Think of the tunes Babbitt made his own, with a trademark "fat" sound that was both rhythmic and melodic: "Tears of a Clown," by Smokey Robinson; "Agent 00 Soul" and the imperious "War," both by Edwin Starr; the madcap "Cool Jerk," by the Capitols; "(I Wanna) Testify," by the Parliaments; "Mercy Mercy Me," by Marvin Gaye; "Band of Gold," by Freda Payne; "Ball of Confusion," by the Temptations; "Then Came You," by Dionne Warwick and the Spinners (what a great track).
As a bassist, I would give my right [body part] and throw in my left one for free, if I could just have thunk up the bass line for Stevie Wonder's "Signed, Sealed, and Delivered."
I learned how to play bass from tracks like that. Here's why it's good. Bass playing is melody, harmony, and rhythm all at once. Melody and harmony: Babbitt's bass line never follows Stevie's melody (that's the trick), instead finding simple but brilliant ways to counter it; it goes up and down scale during the verse, and finds a foundational groove during the chorus. Rhythm: If there was ever a solid lock between a drummer and a bassist, a syncopated backbeat to rock the continental United States and Europe, Wonder/Babbitt on "Signed, Sealed, and Delivered" is it.