Let’s be honest: a good song often hinges on a killer bassline. The bass guitar, frequently the unsung hero of a band, has the power to command attention and drive a track with its rhythmic foundation. While guitar solos often dominate discussions about musical virtuosity, countless basslines have etched themselves into the very fabric of music history, deserving equal recognition.
This list celebrates the sheer versatility of the bass guitar and the ingenuity of the musicians who wield it. Far from being a mere background instrument, the bass can be the melodic backbone of a song, instantly recognizable and utterly captivating. Think of the infectious groove of Town Called Malice or the raw, gritty power of Ace of Spades – both propelled by iconic basslines.
From the intricate, funky explorations of Flea to the progressive rock landscapes sculpted by Geddy Lee, the slap-bass mastery of Bootsy Collins to the driving, conceptual riffs of Roger Waters, we present 40 of the greatest basslines ever created, as selected by the editors of Bass Player magazine.
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40. The Doors – Riders On The Storm
(from LA Woman, 1971)
This epic track, available in both a seven-minute album version and a tighter four-minute single edit, encapsulates the essence of The Doors: psychedelic soundscapes, a raw blues edge, and their signature hypnotic drone. Anchoring this sonic tapestry is a truly solid bassline, played on keyboard bass by Ray Manzarek. Reflecting the production techniques of the era, the bass is rich in low frequencies, lacking mids, which only amplifies its thunderous presence and perfectly complements the song’s atmospheric and slightly ominous mood. This bassline is a masterclass in creating mood and tension without overpowering the other instruments.
39. The Cure – The Lovecats
(single only, 1983)
The Lovecats stands as a brilliant example of how the upright bass can be seamlessly integrated into modern pop music. This bassline is the undeniable driving force of the song, incredibly catchy and built upon a clever triad progression rooted in fourths. It exudes a warm, woody tone that perfectly matches the song’s whimsical and slightly jazzy feel. While Robert Smith’s distinctive vocals and the honky-tonk piano might become a bit much after countless listens, the sheer brilliance of this funky, melodic bass part remains undeniable, making it a timeless indie-club classic for over two decades.
38. Rush – Digital Man
(from Signals, 1982)
Geddy Lee is widely recognized as a bass guitar icon, and during Rush’s creative zenith in the late 70s and early 80s, their musical output was simply unstoppable. Digital Man, while thematically perhaps a little dated in our hyper-connected internet age, is propelled by Lee’s intricate and powerful bassline. This bass part provides an enduring edge that transcends the years. On the Signals album, Geddy expertly alternated between his Jazz Bass and his signature Rickenbacker 4001, showcasing his complete command of the instrument throughout this exceptional six-minute track. His mastery is evident in every note, demonstrating why he’s considered one of the best.
37. Graham Central Station – Hair
(from Graham Central Station, 1973)
Five minutes of pure, unadulterated bass brilliance from Larry Graham, the innovator of the slap bass style, anchors his band’s debut album with earth-shaking impact. Hair is a showcase of Graham’s groundbreaking technique and rhythmic inventiveness. While advocating for open-mindedness in his lyrics, Graham’s bass “thumps and preens” with infectious energy, blending funk and R&B in a truly unmistakable fashion. Mastering this bassline is a rite of passage for any aspiring funk bassist, and Graham’s collaborations with funk legends like Sly & The Family Stone and Prince underscore his lasting influence on the world of bass and music as a whole.
36. Red Hot Chili Peppers – Give It Away
(from Blood Sugar Sex Magik, 1991)
Fueled by the production genius of Rick Rubin, the Red Hot Chili Peppers reached new creative heights with Blood Sugar Sex Magik, arguably their magnum opus. Give It Away became a massive single, largely thanks to Flea’s iconic bassline. Its signature liquid slide motif and incredibly dexterous fills essentially form the song’s core. While the track also features funky guitar work, powerful drums, and Anthony Kiedis’s rap-style vocals about unity and positivity, it’s Flea’s bass that truly defines this song, demonstrating his innovative and rhythmic approach to the instrument.
35. The Jam – Town Called Malice
(from The Gift, 1982)
This brilliant bassline might draw inspiration from classic Motown hits – You Can’t Hurry Love is a likely candidate – yet it’s perfectly suited to this gritty, post-punk anthem. The song’s addictive quality arises from the bassline’s upbeat jauntiness, sharply contrasting with Paul Weller’s cynical lyrics about life in Britain during the Falklands War era. Only The Jam could pull off such a sonic juxtaposition, and the public’s overwhelming positive response, sending the song straight to No. 1, is a testament to its enduring appeal and the power of its bassline.
34. Charles Wright And The Watts 103rd Street Rhythm Band – Express Yourself
(from Express Yourself, 1973)
Bassist Melvin Dunlap likely never imagined that his incredibly catchy bassline for the original Express Yourself would, two decades later, become the foundation of a gangsta rap anthem. In the 1973 version, the bass part was doubled by a guitar, but when LA rappers NWA sampled it for their own song, also titled Express Yourself, they amplified the bass and removed the guitar, highlighting Dunlap’s genius line. Whether in its original joyous, Jackson 5-esque mid-range form or its later hip-hop iteration, the bassline’s brilliance remains undeniable and timeless.
33. Bill Withers – Lovely Day
(from Menagerie, 1978)
While Lovely Day is famous for its feel-good vibe and memorable vocal hooks, particularly the extended “lovely daaaaaaaaaaay” chorus, the song is subtly anchored by a fantastic bassline. This sweet, descending line includes a funky fill at each step down and a dexterous turnaround on the ascent. Written and played by Jerry Knight, this bass part is among the most instantly recognizable in the entire R&B catalog and certainly the most famous bassline in Bill Withers’ impressive repertoire. It’s a masterclass in understated groove and melodic bass playing.
32. Grandmaster Flash & Melle Mel – White Lines (Don’t Don’t Do It)
(single only, 1983)
Inspired by the bassline from Cavern by art-rock band Liquid Liquid, Sugarhill Records’ house band bassist Doug Wimbish created a monster hit when he adapted the line to a powerful rap about the dangers of cocaine abuse, set against a simple drum machine beat. Try playing it – the Es and Gs might trip you up in the third bar! But it’s worth persevering with, and then tackling the supremely funky bass-plus-horns lick that follows the chorus. This bassline is a cornerstone of early hip-hop, demonstrating the genre’s innovative use of pre-existing musical ideas.
31. Cream – Crossroads
(from Wheels Of Fire, 1968)
Taking Robert Johnson’s blues classic Cross Road Blues, Cream revitalized and renamed it Crossroads, creating a legendary entry in the British blues-rock canon. Eric Clapton’s guitar work is sublime throughout, especially in the original live version from Wheels Of Fire, but the song is fundamentally driven by Jack Bruce’s bass from beginning to end. Applying his signature dexterity and melodic sensibility to the blues framework, Bruce demonstrated how the bass could dominate a song without resorting to overplaying. His performance on Crossroads is a testament to his innovative approach and lasting influence.
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30. Queen & David Bowie – Under Pressure
(from Hot Space, 1981)
It’s D, then A, and then… D again! John Deacon’s instantly recognizable bassline for Under Pressure is remarkably simple yet incredibly effective. The riff is perfectly juxtaposed with a sharp piano chord, unconventional vocals, guitar textures, and even a spoken-word section. This iconic bassline might have faded into relative obscurity had it not been for Vanilla Ice’s 1990 mega-hit Ice Ice Baby, which famously sampled it, bringing it to a new generation and solidifying its place in pop culture history.
29. Rage Against The Machine – Bullet In The Head
(from Rage Against The Machine, 1992)
Rage Against The Machine’s self-titled debut album is widely considered their finest work, and Bullet In The Head is a standout track. The song’s immortality is largely due to its opening bass riff. Tim Commerford plays E five times at the 7th fret on the A string, then drones the open E string once, followed by a G# chord (6th fret, D string) and a D (7th fret, G string), repeating this pattern throughout the verses. Achieving a clean sound without fret buzz on this riff, even on a perfectly set-up bass, demands significant skill, but that hasn’t deterred countless bassists from trying to replicate Commerford’s raw power and precision.
28. Weather Report – Teen Town
(from Heavy Weather, 1977)
Teen Town appeared on Jaco Pastorius’s first full album with Weather Report and showcased his extraordinary talent. Whether playing rapid sixteenth notes in the intro, soaring into the midrange, counterpointing the horn melody, or playing in unison with Joe Zawinul’s ominous keyboard sequence, Jaco’s bass work is breathtaking. Few bassists can accurately play this line, and even fewer can capture Jaco’s unique feel and phrasing. This track cemented his reputation as a revolutionary bassist and a true innovator.
27. Michael Jackson – Billie Jean
(from Thriller, 1982)
Louis Johnson’s iconic bassline is integral to Billie Jean, one of Michael Jackson’s signature songs and a career highlight that remains timeless. Counterpointing subtle backing vocals and synth textures, the bassline propels the song forward, building intensity and perfectly complementing Jackson’s emotionally charged vocals about the infamous woman who claims he is the father of her child. The understated tone of the bass creates a compelling contrast with Jackson’s dramatic vocal performance, contributing to the song’s overall brilliance.
26. Iron Maiden – Phantom Of The Opera
(from Iron Maiden, 1980)
Phantom Of The Opera is a rare example of a lengthy, multi-sectioned song that never overstays its welcome and a bass player’s dream. Steve Harris, Iron Maiden’s leader and primary songwriter, is a bassist of exceptional skill and flair. His fusion of 70s prog and punk influences resulted in a powerful yet melodic bass style, fully formed even on Maiden’s debut album. The bass solo, a deceptively simple figure that descends a tone for two bars before ascending and repeating, is a moment of pure melodic beauty and showcases Harris’s unique approach to metal bass playing.
25. Fleetwood Mac – The Chain
(from Rumours, 1977)
The Chain needs no introduction to bass players. John McVie’s slippery bass riff in A marks the song’s transition into its second half, accelerating the tempo and instantly recognizable to Formula One fans whenever it plays during broadcasts. The riff repeats to the song’s conclusion, layered with Stevie Nicks’ backing vocals and Mick Fleetwood’s driving beat. It’s an unforgettable bassline, known for its simplicity, effectiveness, and iconic status.
24. Stevie Wonder – I Wish
(from Songs In The Key Of Life, 1976)
In the 1970s, simple basslines could sound incredibly cool because the landscape of bass playing was still being explored and defined. This is certainly true for Stevie Wonder’s remarkable I Wish, comparable to Sir Duke in its sheer funkiness but even more intensely catchy. The genius of this bassline lies in its simplicity and groove, demonstrating Wonder’s innate musicality and ability to create infectious rhythms. Its seemingly effortless feel is a testament to his mastery.
23. The Clash – London Calling
(from London Calling, 1979)
Paul Simonon was a bass master, though admitting it might have seemed un-punk at the time. His understanding of reggae and rock styles created a distinctive bass approach, evident on London Calling with its instantly recognizable intro. While the lyrics may be debated over time, the song’s raw attitude, instrumentation, and pop sensibility, injected by Joe Strummer and the band, have made it a lasting classic. Simonon’s bassline is a perfect example of punk bass that is both simple and incredibly effective, driving the song’s energy and attitude.
22. Sly & The Family Stone – Thank You (Falettinme Be Mice Elf Agin)
(from Greatest Hits, 1970)
Alongside Bootsy Collins and Louis Johnson, Larry Graham was a funk bass titan of the 1970s, delivering hit after hit with Sly & The Family Stone. Thank You (Falettinme Be Mice Elf Agin) kicks off with a simple slap and pop bassline that burrows into your brain and refuses to let go. After just a few minutes, you’ll be itching to play it yourself – and it’s simple enough to learn quickly. But capturing Graham’s inherent funk and groove is the real challenge. This bassline is a foundational example of slap bass technique and its power in funk music.
21. Ben E King – Stand By Me
(single only, 1961)
“When the night… has come…” Genius! Originally a 1955 tune, Stand By Me was given a 60s soul makeover by Leiber & Stoller and became an enduring soul classic, featuring an intro bassline that, once heard, is unforgettable. Subtle, unhurried, and sweet, the line supports King’s powerful vocals and layers of organ and guitar. It’s a testament to the bass’s fundamental role: even when seemingly understated, it holds everything together. This bassline is a masterclass in melodic simplicity and creating a timeless groove.
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20. Marvin Gaye – What’s Going On?
(from What’s Going On, 1971)
Marvin Gaye’s transition from 60s soul to 70s maturity, epitomized by the What’s Going On album, elevated soul music and delivered an album filled with exceptional basslines. The title track’s bassline complements the lush instrumentation with a melodic approach, rather than just providing a rhythmic foundation. It weaves seamlessly through Gaye’s poignant anti-war lyrics and remains remarkably modern and relevant today. This bassline demonstrates the power of melodic bass playing in enriching a song’s emotional depth.
19. Ian Dury & The Blockheads – Hit Me With Your Rhythm Stick
(single only, 1978)
Too funky for pub rock and too poppy for true funk, The Blockheads possessed a unique, indefinable quality. Who else would write a trilingual song about non-violence with such a quirky title? And which bassist could play so many notes per bar without sounding excessive? Norman Watt-Roy created a busy, almost frantic bassline to accompany Ian Dury’s dry wit, yet it feels perfectly fitting, sounding as fresh and amazing today as it did then. This bassline exemplifies energetic and technically impressive playing that perfectly serves the song’s unique character.
18. Metallica – Orion
(from Master Of Puppets, 1986)
Featuring not one, but three distinct and radically different bass solos, Orion is the essential Metallica song for all bass players. Cliff Burton, who tragically passed away shortly after Master Of Puppets was released, composed this instrumental piece, and his bass artistry is central to it. The song begins with a chorus-laden bass intro, fades into heavy guitar sections, transitions to a classical bass motif, and culminates in a blistering, distorted bass solo that many mistake for a guitar solo. Orion is a testament to Burton’s innovative and multifaceted bass playing.
17. Free – All Right Now
(from Fire And Water, 1970)
Andy Fraser’s incredibly economical fingerstyle bassline towards the end of Free’s biggest hit, All Right Now, secured his place as one of the 70s’ most respected bassists. Mixed subtly, requiring close listening to discern the chord changes, this classic funk bassline boasts warm, middy tones – you can almost feel his fingers on the strings. Despite Free not achieving mainstream acclaim, this song alone guarantees their spot in rock history. Fraser’s bassline demonstrates that simplicity and groove can be just as impactful as technical complexity.
16. Lou Reed – Walk On The Wild Side
(from Transformer, 1972)
With simultaneous bass guitar and double bass tracks, Herbie Flowers’ famous sliding bassline in Walk On The Wild Side is globally recognized. It adds a subtle layer of sophistication to one of pop music’s darkest and most intriguing songs. As Lou Reed sings about unconventional characters and lifestyles, Flowers’ fluid bass lines bring a touch of class to this song exploring the fringes of society. The interplay between the two basses creates a unique sonic texture that enhances the song’s atmosphere.
15. Miles Davis – So What
(from Kind Of Blue, 1959)
Jazz aficionados still recall the chills they felt upon first hearing So What, the opening track of the most influential jazz album ever made, Kind of Blue. Paul Chambers’ sublime double bass and Bill Evans’ evocative piano chords create one of the most iconic opening passages in music history. Chambers’ bass then elevates the song further with the famous, questioning riff that guides the listener toward the horns. Even decades later, it remains captivating and groundbreaking. This bassline is a cornerstone of modal jazz and a testament to the power of space and melody.
14. Motörhead – Ace Of Spades
(from Ace Of Spades, 1980)
Lemmy Kilmister’s notoriously raw bass tone – achieved without effects, simply through wide-open mids – might not be for everyone, but for Motörhead fans worldwide, it’s pure sonic bliss. He’s at his peak on Ace Of Spades, introducing the song with that simple, two-note riff and sliding upward as the guitars join in. This bassline is the epitome of raw power and attitude, perfectly capturing Motörhead’s signature sound and Lemmy’s uncompromising style.
13. The Who – My Generation
(from My Generation, 1965)
After two verses in what is essentially one of the earliest punk songs, My Generation features one of the first ever recorded bass guitar solos. John Entwistle’s solo, played on a Fender Jazz Bass, is a stunning four-part composition. While not technically impossible to play, its significance lies in its groundbreaking nature – in an era where bass was strictly a supporting instrument, Entwistle stepped forward with a solo of remarkable creativity and virtuosity. Bass players owe a great debt to the late, great John Entwistle for pushing the boundaries of the instrument.
12. Cream – Politician
(from Wheels Of Fire, 1968)
Politician predates the term “fusion,” showcasing Bruce, Baker, and Clapton exploring their musical boundaries between their mainstream hits. Jack Bruce’s bassline meanders effortlessly through this four-minute track, demonstrating his signature understated brilliance. His playing emphasizes that true mastery is effortless, and showing off is unnecessary. The song also highlights Bruce’s incredible tone, adding another layer of richness to his already exceptional playing. This bassline is a lesson in sophisticated and tasteful bass playing.
11. Muse – Hysteria
(from Absolution, 2003)
Chris Wolstenholme’s fingerstyle precision on the bassline that opens and defines Hysteria is truly astonishing. While mastering it takes dedication due to its rapid, high-register hammer-ons, the real challenge is maintaining clarity amidst the heavy distortion. This bassline is a modern classic, demanding both technical skill and sonic control. It’s a showcase of contemporary rock bass playing at its most intense and impressive.
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10. Jaco Pastorius – Come On Come Over
(from Jaco Pastorius, 1976)
For his debut solo album, Jaco Pastorius made the generous choice to write full-band songs rather than simply showcasing bass solos. Following the mind-blowing opener Donna Lee is Come On Come Over, a relaxed funk/soul track where his bassline is prominent yet never overpowering. Infectiously catchy and partially played in unison with the organ, this spiraling, energetic line both drives and anchors the song. This bassline highlights Jaco’s melodic sensibility and his ability to create grooves that are both complex and accessible.
9. Yes – Roundabout
(from Fragile, 1971)
Chris Squire contributed more to progressive rock bass than almost any other bassist, save for Paul McCartney and Tony Levin. Roundabout represents an early peak in his career. The gritty tone of his bassline enhances its snappy, fast-fingered quality, making it invigorating just to try and keep pace with its many changes as the song evolves. Supporting the complex keyboard and vocal acrobatics, Squire’s dynamic bass part is a highlight of early progressive rock, showcasing his virtuosity and unique sound.
8. The Beatles – Come Together
(from Abbey Road, 1969)
How do you create a song intro from just a couple of bass hammer-ons, studio echo, and some percussion? Like this. By 1969, Paul McCartney had elevated his bass playing to unparalleled levels, focusing on songwriting and letting the bass naturally fit within the song’s structure. This approach resulted in bass parts that, despite sometimes lacking prominence in the mix, sounded absolutely perfect. Come Together is arguably the pinnacle of his bass playing, demonstrating his ability to create iconic lines with minimal elements.
7. Queen – Another One Bites The Dust
(from The Game, 1980)
A-G-E, E, E, right? Then E-E, E, G, E, A… and repeat. That’s the formula for one of the most recognizable basslines in history. Often seen as Queen’s “disco” moment, Another One Bites The Dust is more accurately a funk-infused track. While John Deacon didn’t employ slap or pop, his warm, clean, and perfectly in-the-pocket bassline is virtually unmatched in its sheer groove and effectiveness. This bassline proves that simplicity and perfect timing can be just as powerful as technical flashiness.
6. Led Zeppelin – Ramble On
(from II, 1969)
John Paul Jones displayed boldness in creating the bassline for Ramble On. He confidently steps over Jimmy Page’s beautiful acoustic intro with a fantastic ascending motif in the upper register. Then, he adds a three-note lick after the first chorus line (“Ramble on!”) which sets up a bar of rapid hammer-ons, making the bass the focal point even amidst a busy arrangement including Robert Plant’s powerful vocals. This bassline showcases Jones’s assertiveness and his ability to make the bass a prominent voice within Led Zeppelin’s iconic sound.
5. Pink Floyd – Money
(from The Dark Side Of The Moon, 1973)
Roger Waters, not known for technical virtuosity in the traditional sense, excelled as a songwriter with this world-class bassline for Money. Primarily in 7/4 time signature (except for the guitar solo section in 4/4), the line’s extreme clarity and the cacophony of cash registers surrounding it make it essential learning for any prog bass player. Even if you can’t play it perfectly, you can still appreciate the pristine early 70s production of The Dark Side of the Moon and the bassline’s integral role in the album’s sonic landscape.
4. The Stranglers – Peaches
(from Rattus Norvegicus, 1977)
Just two seconds into Peaches and you instantly recognize the song; five seconds later, you’re admiring Jean-Jacques Burnel’s bass talent and wondering how to achieve his tone. Using a guitar amp in his early days contributed to his raw sound, but a touch of overdrive with boosted high-mids can get you close to that nasty-yet-appealing punk tone. Decades after its release, Peaches is iconic for bassists due to its intro, for punks old and new for its attitude, for musicologists for its genre-bending elements (reggae drumbeat), and for 70s enthusiasts for encapsulating a turbulent era with sarcasm and a controversial album cover.
3. Stanley Clarke – School Days
(from School Days, 1976)
Stanley Clarke’s legendary School Days throws everything into the mix – super-fast pizzicato, sharp pops, huge string bends, and a disregard for musical convention – fundamentally changing bass playing. The song remains an essential study for anyone interested in fusion bass and a reminder that there’s always more to learn, especially when it comes to Clarke’s groundbreaking techniques and boundless creativity. This track is a masterclass in virtuosic and innovative bass playing.
2. James Brown – Sex Machine
(single, 1970)
Often known simply as Sex Machine (full title Get Up (I Feel Like Being A) Sex Machine), James Brown’s funk anthem was propelled by Bootsy Collins’s and his brother Catfish’s guitar. While Brown is the song’s driving force, Bootsy’s vibrant, insistent bassline is indispensable. Sex Machine would be half the force it is without Bootsy’s iconic playing, proving that “Truly, nobody plays it like Bootsy plays it…” This bassline is a cornerstone of funk music and a testament to Bootsy Collins’s revolutionary style.
1. Chic – Good Times
(from Risqué, 1979)
While Bernard Edwards’ career was filled with moments of pure genius, Good Times likely represents his most famous and influential bassline. Countless bassists have learned from it, making its inclusion at the top of this list undeniable. The wisdom for bass players lies not just in rock or blues, but also in disco. This bassline is the ultimate example of disco bass at its finest: groovy, melodic, and utterly timeless. It’s a foundational bassline for generations of musicians and a perfect example of how the bass can define a genre and a generation.
