THE HOW TO PLAY BASS MONTHLY EZINE - June 2014

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2 THE HOW TO PLAY BASS MONTHLY EZINE - June 2014 Welcome to the free how to play bass monthly ezine for June, In this month s issue I m going to feature another excerpt from a course I m teaching on Walking Bass Line playing. In this month s ezine we re going to include an excerpt from Lesson 29 of the Walking Basslines 101 Course. Lesson 29 talks about the importance of transcribing bass lines by the great - and this excerpt talks about a performance of Autumn Leaves by a piano trio led by Derek Smith. And a great bass player called George Duvivier played on this...and we ll take a peek at a chorus of George s playing and see what we can learn from that! Updates To The How To Play Bass Website Before we go onto the song tutorial I just want to take a moment to tell you about upcoming changes to the how to play bass website: 1. Firstly the website is being redeveloped/redesigned at the moment. I m not sure when the new layout will roll out...but it will be in the next couple of months hopefully. 2. Those of you who ve subscribed for longer than a few months will notice that the monthly ezines were erratic in That s something I m rectifying and from now on they will be regular. Every month there will be a new song tutorial and the previous months song tutorial will disappear into the archive of First Bass And Beyond. 3. Those of you who ve visited the website recently may notice that it hasn t been updated with new songs recently. That s partly because of the redesign that s ongoing. And partly because of a change of policy. For most of 2013 I ve been filming two video tutorials a week to tie in with my weekly magazine First Bass And Beyond. And I ve been posting versions of those tutorials on youtube and on the How To Play Bass website. 2 Free How To Play Bass Monthly Ezine June 2014 how-to-play-bass.com

3 I have nearly 300 videos on YouTube and have decided that although the two video tutorials a week schedule will continue, I won t post many of these tutorials to Youtube anymore. Perhaps it will be one a month plus the free song tutorial like the one that usually features in the free monthly ezine. 4. This policy is already under way - here are videos that subscribers of First Bass And Beyond have had access to that weren t uploaded to Youtube: Lets Spend The Night Together (Rolling Stones) Our Song (Taylor Swift) Sympathy For The Devil (Rolling Stones) Telegram Sam (T Rex) Ring Of Fire (Johnny Cash) We Are Never Ever Getting Back Together (Taylor Swift) Schools Out (Alice Cooper) More Than A Feeling (Boston) Folsom Prison Blues (Johnny Cash( Shake (Otis Redding) Boys Are Back In Town (Thin Lizzy) 20th Century Boy (T Rex) Fa Fa Fa Fa (The Sad Song) - (Otis Redding) 5. Upcoming tutorials will be focused on songs that are commonly played by gigging bands. That will range from soul and R&B classics to rock and rock blues tunes. 6. I ve added a new section to First Bass And Beyond called Working Basslines. That section features complete tutorials for songs that bands commonly play - these tutorials feature streaming and downloadable videos, notation in PDF and tab, instruction on creating individual sections in Band In A Box to isolate and practice (which includes necessary chords and keys and tempo information) and also bass less backing tracks to play along with. 7. There are two new sections to the First Bass And Beyond members area. The first of these is a section on Theory. Each of these lessons is serialized in the weekly issues of FB&B and then it is transferred to the 3 Free How To Play Bass Monthly Ezine June 2014 how-to-play-bass.com

4 website and any musical examples are filmed and embedded at the appropriate place in the lesson. That way this becomes a permanent theory resource for members of FB&B. So far we ve covered 22 lessons - and we ve looked at intervals of the major and minor scale as basic building blocks of music, along with an introduction to time signatures. In September I ll start adding to this with a detailed look at modes and chords and scale relationships. The second new section of the First Bass And Beyond website - so new it s not even officially published until Friday! - is a mini course on how to create and play bass lines from chord charts. Again, this is serialized in First Bass And Beyond and then transferred to the website. There are tons of exercises to practice this skill, plus MP3 backing tracks with no bass to practice with! Again, this will be another great resource for members of FB&B. 8. Over the next few months I m going to finish serialisine e in the free monthly ezine a book I wrote - called LEARN SONGS NOT SCALES - that details the background to why I don t think bass players should learn scales by rote. (Note bass players DO need to understand scales and how they are formed...but we don t need to practice them by rote. It will all be spelled out over the next few months!) In this issue we re going to finish off our conclusions from the song analysis that we did, and then we re going to talk about learning sequences. 4 Free How To Play Bass Monthly Ezine June 2014 how-to-play-bass.com

5 Excerpt From Walking Basslines Lesson 29 (Transcribing) Introduction In Lesson 29 of Walking Basslines 101 I talk about building on the foundations that have been laid in the course - and taking it to the next level. And there are two great ways to take it to the next level: the first is to study with a master teacher. And the second is to transcribe from the library of great recordings that are out there. That means transcribing some of the masters...the guys you admire. For me, that list would include (but not be limited to) Ray Brown, George Duvivier, Israel Crosby, Paul Chamber, Sam Jones and Scott La Faro to name a few. Now transcribing is one of the most powerful exercises you can do as a bass player. As well as the ear training practice you get, you can also build up a library of authentic vocabulary that you can take to the nth degree in your practice space. And you can also get cute with your transcriptions - say that you are learning a tune like I Got Rhythm and struggling to find interesting ways to play through the A sections (where the chords change every couple of beats). In this instance you can find a recording by one of the names you admire, take it to your practice space and start transcribing A Sections only. Pretty soon you ll have built up a collection of lines that you can use to play through this part of the tune. Not only will these lines sound great - because they come direct from source! - but you ll be able to reuse them in other parts of other tunes and you ll be able to spin dozens of variations on them. So transcribing is a fabulous way of taking your walking bass playing to the next level. 5 Free How To Play Bass Monthly Ezine June

6 Building Your Library Of Patterns Via Autumn Leaves When you first start playing jazz on just about any instrument, one of the first tunes you ll use as a practice vehicle after the 12 bar blues is the Jerome Kern standard Autumn Leaves. Now part of the reason Autumn Leaves is often included in the beginner jazz player s repertoire is that the chords in the two sections are similar, so it s not that hard to memorize the chords. Plus for soloing instruments, the melody is easy to play too - it consists of long notes and quarter notes. Another reason Autumn leaves is included in the beginning jazz player s repertoire is that the tempo is modest - it s usually played around 160 to 180 BPM which is much easier than some of the tempos for a lot of the tunes in the jazz repertoire. It s included in the easy repertoire for bass players too. And it is a song that players learning walking bass should pick up early on in their budding jazz training. But I think it s a really important song that bass players can learn from because of the chords used in the progression. Here s the chords for the first 8 bars of the first A section of Autumn Leaves: 6 Free How To Play Bass Monthly Ezine June

7 Now there are two really important chord movements contained within these first 8 bars: 1. Cm7 - F7 - Bbmaj7 2. Am7b5 - D7b9 - Gm7 These progressions are ii-v7-i progressions. Cm7-F7-Bbmaj7 is the ii-v7-i progression in major. And Am7b5-D7b9-Gm7 is the ii-v7-i progression in minor. Now the major and minor ii-v7-i progressions are found in many jazz tunes. Either as complete ii-v7-i s or as ii-v7 fragments. So to successfully be able to play walking bass lines to different tunes in the jazz repertoire, it s really important to have a library of ii-v7-i patterns that you know thoroughly and can use in different situations. (Paul s Note - in July s free ezine we ll look at all the different ways you can practice just ONE ii-v7-i line). Transcribing bass lines performed by the greats is the best way to build a library of patterns. The whole point about transcribing that I often see beginners miss isn t that it enables you to play a particular song the way a particular player performed it on a recording. It s that you can take apart and analyze that transcription and then lift pieces of vocabulary, isolate them and take them to your practice area so that you can build up your library of authentic ii-v7-i patterns. Taking Lines From George Duvivier s Performance of Autumn Leaves The performance of Autumn Leaves that I m going to life some lines from can be found on the Derek Smith Trio album Love For Sale. George Duvivier is the bass player on the album and he s a really interesting jazz bass player - he spent a lot of time in the 60s and 70s effectively out of the jazz scene because he was working in better paying environments (TV, film, orchestras etc.) Towards the end of his life though he played on a significant number of mainstream jazz albums. This Derek Smith trio album is one of them - 7 Free How To Play Bass Monthly Ezine June

8 it s a great album too, and worth getting hold of to have a listen to George s style. Another great album to hear George Duvivier is a Buddy De Franco recording called Hark. So what I m going to do is go through the transcription of george s performance on Autumn Leaves and lift out both some major and minor lines that you can take to your practice area to work on adding to your vocabulary. (And in July s free monthly ezine we ll look at how to practice lines.) Before we get started with some lines, a quick note. Autumn Leaves is often played in either G minor or E minor. And during the walking bass lines course we ve been using the chord progression of the G minor version as a fundamental learning tool. The Derek Smith version is in E minor however - so to make things comfortable I ve transposed the lifted parts to the key of G minor. Ok, here s the first line that we re going to lift. It comes from the sixth chorus that Duvivier plays on and looks like this: Now here s some of the things that caught my ear: 1. It climbs from mid register to high register 2. It climbs linearly against the descending pairing of chords - Cm7-F7 and Bbmaj7-Ebmaj7 3. It uses three stock patterns - two of which we ve already learned. And the third stock pattern suggests several variations of stock patterns that we ve already learned. This pattern takes place over four bars and extends beyond the major 8 Free How To Play Bass Monthly Ezine June

9 ii-v7-i chord progression in the tune. So let s trim it down to the kind of pattern that we re going to pracitce. And also, let s play it an octave lower so that it sits in the lower register of the bass: Now this gives us a nice pattern that we can take to our practice area. We already learned the R-2-b3-ch and R-ch-2-3 stock patterns in our section on stock patterns. But we can add the R-R-2-3 stock pattern to our list. And this pattern also suggests a variation we can add when playing on the minor chord: Pattern 2 Pattern 2 is taken from the start of the fourth chorus that Duvivier plays on and looks like this: 9 Free How To Play Bass Monthly Ezine June

10 Now this is an interesting pattern to look at - because it is very similar to the first pattern. The main differences are: 1. In the Cm7 bar the first root note has been replaced by a pair of swung 8th notes comprising the octave and the 5th 2. In the F7 bar the shift from the 2nd degree to the 3rd degree is facilitated by using an open string drop - which also gives a bit of rhythmic lift. Note also - and this is especially true for the physically greater distances found on an acoustic bass fingerboard - that the open D string on the second beat of the Cm7 chord facilitates a smooth position shift. Pattern 3 Pattern 3 is a minor taken from the third chorus that Duvivier plays on. It s another pattern in the upper register and looks like this: Let s drop it down an octave to free us from those extended ledger lines: This is fairly standard material - note the use of the repeated root in the R-b3-b5 triad that Duvivier uses in the Am7b5 bar. Repeating the root is 10 Free How To Play Bass Monthly Ezine June

11 a simple way of creating a number of new stock patterns and chordal patterns based on what we ve already covered in the course. The R/8-5-b3-2 run in the first Gm7 bar is a new pattern for us though, and a great way to connect from octave to root for a chord that lasts for two measures. Pattern 4 Pattern 4 is another minor pattern that comes from the second chorus that Duvivier plays on: Again, this pattern starts out in the upper register. Notice the simple contrast of a couple of chordal patterns - 8-b7-b5-R and 8-5-R-3 - with the simple linear pattern on the Gm7 that sets up the 5th on Bar 4. Pattern 5 Pattern 5 is another major pattern from one of the solo choruses. In the previous patterns Duvivier has used the root note almost exclusively on the downbeat. In this pattern he s targetting the third on the downbeat and then playing a simple descending figure that incorporates 7-3 resolutions: 11 Free How To Play Bass Monthly Ezine June

12 Summary This excerpt from Lesson 29 of Walking Basslines 101 has lifted five patterns from George Duvivier s bass line of Autumn Leaves. As we ll see in the July ezine, these patterns can be practiced in a variety of ways to help build your vocabulary of authentic lines and phrases that can be used in lots of different jazz tunes. We ve picked out 20 bars from Duvivier s original bass line - there are over 200 bars of the tune that Duvivier plays on...so we ve barely scratched the surface of what s possible. Once you ve built a foundational understanding of walking bass lines, analyzing original bass lines (either complete or fragments) and then practicing them thoroughly is one of the best ways to move forward as a walking bass player. We ll talk about practicing them thoroughly in July s ezine. 12 Free How To Play Bass Monthly Ezine June

13 LEARN SONGS NOT SCALES! 6 In the last three sections of this serialized book we ve done three things: 1. Analyze fragments of 16 bass lines. 2. Analyze fragments of 16 more bass lines. 3. Summarise that analysis. I ran some conclusions at the end of the third of those sections. HEre are some further conclusions: 1. Complete scales are rare as hen s teeth. Yep you can find instances. But they are not musical ideas that you will use in a bass line very often. (Paul s Scale Confession - we used to play Angels in my cover band, and just to prove that my extensive scale training with the Arch Guru wasn t totally wasted I used to have a fill in the guitar solo that was a descending E major scale over 2 octaves in 16ths notes!) 2. As a practice activity, rote playing of scales is a waste of time. The amount of times you may need to play a complete scale in a bass line - see songs above! - does not justify any amount of time rote learning scales. To play with other musicians you need to understand how bass lines function. And then implement that. 3. I m reiterating this because I had a couple of s from people taking me to task about the strength of my anti-scale thinking. So here s what I m saying in plain English: 1.) you do need to learn about scales. 2.)You don t need to rote practice scales. Ok, let s move on. 13 Free How To Play Bass Monthly Ezine June 2014 how-to-play-bass.com

14 The Answers To ALL Of Your Musical Questions Can Be Found In The Grooves Of Your Record Collection I wish I d been clever enough to come up with that phrase. In fact it was bass player Billy Sheehan who said it - he says it on one of his bass DVDs. And it s a very profound statement for bass players. Although our instrument is only 60 or so years old, and although the amount of educational material out there is still not at the level that I for one would like to see, what IS out there are literally tens of thousands of song recordings. Each of those song recordings contains bass performances that we can listen to, transcribe, and use to help us solve the problems that we face in our own bass playing. And this holds true whether we are beginners. Or whether we are more advanced players. Whatever level we are at, the careful selection of songs - and focused learning either of those songs, or of chosen selections of those songs - will allow us to increase our ability level. Learning from songs also allows us to learn from the greats who have been before us - players like Jamerson, Rocco Prestia, Jaco Pastorius, Geddy Lee, Paul McCartney, John Paul Jones, Jack Bruce and so on. The list is almost endless - and you can tailor the list of players (and songs) you learn from based on a combination of your bass playing goals and your preferred genres of music. So in the rest of this sequence of columns we re going to break this topic down into three sections: Learning from songs 1 - learning sequences Learning from songs 2 - isolating difficult sections Learning from songs 3 - assimilating bass vocabulary In today s column we re going to start looking at one of the ways you can 14 Free How To Play Bass Monthly Ezine June 2014 how-to-play-bass.com

15 start to learn the bass by learning songs and not scales. In this section we re going to look at creating sequences. What Is A Learning Sequence? Whether you know it or not - and whether they are called learning sequences or not - you were exposed to these ideas at school. When you learn to read you start by spelling individual letters phonetically. So CAT becomes this sound: Cuh, ahh, t. And then you learn to speak the individual sounds together: Cuh-ahht. Cat. As well as learning the sound of all the letters, you start to learn to recognize the shape that combinations of letters make. So soon you no longer see CAT at Cuh-ahh-t but you see it as one word: Cat. Of course you will be introduced to more advanced vocabulary and words, and longer words, and so on. And then when you go from preschool to school you ll move on to learning the classifications of words - e.g. nouns, verbs, etc - and the learning moves on. But that in a nutshell is a learning sequence. My youngest son goes to a kick boxing martial arts class every week and took his black belt for the youngest level (5 years old to 8 years old) last week. Because he was taking his black belt I was allowed to sit in and watch - and what I saw was a learning sequence spelt out backwards. Max was the only child going for black belt, so he started. And the instructor took him through his black belt drills. Then three children going for Brown belt joined him on the dojo mat - he moved backwards - and all four children went through the blue belt syllabus with the instructor. Then the would be Blue belts went to the front of the dojo mat, and Max 15 Free How To Play Bass Monthly Ezine June 2014 how-to-play-bass.com

16 and the three wannabe brown belts moved backwards, and then the instructor took them all through the blue belt syllabus. And this continued right down to the aspiring yellow belts. Now flip this around and you have a short routines of blocks and jabs that you need to do with either hand to get to yellow belt. Add in some basic side kicks and more involved blocks and you get to the next belt (Orange I think). And to progress to each level the students have to practice and learn more and harder kicks, jabs, punches and blocks in various combinations. That s a learning sequence. How To Construct A Learning Sequence So how do you construct a learning sequence? Well what you have to do is first define where you currently are and where you trying to get to. Then you start out with material that takes you just beyond where you currently are. And master that. And then that becomes your new starting point. In the martial arts analogy you ve just moved from white belt (newbie) to yellow belt. And now with the new starting point of yellow belt, you add learning material that takes you from yellow belt to orange belt. And so on. Again, the martial arts analogy is really helpful - because the skills that you need to master to get to yellow belt are necessary to create the foundation that will help you get to the higher belts. Caveat - it sounds like creating a learning sequence is simple. Learning sequences are simple - but creating them isn t. If you re a relative beginner at something the chances of you being able to create a good learning sequence for yourself are slim. 16 Free How To Play Bass Monthly Ezine June 2014 how-to-play-bass.com

17 So learning sequences are something that you may need help with depending on what level you are at. The more advanced you are, the more likely that you can identify and create your own learning sequences. How To Use Songs In A Learning Sequence In teaching the bass I try and focus just about every piece of my teaching through the lens of bass lines to songs. Whether that s the performances of the masters we admire - or bass lines to songs that we create, it doesn t matter. But bass lines to songs are what we have to play when we go out into the real world - so it makes sense to try and duplicate that experience in our practice space. Now creating a learning sequence with songs depends on you knowing where you are when you start out, and where you want to be when you finish. What you need to do is audit what skills you need to acquire to get from your start point to your end point. And then you can split that into stages (think yellow belt, orange belt, green belt etc). Then you match up songs to each stage - if you get your sequence right, then the learning of that song sequence should take you from start to finish. Now written down like that it sounds easy. But as I said above you may need the help of more advanced players to complete your song sequence. Sidebar: I mentioned earlier in this series of columns that there is a classical music instruction method that does this called The Suzuki Method. The Suzuki method is a really interesting way of learning an instrument - it s been used since before the bass was invented and Suzuki schools have sprung up all over the world and more importantly, turned out world class concert level pianists and violinists. (Recently the Suzuki Method has spread to other instruments - even the upright bass!) 17 Free How To Play Bass Monthly Ezine June 2014 how-to-play-bass.com

18 FIRST BASS AND BEYOND - THE ULTIMATE SONG RESOURCE FOR BEGINNER AND INTERMEDIATE BASS PLAYERS If you ve read this far it shows that you re interested in detailed song tutorials for bass. How would you like to get access to over 200 song tutorials over the next year for less than a dollar a tutorial? Well First Bass And Beyond gives you that... Here s how it works. First Bass And Beyond is based on a magazine model and I publish a PDF like this one every Friday at 5pm GMT. Each magazine includes two song tutorials in the PDF that are complemented with video tutorials and MP3s as well. I publish 50 issues a year - so that s 100 song tutorials over the next year. Additionally there is a section of the website called Working Bass Lines - and new members will get a new song every week in that section of the website. That takes you up to 150 song tutorials in the next year. (See list at the end of this PDF) When you join you get access to the archive of the free How To Play Bass monthly ezine - there are currently 35 videos in that archive. That s 185 song tutorials. (These 35 tutorials are all immediately available - and to see what songs are available, see the list at the end of the PDF) When you join you also get access to the Bass For Beginners course which currently includes another 35 song tutorials - that makes 220 song tutorials. (And these 35 tutorials are available immediately). Plus if you subscribe as an annual member you get 10 back issues of the magazine as a bonus - that could potentially add another 20 song tutorials to your song tutorial library! There s more in the magazine too - a main transcription every week that is usually more advanced and doesn t have video to go with. Plus there s 18 Free How To Play Bass Monthly Ezine June 2014 how-to-play-bass.com

19 a theory column for bass players taught from the perspective of the bass player s role in a band playing songs. And there s currently a column deconstructing the playing of Rocco Prestia of Tower Of Power. When this column has finished I ll move on and deconstruct Tommy Shannon s bass playing. And so on. All this costs either $57 for a quarter or $187 for a year. The full details are here: Contact If you ve got any other questions don t hesitate to me via the contact form on the website. Have a great month, and enjoy. Paul PS - there are lists of what songs are featured in the Archive and what songs are featured in the Working Bass Line Section to follow. 19 Free How To Play Bass Monthly Ezine June 2014 how-to-play-bass.com

20 LIST OF SONGS INCLUDED IN THE WORKING BASS LINES SECTION OF THE FIRST BASS AND BEYOND WEBSITE When I decided on creating this section of the First Bass And Beyond website I polled the current subscribers who are currently in gigging bands and asked for them to post their set lists. The following list of songs is pooled from these set lists - and bear in mind that although the bulk of those who responded live and gig in the US, I also had responses from the UK, Australia and other countries. This section WILL be expanded to 100 songs in the future - and undoubtedly there will be more classic rock, more classic R&B, more Motown, a heap of blues songs and more! PLEASE NOTE: when you join FB&B these songs appear on a weekly basis...starting with Midnight Hour. 1. Midnight Hour by Wilson Pickett 2. Brown Sugar by The Rolling Stones 3. Proud Mary by Creedence Clearwater Revival 4. Jumping Jack Flash by The Rolling Stones 5. Superstition by Stevie Wonder 6. Play That Funky Music b7 Wild Cherry 7. I Feel Good by James Brown 8. Cocaine by Eric Clapton 9. Respect by Aretha Franklin 10. Sweet Home Alabama by Lynyrd Skynyrd 11.Sultans Of Swing by Dire Straits 12.La Grange by ZZ Top 13. We Are Young by Fun 14. Brown Eyed Birl by Van Morrison 15. Johnny B Goode by Chuck Berry 16 Who ll Stop The Rain by Creedence Clearwater Revival 17. September by Earth Wind And Fire 18. Good Times by Chic 19.. Gimme Some Loving by The Blues Brothers 20. Twist and Shout by The Beatles 21. Pride And Joy by Stevie Ray Vaughan 20 Free How To Play Bass Monthly Ezine June 2014 how-to-play-bass.com

21 22. Mustang Sally by The Commitments 23. Get It On by T Rex 24. I Wish by Stevie Wonder 25. Long Train Running by The Doobie Brothers 26.Little Wing by Jimi Hendrix 27. Satisfaction by The Rolling Stones 28. I Saw Her Standing There by The Beatles 29. Summer of 69 by Bryan Adams 30. Lost In Music by Sister Sledge 31.Soul Man by Sam And Dave 32. Suspicious Minds by Elvis 33.Back In The USSR by The Beatles 34.Carwash by Rose Royce 35. Le Freak by Chic 36. Stand By Me by Ben E King 37. Pinball Wizard by The Who 38. Billie Jean by Michael Jackson 39. Honky Tonk Woman by The Rolling Stones 40. Hey Joe by Jimi Hendrix 41. Forget You by Ceelo Green 42. Locked Out Of Heaven by Bruno Mars 43. Let s Stick Together by Roxy Music 44. Stuck In The Middle With You by Stealer s Wheel 45. Brick House by The Commodores 46. Great Balls Of Fire by Jerry Lee Lewis 47. Moves Like Jagger by Maroon Smooth by Santana 49.Roadhouse Blues by The Doors 50. Black Magic Woman by Santana Note: Tutorials for some of these songs can be found on my YouTube channel. The working basslines section has a fuller tutorial with tab and notation, has bass less backing tracks to practice with, and also has a tutorial section on programming the different sections of the tune with Band In A Box so that you can isolate sections giving you problems. 21 Free How To Play Bass Monthly Ezine June 2014 how-to-play-bass.com

22 LIST OF SONGS INCLUDED IN THE ARCHIVE SECTION OF THE FIRST BASS AND BEYOND WEBSITE A Love Of Their Own by The Average White Band After Midnight by Eric Clapton All The Small Things by Blink 182 Alright Now by Free Band Of Gold by Freda Payne 7 Nation Army by The White Stripes Sunshine Of Your Love by Cream Green Onions by Booker T Behind A Painted Smile by The Isley Brothers Black Dog by Led Zeppelin Crossroads by Cream Dock Of The Bay by Otis Redding Don t Stand So Close to me by The Police Factory Of Faith by The Red Hot Chili Peppers Get Lucky by Daft Punk Go Your Own Way by Fleetwood Mac Grapevine by Marvin Gaye Hey Soul Sister by Train I Fought The Law by The Clash I Wish by Stevie Wonder Layla by Derek and The Dominos London Calling by The Clash Man On The Moon by REM Respect by Aretha Franklin Rock The Casbah by The Clash Sex On Fire by The Kings of Leon Signed Sealed Delivered by Stevie Wonder Stir It Up by Bob Marley Summer of 69 by Bryan Adams Superstition by Stevie Wonder Sweet Home Alabama by Lynyrd Skynyrd The One I Love by REM Valerie by Amy Winehouse When You Were Young by The Killers 22 Free How To Play Bass Monthly Ezine June 2014 how-to-play-bass.com