Top 15 Basslines Of All Time

Let’s be honest: doing a Top 15 Basslines Of All Time list is basically begging for someone to kick my arse. There are thousands of amazing basslines out there, and I’m bound to leave out a few of your favourites. It’s inevitable. But here’s the thing—this list isn’t about the most technical, mind-blowing chops. It’s about basslines that just fit. The ones that tell the story of the song in the right way, that have character. You know the kind—the groove that makes you think, “Yeah, that’s what this track needed.” So if your favourite didn’t make the cut, don’t worry, you can take it out on me in the comments.

15. Peter Hook – “Love Will Tear Us Apart” (Joy Division)

Peter Hook flipped the script on what a bassline could be in post-punk. On Love Will Tear Us Apart, his high-register, melodic playing became the defining feature of the song. Hook wasn’t content with just holding down the low end—he turned the bass into a lead instrument. That soaring line is what gives this track its melancholic beauty. It’s not technically complex, but it’s got an emotional weight that’s undeniable. Hook’s basslines don’t just support the song—they elevate it to a whole new level, and Love Will Tear Us Apart is one of his finest moments.

14. Sean Yseult – “Thunder Kiss ’65” (White Zombie)

By the time La Sexorcisto: Devil Music Volume One dropped in 1992, White Zombie had fully evolved from their underground noise-rock roots into a band that was pushing the boundaries of metal with groove, horror, and a whole lot of attitude. Sean Yseult was right at the heart of it all, with her basslines providing a rock-solid foundation for the chaos. Thunder Kiss ’65 is one of the album’s standout tracks, and Yseult’s playing is key to why it hits so hard. Her bassline on this track doesn’t try to be flashy, but it does exactly what’s needed: it’s gritty, relentless, and drives the entire song forward. With a heavy, distorted tone that adds a raw edge to the already intense riff, Yseult’s playing gives the track its power. In a band like White Zombie, where Rob Zombie’s vocals and Jay Yuenger’s guitar could easily dominate, Yseult’s bass doesn’t fade into the background. Instead, it’s the glue that holds everything together, cutting through the noise and giving the song its backbone. The combination of groove and grit made this track, and the entire album, a defining moment in 90s metal. It’s proof that you don’t need to overcomplicate things to create something powerful—Yseult’s playing is the definition of heavy with purpose.

13. Aston “Family Man” Barrett – “Stir It Up” (Bob Marley & The Wailers)

If you’re talking reggae basslines, Aston “Family Man” Barrett is at the top of the list, and Stir It Up is a prime example of why. His bassline is the heartbeat of the track, delivering that signature reggae groove that just floats along, perfectly in sync with the laid-back vibe of the song. But don’t mistake that laid-back feel for simplicity—Barrett’s playing is locked-in tight and full of subtle nuances. He doesn’t just play the bass, he is the groove. Every note is in its place, creating that irresistible head-nodding flow that makes reggae such a powerful force.

12. James Jamerson – “What’s Going On” (Marvin Gaye)

James Jamerson was the secret weapon of Motown, and What’s Going On is one of his finest moments. The bassline may seem subtle, but it’s packed with feeling and soul. Jamerson had a unique touch—his notes seem to pulse and breathe with the rhythm of the track, weaving in and out like they’re alive. His use of syncopation and melody elevated this bassline far beyond the typical role of a rhythm instrument, giving it a voice that enhances the emotion in Marvin Gaye’s already powerful vocals. What’s even more impressive is the story behind the recording—Jamerson is said to have laid down this track with a broken finger, yet still managed to create something timeless. His playing on What’s Going On is a masterclass in restraint, groove, and emotion, showing that even in the quietest moments, the bass can carry a song to another level. It’s no wonder this track remains a cornerstone of Jamerson’s legacy.

11. Esperanza Spalding – “I Know You Know”

On I Know You Know, you can hear Esperanza Spalding’s jazz roots shining through, but it’s far from just a showcase of skill. Her bassline flows with energy and playfulness, grooving in a way that feels natural. She moves effortlessly between walking lines and syncopated rhythms, keeping the track alive and engaging. What makes her playing stand out is how it complements the vocals without overpowering them—she knows exactly when to step up and when to let the song breathe. This is pure musical storytelling, where each note feels intentional and connected to the bigger picture, and listening to her on this track is like getting a glimpse into her creative mind—how she balances groove, melody, and feel all at once. I Know You Know is the kind of track that sticks with you, not just for the lines she plays, but for the way she brings the whole piece together.

10. Paul McCartney – “Something” (The Beatles)

If you ever need proof that Paul McCartney is one of the greatest bass players in history, just listen to Something. His playing here is so melodic, it’s almost like a second vocal line weaving in and out of George Harrison’s tender love song. Each note seems carefully chosen to complement the song’s mood, guiding the listener through the shifts in harmony without ever stepping on the vocal or orchestral parts, adding layers of feeling and making the whole piece richer and more cohesive. McCartney proves that a well-thought-out line can do more for a song than any amount of showboating.

9. Tina Weymouth – “Psycho Killer” (Talking Heads)

Tina Weymouth’s bassline in Psycho Killer is one of those that immediately grabs your attention because it’s just so damn cool. It’s a simple groove, sure, but it’s got this almost hypnotic quality that pulls you into the song. Weymouth’s playing was never about being flashy—it was about locking in with the rhythm and giving the track the exact pulse it needed. That’s what she does here: no frills, no nonsense, just a perfect, driving line that supports David Byrne’s quirky, slightly deranged vocals. The bass is the heartbeat of this track, and it wouldn’t be the same without her.

8. Prince & Rhonda Smith – “All the Critics Love U in New York” (Prince)

While Prince is credited with playing bass on the studio version of All the Critics Love U in New York, Rhonda Smith brought that groove to life on stage. As one of the most versatile bassists out there, she had to match Prince’s relentless creativity and make the live performance feel just as funky and smooth. Her live take on the bassline is full of attitude—steady, driving, and just dirty enough to give the track its edge. It’s no small feat to hold down the groove in a Prince performance, but Smith made it seem effortless, locking in with the rhythm section while still shining through on her own. Her live renditions of the bassline are the kind you can listen to on repeat without ever getting bored.

7. Geddy Lee – “La Villa Strangiato” (Rush)

Geddy Lee is a freak of nature. Not only does he play bass like a madman, but he’s also singing and working keyboards at the same time. On La Villa Strangiato, Geddy is just flexing. This is progressive rock bass wizardry, and if you’re a Rush fan, you know this track is 10 minutes of pure, unfiltered musical chaos. The bassline is so tight and so intricate that it’s a wonder Geddy didn’t burn a hole in his fretboard. There are few players who could match his combination of technical precision and raw creativity, and this track is Geddy saying, “Watch what I can do.” It’s exhausting, but in the best possible way.

6. John Paul Jones – “Ramble On” (Led Zeppelin)

John Paul Jones doesn’t get enough credit, let’s just start there. While Jimmy Page and Robert Plant were stealing the spotlight, Jones was busy laying down some of the smoothest, most intricate basslines in rock history. Ramble On is a perfect example of his genius. It’s not just a bassline—it’s like he’s playing the bass as if it were a lead instrument, weaving in and out of the song with a groove that’s as melodic as it is rhythmic. Jones wasn’t flashy, but damn, he was clever. His lines are so seamless you almost miss how complex they are, which is exactly why this one belongs on the list.

5. Flea – “Californication” (Red Hot Chili Peppers)

Flea is often known for his wild slap bass and high-energy performances, but his bassline on Californication shows a different side of him. Instead of going all out, he takes a step back, letting the simplicity of the line do the talking. The minimalist approach fits the song’s introspective mood perfectly, creating a steady, calm presence that holds everything together. There’s a maturity in how he plays here—Flea knows when to let the bass breathe, allowing the space in the music to speak just as much as the notes themselves. It’s all about creating the right vibe without overcomplicating things. No flashy slap techniques or funk-driven lines, just a smooth, flowing rhythm that sets the tone for the entire track.

4. Meshell Ndegeocello – “If That’s Your Boyfriend (He Wasn’t Last Night)”

Meshell is the queen of groove, no question about it. On If That’s Your Boyfriend (He Wasn’t Last Night), she throws down a bassline that’s as sharp as her lyrical wit. It’s funky, it’s smooth, and it’s got swagger for days. Meshell’s playing often fuses elements of jazz, soul, and funk, and this track shows all of that coming together in one killer package. This line isn’t about being flashy—it’s about being tight, locking in with the groove, and letting that deep pocket speak for itself. It’s like the musical equivalent of a raised eyebrow. You don’t need to say much, but everyone knows exactly what you mean.

3. Jaco Pastorius – “Come On, Come Over”

Jaco Pastorius had a way of making every note feel important, and on Come On, Come Over, he delivers a groove that sticks with you from start to finish. The track comes from his debut solo album, blending funk with a melodic touch that few could pull off so smoothly. His playing on this song is all about rhythm and flow, giving the music its pulse without ever feeling overplayed. The beauty of this bassline lies in its balance—it’s energetic but never overpowering. Jaco knew exactly how to lock in with the band while keeping the groove interesting, and there’s a clear sense of movement in his playing, a rhythm that pushes the song forward, but always with a melodic feel that adds to the track’s character. This track highlights Jaco’s unique touch, where the bass isn’t just a background instrument, but a central part of the feel and energy. It’s the kind of playing that leaves an impression long after the song ends.

2. John Deacon – “Under Pressure” (Queen, David Bowie)

John Deacon’s bassline on Under Pressure is one of the most instantly recognizable in rock history. From the first few notes, the groove pulls you in and sets the tone for the entire track. Deacon keeps things simple, but the way the bassline weaves through the song gives it a pulse that’s hard to ignore. It’s the backbone of the collaboration between Queen and David Bowie, adding a steady rhythm that balances the powerful vocals and dramatic shifts in the song. This isn’t just a supporting role, though. Deacon’s playing takes the lead in certain moments, giving the song its memorable hooks and driving the track forward. His approach is all about timing and feel, knowing when to step in and when to give space. It’s the kind of bassline that stays with you long after the song ends, showing how a straightforward groove can become legendary.

1. Bernard Edwards – “Good Times” (Chic)

Bernard Edwards is the reason the bass is front and center in Good Times. His playing is so damn tight, you could bounce a quarter off of it. This groove defined not just Chic but an entire era of funk and disco, and then it went on to power countless hip-hop tracks (yeah, I’m looking at you, Rapper’s Delight). It didn’t stop there, though. Edwards’ groove also inspired John Deacon when he created the famous bassline for Queen’s Another One Bites the Dust. Bernard laid down the law on what a bassline could do, and this one is a masterclass in how to make people move. That syncopation, that slap—you can’t talk about iconic basslines without this one.