a copy without a watermark.

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Express Yourself WM

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