Top 10 Basslines

The galloping bassline which ushers in this Iron Maiden classic is by far one of the most iconic from the band’s leader, songwriter and bassist Steve Harris, with “Wrathchild” still bowling over fans since its 1981 debut on Maiden’s sophomore effort, Killers. The song remained a lynchpin within the band’s set for many years, and is still pulled out by Harris and company whenever they feel like rocking out and reliving the old days with former frontman Paul Di’Anno. “Wrathchild” remains a stone cold killer no matter who sings it, however, thanks in part to Harris’ badass bassline.

Les Claypool of Primus just may be the bassist’s bassist; a virtuoso of the fat strings whose jaw dropping dexterity with his chosen instrument has caused many an aspiring player to shake their heads in disbelief. Indeed, Claypool’s ability to coax amazing and unique sounds from his bass guitar has led the progressive, experimental funk trio of Primus since their debut in 1984, with “American Life” serving as an early highlight from the band’s second studio album Sailing the Seas of Cheese. The bubbling, avant-garde bassline here is indicative of Primus’ early direction, which was itself an extension of Claypool and guitarist Larry LaLonde’s roots in the thrash metal scene; a riff which captures prog/funk craziness with a head-bobbing groove. It’s classic Primus.

There will never be another bassist quite like Metallica’s Cliff Burton. The late bassman created many magical moments within his all too brief tenure with the band, such as “For Whom the Bell Tolls”. There’s also this iconic instrumental from his final studio appearence, Master of Puppets, however, as “Orion” opens up strong with Burton’s intense, yet melodic style, displaying some driving drum and bass interplay before Burton calms it down with a rather tranquil solo. It’s a classic Metallica moment, and one which the band continues to somberly remember to this day.

There are a few iconic names when it comes to classic rock bassists, and The Who’s John Entwhistle certainly one of them. “My Generation” was one of the first examples of Entwhistle’s immense talent on his instrument, as this classic Who jam displays the bassist’s fast, fleet and nimble playing style; far more treble based than most four-stringers, the Ox cuts right over Pete Townshend’s massive guitar riffs with the greatest of ease or locks in tight with Keith Moon's frantic drumming when the song calls for it.

The world of bass players sadly doesn’t have the same amount of rock stars when compared to that of guitarists or lead singers, although this diminutive bass-playing powerhouse has always served as the counterpoint of cool to that notion. Indeed, Flea is text book definition of “rock star bassist,” and this frantic Chili Pepper has lived up to it time and time again with his innovative slapping technique and hyper aggressive attack. “Give It Away” showcases a groovier, more laid back version of Flea, however; an in-the-pocket bassline which anchors this slice of slinky and sexy funk.

Sometimes, it isn’t about how flashy one can play, but how much groove one can lay down with the simplest of riffs. Led Zeppelin clearly knew this rule, as evidenced from this straight forward, yet immense classic. “Dazed and Confused” trudges along with a heavy chromatic riff, anchored by the booming bass of John Paul Jones, an immensely talented songwriter, arranger and multi-instrumentalist who just might have served as Zeppelin’s secret weapon. When the song really kicks into gear around the three-and-a-half minute mark Jones really gets to let loose on the fat strings, burning those bass licks for all he’s worth.

Canada’s most beloved progressive rock band have crafted countless memorable musical moments over the course of their forty-plus year career, but this intricate instrumental rides that oh so delicate line between fan favorite and commercial success. “YYZ” is notable for a number of reasons, from the always-interesting melodic movements from guitarist Alex Lifeson, to the dizzying drumming of Neil Peart, but it’s the way both musicians lock in with the restrained-yet-explosive performance of bassist, keyboardist and lead singer Geddy Lee which makes this one a Rush song for the ages.

Paul McCartney is a rock ‘n roll legend for a number of reasons- and Beatlemania aside- chiefly among them is that he is an incredibly forward-thinking bass player. McCartney’s unwillingness to remain a shadowed figure back at the drum riser gave more prominence to the notion of a bassist as a melodic and up front performer right alongside a guitarist or singer. This idea was put into motion to great success with The Beatles’ “Come Together,” a song which is not only anchored by its hummable, poppy bassline, but indeed DEFINED by it, proving that the bass player’s time to shine was indeed upon us.

If any band could make something catchy out of an incredibly complex time signature, it’s Pink Floyd. “Money” is one of the most enduring hits from this group, despite it forgoing notions like “a chorus” in favor of a bass-driven hook in 7/4 time. What makes “Money” even more successful, however, is the fact that bassist and songwriter Roger Waters goes for a devilishly simple 4/4 rock beat behind guitarist David Gilmour’s three consecutive guitar solos before driving it back home to 7/4 for the finale. Even if you have no idea what any of that means you can't help but rock along to it.

Before we announce our number one bassline, here are a few honorable mentions!
- “Low Rider” (1975)
War

“Feel Good, Inc.” (2005)
Gorillaz

- “Hysteria” (2003)
Muse

“Schism” (2001)

Tool

- “Panic Attack” (2005)
Dream Theater

- “Roundabout” (1972)
Yes

Funky beyond the shadow of a doubt, this Queen classic showed that even British rock royalty weren’t immune to getting down with a bit of disco. The success of “Another One Bites the Dust” hinges on that supremely catchy bassline from John Deacon; a bouncy riff which gets the booty movin’ and the feet racing towards the dance floor, similar to what Deacon would achieve a year later on “Under Pressure,” the band’s successful musical collaboration with David Bowie. “Another One Bites the Dust” proved that Queen was just as comfortable writing groovy jams as they were heavy rock riffs...and they were damn good at both.

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