10 David Ruffin & James Jamerson Deep-Tracks That Deserve A Lot More Attention
By: Ivan Munoz
James Jamerson: the unsung hero of Motown, the man who’s playing influenced pretty much every electric bassist of the past 60 years. He is an often uncredited session bassist who shaped the entire sound of Motown and was the guiding force of The Funk Brothers; the house musicians of Barry Gordy’s label. He has played on so many number one hits it’s not even funny. His fusion of melody and rhythm, along with his counterpuntal methods of wildly moving around the fretboard and pivoting modes, while still managing to stay completely in the pocket laying down some of the tightest grooves possible, made his approach to bass incredibly unique.
David Ruffin: a troubled figure with vocal talent the likes of which the world had never seen, nor will ever see again. His ability to glide seamlessly from a throaty baritone rasp to a clear and concise whistle tone of soaring and dynamic highs are unparalleled. He was a truly one of a kind musician who was able to convey so much emotion through his singing that it captured the hearts and minds of an entire decade. Through the temptations “Classic Five” era, and his oft forgotten solo career, David delivered a magic that is almost indescribable.
Something about both of their execution feels so effortless, they make it look easy, even though some of these passages are rather difficult, which is the sign of true mastery of an artform; when you combine the two’s talents, the whole is greater than the sum of it’s parts and it’s some of the coolest material ever recorded.
I’ve compiled a list of 10 often overlooked deep-tracks you’ve probably never heard before that feature both of these greats in their musical prime reaching to the absolute highest peaks of their abilities and creativity!
Before we get into it here is a rare video that features both Ruffin and Jamerson in the studio recording Sorry Is A Sorry Word with The Temptations in 1967:
If you have Spotify, click here to open a playlist I made of these 10 songs so you can listen along as you read!
1. Ain’t No Sun Since You’ve Been Gone
Album: The Temptations With A Lot O’ Soul (1967)
This mid-67 album features Temps hits such as (I Know) I’m Losing You and the Eddie Kendricks led You’re My Everything, but the second song on the album is really a true sleeper track, and a show stopper at that. Featuring David Ruffin’s blistering vocals, the real star of this track to me is bassist James Jamerson. The song starts with a thundering intro by the rhythm section led by Jamerson’s prominent bassline. In a stunningly randomized chromatic pattern, the whirlwind of notes is over before you realize it, when the song then sinks into a classic Motown ostinato groove followed by a vocal harmony stack going into the verse where Ruffin takes center stage. However, the song is not over yet - if you thought the intro bassline was cool (or hard to figure out) just wait until the breakdown/bridge section at 1:47. While Ruffin is singing “my future, my future, was as bright as the sun…”, Jamerson is ripping it up on a descending melodic groove that makes the intro seem easy by comparison; after that it snaps right back into the organized and disciplined rhythm machine. This song is one of my favorites on this album as it demonstrates both a reserved organization along with a tasteful eccentricity one song - really showing the raw power, energy, and versatility of The Funk Brothers.
2. My Whole World Ended (The Moment You Left Me)
Album: My Whole World Ended (1969)
Following David’s final album with The Temptations (The Temptations Wish It Would Rain) in 1968, he went on to release a solo album aptly titled My Whole World Ended in May of 1969. Whether or not it was intentional, it certainly served as a symbolic reference to Ruffin’s departure from the group. The title track of this album, bearing the same name, was David’s introduction to the world as a solo act. And while not given the same caliber of songs or marketing that The Temptations got, Ruffin still sells the track as if his life depended on it, perfectly capturing and conveying the anguish of a love lost and a truncated relationship. It’s almost as if his pain from his separation from the band was expressed through this song - the delivery is incredibly poignant and show an artist in his vocal prime. The bassline perfectly complements the vocals as Jamerson plucks at one of his classic octave patterns and rhythms reminiscent of a slowed down version of something you’d hear on many Four Tops songs. Locking in with the percussion, Jamerson’s playing propels the song and serves as an anchor that gives context to the cascading flute arrangements.
3. World Of Darkness
Album: My Whole World Ended (1969)
Well, what can I say? This one is just downright cool, in fact, it emanates cool; everything about it - it’s definitely the most unique track on this list. With the Funk Brothers rhythm section playing what can only be described as a proto-hip-hop beat, this goes far beyond a normal groove and ventures into some experimental territory - and totally pays off. The electric guitar part is sliding around the neck creating a loose psychedelic feel, while the bass plays between minimalist syncopated rhythm and melodic bliss depending on which part of the song it is. This song is a wonderful example of Jamerson’s thuddy muted bass tone with just the perfect amount of gained out distortion making a harmonically rich foundation for the rest of the instruments to lay upon. Now however amazing this backing arrangement is , it is overshadowed by Ruffin’s masterful vocal performance. He really exercises his full range here in this song showing off his immense ability to create whistle tones with his voice; the song is peppered with extremely high notes that are seemingly impossible to hit by most male vocalists. The coolest part of this entire song occurs in the breakdown at minute mark 2:32, the track gets stripped down and showcases Jamerson’s bass and Ruffin’s amazing vocals, this section is rife with riffs, runs, and everything in between. The most amazing moment is at 2:42 - that note he hits, the way it rings out, it sounds like a car siren, it doesn’t even sound human, and yet somehow David Ruffin pulls it off. In the classic Motown style, this song takes a sad theme and presents it in a chipper and upbeat manner, you almost forget about the meaning of the song its just that good. Give this one a listen, you won’t regret it!
4. We’ll Have A Good Thing Going On
Album: My Whole World Ended (1969)
Immediately following World Of Darkness on the album is this song; which is one of the strongest songs on this album, and this list. Immediately starting with Jamerson doubling the horn line and then doing a small run into the verse that Ruffin sings over, already creating a climactic moment less than ten seconds in. Throughout the verse, the bassline is syncopated creating a bouncy feel, starting low on the fretboard giving a traditional approach, but then immediately jumping up to an unexpected high riff before going back down and locking into the foundation of the rhythm again; these seamless transitions between rhythm and melody occur throughout the song at every turn. This is offset by the scorching vocals and complementary backup vocal arrangement. You could tell, for this album, David is giving it his all trying to make his mark as a solo artist, to show that he can be just as big a force, if not a bigger one, than his former band, The Temptations. He was definitely out to prove something, and that could really be heard in this track especially.
5. I Pray Everyday You Won’t Regret Loving Me
Album: Feelin’ Good (1969)
David’s second solo album released only six months after his first in November of 1969, this time featuring a new instrument on many of the tracks: the electric sitar. If you listen to Motown albums around this time, it’s clear that the studio got in a new instrument and were employing it on all the new songs in this short era. Featuring tracks such as Put A Little Love In Your Heart, a popular Ruffin track, and a really cool version of Traffic’s Feeling Alright, sharing the exact same backing track of Gladys Knight And The Pips’ version of the same song. Critically speaking, this album is definitely not as good as his first and almost feels like a bit of an after thought with often B or even C grade material and underwhelming songs being given to David. I still like it, but it’s clear Motown wasn’t putting much attention of Ruffin’s solo career whatsoever. However, one song on here that’s one of my favorites on this album is I Pray Everyday You Won’t Regret Loving Me. Thought it’s not as involved as the previous or next tracks from the other albums, this one boasts a consistent roaring vocal driven by a walking bassline and is just an enjoyable song to listen to. Also, fun fact: this song was written by members of Gladys Knight And The Pips.
6. True Love Can Be Beautiful
Album: I Am My Brother’s Keeper (1970)
David’s first two solo albums were well received but not exactly the smashing commercial sucesses as The Temptations were having, so for his next musical endeavor David teamed up with his older brother and Motown artist Jimmy Ruffin to create the duo album I Am My Brother’s Keeper as The Ruffin Brothers. The album cover features images of the two brothers as kids and adults and the songs within it are pretty fun as well. Going from the apropos version of The Hollies’ song He Ain’t Heavy, He’s My Brother, to songs the evoke feelings of kinship such as Stand By Me. However, one lesser known track buried on this album is True Love Can Be Beautiful, which, along with featuring David and Jimmy trading verses, features a very interesting bassline. Laced throughout both the verse and chorus are very distinct basslines that carry the song from one point to the next. A common theme within this list is the breakdown which strips down the arrangement and features the bass, and this one is no different!
7. Rainy Night In Georgia
Album: David (1971)
Unfortunately the 1971 album David didn’t see the light of day until 2004 and as a result is also known as The Unrealeased Album. Fortunately we can all hear it today in its intended form and that’s a great thing. I find this album to be incredibly interesting. As a Motown album it is beyond unique as it features somewhat experimental arrangements and takes the genre into, dare I say, an almost folky direction. It differs drastically from anything else the label was releasing in 1971. Because of that, it’s rather fascinating as it shows Motown taking another direction with their style, and even though this album wasn’t released at the time, it really gives you an insight into what else was happening at Motown in the era of Marvin Gaye’s What’s Going On. Of all the songs on this list, this is the one that demonstrates the widest vocal range. David goes from incredibly low to incredibly high and packs a lot of punch in the four minutes and forty seconds of this contemplative, pensive, and introspective ballad.
8. I’ve Got A Need For You
Album: David (1971)
Opening with one of Jamerson’s signature bass riffs and a horn section, Ruffin comes in shortly thereafter by humming the intro. In fact, this whole song really shows off David’s powerful vocals. While lyrically it shares similar themes to number 5 on the list I Pray Everyday You Won’t Regret Loving Me, it also shares similarities in arrangement with many of the compositions on the list in that it features a female backing vocal section, a common theme in solo Ruffin songs. The chorus is a classic example of one of Jamerson’s often used technique which employs bouncing between octaves and fifths of the root notes. This locks in with the four beat chorus groove of the percussion and allows Ruffin to belt the chorus and glide perfectly into the verse, with each repetition getting stronger and conveying more emotion.
9. It’s Gonna Take A Whole Lot Of Doin’
Album: David (1971)
This song especially showcases Ruffin’s whistletone range, even opening with a very high note over one of Motown’s classic conga grooves. Along with delivering a powerful vocal performance, as always, this song also gives Ruffin the opportunity to do one of his signature vocal runs at 0:45 right in between the first chorus and second verse. The bass is laying down a solid groove, nothing flashy, but it doesn’t need to be, Jamerson is playing exactly what is right for the song. That’s one of his many strengths as a session player, he always knows how to serve the song perfectly. In this one the bassline really does act as the glue between the vocals and all the other instruments; it keeps everything together as one. All in all this is a really great song which really shows the cohesion of the Funk Brothers session machine at work giving David the perfect palette to sing over and work his magic.
10. I Want Her To Say It Again
Album: David (1971)
Finishing off this list is actually the first solo David Ruffin song I ever heard. While researching James Jamerson tracks to learn I came upon this by chance; and I’m glad I did because it opened me up to the wonders of David Ruffin’s vocals, hopefully this list has done the same for you. Probably the most high energy song on this list, it opens up with one of the classic Motown drum fills and beats, followed by horn stabs while David comes in over the track screaming in his signature baritone rasp, his voice breaking up just right to convey the excitement of the subject matter. Less than ten seconds into the song we already have a hit on our hands. And what is serving as the driving counter-melodic force, but the bass. Jamerson delivers blisteringly fast rhythmic riffs that sync up with the drums and the vocals. This is a classic example of his bass style. Now on the vocal end of things, just listen at 1:32 to how Ruffin says “smiled” …need I say more; just awesome, one of a kind. This one’s a personal favorite of mine for many reasons, but one of the big ones is that it captures the spirit and musicality of two of my favorite musicians, and shows that when put together they are a true force to be reckoned with. This song in particular captures the signature quirks and stylistic idiosyncrasies of both Ruffin and Jamerson in a perfect way and demonstrates why the sound of these two put together were the voice of a generation.
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About The Author
Ivan Munoz is a musician, bassist, singer, musicians advocate, and member of the Victor Talking Machine Company. Along with this Ivan can be found devoting his time to various musical projects, compositions, and working on musical instruments. Click the photo for more!