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Foreword

'Introduction .

X Too.:YOlJngToDie
Hooked.U'p
MUsi~. ofthe Mind
Revolutiö.;, "~993

x Stlllness In Time [vinyl version]


M'a':nife~t Destiny
S'c.am
X Space-Cowboy[5toned Ag:ain]

x; .\fi:r~uallnsanity
Everyday
. IHigh,.ir:nes .
YöuAre.MyLove

Credits & Copyright

NQtatio.nLeg.e ~d
Dear friends and fellow traveUersof thelow end,

To say that the .immense interest. in. myplayinghas' hu~bled meis an understatement ..I
would never have th,oughtthat themanyhoursspent in my room being inspired bymany
greatplayers would .... have.sparked such.a ..ch~in...reac~ion.~aut'1. would.' say.th~t. any.musician's
aspir(}ti0 nis to .incite.i nspiration, and th is'iswortn'J1]QJetha l1_anymateri al 'goal."th a'tone' co uId
,ever wishto a'chieve.' ( .. . ' ., . ,.

Ihave ne~er studied m usic .in.a.theo~e1:icalfor")tahdiialll1ltBlayi?~i~asbeenby. eär- so I


wouldlike"to thank Sinion MerrickforaHhistime and dedicatiorl in transcribi'ng'thesebass
lines. Simon, you have gonebeyond the callof dutyandlconsider you to'bea dearfriend.

I would alsoliketo thankNickVan Gelder, Jason Kciy, Darren Galea (aka DJD-Zire)andToby
Smith for allth'ewonderfu'lmusic theyintröduced me to'up'on joining:Jamirqquai. and
througho'.ut'my timewiththe' band.
')

Thank you to alt thefans,andlhope thlsbook gives you much pleasure.

Yourstruly,
.Stuart Zender

5
Thank you for picking up 'Jamiroquai: Essential BassTranscriptions-Vqlume II'~ the sec-
ondinstalment of this series features transcriptionsof thefirst Jamiroquai bass player, Stuart
Zender.

Stu joinedJamiroquai towards the endof 1992andleftbefore the release ofthe bands 4th
studio album 'Synkronized' in 1998. During theseyearswith the band he racked up same
serious touring mHes,played on manyhits and g.ained areputation as oneof the best young
~bassistsinthe world. Many of the.hardcore Jamiroquaifansstill state.thebest moments for
theband.as beingback when Zender wasbassistandmostofthe origj.nal members were
there.'

. Within these pages areaselection of the finest basslines Stu recorded during his time with
the group - aUear-picked and selectedwith:the funkiest ,and grooviestbass lines.in mlnd. As
many Zender fans willknöw,therewere n.o'easy'bass linescreatedbythis man and,that's
why-each transcription has been done wi~hextremeattention to detail.

All tracks contained withinhave beentranscrib.ednote-for-note,and fill-for-fiU infull. A cou-


, p'l~ of selections featureextended version Jrans~riptions.These tracks are identicalto the
originals in terms of bass,butfeature extended endings orlonger edits -ifposslble,'1 recom-
mend youobtain theseversions.

All transcriptions arepresented inboth' Standa.rd Notation and Tablature (!AB), along with
chordsymbols andfull transcription notes.Theyhavebeen laidout as clearly as possible,
with the transcriptionnotesprecedingeach track transcript. From readlng these transc,rip-
tion no~esyoumayfindout many'usefulfacts and other information obtained from inter-
views and, pers()nal discussionswith Stu.These includ,e advice and information' on; sound,
technique and approach, instruments andequipment used, aswelf assomegeneral back-
ground informationoneach track. .

On a personal note,lhave beenluckyenoughto have thepleasure of becomi,nggood friend-s


with Stu'sincemy fast book.He washumble enough to take alookatmyprevious work and
was kin'dlywilli'ngto getinvolved with thisvolume.1 wouldlike tothank Stufor his conttnued
supportand inspiration throughout my musical careerandwishhim aUthe best in his future
projects!

..,.....
,.',",tt.almo.st-.g'o.e~s."w.itho.ut.$a"y.i,r:lgr,.I:lut,l,.wQtJld ...aJs,o--llke~t.o..tl:la.r:l;k-a,ll.Qf.~th.e.-,.ba.s.s;i;st-s.".a.nd ..~,rnlJslGi,aR'S.~'"~",,
whosupp'orteq me and my work by purchasing thefirst.volume.ltis upon the success and
drive of thisthatl wasable to release this secondinstalment.

Ithank.you aUvery much andl hope youenjoy the transcriptions!

SimonMerrick
[www.simon merrick.co.uk]

7
Transcriptlon Notes .
'Tao YoungTo Die'was recorded usiriga Warwick5treamer Stage 14 string, in factthefirst bass
stu purchased upon joining the band.Aswellasthe new bass;this wa~also the first trac~5tu
recorded' with Jamiroq uai,which is usually wron'glybelieved to be'WhenYouG'onna Learn~
The bass playing on 'When YouGonna Learn' was act'uaHyAndrew Levy, founderand bass
player ofThe Brand New Heavies.The.bassHne Levy recorded was often .completelychanged
when stu p:layed.itlive.

stuart's bass playing oh thJs trackoozesfunkand'isinstantly recognisedasa classic Jamiro-


quai bassline. The Versesectionsshoufd beplayedwith' asm uchatta~k as possible. You can)
hear the dirty funk sound,öf thebasson thetrack~ that is what youare lo~kingto.aim for.5tu,
recommends a nic;e blendofbothpick-ups wltha midrangeboost. Trykeepingthe notes as
short'a's p.ossible/and makesure those sixteenthnoterestsco,me throughreally clearly. The
vibrato on th.e C note isvery subtle, but also veryintegralto the overall sound of the Verse.
. .

Stu recallstrying out many different ideasfor the .Chorussecti'on. Many of these ideas were
heavily influenced .by thesixteenth ..notefunkstyle.ofJa.coPastorlus,o'n:eof5tuart'spersonal
bassheroes.Althoughhe re.caHsmany ofhisideaswerealittleto busyand c()mple~forthe
contextof the song,the Chorus thatdidgo to tape is still clearlyinfluencedbythe Jaco's
unique pl'aying. J

Be wary ofthe slight variations in theMiddle 8, and the syncopation of the unison break-
down. Keepthosenotes fight and.watchoutfor theaccents, it'svery importantto nailthose.
'Ifyou listencarefully to thetrack,youcan hear abrupt cuts in the I~st Choruswnich' resultin
thesame bass filibelngp,layed towardsthe end.Thismay beduet() the trackbeingedited at
a later stagefor a shorterversion.

Track lnfo:
This wasth'e band'sfirst officialrelease after signing with Sony.'WhenYou Gonna Learn' was
first releasedin 199'2 on
theAcidJazzlabel. Sony later re-releasedit in late 1993~The.UK re-
I.easeaf/Too YoungTo Die1reached nurnber 10 inthe charts.
. .

8
TOO.YOUflgT9.?Die
j'~lbll~:'grn~r~~~gy:~b~l~h~J:E~rth .
.WrittenBy:Ja's~'nKay ..&To~y. :Smith
J = 102

(Fender Rhodes.&Violins)

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TranscriptionNotes

'Hooked Up'was a populaI'Hvetrackthrou~hb~thth~ 1995t~~tf~~;TheRetumofthe Space


Cowboy' and the next tourfor theJTravelling ..Without Moving'album. Thetrack.wasrecorded
using bo~hthe Warwiek Stre~mer ..Stag~.I.~ndJ~eT-\Na~e~:Tt found on .theBoss ME-58
muIti-effectsu nit. (the T-Wah c'ana'lso'be;fouho'ohthe'la-te{--rnod el,.the.Boss.ME.;.8B).

The bass partis bro~kendown in tothreemain areas-.Verse,Pre~Chorusan,:dChorus, and will


req:uireyou to ,play with accurate sixteenthnotesyncopationandfeeling.Altho.ughthe struc~
ture isrelatively simple,you will need tomake thesectionchangesveryaccurate.
, ' . ~
FOrbass.sound ..lwould. fetOrYlmendablenq.ofi9<:>~h .•plCkcyp'si~it~a.slr9ht .boos,t. to. both
thebassandtreble. Playirigwith your handpositio~edtowardsthebridg'ewillgive you the
definition and' added d~pth the soundw'illrequi re.lfyouaremakingus'e-of ~heT-Waheffect
you do notwant to dver c()mpensate 0ryours()l.Jryd will gett()?rnessY.Jhebasslineisquite
busy (espedaUy inthe.~hpruseslsoyoLi still wantallof the.lrill's,andsm:iesto come through
in your soundclearly.

Yqu..may also want to' beaware' ofth ek~yc hanges in th is track, especiaHy-ifyou are a notation
reaqer. 80th the Eb minorand. C minorkeysignatures equala lot~f~at note,5I)an9~S. You
Jllay wishto referto th: .~~.~•.for not?J:fer~nce. ~n~,~se ttl::Botation'asa.rDythTicg uide. The
V~rse'se.~.t.i~~,'•.i~.t~o~~I~.•.
p~se.d.••
~.r.~unGft.~2•..•.
~..~.•.• lh~... ng
~.~ri~?rnod:Wi~m; .. ~s:.C>r:g~r<l'll~t;i.C"pa$si
tones. 80ththe Pre~Chdiusand Chorusarebi:)~.fjgarounap~ntatoriicshäpes,theEb minor
and..C.mlnor. respectively.

The lastare.a ()f wi:lrrHng is. theendphrase.'ßoththe destetiqingchrQrnati~. wna ndth~ fo 1-


löwi.ng riffare to' beplayedJn unison.ThedescendJng ru.,is.reasonäbJyloose, butthe,lastbar
needstoiJeplayedtightlyand in ~.nisönwith the rest ofthe instrumentswhllstmaking, sure
thatyouaccent it weH.

15
Hooked Up
Album: Emergency on Planet Earth
Written By: Jason Kay & Toby Smith

J= 118
..
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(Fender Rhodes) (Drums, Percusssion,Guitar& Keys)'

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I Pre-Verse I

(1st. Verse I Em7 Em7/G~ D~m7/E


11,."2,3

IPre-Chorus.l .
Ebm7

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IChorusl
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12nd>V~!seJ

I Pre-Chorus I
E~m7 DPm7jE EPm7
11,3;4 112. t 15.

17
18
19
Transcri,ption Notes '
Thi'Strack is a rare example ofa great instrume,ntal that makes a CDcomplete. As manybass-
ist's familiarwith Stuart's workwillknow,this i's by far one ofhis most challenging bass lines.
To even comprehend playing a bassline like this after playing for just 2-3 years is incredible
musicianship and natural ability.

Th~.bassline starts offwith a 'halftime' effect,Ugh~lytq~ching on whatthelinevviH become


in section B.Although the ehord.structure is simple andrepetitive, the vari~tions throughout
the track provlde thebassist with plentyofwork -almost notwo bars are alike.,During sectiol')
A bewary: ofthevibrato notes,this addsan important sound to thebass line'beeause ofthe
space,'in which the lineis given.

l'd advise anyonetaking on this tracktolearn seetions BtoG slowly at first.The riff constantly
chaF.'lgesin feel and rhythm, so be aware of this. Youcanal,so see,from the transcription that
thereare a lot of dead notes throughout ~ approach' these withcaution~ Section E is most
likelyto present playerswith themostproblems;you'H need to be r~ady with fast fingers and
hands to nail. iteach time. The Outro at section His basedarou nd two basic riffs. As.'weH as the
.3/4li..ne signaturechange, watthout for the fast triplets~ .... ... .. . . . ....

Stu'ssound on this track isa typicalWarwick.sound - thesoundt.hat Warwiek becameknown


fo(~"With -5tu's e)(tremelylow stringheight, thefretbU;zzand fi nger noise'::ls integ rarto:the
overall bass sound.l'd adviseyou to play:necfrerthen~tkpickupforseetionA,buttovyard's the
bridgeendfor Seetion 'B andbeyond. This will give you theneeessary punch in, yoursound,
but will also pro'vide you 'a higher string tension u'ponwhich to play those fast Samba lin~s.

20
~ .

AIl>~~;.Em~@~D.o/qry:~I,~ne~~~rth
written.By: Jaso nKay,.&T opy Smith

J = 133

(Keys, Percussion, Brass~ Drums)

21
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I F - Piano Solo I
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J =165

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28 .
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fade

30
,

TranscriptionNotes'

As .with the .•re~!Rt .the'E?1erg~9c:YQn •..


PJar17rE~ ~~~'~tb um,t~is.tr~c~'\AlC) sE7c:9rd~du~i ~g tbe
Wa rwick Stteanler S~(i~~' r4~tril)~.Tope .abl~tOiP layt.~'s •.trac~,thou~Q' YOUV>iiIJ'bereqüi red'
to detuneyourbass byasemHone (this will resült in your strings being turiedtoEb,Ab, Db,
Gb).
"':,';" ,,,"-.':- - ,:".:- - <~:.-< - ", ", .: :.. ,::_-~.:.: :,":" .,:.,.:~-.-,.:-, ..'.- ., , ..:.:' . .>' :.:.'
i
The m.ai.n'bass •.fiff.,(vefse's) ••isba'sedarourld'.arepetitive"'synth ,baSSlirle.'lt.i~~jt .••
?h~il:the fi rst.
Pre-Verse thatthe, real bass comes intobC)ck it,up. This res4Its'jnbotninstr~nients;playing
identical notes thraughoutthese 5ections~Altho'l.Ig hhard tobear,it is'likel:y.that the live ba 55
is also putthrough asimllar syntheffect ontheBoss ME-6I3pedalboard.Thereare sJight
variationsinthemain riffthroughoutthetr'ack,b~tthe onlymajorchangeyou are going to
i.~:;t...I1.~t...of.t h~,."I.in'e':p.l'ayed ..•in:.tn.e!J~b'qru:~'s':a nd;5()1,9,5ectip;n~..'.
come ...ac;ros,~'.....

Thetrackitself is anepic one,lastinQfor sornelOminutesin .length. andfull,,()f build-ups,


br~Clkd()"Y(l~J_ClP<:l,~()J()'Cl~~Cl~~MP~i'r,~c~m'Y"Fb~,~~ClSK.wasl,eYxr7~8!lJ~,iy~I¥.~t~Y~<J'iJjv7ofte n
-butv~benjt\t\'Cl~~'. it!s>~eJ,ieyed;tP'b~;~D:7()f't~~'fewtirn'es ypu gQtt<:>~earS~ui~,Warwick 8
stringbass(as seen inthe/gpac;~ Cowbpy'vid:eo}.

Ther:lsn'ttO()rtlu<:hadvicein. the wayof s9UD:dand .technique.l'd .•be. indinedto play the


ow ,a.''.r..d s t h,.e..•....
V.ers.e..tine..5.. t.. te,ar ..p. i.ck.u p t.o ke..e p."...•...... ',I..i:.ne ti.g., ..h t an..,.d.,....•.
th e.,.......•... p.".u'.,n~ch
. y U 5 e a.,'S.~.y,nt.h '.eff e c.tlf. you..
~ayt:~sirrlil~r;1p~~~,rg~~,~'~s ••~~,r~•..is
qqC)U~y'()f~lile(I,~t?r~~a'p.~•.•.
.~n..
jrr;P~pt~~tp~rt, ofth:o~~rClUs()~.~d.J~e?ver~V
~.olo•.s~ctjoFlS;4s,~h~:fuhk ing(eq i~~t"A:"I()tö,f.,-baQkpi<:~VpJNith..•
sound
a,ba ss
an'dtr~bleboostsffou,ld da th'etrick. ' ..

31
".i ;.j.'
_.i~;'

Revolution 1993
Album: Emergency on PlanetEarth
Written By:Jason Kay & Toby Smith
-,.. ~

J =128 "
I


N.C

[Synth Bass] CI
41
(TlJ~ed: Eb, Ab, Db, Gb]
"I
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41

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[+ Live Bass] •
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.,
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11
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35
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4
If you readthroughmanyofthe old interviewsdone with Stuart you'lI know that he was
~
highly inspired byLatin rhythm and time concepts.AJthough Jay Jiked this aspect of his pJay'"
ing" none öf it re,ally showed upon thefirst album.Bythe time theJThe Return .of the Space t
Cowboy' wasreJeased, Stu's Latin vibewas c1early showingthrough - pO$siblydue tothe
arrival ofnew drummer DerrickMcKenzie too.'Stilll1ess in Time' is by far one of the most tech,. :t
nical, Jamiroquai bass linesin terms ,af timing, and in this version of the trackyou/lI see the
introduction ofsomeother techni'questoo.
41
41
For those ofyouwondering about why Ihavetranscribed the'Vinyl Version'- here's whatyou
need to kriow.Thetrack isidentical,tothe one foundonthe album, up until the point marked C
JVinyl Extension/in the transcription.lfyou are ~ondering whereyoucan find this version it
isavaHable on the'StHlnessinTih1E(singJerell!aseand the'~reatestJ"lits' singJerelease.lt
aJsobe availabJe eJsewhere - itwas theversionJrequentlyplayed
as weil ason various other Jive dipsandTVperfQnnances
may
Jive during the album tour,
(GJastonburyandTop ofthePops
'.
CI
spring tomind).lfyou are lucky enough to.ownsuchJive bootlegs anddipsyou wHIprobabJy 11
find this version' on them.

This is another ofthose tracksusing.the Warwick4 string. Thesound is not so defined and
since it is an airy Latin/Samba groove, a Jotof the notes are tied over to ring. The sound you
.

••
areaiming for to repli~ate(or ,get siniilarto)the recordwouldbe to boost the bass a Httle
~md add extra middJeto your sound. Make sure it is smooth and punchy - muddy isn't abad
sound.for this track, particularly alm,ostDub Hke.
"
I

You will be required to use theJull extent of your technique on thistrack to nail it well.Try to
I I'.

consistently bea bar oftwo ahead of your playing (sig,h~ readingwiseJ ,so' you'are aware of I
whatisapproaching,. The mostdifficultareasofplay
rus,where yourtiming and fret speed wHlbevitaL

TechnicaHy,the hardest(and
will be in both thepre-ChorusandCho-

possibly anew techniquetomost) partison theVinylExten-



.~
,
slon trumpetsold section. Nowthis may be quitehard to understand,but Iwill try my best.lf8
. you can get hold ofa Jive clip of Stu doing this then it willheJp youunderstand immeoseJy. 11
Fromspeaking to Stu;he wanted to repJlcate thesoundcjfa BrazHian drumusing theiJass.
The notes you see in this section (Db on the E string)areto be slid down using thefingers "
. ofthe.righthand.lf~ou s.e~ Studoingthis, he br.ings.hisri~ht hand overthet0p'0fthe neck. ..tI!
__.~.gnR,~J19,~j.Ji2YiDJ!~lngJu~mg~K.-fin~~~"pJa¥JrtgJlke,J:blS~,¥Ou,add~a0~peJ:CU,sslveeSQ~Rd~,tQ~~~._-"._.'~'~;~
thenote).Onceyou havedonethe sUde down theneckwithyour rlght hand youwiH needto ••
mute the stringswith your Jeft handand tap dead noteswithyour righthandwhilst moving ..... i'

back up to the Db note to slide downagain. A complicated process at first but accomplish- ••
able with practice. . Gi
-,:':>-;.{,:

Track Info:
ReJeasedasa summer tune in 1995,thetrackmaqe number gin theUKchartsand,was per~ e!
formed at many festiv~'s and live performancesthatye.a'r.
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42
tI
5ti Ilness In~lme[Vinylversion]
AI ..~..~.~':'T~e .•'R.eturO ..•Of~ ..~.:.Space',~pvy?oy
.J =.106 Written By: Jaso"n Kay"&l Qby,S;mit~
11st Vers~ I
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TranscriptionNotes

l.fyou have ever tried toplay alongwith thistraek in standard tuning, youmay have 'reaHsed
that the piteh was slightly out. This isbeeause thetrackis tuned strangely. Stu doesn't recall
."~

,
whythe track is slightly out ofpitch~ but persqnaHy J beUeve it may have been recordedin I
standard. tuning and •had gone slightly gut of pitchon a conversionor' something.To play
. thistranseriptionwith the track youwillhave to tuneyour bass up half ofa semi-tone, not a !
complete semi-tone,but halfway between. So once doneyourstrings will be tunedhalf way ~
be..t. ~w
..".'.:'.een
the follo.w.ing; E-F,A-A#,.D-D#.,G-G#. Alt.er..n..a...•
~ively,.and pr.obably.a more simp.le way
(ifyour tun'er can aceommodate fc.>ri~),youcan setyour tun'erto.4'50Hz concertpitch(as op- -
',.
posed to 440Hz) and tune tö that. This shouldresult in the same tuning. ••
tl
'M'anifest Destiny' is probably themost melodie Jamiroquai bass lineyou will ever hear.Part
of the main riff was written by Jay,which was hummed to' Stu.to translate on to bass.Th'e
followingpart~ were written by Stu so theriff could loop round.The trackwasoriginally re-
".,
i
corded usi.ng a 'Warwick fretless.bass' put througha flanger effect.ltwas later redoneasJay
found'it hard to pitch thevoealsto it.

Thebass eyentually used onthetrack wasthe Warwiek4string.To replicate the sound of .~


the .trackisa tough one. The sound is verywarmand smooth,which presents thatmaybe I
the pickup sectionwasfuUy on the front.The tone controls areveryrolled off, and as a result~
makesth~ bass very hard to hearduringthe slappedChorus areas. ••
During. the maln' riff there. are.slight variations. ,TheseusuaUy oCc.:urtowardsthe end of the
I
r'ifforleadin'g into a new section.Themain ftUYQ"uwant to:-be aw~reofis'the muted.triplet .,
.
..... ~.:.:.,

andslid,e.1would.'adviseyou.tölisten carefully' tothe .recordat.firstand;.learntoplay'itslowly.


Youwill probablyfindit easiertonaU in the longrun. Asyoucarl seeftoOlthe transcription, .:.
theJastChorus and Outrosections contaioia lotof dead notes.ln someways thisis simHar to
thetechniques Stu used on 'VirtuaLlnsanity~ but becauseofthe toneroll-offsitcanbe alot
11
'. .. : .;_.i.~

harder to hear.These sectiortswilltake alot 9f hard work to learn, astherearevarious rhythm


patterns played incorporatingthesede-adnotes..' . .
' .•
.• ~

Track Info: t;
Thosefäm.iliar with thelive Jamiroquai bootlegscene may recognisethe track name 'Let me ,
Believe~This was an early verslonof 'Manifest Destiny' played during live dates which was ',,'
~,igbtl~Ldjff.e,renU()~howJtae:tua1t~üurJ::ted~oJJt.~c>",.,.,.".",_.,.~.c,~",-"~,-""'~..c.~',~,-"~-",,,,,~,--,--"_.,.~
..~"~, .._••~

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~ = 92

[Tune to 450Hz}

-51
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52

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Transcription;~Q~C!$ .

57
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Scam '~

Album:The Return OfThe Space Cowboy


Written By: Stuart Zender, Toby Smith & Jason Kay
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67 .
Space Cowboy [Stoned Again]
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Written By: Jason Kay i
J= 112'
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VIRTUAL INSANITY -I
Transcription Notes
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4
I
JVirtual.insanity' is one understated bass track! Although the bass is absent untilover amin-

'1.
ute'orso, when thatbassdrops,you know.you have somehard work on yourhands. The track ~
is p.layedusing bothslapand finger styletechniques,though the way.in which you play with
yourfingers isselective.5tu would usean almost/palm like' t.~chniquewith hishandvertical
acrossthestrings. He would th'en play Jhen.otes usinghis thumb, index andmiddle~fingers ..
You:may wishtotrysomedifferent stylingstofind outwhich isbest fqr you.
• •
This track.was recordedusingStu's infamous Jlroquai' bass, otherwise known asthe rugor
blanket bass.Thisbass was based onaWarwick Strea.mer Sta.ge11 5 string with the custom
Native fndian blanket design ..The overall sound'of the bass isvery punchy, andlike the rest
.

:. ~

of thealbum,sounds quitedifferent towhatwepreviouslyfamiliarwith


to'Travelling WithoutMoving'beinga
- this is pössibly due
highly producedalbunl.The b~s~sol .•. nds highlycom-
pr~ssed andas With most of the' tracks Sfudi dwith Jam ir~~ua i,vJasrecorded us ingastra.i 9ht
Dlfrom:.th'e amp' (po'Ssi'bl.ythe Trace 'EUiottV~Type valvetieadat~tQ'is point)~:I'woi.Jld'favour
•••,
.•.,
..

theftönt pickupwithaslightdecreasein middle EQ,butboost the bass andtreblesHghtyfor


a'dd.~d:.sla'pa.ndpopsound.lfyoucancompress your sound.'itwlll so'undsmoother between '

the.Verseand Chorus transitions. I

Thebass comes inon the 2/4 bar before the Q1orus.lmmediately youh.ave a.deadnote trip-
let toplay,andyou will encounter a lot moret;hroughout thetrack(thiscan beplayed with

fingers though).Allof theChorussectionsare slap"~edfaewaryof the ii,tricate tirn'ingand
rhythms happening - there are slight variationsthroughout.Youwant to be aware of similar
tim.j'ngandfeelin'g during the Verses,but played viith the'fin'gers.in~tead.
,". : ~'.- ~::'.:

By farthe most ct-laUenging aspect ofthis trackwill~e the.JaterChorus se'ctions ofthesong. I


Those ofyouwho have notlistened tothetrackin toomuch:detall beforema.yhavemistaken I;
a lotof slappeddead notes för kick drum patternsbefore.5turecalls: applyirlg this te'chnique
I:


toma'ke up for dru...'mmersJackofklckdrul'!lskllis. YouwHl:,come.across groupsoftriplets and
. . ' . . . . . . ;:'-.;.~~.::

sextets whichrequirefast and accurate slap a.ndpopplay.ing.ladvlseyou toplay these.,slowly


at first tofully und.e'rstandthem, only~hen will you be abletopJ~ythem'withconf1de:nce.
I
Th.elastsection'is theMiddle8,a trulyinspired section.Th;issection.really showssomeinter-
esting ideas from Zender and you may wishto refer to the tabfor note positioning. Youmay I!
als~ wish to know that thisis the onlyarea of the track where you a~erequired to use. the B .1
... .....~stnfl~-{f'€)H~t~l;H:}Gt.e¥.~.f~y{),l::I4ealJy-wantedl¥.Q~~tlld,detlJ,J;)~a~~J;I.ng.J:>a~b¥a.s.emhtone ,~..~.c_ •••• "~

butyouwou.ld be requiredto rework.allofthefingerings inthlstranscriptiön. I


Trackinfo: «I
One of'th:ebandsbigg.est ever hits .reachingnumber3i nthecharts. italsofeatured areyolu-
tionCiJyvi'd:eo.conceptwarplngthe mindsof many,as wellascontribUting towards theband
I
winnlng.a Grammy..
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EVERYDAY
.1\ UA" .. I
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Transcription Notes
'"t

As string' basstrack in all it's glory here.This one is about puregroove and although simple,
it d'oes prese,nt some interesting rhythmic challengeswithin. Äs w:ell as this, the track also
features writing' credits for SZ.

,
,11

,
Althoughthisisquite a,n"understatedbass line you'wantto,keepyollfplaying as ti£J.h~as
po:~~.ible;especianydurin"gthe Chorus pa~terns. During~theVerse the'bass rTl.akesuseof an
interesti'ng nbte,chöiceonfhe Em9 chord.Under this chordStu playsanF#,whichadqs a nice 4

•••
contrast to th~ .sound rath.erthan .using the standard rootnote. The.reare. minor variations
duri'rlg the Verseesto watch out for, including the use ofsome grace noteslides and staccato
artitulati'ons.

".
The':('h:'orusbass,line' offers:a more syncopatedrhythrnicelerTlent toth~: ..track. VerYJare'ly'
dÖ~$ the bass ever .Iandönthe.qne (co~?ted number) dQ'vVnbeatandinstead ..plays.the.F#
5 li~lhtly' before,atthe,e,n d ofthe:previ-ou s,four .'.
beat.TheCho tu s.-sectibns::'arewhe.re,YO"U will'

-
••
fi.rld"the.most variations,andaltho.ugh a slow tempois.usedf6r'thetrack,youmlght still'find
, somechällenging runs and fills.

A9eiin, Stuart's new bass wouldhavebeen usedforthistrack(the blan~et bass). Similqrly to


.'vif tu all nsanity' the bass so u I1cts v~r:y,prqc:Jl;jce:da nd cqmpres Sfild..EQ.""ise. you;,rnightJ:>e in""
11
clinedto ronoff you r top end aJot, adda'bit:qfextra:mi.ddJeandboost fhe bass fortheextra f!
P.Uhth.and phatness ~sw'eU asfavouoring thefrontplck, up~
tj
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:, ,., .. ,-, ..... ';., " .... - . ,

. Other areas ofthe tracktö listen öutfor arethe sifkyand sultryHcks ofSimönKatzonguitar
andDerrick 'McKenzie'sintricatehi-hatwork.1 dobelieve'this, was one.trackthat'was 'never
played live, and it was never reJease~'asa single -infact, quite an over IOQkedtrack.,

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Album: Trävelling WithoutMoving


Wr"itten By: Stuart Zender, Derrick McKenzie, Toby Smith & Jason Kay
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You Are My Love
Album:TravellingWithout Moving
Written By: Jason Kay
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All thecontent within this book vyas transcribed and engravedby Simon Merrick., _
Cover artw'ork andbook design by Rob Wi'enk (www.robwienk.com).
Cover 'photo by Mare Villalonga.

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Iwould like to thankthe following peoplefor their continued supportand, encouragement


throughout my ptojects: NatalieDafe, Mum, Dad,Gillian, my Grandparents, mybrother,and Ni- , ..•f,
gel B~aham~PoweILMuchoftheonHne community;those atthebG)s'5world,(bass~orld.co.uk)

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ar'ldbass.tech (basstech.uk.net)\tVebsitesitheimmense suppqrt of those aUhe SZC(Stuart~?7"
nd er Co'mmunity'foru msst~ artzend er.co.uR), and:th'eco n~inueds uppo rt Irece'i'vefro m Jam'lt-'"
oquaifansites (funkin.com in particular).Extra speciafthanksgo out tothose whocontin:ue

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to visit my website and send kind emails - m uchappreciated! Finally,h uge thanks t()5tuarl? ,.;\.

for beingsuch a,good'sport throughout.th,e ..maklngofthls,book.l' thank.you:all',very muth!.,.

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P
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Copyright Information . ... . .. .
~ TooYo,u~'gTo Die -Wordsand Music by JasonKay and Toby'Smith (Q 1993 EMI Musi.c Publishing Ltd,loridon
WOH OQYReproducedby permission of International MU$ic Publkations. Ltd (a trad ing name of Faber Musk
~ . Ltd)~IJ~ights Reserved,HookedlJp-Words and Music byJ~son Kay@1~93EMIMusiC;:fl:uQHshingLtd, London
" WC2H~QX Reproducedbypermis,$ign. of I~~~rnational MusicPublications. Ltd (a trad in9name. ofFaber Musk

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• of International Music Publications Ltd (a tradingname ofFaberfVlusk Ltd)AIIBights He~erved.Scam~Words'
~ andNllJSicby Jason Kay,TobySmith andStuart Zender @19Q4EMI MusicPlIblishingttd, LondonWC2HOQ'y'Re-
• producedbypermissionof International Musk Publicationsltd (atr~c1ingname oHaber MuskLtd)AHHights
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International Nlusic Publications Ltd(a.tradingnameof FaberMlIskLta)~H+~igh~sReser\lecl~E!veryd~y,~WO~ds
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_ Songs Ltd (25%)EMI Music Publishingltd,londonWC2H OQYReproducedqrpermission of Inter~ationalMusk
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•i 101