Top 20 Greatest Basslines of All Time

Ben E. King
Classical rhythm and blues are on full display in Ben E. King’s simultaneously moving and shaking masterpiece. “Stand by Me” is a romantic soul ballad about dependability, yet its iconic bassline is always walking tall. Seasoned jazz virtuoso Lloyd Trotman plays this simple upright bass part with a bright, smooth tone that made King’s song an instantly recognizable hit. It has since been popularly covered by artists of many different genres and cemented in the nostalgia of every generation since the 1986 movie of the same name. Ben E. King’s passionate lyrics and vocals are sure to lift your spirit. But Trotman’s touch of jazz was no less key to making “Stand by Me” stand out as an R&B classic.

The Clash
"London Calling" is one of the most acclaimed rock albums ever, and its title track is a punk masterpiece. The Clash's intense beat sells the lyric's apocalyptic warnings, but Paul Simonon's bassline really hooks your attention. The brightly toned ascending and descending strums clearly sport the reggae influences that distinguished the band. Rarely, though, has this sound been so starkly contrasted with the percussive rhythm of punk. The unconventional bass part disciplines the composition to give you a sense of marching to war. "London Calling" may not be the most challenging bassline to play. But Simonon's imaginative blend of melody and urgency always calls out.

Gorillaz feat. De La Soul
Murdoc Niccals is one of the most provocative bass stars modern rock has never actually seen. As aggressively as the fictional founder of Gorillaz tries to get attention in animation, he got his highest praise for "Feel Good Inc." The song's fat bassline, actually played by the coincidentally named Morgan Nicholls, is a quintessential funky strut. It boasts the eerie groove needed for the song's tricky blend of alt-rock drama and hip-hop worthy of De La Soul. This ingenious flow propelled "Feel Good Inc." as one of Gorillaz's most acclaimed and popular songs. Whether you want to give Murdoc Niccals or Morgan Nicholls credit for this, the euphoric feel of that bassline is irresistible.

Metallica
Cliff Burton is considered one of the titans of heavy metal bass. His tragically short-lived career changed the game with blistering and experimental riffs. Of course, Metallica's "Orion" might be his masterpiece. Burton opens with a droning crescendo, before unleashing a galloping bassline with his signature distortion. The tone and composition evolve from there, shaping and reshaping the epic instrumental along the way. It's a sophisticated performance that further pushed the role of the bass as a driving force in heavy metal. It's really hard to decide which of Burton's leading hooks is Metallica fans' favorite. But to fully understand the originality and influence of his style, "Orion" is the star of his legacy.

Muse
Hysteria as a concept never sounds as catchy as it does with Muse's inventive use of electronic effects and infectious riffs. While most of their apocalyptic anthems hook with Matthew Bellamy's ever-unpredictable guitar experiments, Chris Wolstenholme takes the lead in the song "Hysteria." His rapid, heavily distorted bassline kicks the song off with a shock, then gallops throughout the dynamic melody. This intense sound captures a sense of obsessive drive, but is also strangely funky. Integral to making "Hysteria" one of Muse's most memorable staples, this bassline is altogether considered one of the greats of modern rock. Wolstenholme's perfectly fuzzed tone alone has driven many bass guitarists into their own unhealthy obsession.

The Who
The voice of a new, louder generation of rock was practically declared by The Who in 1965. Their rebellious breakout "My Generation" featured a uniquely fast, percussive rhythm, anchored by John Entwistle on a Fender Jazz Bass guitar. With his swift two-finger waltz and flashy reprieve, you listen up. It's such a driving groove that Entwistle fills one verse with an incredible bass solo, almost unheard of in mainstream rock. If nothing else, the track announced him as one of the most inventive bassists of his style. The Ox went on to be hailed as one of the great masters of his instrument for his increasingly sophisticated performances with The Who. But "My Generation" stands out for a bassline to get all generations jumping.

Sly and the Family Stone
Larry Graham's inventive slap bass technique–or as he calls it, "thumpin' and pluckin'"–helped make Sly and the Family Stone one of the pioneers of funk. It all started with their hopping anthem "Thank You (Falettinme Be Mice Elf Agin)". No one had heard such a loud and quick bass sequence of driving low notes and popping highs. It turned out Graham had adapted for electric guitar the upright bass technique of percussively striking with his thumb. Suddenly, bassists everywhere were thumpin' and pluckin'. Of course, it remained Graham's signature move after "Thank You" became a smash hit. It has since inspired some of the funkiest basslines ever, and we all have Larry Graham being himself to thank for that.

Red Hot Chili Peppers
Michael "Flea" Balzary is one of bass’ biggest stars for his explosive talent and live antics. Of all the alternative rock classics he distinguished with jazzy funk, “Give It Away” might be the height of this style. To be the Red Hot Chili Peppers’ breakout track, it’s certainly one of their most memorable for its driving rap and rhythm. This flow grew out of a jam session between Flea and guitarist John Frusciante, but is really driven by a swampy pluck and bouncing chord that jumps right into your head. It’s the perfect bassline to tie together the Chili Peppers’s iconic sound. With “Give It Away” hyping up generosity, Flea’s bassline also lays down an infectious energy that’s perfect to share with a crowd.

Iron Maiden
As the lead songwriter of the epic heavy metal band Iron Maiden, Steve Harris knows how to complement the ensemble's fast-paced dynamics with his elaborate bass work. But he's especially the star of the show on the uniquely groovy "Wrathchild." The bassline is a fast and technical pattern that's tight enough for an infectious repetition. After it kicks the raucous track off, the line sticks in your head. It's an interestingly funky twist on Harris' distinct galloping style. Of course, he and the rest of the band gradually build tempo throughout the blazing performance. There are surely more popular and technical displays of Harris's awesome talent. But "Wrathchild" may definitively showcase his mastery of old-fashioned groove.

Primus
Considered a true bassist’s bassist, Les Claypool has filled Primus’s catalog with memorable and technically astounding riffs. Of all the mainstream hits that this style has produced, “American Life” is a fan favorite. In addition to hooking with his signature fast and bouncy slap technique, Claypool hammer-ons with his left hand. This gives the riff a firm pop and dizzying roll. It’s a remarkable trick that Claypool modifies throughout one of Primus’ more progressive compositions. Where a lot of his basslines became pop hits for their sheer comic quirk, “American Life” is a very serious funk metal masterpiece. You may not hear it on many radio stations, but bass enthusiasts consider this driving riff a proper challenge.

Led Zeppelin
Jimmy Page has gotten in a lot of trouble for his unauthorized adaptation of Jake Holmes' "Dazed and Confused" for The Yardbirds and Led Zeppelin. Page notably sets his version apart with the modified bassline, while Zeppelin’s John Paul Jones fully brings it to life. Though his performance intensifies with the raging anthem, the droning hook sets the perfect tone of bluesy angst and psychedelic groove. Listeners know that they’re in for a bad trip, hopefully just romantically. Live viewers know that they’re in for an epic. Page’s simple chromatic descent is full of drama that Jones conveys beautifully. Zeppelin’s “Dazed and Confused” may be an undeniable classic on its own for those looking to vent some heartbreak. But oh, how that bassline hypnotizes.

Fleetwood Mac
"The Chain" is one of Fleetwood Mac's most intense hits, though not right away. The song was originally written as a melancholy breakup ballad until Stevie Nicks heard a catchy bass progression that John McVie was working on. These two very different sounds wound up chained together in a thumping blues piece with a driving hard rock climax. That 10-note bass lick that breaks the silence before the outro is so worth the wait. This spine-chilling riff evokes an action-packed drama, and was notably the iconic theme for the BBC's Formula One program "Grand Prix." Though this made "The Chain" especially popular in McVie's native U.K., the classic breakup song's final breakdown is sure to get everyone fired up.

Michael Jackson
Louis "Thunder-Thumbs" Johnson's dynamic rhythm made the Brothers Johnson a hit, but his highest commercial achievement was jamming with Michael Jackson on the immortal album "Thriller." This collaboration gave birth to "Billie Jean." While the song's melody progresses in dramatic staccato, the thumb-led bassline keeps a repetitive waltz that's twice the tempo of the drum beat. The haunting yet danceable ballad is practically defined by its relentless rhythm. Producer Quincy Jones was no lover of the unusual contrast. But Jackson, who built the song around the bass concept, found it thrilling enough to inspire his iconic moonwalk. What seems like a simple bass progression was actually a stroke of genius for Johnson, making "Billie Jean" one of the hottest dance anthems of all time.

Rush
Geddy Lee’s powerful and precise bass playing is all the more phenomenal for his ability to belt out at the same time. Of course, there’s no breaking concentration with Rush’s near-impossible instrumental “YYZ.” And yes, it’s pronounced “Zed.” The title refers to the airport code of Toronto Pearson International and is spelled in Morse Code by the song’s thrashing opening riff. After that, Lee leads a stampeding jam. From these acrobatic, jazz-influenced lines to a stunning solo, “YYZ” is widely considered one of the greatest bass performances in rock history. Sure, the soaring rhythm is hard to move to, let alone replicate. But as the envy of bassists everywhere, the instrumental is the definitive display of Lee’s high-flying skills.

Stevie Wonder
There's surely an art to playing scales in a way that shows real technique. Nathan Watts mastered that art in the Stevie Wonder staple "I Wish." Watts and Wonder collaborated on the song at the end of a long recording session for the 1976 album "Songs in the Key of Life." You can hear that in the simplicity of the composition's structure, but are hopelessly hooked by the opening jam between the bass and keyboards. "I Wish" struts fast and smooth, carried by the bassline's distinctly thick tone and uplifting steps. This yielded one of Wonder's signature songs and formally declared his then-new bassist as a natural collaborator. Watts has been with the R&B legend ever since "I Wish" revolutionized his unmistakable groove.

Yes
Yes helped define progressive rock with a virtuoso fusion of contrasting styles. That's especially evident in the classic "Roundabout," a jazzy and melodic epic driven by an intense bassline. Chris Squire's highly technical and loud guitar picking produces a bass riff that nearly drowns out the brighter lead instruments and vocals. This breaks all the rules of a rhythm instrument, with Squire himself usually reserving such dynamic playing for Yes's faster songs. But his masterful sense of tone and groove gives even their most complicated anthems an organic hook. "Roundabout" is a prime example of the technical, jazz-influenced leading that influenced the bass's versatile role in prog rock. Though Squire gives a killer performance throughout the elaborate suite, his lead riff makes it irresistible.

Chic
As a favorite of ‘70s disco, Chic is synonymous with good times in general. Bassist Bernard Edwards deserves much credit for his elaborate and funky playing. But his flow reached its peak on the 1979 mega-hit “Good Times.” The bassline follows three simple notes with a flurry of complex ledes and scale changes. It’s a flashy hook, but it carries the whole band’s bright and energetic jam. “Good Times” became an anthem for partying your woes away, and one of the most sampled tracks ever. Edwards’ performance has also influenced countless bassists in modern dance music. He delivered many other memorable masterpieces before his sudden passing at age 43. But his bassline on “Good Times” alone consistently lives up to the song’s title.

The Beatles
Speaking of groovin' up slowly, The Beatles' "Come Together" hooks you right away with a seemingly simple bass lick that displays Paul McCartney's genius with the instrument. With just two beats and an elongated chord countering Ringo Starr's drum roll, listeners are immediately bounced in. No matter how much the composition evolves from there, McCartney keeps the flow together. Unfortunately, a lawsuit revealed that this composition was a slower revision of the Chuck Berry song "You Can't Catch Me." McCartney's swampy riff, however, was a wholly original motif that has been covered by many musicians, including Michael Jackson and Aerosmith. It's safe to say that The Beatles have delivered their own classic in "Come Together," complete with a legendary bass track.

Pink Floyd
The Pink Floyd album “The Dark Side of the Moon” features some of the most hypnotic progressive rock ever. That makes it all the more striking when side two opens with the sound of a cash register, then one of the coolest basslines around. Roger Waters drives “Money” with a looping, unconventionally metered riff that gives the hard rock anthem a distinct funk and blues flair. Though the single lambasts capitalism, it made its own stack as one of Pink Floyd’s biggest hits. Waters’s catchy riff was undoubtedly key to breaking the band out on American pop charts. “Money” may not be the quintessential showcase of their progressive style, but it’s the ultimate status symbol for Waters’ hook with bass enthusiasts and wider consumers alike.

Queen
John Deacon deserves great praise for holding together Queen’s diverse and complex sound. Just as impressive, of course, is how he elevated one of their simpler compositions into one of their most iconic. Deacon himself wrote “Another One Bites the Dust,” openly influenced by Bernard Edwards’ performance on Chic’s “Good Times.” The Queen song’s bassline still stands out for its thick tone and funky strut. It lays down suspense while making it impossible to not groove along. “Another One Bites the Dust” has been immortalized as one of Queen’s biggest hits and a funk rock standard, thanks almost entirely to Deacon’s impeccable rhythm. Though he has been retired since 1997, Deacon’s impact on the bass as the engine of a rock hit isn’t going anywhere.