Ain't Nothing Like The Real Thing - Marvin Gaye and Tammi Terrell (1968)

Hello everyone,

Sorry about the long period of silence but I have been finishing my degree! Now it is all done I can get back to more regularly posting on this blog.

Today I will be analysing 'Ain't Nothing Like The Real Thing', the classic Gaye / Terrell track. A favourite of mine, it is a good example of how Jamerson can construct a simple yet effective bass line that drives the song forward. Hope you enjoy it! As always, video is at the bottom.

P.S. This site has been steadily getting more and more views every month (more than I could have ever imagined when I first posted!) and I have decided that I would like to involve you all more in the blog. I am working on a way for you to vote on which line you would like me to analyse and cover next. I have had lots of feedback from visitors to this site saying how useful they found the analysis and I think that it would be cool for you to be able to request certain tracks. So, keep your eyes peeled as I will try to get some sort of message / voting system up and running ASAP.

In the mean time, keep playing and listening to Jamerson's work... there is a reason why he is still so highly regarded after all these years!

Thanks,

Chris.

Chorus 1

The classic root, fifth, major sixth line that runs throughout the first two bars is a standard Jamerson figure that features in many Motown tracks. What is interesting about this particular example however is how he chooses to continue playing the line over the Fm, strongly emphasising the flattened seventh (Eb) and later the fifth (C). By sticking to this hook he can create a strong rhythmic and harmonic feature of the song, one that he returns to throughout the track.

A quick open A at the end of bar two acts as a chromatic passing note into the bar of Abmaj7. Rhythmically this bar is very similar to the previous two. Harmonically, he simply outlines the chord through the use of the root, fifth and major seven, before again using an open string (this time E) to jump down to the F. Here, he simply climbs and drops through the root, fifth and octave, before returning to the already established pickup into the next bar of Eb. The overall effect is that of a strong rhythmical establishment that drives the song whilst only using relatively simple note choices, sticking mostly to arpeggios and chord tones.

Verse 1

After thoroughly establishing his chorus phrase, Jamerson allows himself a great deal more rhythmic and harmonic freedom when playing through the verse. Using only the root (Eb) followed by a quick open E passing note, he plays through the Eb chord and into a driving phrase based around F, Bb and G that climbs up to the Abmaj7 in the next bar. Here he outlines the Abmaj7 using the root, third, fifth and a quick passing fourth, all whilst using the quaver / double semiquaver rhythm that features throughout the line. He then holds a G (root), before a quick ghost note into an impressive semiquaver run. Although this does outline the G7+ to some extent, using the root, second and third, it is arguably more of a build up into the next bar, where he simply holds a C for half the bar.This is a good example of how Jamerson adds tension and release through the use of rhythmical variations.

Over the Cm7 he plays a chromatic walking feature that jumps between scale tones and passing notes. This establishes a rhythm that features in the first half of the next bar. Here he plays the root of the Bbm7, a passing D onto the Eb and a passing G onto the Ab. The use of these non-diatonic notes from open strings is something that Jamerson frequently uses and here it adds to the driving rhythm of the line.

A simple walk down through the root, major seven and sixth of the Abmaj7 chord takes us to the Eb, where after a root based phrase he again returns to the already established root, fifth and sixth hook. After a full verse of new rhythmic and harmonic ideas, the return to this familiar phrase grounds the song; giving the listener an already featured movement, whilst also building up to the next verse.

Verse 3

This is a good example of how Jamerson can recall phrases used in previous sections and develop them either rhythmically, harmonically or both. The first bar shows him repeating a phrase that is used in both previous verses. In bar two he outlines the Abmaj7 through a quick semiquaver run of root, third and fifth, before doing the same on the G7+. Interestingly, he ignores the sharpened fifth in the augmented chord, opting instead to play a D natural. Like in the first verse, the result is a phrase that acts more as a build up into the next bar, rather than a strict outline of the chord. The speed of the D natural means that it does not clash with the other instruments on the recording.

In the next bar, he once again references and develops the previous line, making rhythmic and harmonic variations whilst still outlining the chord through a walk down to the next bar (Bbm7). Slowly developing and expanding a line is a common Jamerson technique, adding enough variation to keep the line interesting whilst still returning to pre-established phrases.

Bridge

A classic Jamerson line, he navigates through this section using both arpeggios to outline the harmony and fast chromatic semiquaver runs to string together the different chords. After outlining the Gm7 and G7 through a simple arpeggio, Jamerson then uses a B and A natural to climb down to a Bbm7. Although the B natural is not found in the Cm7 chord, the bouncing rhythm leads the listener to the next chord, minimising the effect of this 'wrong' note.

Over the Abmaj7 he plays a chromatic semiquaver run that walks up to a Bb in the next bar. A similar line is present when he plays over the Db°7 chord, climbing up to a simple F octave drop in the next bar. After a root based figure over the Ab/Bb, he again introduces the Bb C Eb C hook that anchors the line.

Second and Seventh bar of Chorus 3

These two bars show how throughout the song Jamerson has established and expanded upon certain phrases. Compare the first example to the second bar of chorus 1. Notice how the line is almost identical, except from a couple of variations. The last chorus is the climax of the song and to add rhythmic build Jamerson uses almost exclusively semiquavers.

The same can be said for this second example. Again, compare this to the third bar of the first chorus. Here he also plays a very similar line, but adds the semiquaver run on beat three to drive the song forward. Through the use of the open A string he adds a chromatic feel to the line, the speed of which propels the song towards its conclusion.

Notice how throughout this song, Jamerson uses many 'wrong' notes. In particular, he uses the open E and A strings as part of a semiquaver chromatic run up to the next chord. The speed of these passing notes means that rather than the note sticking out as being 'wrong', it forms part of a larger passage that often links the chords together. This is a very common technique that Jamerson uses and you can spot it in many of his lines.


Ain't Nothing Like The Real Thing - Marvin Gaye / Tammi Terrell (1968) from Chris Axe on Vimeo.

What's Going On - Marvin Gaye (1971)

Intro

Main groove over an Emaj7 chord, classic Jamerson line. Largely based around the root, fifth and major sixth of the chord. Fill at the end is very similar but with a chromatic run to add variation. The double dotted crotchet at the start of the bar is used frequently throughout this song.

Fill at the end of Verse 2

Skipping down the octave, flat seven and fifth of the B9 chord. Changes in rhythm make this simple fill effective, and Jamerson uses a similar figure later on in the song.

Chorus 1

Walks up the root, second and major third of the Emaj7. G# at the end of the first bar also acts as the perfect fifth of the C#min7; a dominant approach reflecting Jamerson's walking bass influence. The fifth and minor seven are used on the C#min7 as a small fill, bringing you back to the Emaj7 in the next bar.

Bridge 1

Only using the root, perfect fifth and octave, Jamerson uses rhythmic changes to keep the line interesting and give it movement - a common Jamerson technique.

Bridge 2

Walking up the root, third, fourth, flat fifth, perfect fifth, flat seven, major seven and octave. Essentially outlining the major scale, but adding tension with the flat fifth and flat seven. This quick tension and release pattern is common in Jamerson's playing. The drop down to the C at the end lends itself to a chromatic walk down to the A of the next chord, Am9.

Ain't No Mountain High Enough - Marvin Gaye and Tammi Terrell (1967)

Hello,

Continuing on from revamping my analysis of 'Darling Dear' I have decided to take a closer look at one of my favorite Jamerson lines - the 1967 classic duet between Marvin Gaye and Tammi Terrell 'Ain't No Mountain High Enough'. The original post back in 2012 has become the most popular analysis on the site, and so I though it was about time to freshen up the article.

Here I take a close look at the iconic intro / verse descending line, the great chorus groove and the bridge - but as always I encourage you to delve deeper and learn the whole song. It's a masterpiece!


Intro and Verse 2 - A Comparison

Firstly I am going to take a look at the classic descending line that carries us through the intro and verse. This is a great study in how Jamerson can lay down a simple part, and begin to gradually embellish the line - rhythmically building up his part to drive the song forward towards the chorus. These two sections are overall very similar, both based around the chromatic descending motion down through the A, G# and G, but we can see how Jamerson chooses to leave much more space during the intro. Through changing up the rhythm in the first, second and fourth bars of the verse Jamerson manages to completely alter the feel of the piece - creating a much more driving quaver based line in bars one two and four. Over the G#m7(b5) he builds into a classic Jamerson syncopated phrase. He is mostly just playing root notes here, using the chromatic nature of the chord progression to lead his descending bass line. The F# and B which he plays in the second half of bar three is the major seventh and third of the Gmaj7, but also the minor second and fifth of the Em7 in the next bar - here he is using scale tones shared by both chords in order to aid a smooth and strong melodic transition.

Chorus 1

Mostly chord tones are used here - clearly outlining the harmony alongside some chromatic passing phrases to tie together the chord transitions. Jamerson uses a similar run in bar two and four (again, mostly chord tones) to allow a fluid climb from the Bm7 to Gmaj7. The movement in bars six and seven matches the other instruments on the track, creating a moment of unison as they drop back into the verse.

Bridge

With the chords changing frequently in this section Jamerson keeps it simple and uses root, fifth and octave patterns throughout the whole of the bridge. Right through the first four bars - up until the last quaver of bar four - he is just working up and down a simple root, fifth and octave phrase. A quick open E right at the end of bar four carries us up to an F# in the next bar - a great example of how Jamerson uses open strings to bounce around the neck and help smooth position changes. From here he again essentially just sticks to a root, fifth and octave phrase that really drives the song forward towards the final verse. Dynamically this section is building right up, and with the final chorus just round the corner Jamerson's simple, driving line really works in this section. A great example of this can be seen in the final four bars - the chromatic nature of the progression already creates a sense of motion and build, and choosing to construct a line largely based around the root of the chord really accentuates this motion. Through keeping his part harmonically simple the focus is shifted to the rhythmic variations between the sections, which Jamerson uses to change the feel and dynamics as the track progresses.