the pop charts, a record narrowly surpassed only by Paul McCartney of The Beatles who cites Jamerson as an influence, and he performed on 56 number-one hits on the R&B charts. Style and influence Jamerson is noted for expanding the musical style and role of bass playing in popular music of the time, which, (in 1950s and '60s R&B, rock and roll, and country), largely consisted of root notes, fifths and simple, repetitive patterns. By contrast, many of Jamerson's basslines relied heavily on chromatic runs, syncopation, ghost notes and inversions, with frequent use of open strings. His nimble bass playing was considered an integral part of the "Motown Sound". He created melodic lines that were nonetheless locked to the drum groove. Jamerson's transition from upright to electric bass was at a time when electric bass was a relatively new instrument, and its use and style of play was not well established. Jamerson's background as a jazz musician and upright bassist informed his playing style, and over time his technique and improvisational approach became more nuanced. By mid-1960s, his style became an indispensable part of the Motown sound and in turn impacted popular music. Early examples of Jamerson's impact are "Rescue Me" by Fontella Bass and "You Won't See Me" and "Nowhere Man" by the Beatles. Bassists who have noted Jamerson's contribution or been influenced by him include Rocco Prestia, Anthony Jackson, Pino Palladino, Paul McCartney, Bob Babbitt, Nathan Watts, Will Lee, Geddy Lee, Chuck Rainey, Marcus Miller, Mike Mills, Phil Chen, John Entwistle, Michael League, Mike Watt, Sting, John Paul Jones, Bernard Odum, Victor Wooten, Robert DeLeo, Glenn Hughes, Tommy Shannon, Suzi Quatro, Ron Asheton, Tony Sales, Peter Cetera, Robert Kool Bell, Bootsy Collins, Michael "Flea" Balzary, Jaco Pastorius, Stanley Clarke, Michael Henderson, Jack Bruce, John Patitucci, Jason Newsted, Rick Danko, Garry Tallent, Alan Gorrie, Jerry Jemmott, Andy Fraser, Brian Wilson and others. Post-Motown career Shortly after Motown moved their headquarters to Los Angeles, California, in 1972, Jamerson moved there himself and found occasional studio work, but his relationship with Motown officially ended in 1973. He went on to perform on such 1970s hits as "Neither One of Us" by Gladys Knight & The Pips (1973), "Boogie Down" (Eddie Kendricks, 1974), "Boogie Fever" (The Sylvers, 1976), "You Don't Have to Be a Star (To Be in My Show)" (Marilyn McCoo and Billy Davis Jr., 1976), and "Heaven Must Have Sent