The story behind Motown’s greatest bassline: “Man, he could drink”
While there have been many great artists who have passed through the ranks of Motown, one group of individuals who can be praised for their constant dedication to ensuring that only the greatest songs were recorded for the label were the Funk Brothers.
The Detroit label’s official house band from 1959 to 1972, the vast array of musicians who were part of the indomitable collective were arguably the most feared session players in the world at one point, and were largely responsible for bringing the songs by the likes of Stevie Wonder, The Supremes and The Miracles to life with their deft and inventive playing.
While they never had a fixed lineup during this 13-year period, with plenty of different players dipping in and out of sessions as and when they were available, the likes of guitarists Robert White and Eddie ‘Chank’ Willis, or drummers William Benjamin and Richard ‘Pistol’ Allen were notable for having been present throughout.
However, one absolute force of nature within this supremely talented selection was the unmovable James Jamerson, who stoically performed bass on 23 number one hits, and was reportedly responsible for the basslines on every Motown recording between 1963 and 1968. While many casual listeners overlook the talents of bass players due to how easy it is for the attention to be diverted elsewhere, Jamerson’s exploits were frankly too good to ignore.
Exceptionally melodic in his approach to the instrument, while also effortless in how he managed to pull off basslines that slink along in the background beneath the melodies of other performers, Jamerson is frequently regarded as one of the most influential players of all time, and this extends far beyond the worlds of funk, soul and R&B that he was known for playing in.
Despite his brilliance, he was also a deeply troubled individual who struggled with alcoholism throughout most of his adult life, and while frequent inebriation might be seen by others as a hindrance, for Jamerson, it was arguably what helped him to play to the best of his ability, despite the harm it was ultimately causing his body at the same time.
Considering the backing band were uncredited on many early releases on the label, there are plenty of examples of basslines that he was reported to have played on, from Wonder’s ‘I Was Made to Love Her’ to The Four Tops’ ‘Bernadette’, there’s one that is frequently regarded as being his best which, according to pianist and former bandmate Joe Hunter, was created by Jamerson while heavily intoxicated.
“Jamerson could drink,” Hunter revealed to The Guardian of his former colleague’s addiction. “Man, he could drink. He used to say he played better when he was loosened up. That’s when he’d go right out there. One time, Berry Gordy had to go and carry him back from a drinking club to a session. That bassline you hear on ‘What’s Going On’ by Marvin Gaye – Jamerson played that lying flat on his back, right there on the studio floor.”
While it may be a tragic set of circumstances that ultimately led to Jamerson’s premature passing at the age of 47, it was clear that his abilities were so sublime that not even the strongest substances were able to impair him, and could often bring out the finest examples of his work.
