50 Greatest Basslines of All Time
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Consequence’s Bass Week continues with a list of 50 Greatest Basslines of All Time. Don’t forget to check out our list of the 100 Greatest Bassists of All Time, and keep it locked here throughout the week for lists, artist-driven content, games, and more.
A good bassline is more than just a tune’s low-end or a rhythm section’s backbone. It can be the whole song, the root of the tree on which each melody grows. A good bassline is the moment you feel goosebumps because the bassist just took the whole thing down the octave. A good bassline is when the song begins with a line so memorable that you get excited for the rest of the band to come in. It’s the flourish that dominates an atmosphere, or the subtle moment of brilliance that can make a good track great.
Over the last 70-plus years of popular music, we’ve heard countless stunners. The explosion of soul, funk, and Motown led to the rise of players like James Jamerson, who topped our list of the 100 Greatest Bassists of All Time. The emergence of hard rock and metal gave us memorable basslines from Led Zeppelin’s John Paul Jones, Iron Maiden’s Steve Harris, and Primus’ Les Claypool. And the most recent two decades have offered some of the greatest basslines in history, with countless musicians capitalizing on strong, active rhythm sections in the rock and pop worlds.
So, narrowing down the 50 best basslines was never going to be an easy task. For the purposes of this list, we’ve opted to keep the parameters in the sphere of popular music — meaning there are several influential jazz basslines that haven’t made the cut. That’s not to say those basslines weren’t “the best,” or that their impact levels have diminished. Like all pieces of music, each great bassline couldn’t exist without the trailblazers from before — the bass players who showed aspiring musicians that there are no limitations on their instrument.
Each of the basslines below have stuck with listeners over the years — the ones that are still giving us goosebumps. Take a ride down the fretboard with us and read below for our list of the 50 greatest basslines of all time, and listen to the full Spotify playlist after seeing what’s at No. 1. And if you want to learn more about the great bassists responsible for some of these lines, take a look at the rest of our Bass Week content here.
— Paolo Ragusa
Associate Editor
50. The Breeders — “Cannonball”
Throughout music history, there are a few instances of artists capturing lighting in a bottle by letting a mistake remain in the recording. Josephine Wiggs’ bass solo in the “Cannonball” intro might just be among the best examples. For some reason, she was playing in the wrong key before the drums came in. The band ultimately agreed that leaving it made the track sound better, adding to the quintessential loud-quiet-loud dynamic. — Sun Noor
Listen via Apple Music
49. Black Sabbath — “N.I.B.”
Sabbath bassist Geezer Butler got his shining moment on “N.I.B.”, opening the track with a bass solo played through a wah-wah pedal. The intro fades out before Butler returns with his wah-wah’d bass crushed through high gain distortion to make it sound like a guitar. The snappy bass riff runs throughout the track and also provides the melodic basis for Ozzy’s vocals. — Jon Hadusek
Listen via Apple Music
48. Death Cab for Cutie — “I Will Possess Your Heart”
Sometimes a bassline sounds like you’ve just stumbled into another world, and that is certainly true for the one on Death Cab for Cutie’s “I Will Possess Your Heart.” Nick Harmer’s extraordinarily cool, escalating bass loop isn’t just the backbone of the song, it is the song — each piano, guitar, and vocal melody feels like it’s in conversation with Harmer’s bassline, and across eight minutes, it dazzles over and over again in a hypnotic, psychedelic fashion. — P. Ragusa
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47. Kool & The Gang — “Get Down on It”
The bassline of “Get Down on It” might not call attention to itself as much as some of the other songs on this list, but with all due respect to the rest of the excellent Kool and the Gang jam, without the bass, “Get Down on It” simply doesn’t get down. It’s bouncy, dancy, and groovy, and, frankly, if we’re not getting down on it, what the hell are we doing? — Jonah Krueger
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46. Tame Impala — “The Less I Know the Better”
Kevin Parker has packed Tame Impala songs with dozens of majestic musical moments, and the bassline to “The Less I Know the Better” might be one of the most impressive things he’s ever crafted. The song was released nine years ago, and yet its relevance is unceasing — take a scan on any indie kid’s TikTok and you’ll probably find the bassline. Though Parker sings of being agitated and jealous, the lower register is just full of attitude, offering a memorable moment of contrast on a damn good song. — P. Ragusa
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45. Bill Withers — “Lovely Day”
The bassline in Bill Withers’ “Lovely Day” is the type to put a little extra spring in your step. Feel the main character energy that courses through the track — it drifts out like the perfect background music for strolling down the block in the sunshine. Sure, this applies to many Withers tunes, but Jerry Knight knocked it out of the park with the bass on this timeless 1977 track. — M. Siroky
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44. Yes — “Roundabout”
You can’t do prog without maximum competency on the bass. Enter the low-end wizardry of founding Yes member Chris Squire, whose technical skill is forever immortalized on the seminal song “Roundabout.” Here is one of the rare examples of a band’s most well-known track featuring its bassist’s most recognizable bassline. — — J. Hadusek
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43. Gorillaz — “Feel Good Inc.”
The bassline to Gorillaz’s modern classic “Feels Good Inc.” feels a little devious, which makes sense for the subject matter Damon Albarn and co. dig into here. There’s just a touch of sass, and more than once does the song peel back to put the bass in the spotlight. Though credited to virtual member Murdoc Niccals, the player on this Demon Days cut was Morgan Nicholls — no relation. — Mary Siroky
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42. Primus — “Jerry Was a Race Car Driver”
Any number of Primus basslines could have easily made this list, from the ascending groove of “John the Fisherman” to the pile of slapped mud that makes up “My Name Is Mud.” Yet, it’s “Jerry Was a Race Car Driver” and its tapped strangeness that is perhaps most emblematic of what makes Primus so damn compelling — or as Primus fans say, it’s why “Primus Sucks.” — J. Krueger
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41. Queen — “Another One Bites the Dust”
How many toes have tapped along to “Another One Bites the Dust”? Millions? Maybe billions? And that’s entirely to John Deacon’s propulsive work. The bassline itself is inspired by the 1979 Chic track “Good Times,” yet while that influence brings a touch of disco funk to the song, the end result is pure rock and roll. And funnily enough, it’s also a bassline that can save a life — the 110 BPM rhythm makes it a song perfect for keeping time while performing CPR. — Liz Shannon Miller
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40. Motörhead — “Ace of Spades”
Lemmy Kilmister’s distorted bass tone is at the heart of Motörhead’s monstrous and unrelenting sound, and a song like “Ace of Spades” simply couldn’t exist without it. Lemmy’s intro riff of gnarled finger-slapped notes sounds loud even at low listening volumes — the opening salvo to one of the most iconic hard rock/metal songs of all-time. — J. Hadusek
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39. MGMT — “Electric Feel”
Part of the magic of this song is the kaleidoscopic way its many parts come together. Andrew VanWyngarden’s bassline in “Electric Feel” sits in distinct contrast to the glittering, airy wind instruments that many associate with the track. How many hits can you name off the top of your head that managed to sell the general public on the oddity of a 6/4 time signature? — M. Siroky
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38. Jackson 5 — “I Want You Back”
As with the rest of the song, the bassline on “I Want You Back” is so memorable because of the way it resolves the chord progression. The groovy, wandering line ends up toeing around its return to the root note, making the resolution feel intuitive, comfortable, and warm. The line develops a bit more when the chorus arrives, and the series of half-steps down in the middle of the phrase is a secret weapon within the immaculate “I Want You Back.” — P. Ragusa
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37. Violent Femmes — “Please Do Not Go”
Violent Femmes’ 1983 self-titled debut is brilliant from front to back, and Brian Ritchie’s reggae-infused bassline on “Please Do Not Go” is a pure delight. The bouncy earworm is masterfully played on an acoustic bass — fitting for the world’s premier acoustic-punk band. Honestly, any number of songs off that album could’ve made this list: “Add It Up,” “Kiss Off,” “Blister in the Sun” — all killer basslines. Well done, Mr. Ritchie! — Spencer Kaufman
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36. Metallica — “Orion”
Cliff Burton’s melodic sensibilities are underrated, though they did lead to his two most famous Metallica bass moments: “For Whom the Bell Tolls” and “Orion.” We chose the latter based on Burton’s importance to the overall arrangement of the song, as the rest of the band diverts to its bassist to guide the melodic underpinnings with his trebly riff that comes in around the 1:40 mark. — J. Hadusek
Listen via Apple Music
35. Nancy Sinatra — “These Boots Are Made for Walkin'”
Have a few notes ever better captured a mood? While Sinatra sings the chorus, the bass rings out two notes beneath her, a bit unsteady but resolute, with Carol Kaye’s Fender backing up Chuck Berghofer on the upright. To end the hook he dropped the second main riff, the now-classic quarter-tone descent that sounds like stomping a lover into dirt. — Wren Graves
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34. Herbie Hancock — “Chameleon”
The fusion of “Chameleon” has one of those big, beefy basslines that taps into something deep, primal, and effortlessly funky. It is the backbone to the song, the bedrock — each melody bounces off of it, each note buoyed by its presence. “Chameleon” may be just a two-chord vamp, and its syncopated bassline may repetitive — but it provides ample room for Hancock and co. to dig in and explore. — P. Ragusa
Listen via Apple Music
33. Led Zeppelin — “Ramble On”
Much has been made of John Bonham’s pitter-patter plastic bin lid beat on “Ramble On,” but it’s also John Paul Jones’ basslines that give this song its joyous energy. His phrases are positively effervescent, the bouncing notes and major key melodies giving the song its sense of forward motion and travel. It sounds like its title, due in large part to the bass playing. — J. Hadusek
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32. Charles Wright & the Watts 103rd Street Rhythm Band — “Express Yourself”
Melvin Dunlap probably didn’t intend to, but he created a bassline that spanned decades and genres with “Express Yourself.” As an exemplary blend of R&B and funk, it lifted the original track to #3 on the US R&B Chart in 1970; as a sample, it became the backbone of an anthem for open expression in hip-hop when Dr. Dre rapped over it for N.W.A’s own “Express Yourself.” — Ben Kaye
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31. The Clash — “London Calling”
For most of “London Calling,” the bass and guitars trade their usual roles. The guitar parts remain primarily rhythmic, driving the song along with syncopated stabs. Paul Simonon’s bassline, on the other hand, rivals even the vocals with its melodic movement, sliding its way through the chord changes to great effect. It’s singable, iconic, and an undeniable gem of punk bass. — J. Krueger
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30. Red Hot Chili Peppers — “Give It Away”
The way Flea slides his fingers, holding and bending that note at the top of the riff, is as cool and casual as a skater ripping tricks. This is how iconic his bassline is: In every one of the three or four cover bands I have seen perform “Give It Away,” the bassist has temporarily started dancing like Flea. They don’t intend to; the power of those notes just takes over. — W. Graves
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29. Lou Reed — “Walk on the Wild Side”
Can you kick it? A Tribe Called Quest certainly could, as could just about everyone else who’s ever heard what’s perhaps the most recognizable bass slide in pop music history. And the bass goodness doesn’t stop there, as “Walk on the Wild Side” has not one but two all-time great bass parts. As the song progresses, a bouncier, busier line arrives to supplement the beautiful simplicity of the slide, bringing a new meaning to “double bass.” — J. Krueger
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28. Iron Maiden — “The Number of the Beast”
Steve Harris’ bass work on “The Number of the Beast” is the key to one of the all-time great intros in metal history. His ascending scales set up Bruce Dickinson’s narrative vocal delivery, and a subtle key change keeps the musical phrase from sounding too repetitive. The tempo picks up after Dickinson’s legendary never-ending scream, and it’s Harris’ bass pacing the action. — J. Hadusek
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27. Muse — “Hysteria”
Muse’s Chris Wolstenholme delivers a sucker punch of a bassline on “Hysteria.” It’s a full 16-bar epic, made all the more enjoyable by a series of half-steps down in the penultimate phrase. The tone on his bass is even more goosebump-inducing, the overdriven fuzz adding a booming, engulfing effect. It’s a busy bassline, but it lands like a brick every time. — P. Ragusa
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26. Duran Duran — “Rio”
Andy Taylor’s guitar and Nick Rhodes’ keyboard are part melody, part texture, and often holding a note, which is why so much of “Rio”‘s irresistible movement comes from John Taylor’s bass. Other basslines walk; this one dances, twirling and flourishing across the framework of chords. It’s [deep breath] the bassline that inspired the lyrics that then named and kicked off the classic album — and one of the finest riffs of the 1980s played on any instrument. — W. Graves
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25. Chic — “Good Times”
Who doesn’t love an eight-minute, funky disco jam that radiates nothing but good energy? Bernard Edwards’ groovy bass playing essentially carries the track, refusing to be overshadowed by the vocals and guitars. The fact that this late ‘70s hit is so frequently sampled — including just months after its release on the genre-elevating hip-hop classic “Rapper’s Delight” — says a lot about its longevity and influence. – S. Noor
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24. Green Day — “Longview”
Mike Dirnt has never been a shy bassist, and “Longview” is his center stage moment. Dirnt crafts a bassline that’s as sedative as it is yearning, bouncing up and down the fretboard like he’s the channel surfing protagonist that Billy Joe Armstrong narrates. He apparently wrote it while on LSD, but no matter the origin, it’s one of the best moments in Green Day’s discography. — P. Ragusa
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23. The Beach Boys — “Good Vibrations”
“Good Vibrations” is one of the best uses of bass as melody you’ll ever get, played by one of the instruments true masters, Carol Kaye. Brian Wilson may have crafted the bassline to match the vocals, but it was Kaye’s unique style of playing that gave the jazz walk its true strut. Plucking the triads with her pick, she instills this inescapably feel-good progression with the sturdy, welcoming vibe that peak Beach Boys were famous for. — B. Kaye
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22. Cream — “Sunshine of Your Love”
There’s a reason “Sunshine of Your Love” is one of the first songs young bassists (and guitar players, for that matter) attempt to learn. This is arguably the “Smoke on the Water” of basslines — an instant earworm from the steady fingers of bassist Jack Bruce. He and Clapton play the same notes, but it’s Bruce’s low-end that gives the riff its thick and rounded tone. — J. Hadusek
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21. The Cure — “The Lovecats”
While The Cure’s Simon Gallup deservedly made our list of the 100 Greatest Bassists of All Time, it’s a song recorded during his brief time out of the band that makes the cut among our greatest basslines. Phil Thornalley’s melodic double bass playing on 1983’s stand-alone single “The Lovecats” is undeniably infectious. Even a forlorn goth kid has to crack a smile when they hear this one. — S. Kaufman
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20. Pink Floyd — “Money”
There are two things that come to mind when thinking of Pink Floyd’s “Money”: the cash register clatter and Roger Waters’ slinking bassline. The use of 7/4 — with its perfectly spaced opened notes — makes the melodic driver of this Dark Side classic a quintessential piece of ’70s psychedelics. Marrying this muddy blues signature to the lyrics evokes all the crassness and slime of capitalism, a perfect pairing of music and text. — B. Kaye
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19. Carole King — “Bitter with the Sweet”
Carole King has many great songs, and many groovy songs at that — but there’s a piece of brilliance at the center of her Rhymes & Reasons cut “Bitter with the Sweet,” and it’s Charles Larkey’s wandering, blues-y bassline. The song’s composition is relatively simple, but Larkey makes his riff so quick and complex that it becomes the song’s most indelible feature. Larkey walks up the fretboard and tumbles back down deftly, bringing the sweetness that King sings about in droves. — P. Ragusa
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18. Joy Division — “Transmission”
It was a tough choice between “Love Will Tear Us Apart” and “Transmission,” as far as Joy Division songs go, but the bassline on the latter track just hits like a brick to the face — in all the best ways. Peter Hook provides the perfect lead up to Ian Curtis’ haunting vocals, and maintains the same intensity throughout the foreboding song. Look for this four-string master again as you make your way to the Top 10 of this list — dude knows how to write a bass hook (pun fully intended). — S. Kaufman
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17. Rush — “YYZ”
“YYZ,” the GOAT of prog instrumentals, presents a case of, well, which bassline is the best? There are multiple to choose from, but we’re going with the phrases that underpin the infectious riff that comes in around the 50-second mark. Geddy Lee is an absolute beast here, exploring the fretboard for notes that most bassists would never think to play while simultaneously holding synchronization with Alex Lifeson’s guitar lines. — J. Hadusek
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16. Pixies — “Gigantic”
As much as Black Francis is the mastermind behind Pixies’ brilliant songwriting, Kim Deal’s bass playing is a vital component of those legendary early albums. And it’s hard to argue against “Gigantic” as her shining moment in the band. Not only does she sing lead on the track, but she plays one of the most simple yet beautiful basslines ever written. Come back, Kim — the Pixies need you! — S. Kaufman
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15. Stevie Wonder — “I Wish”
“I Wish” is a song in conversation with itself, Stevie Wonder’s freewheeling vocals blending in idiosyncratic ways with the deceptively complex bassline hand-plucked by Nathan Watts. Yet it’s such a nimble and essential part of the song that in context, it creates just the right sense of harmony. Watts once picked “I Wish” as one of his five favorite collaborations with Stevie Wonder, while explaining that he’d been hauled back into the studio late at night to work on the song in progress. “The slides sound angry because it was 3 in the morning!” he told Bass Player in April 2006. — L.S. Miller
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14. Tool — “Forty Six & 2”
Breaking down a song like “Forty Six & 2” seemingly requires protractors and calculators to deduce its rhythmic complexities. However, the secret to Justin Chancellor’s bassline here is actually its simplicity in contrast to Danny Carey’s drumming. In the intro, Chancellor holds down and repeats his memorable lick in 4/4 while Carey blasts away in 7/8, and it’s Chancellor’s steady hand that opens up the leeway for that delightfully proggy incongruence. — J. Hadusek
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13. James Brown — “Get Up (I Feel Like Being a) Sex Machine”
I almost feel uncomfortable describing this Bootsy Collins bassline — it might be the world’s first NSFW riff. First of all, the way those notes keep bumping against each other just gets the blood going. And Collins’ hands! For how strong they hit the notes, they’re surprisingly dexterous, playing along all the sweet spots of the bass. Best of all, it’s even more fun when you’re listening with a friend. — W. Graves
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12. The Who — “My Generation”
So much of the power of John Entwistle’s steady finger work on “My Generation” comes not from when you hear it, but from when you don’t. As The Who jam their way through their anthem of rebellion, the bassline gets linked to the enduring refrain “Talkin’ ’bout my generation,” dropping out for the other sing-song lines. The restraint ultimately pays off when the song ends in a fierce blend of rhythmic rock and roll, exploring new notes while also offering up some order in the chaos. — L.S. Miller
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11. Fugazi — “Waiting Room”
Joe Lally’s contributions often became the centerpiece of Fugazi tunes, but it was his work on one of the band’s earliest singles that became perhaps the defining bassline of post-hardcore as a genre. Seriously, play just the first three seconds of “Waiting Room” for anyone with a passing knowledge of rock music, and they’ll instantly be able to sing the rest of the melodic phrase — and for damn good reason. — J. Krueger
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10. Michael Jackson — “Billie Jean”
Just about every instrument that plays on “Billie Jean” delivers a memorable line. The synth, the hi-hat, the strings, the guitar — just check back when we start Keys and Guitar Week, see where else this gets mentioned. But we’re here to hear bass, and out of all the classic bits in this Thriller smash, it’s the low-end that gets the highest marks.
The thing is, despite all that puffery above, “Billie Jean” is pretty understated; it’s the vocal delivery giving much of the emotional punch. But those vocals need something to walk along, much like the music video’s light-up sidewalk, and it’s Louis Johnston’s bass providing that path. Johnston’s notes feel dangerous (or should that be thrilling?), setting the stage like a cinematographer lighting a scene. — B. Kaye
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09. Queen & David Bowie — “Under Pressure”
The bassline so good Vanilla Ice stole it. What makes John Deacon’s progression here such perfection is how damned simple it is; it’s two notes, a few moves around the fretboard, and a nice little slide into the chorus. And it’s unforgettable.
But it’s not just a sticky little line, as it’s the glue holding this legendary collaboration together. Note how the clap-snaps and piano pace it on the opening, and how the guitar comes circling around it all. Listen to the drop when Freddie Mercury takes the lead in the first verse. This tidy “ding-ding-ding diddle ing-ding” keeps everything right where it needs to be to earn that rousing chorus. Whether it was Deacon the whole time or if Bowie added the “diddle ing-ding,” as Brian May says, it proves how properly employed simplicity can carry a whole tune. — B. Kaye
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08. Ben E. King — “Stand by Me”
It’s not an exaggeration to say that the bassline was the foundation for this classic Ben E. King track. In a 2012 interview, co-writer Mike Stoller of Leiber and Stoller recalled, “We used my bass pattern for a starting point and, later, we used it as the basis for the string arrangement created by Stanley Applebaum.” While he didn’t arrange the now-iconic structure, that’s Lloyd Trotman giving it the supple, romantic feel on his upright bass.
Although the song is somewhat brief, landing under three minutes, and the bassline rolls over itself in a simple pattern, it’s all unforgettable, more than earning its place in pop culture at large. — M. Siroky
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07. New Order — “Age of Consent”
In both Joy Division and New Order, Peter Hook could craft a bassline like few others. While his work with the former often leaned into brooding darkness, his New Order output had your ass on the dance floor grooving away. “Age of Consent,” with its memorable melody played high on the neck, does exactly that. Especially alongside the skittering high-hat groove, it’s impossible to hear the joyous bass riff and resist swaying your hips. Then, once dancing time is over, we’ll bet you’re walking away humming the tune, keeping the groove alive in your heart as New Order intended. — J. Krueger
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06. Gladys Knight & the Pips — “I Heard It Through the Grapevine”
James Jamerson’s feel for the Motown sound was so unmatched that only he could top himself. He played on two different versions of “I Heard It Through the Grapevine,” and frankly either could be placed on a list like this. While Marvin Gaye’s rendition was recorded first, it was only released in 1968 after Gladys Knight & the Pips’ take proved to be Motown’s biggest hit in the summer of ’67.
Jamerson’s work on the earlier recording is iconic for its smoky groove, but the funk he laid down behind Knight is just something else. The melodic arpeggios with his trademark chromatic walks get varied throughout each section, always maintaining the same core ideas in support of the pop smash around them. What he did with Gaye was brilliant; what he did with Knight was genius. — B. Kaye
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05. Talking Heads — “Psycho Killer”
With just three notes and a good deal of stank, Tina Weymouth made history. While David Byrne’s off-kilter lyricism and performance undoubtedly aided in the song’s success, it’s hard to imagine “Psycho Killer” without those indecent A notes. The track’s bassline now stands as a shining example of simplicity, a blueprint for post-punk, new-wave, and just about any other genre with rock origins. Though she might have come through with flashier, more technically impressive bass parts down the line, “Psycho Killer” and its legendary low-end deservedly stand amongst the Talking Heads’ most defining work. — J. Krueger
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04. Sly & the Family Stone — “Thank You (Falettinme Be Mice Elf Agin)”
Larry Graham is credited for bringing the slap bass technique into the mainstream, and no Sly & the Family Stone song is more slap bass-forward than “Thank You (Falettinme Be Mice Elf Agin).” The song, as its title playfully suggests, is all about having gratitude to those who encourage you to be express yourself to the fullest, and, Graham’s rambunctious bassline is as expressive as the instrument gets.
Graham plucks the strings with force and precision, the pop from each slapped note ringing in spine-tingling fashion. It’s a utopian song with a utopian bassline — Graham’s iconic part is the perfect compliment to the song’s ideals, while also being a singular, unforgettable piece of music in itself. — P. Ragusa
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03. Jane’s Addiction — “Mountain Song”
It’s not No. 1 on this list, but the bassline to Jane’s Addiction’s “Mountain Song” might just be the most powerful one ever laid to tape. Eric Avery packs all the intensity of a two-hour action movie in this muscular riff, setting the stage for Perry Farrell’s opening scream. The recorded version is indisputably masterful, but seeing this song played live at a Jane’s show takes it to a whole ‘nother level. As soon as those first notes are played, you know it’s about to get real in the pit.
Avery’s stamp is all over the band’s iconic Nothing’s Shocking album — the “Up the Beach” bassline is absolutely glorious — but “Mountain Song” is an absolute tour de force. — S. Kaufman
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02. Marvin Gaye — “What’s Going On”
This bassline from legendary session player James Jamerson is made all the more iconic by the story behind his portion of the recording. According to Motown piano player Joe Hunter, Jamerson loved to knock back a drink in order to get loosened up before recording — but the day the band was laying down “What’s Going On,” Jamerson had a few too many and could hardly stand by the time he reached the recording studio. The result? That iconic bassline we hear was, according to legend, recorded when Jamerson was lying down flat on his back.
Regardless, the legacy of the song speaks for itself. The track is almost symphonic, pulling in layers of strings and background vocalists, but it’s that bassline that anchors the whole affair. — M. Siroky
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01. The Beatles — “Come Together”
Paul McCartney wasn’t even the original bass player for The Beatles, yet when he took over the job from Stuart Sutcliffe, he ended up totally redefining the instrument’s rock and roll potential. The entire Beatles catalog is packed with evidence of this, including this definitive track not just for the band, but for the genre itself.
Yes, John Lennon was sued by publisher Big Seven Music over “Come Together,” as it began as a riff on a Chuck Berry track. However, one of the many ways Lennon and Paul McCartney made it their own was with the low pulsating bass work: There are sexy basslines and then there are sexy basslines, and McCartney’s sensual slides across the strings are firmly the latter. His work adds an addictive tempo to this classic Beatles song, all the more powerful due to its restraint. — L.S. Miller
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50 Greatest Basslines of All Time
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