I've been working on this - or more correctly Gerald Veasely's version on SITSOM, which I assume is pretty close. I'm not a good reader but I'm getting better. This book is helping. I'd really like to hear the original to see how the bass fits in with the vocals and other instruments. The line in this song seems almost like it was a solo piece; it is so melodic. I have seen it described as a "concerto for bass guitar." I feel much the way Gerald described - it made me realize how little I knew about bass. This to me is a phenomenal sounding line - it impresses me much more than either Bernadette or How Long Has That Evening Train Been Gone. Not that those songs are unimpressive, just that they are often cited as Jamerson's "best", or whatever. I guess it's just a matter of personal taste. Not only does it sound great, but it seems to be chock full of "Jamersonisms" - all those trademark moves of his. Most interesting to me has been that although it is a challenge to remember which part comes next, I have not found the song (so far) to be "technically" difficult, in the sense that it is incredibly fast, or requires difficult fingerings or position shifts. (It is not hurting my hand.) This came as a surprise, since just listening to it I thought "I'll never be able to play that in a million years." Well I can't just yet, but I'm getting there sooner than I expected. Should be less than a million...unless I discover something further along that is a roadblock. Just goes to show, it does not have to be impossible to play to sound really, really good. For those who have learned this line and others - what do you consider to be the most "technically challenging" Jamerson line?