In a time when hair metal bands were being mass manufactured by the dozens, and the cheesy power ballads were starting to wear thin, the abstract, simplistic, and muddy sound of grunge caught fire.
If you want to rebel against something, you need to differentiate yourself from it. And grunge, while still a derivative of rock music, found a way to stand out from the thing it was rallying against. Nirvana’s “Smells Like Teen Spirit” remains
But for reasons already mentioned, grunge necessarily had to be simple much of the time, and Nirvana bassist Krist Novoselic’s lines were mostly there to support Dave Grohl’s angsty “hit as hard as you can” drumming, and vocalist Kurt Cobain’s purposely sloppy guitar playing. Of course, their recorded material was
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Queen’s “Another One Bites The Dust” makes you want to put on your tightest pair of jeans, largest pair of sunglasses, and strut down the street like you own the world. And the bass line, without a doubt, is what inspires this swagger.
Queen was a brilliant band, each member talented, the whole greater than the sum of its parts. But if there is one song that shows off bassist John Deacon’s knack for hooky bass lines, it would be this. It’s ingenious, and any bass player can learn to play it.
With Quincy Jones at his side, Jackson pumped out hit after hit, and while he may not have played an instrument, he still knew talent when he saw it. And that led to him working with plenty of guitar heroes, too, be it Slash, Steve Lukather, Eddie Van Halen, or otherwise.
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Either way, the bass line to “Smooth Criminal” is beyond iconic, and every bassist should endeavor to learn it. The trickiest part about it is the rapid 16th notes. At a tempo of 115 bpm, though, it’s not so hard that a beginner shouldn’t attempt.
You simply can’t underestimate the impact of 60s rock and roll. The Beatles. The Beach Boys. The Jimi Hendrix Experience. The Who. David Bowie. And… The Kinks?
It would be too drastic a statement to say that Van Halen wouldn’t exist without “You Really Got Me, ” and yet their cover drew out some of Eddie’s best riffs and licks, with aggressive scratching, pinch harmonics, and his explosive tapping antics.
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You just never know when this song might be called upon at a jam session or rehearsal. There’s no reason not to learn it.
Bassist Paul McCartney is no mere mortal on the bass, and that could be because he was a guitarist first. His playing on “She Loves You, ” though, keeps things simple and features rhythmic patterns every bassist should strive to master.
Many would consider Bon Jovi’s “Livin’ On A Prayer” a guilty pleasure. They may not admit their love of the song publicly, but in private, they sing along at the top of their lungs.
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At its core, it could not be any simpler. It really is a lot of small things coming together that made it a classic, as YouTuber Rick Beato will attest.
The bass is a major contributor to what made this song great, so learn the riffs. And you will see for yourself that, the framework of “Livin’ On A Prayer” is rooted in simplicity.
Green Day bassist Mike Dirnt is often praised for his playing. “21 Guns, ” though, is one of the band’s slowest and most pop oriented numbers. That means Dirnt keeps his wizardry on the downlow and stays in the pocket for the sake of the song.
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Their Irish punk rock beginnings notwithstanding, U2 found international success with universal, emotionally evocative songs like “With Or Without You.” 35 years after its release, it continues to find its way into mainstream media, reminding us of its timelessness.
Dig a little deeper, and you will find that its song structure is like an elementary version of Pachelbel’s Canon, with the bass pounding out the same four notes over and over, while guitarist The Edge offers up a stratosphere of cloudy guitars that pillow the song with ear candy.
Sometimes, though, this is the role of the bassist, to hold down the structure of the song so that other great things can happen. Lesson well learned.
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Out of grunge came modern alt-rock (and eventually nu metal) bands whose foundation was more Nirvana than Van Halen. 3 Doors Down rose to fame with “Kryptonite, ” and once again demonstrated that simple three-chord rock could capture the imagination of many a radio listener.
Their production, though, was always smooth and tight, dialing down the mud slightly, and most bands in the same vein would follow suit.
The verse section of “Kryptonite” is laid back and simple. It picks up a bit in the chorus, but it should not prove a challenge insurmountable for the patient beginner.
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Def Leppard bassist Rick Savage has never been accused of overcomplicating things for the quintet. Given the thick, dual guitar attack and massive vocal sound of the arena-oriented rock of Leppard, it suits the band’s style.
That said, it’s a rare Def Leppard bass line that should confound the beginner. Most if not all their songs will come under your command with a small amount of effort.
The only thing to watch out for with their songs is arrangement. Their songs take unexpected twists and turns, something that might not be obvious upon first brush. So, learning to follow along takes a little more than pumping out eighth notes brainlessly as some bassists assume.
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In “Come As You Are, ” the bass joins the guitar in a chorus of a very beginner-oriented riff, and what is essentially a grungy two-chord wonder.
Pink Floyd’s cynical take on “Money” features an unforgettable bass riff in 7/4 time. Normally, such a distinct time signature would boggle the mind of the novice player, but in this case, because you’ve probably heard it many times already, learning it should be akin to walking up a gentle slope as opposed to scaling a mountain at 90 degrees.
The bass line serves as an excellent example of what to do as a bassist. Lay the foundation for the band, open the lines of communication between the drummer and guitarist, and keep the rhythms smooth and tight. Also, a great example of pentatonic goodness.
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Easy listening, adult contemporary, alt-rock (not so sure about this one), post-U2, whatever you want to call it, Coldplay shot onto the scene with music that would never quite
But if pumping out eighth notes were the ultimate “easy button” for bass players, “Yellow” would be the answer, as it mostly involves cycling through four notes, two measures at a time, in eighth note sequences. It is a great starting point for all bass players, though, and there will be plenty of situations in which holding down a repetitive root note pattern will be your responsibility.
Not the easiest riff on the list, but the song’s structure is very close to a 12-bar blues, a trope every bassist must learn.
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In The Clash’s “Should I Stay Or Should I Go, ” the raunchy bass follows the guitar’s rhythmic pattern, but plays a complementary set of notes (harmony) to enhance the feel of the riff.
There’s a lot to love about classic R&B, and in this case, the simplicity of the soulful “Stand By Me” makes for a beginner bassist essential.
Cream is yet another influential “supergroup” of the 60s, with the legendary Eric Clapton on the guitar, Ginger Baker on the drums, and bassist Jack Bruce providing the low end.
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Rock and guitar solos were only just beginning to find their place in the world in the 60s, but one wonders whether Cream knew that “Sunshine Of Your Love” would set the bar for the blues-rock infused 70s – Led Zeppelin, ZZ Top, AC/DC, Aerosmith, and others. Not to say they were directly responsible for everything that unfolded, but their impact is significant.
“Sunshine Of Your Love” is still loved 55 years after its release. It has a signature blues scale riff doubled up on the bass, and it’s a fun and easy tune to undertake.
Some bass lines are in mass consciousness because they became a part of the soundscape of hits across multiple decades (also see “Super Freak”). The Vanilla Ice debacle notwithstanding, his “Ice Ice Baby” would only serve to call back to the amazing breadth and genius of Queen’s considerable body of work.
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Here, again, bassist John Deacon shines in his ability to turn a simple riff into a signature hook. With David Bowie’s guest appearance on vocals, “Under Pressure” elevates to near legendary status.
The pop-punk / punk-rock insurgence of the 90s was supported by bands like The Offspring, and the bass line, in many cases, tended to follow the guitar riff, as is the case with “Pretty Fly For A White Guy.” But this is not a typical punk-rock riff, and that makes it worthwhile.
Groove and funk rock certainly found its place in the 70s, as exhibited by artists like Pat Travers, TOTO, and Wild Cherry. This song has come to epitomize the genre and has even been covered by the late and legendary Prince. The bass riff
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