Just My Imagination (Running Away With Me) - Bob Babbitt
Bob Babbitt — The Temptations (1971)
Album: Sky’s the Limit (Motown)
Bob Babbitt’s bassline on “Just My Imagination” is one of the great studies in understated sophistication — a performance that supports the emotional arc of the song while showcasing the kind of melodic instinct and technical refinement that defined the Motown sound after James Jamerson. This line is essential for Working Pro players because it blends clarity, restraint, and expressive contour inside one of the most beautifully crafted pop/soul arrangements of the era.
The Line — Melodic Support Without Interference
Babbitt builds the line around long, singing phrases that sit firmly inside the harmony without ever crowding the vocals. His playing here is lyrical, patient, and emotionally aligned with the song — never busy, never mechanical. He phrases like a background singer, shaping each line with intention.
A recurring trait is his use of small stepwise motions and gentle approach tones. They add lift and direction without disrupting the softness of the production. This is melodic bass playing designed to disappear into the song while still carrying enormous weight underneath it.
Time Feel — Even, Warm, and Deep in the Pocket
Unlike the behind-the-beat density of Jamerson’s lines, Babbitt sits right in the center of the pocket. That neutrality is what the song requires — a floating, cushion-like feel that mirrors the dreamy quality of the vocals.
He plays with impeccable evenness, letting the line “breathe” while still maintaining a strong forward motion. This balance is incredibly difficult to execute at a professional level; it requires technical control, soft hands, and a deep internal pulse.
Note Length + Touch — Soft Articulation, Deep Resonance
Babbitt’s touch is essential to the mood of the track. His note length creates a gentle, rolling foundation — connected enough to keep the groove intact, but with just enough lift between notes to keep the line from feeling heavy.
His attack is rounded and warm, and he avoids any percussive edge. This is how you create a pocket that’s intimate rather than aggressive.
Harmonic Movement — Elegant Simplicity
The bassline outlines the changes with subtle voice-leading decisions that feel almost orchestral. Babbitt avoids big interval jumps, opting instead for movement that supports the strings and vocal blend. The result is harmony that feels inevitable — nothing forced, nothing flashy.
Notice his restraint in the choruses: even when the arrangement thickens, the bass remains calm and centered. That’s a Working Pro awareness of the emotional narrative of the song.
Interaction With the Band — Supporting the Story
This track is all about storytelling — and Babbitt understands exactly where the bass fits in that picture. He’s not interacting with rhythmic hits or countering the strings; instead, he intertwines with them, becoming part of the emotional bed that carries the vocals.
This is the opposite of “leading from the pocket.” Here, the bass leads by not drawing attention, by elevating the melody rather than commenting on it.