Great basslines
Discussion
One for the bass players here: give examples (with reasons) of great basslines. Note that I'm not talking about virtuoso playing or mega-solos, but about songs where the bass really does its job - supporting the song; not dominating, but where its absence would devalue the music.
Here are three examples to give a flavour of what I mean:
Bakhiti Khumalo, Call Me Al (Paul Simon). No, not just because of that riff, but a great example of tight rhythmic playing, perfectly complementing the other instruments and laying down the basic tenor of the song.
Pino Paladino, The Shouting Stage (Joan Armatrading). Lovely use of space - what he doesn't play is just as important as what he does play. Also a fine example of how to use an octaver.
Danny Thompson, Watching You Without Me (Kate Bush). In a word, tone. Tone and soul - two words, tone, soul and space - three... I'll start again. Another example of the crucial importance of space in the bassline, plus a magnificent feel for the use of the tone of the upright.
Any more suggestions?
(Edited 'cos I got the title of the Danny Thompson song wrong)
Here are three examples to give a flavour of what I mean:
Bakhiti Khumalo, Call Me Al (Paul Simon). No, not just because of that riff, but a great example of tight rhythmic playing, perfectly complementing the other instruments and laying down the basic tenor of the song.
Pino Paladino, The Shouting Stage (Joan Armatrading). Lovely use of space - what he doesn't play is just as important as what he does play. Also a fine example of how to use an octaver.
Danny Thompson, Watching You Without Me (Kate Bush). In a word, tone. Tone and soul - two words, tone, soul and space - three... I'll start again. Another example of the crucial importance of space in the bassline, plus a magnificent feel for the use of the tone of the upright.
Any more suggestions?
(Edited 'cos I got the title of the Danny Thompson song wrong)
Edited by Major Bloodnok on Wednesday 15th August 22:55
OK, I'll bite.
Tony Levin on Sledgehammer by Peter Gabriel. Not so much on the album recording, but pick a recent live recording and it's the ultimate fretless-with-octaver groove, underpinning the whole track.
Jaco Pastorius on Refuge Of The Roads by Joni Mitchell. Another track with bags of space to it, with the bass adding huge amounts of emotion and feel, with the occasional oh-so-tasteful accent that makes the bass stand as an instrument in its own right rather than 'backing section'.
Agree w.r.t. Danny Thompson. He gets more tone out of a double bass than most I've heard, perhaps with the exception of Eberhard Weber, but he's a nutter who looks like a Norse god, so I'm not sure if that counts
Anyone else who does something adventurous and melodic with the bass, rather than just bashing out 4/4 root notes, while resisting the temptation to take over. Fretless always a bonus, and really under-used in modern music.
Tony Levin on Sledgehammer by Peter Gabriel. Not so much on the album recording, but pick a recent live recording and it's the ultimate fretless-with-octaver groove, underpinning the whole track.
Jaco Pastorius on Refuge Of The Roads by Joni Mitchell. Another track with bags of space to it, with the bass adding huge amounts of emotion and feel, with the occasional oh-so-tasteful accent that makes the bass stand as an instrument in its own right rather than 'backing section'.
Agree w.r.t. Danny Thompson. He gets more tone out of a double bass than most I've heard, perhaps with the exception of Eberhard Weber, but he's a nutter who looks like a Norse god, so I'm not sure if that counts
Anyone else who does something adventurous and melodic with the bass, rather than just bashing out 4/4 root notes, while resisting the temptation to take over. Fretless always a bonus, and really under-used in modern music.
Edited by Marshy on Tuesday 14th August 21:49
Marshy said:
Anyone else who does something adventurous and melodic with the bass, rather than just bashing out 4/4 root notes, while resisting the temptation to take over. Fretless always a bonus, and really under-used in modern music.
Well, you've just given the perfect potted description of Pino, there...
Chic - Good Times. The bassline is so good it's been used by hundreds of other people including:
"Around the World" by Daft Punk
"Another One Bites the Dust" by Queen
"Basic Mega-Mix" by DJ Shadow
"Doowutchyalike" by Digital Underground
"Music to be Murdered By" by Dan the Automator
"The Adventures of Grandmaster Flash on the Wheels of Steel" by Grandmaster Flash
"Rapper's Delight" by The Sugarhill Gang
"Rapture" by Blondie
"Refugees on the Mic" by Fugees
"A Roller Skating Jam Named 'Saturdays'" by De la Soul
"13 and Good" by Boogie Down Productions
"This Is Radio Clash" by The Clash
"Triple Trouble" and "A.W.O.L" by The Beastie Boys
"Wildstyle" by Timezone featuring Afrika Bambaata
"Wot?" by Captain Sensible
"It's All Good" by Will Smith
"Around the World" by Daft Punk
"Another One Bites the Dust" by Queen
"Basic Mega-Mix" by DJ Shadow
"Doowutchyalike" by Digital Underground
"Music to be Murdered By" by Dan the Automator
"The Adventures of Grandmaster Flash on the Wheels of Steel" by Grandmaster Flash
"Rapper's Delight" by The Sugarhill Gang
"Rapture" by Blondie
"Refugees on the Mic" by Fugees
"A Roller Skating Jam Named 'Saturdays'" by De la Soul
"13 and Good" by Boogie Down Productions
"This Is Radio Clash" by The Clash
"Triple Trouble" and "A.W.O.L" by The Beastie Boys
"Wildstyle" by Timezone featuring Afrika Bambaata
"Wot?" by Captain Sensible
"It's All Good" by Will Smith
Funk said:
Pretty much any bassline by John Myung of Dream Theater (& John Petrucci should also be commended here for some stunning guitar-work). Much as they're a very 'marmite' band, they're one of the most technically brilliant and creative bands I've ever listened to.
I disagree sir, I think DT are one of THE worst bands ever. Brilliant musicians on their own, but they have NO idea how to put a good melody together. chilled said:
Hmmm, best bassline ever?
The Cure - Fascination Street. Just something about it, nothing too flash, but never becomes repetitive despite never changing.
Honourable mention to Muse - Hysteria. How he manages to keep playing that for 4 minutes I don't know.
Hysteria gets my vote too.....it isn't too bad in the fatigue league, but it is hard to get your fingers moving in that pattern, and keep in time with the drums. The most brutal Muse song for the old muscles is New Born, 6 minutes of the same freaking pattern....it drives me insane.The Cure - Fascination Street. Just something about it, nothing too flash, but never becomes repetitive despite never changing.
Honourable mention to Muse - Hysteria. How he manages to keep playing that for 4 minutes I don't know.
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