30 Songs With the Best Bass Lines of All Time, as Voted by Thousands of Audiophiles

These tracks expose how your setup really handles timing, tone, and low-end control.

Great bass lines do more than sit under a song. They set the groove, define the hook, and reveal how a system handles timing, tone, and punch.

To find the ones that do this best, we reached out to thousands of audiophiles and asked which songs they still turn to when they want to feel that low end. Here are their top 30 picks and why they deserve to be on the list.

1. Another One Bites the Dust – Queen (10.2% of Votes)

One of Queen’s biggest hits owes its unstoppable groove to John Deacon’s bass. While the riff is simple, its tightness and precision make it instantly addictive.

Deacon drew inspiration from Chic’s Good Times, giving it a darker, more menacing twist. The tone mixes direct and mic’d amp signals for a thick, rounded sound. There’s no slapping or flashy technique here, just an ultra-tight rhythm that makes your head move on instinct.

2. Ramble On – Led Zeppelin (6.8% of Votes)

John Paul Jones brings remarkable inventiveness to Ramble On. Instead of following Jimmy Page’s acoustic chords, he weaves a syncopated, melodic line in the upper register that gives the song its lilting groove.

Quick three-note fills and rapid hammer-ons after the chorus turn the bass into a lead voice, which then adds energy and movement.

Moreover, because the track was cut in 1969 with a Fender Jazz Bass, the tone is round yet articulate. This lets those upper-register details sit clearly in the mix while Jones still anchors the low end.

3. In the City – The Jam (6.0% of Votes)

Bruce Foxton kicks off In the City with a descending bass run that doubles as the song’s main hook. His work showed a sophistication rare in early punk, filling space with driving counter-melodies that gave the trio its full-bodied sound.

Using a Rickenbacker, he gets a bright, gritty bite that justifies placing the bass high in the mix so the hook cuts through the band’s raw energy.

But even at breakneck speed, Foxton keeps the line melodic and purposeful.

4. The Bed’s Too Big Without You – The Police (5.4% of Votes)

This deep cut features Sting blending reggae feel with new wave pop. The bass line rolls hypnotically and leaves space between notes, while the fretless slides add a dub-like character that defines the mood.

Since those slides create a warm, gluey sustain, producer Nigel Gray keeps the bass thick and the treble slightly rolled so the pulse stays smooth rather than sharp. During verses, for instance, Stewart Copeland’s syncopated hi-hat and Sting’s steady line carry the groove, with short fills for color.

It’s understated, locked-in, and quietly irresistible.

5. Gangsters – The Specials (5.4% of Votes)

Horace Panter delivers a pulsating reggae groove that nearly overwhelmed the original vinyl pressing.

The Gangsters is deep and syncopated, hitting roots with authority and using quick walk-ups to lead chord changes. Flatwound strings and a rolled-off tone give it a round, sub-heavy thump.

Keyboardist Jerry Dammers also adds a treble-forward piano part that spotlights the bass, so the raw, near-live mix lets the low end sit forward and flirt with slight overload.

6. My Name Is Mud – Primus (5.1% of Votes)

In My Name Is Mud, Les Claypool treats the bass as both a lead and a percussion instrument.

For one, the opening slaps and thumps set the tone. Heavy slaps on the low string mix with pops and muted notes up top, full of ghost notes, syncopated rests, and rapid hammer-ons and pull-offs.

The strings also snap against the fretboard, and the amp adds raw, warehouse buzz, which makes the groove feel immediate and head-bobbing even with the odd-meter sway.

All this is made better by a distinctive and slightly twangy tone, and the live-edged production keeps every transient clear.

7. Roundabout – Yes (4.8% of Votes)

The bass on Roundabout is prog-rock mastery at its peak. Chris Squire’s tone is gritty and aggressive, with a piano-like ring that highlights the snappy, fast-fingered qualities of the line.

Throughout the song, his part twists through dizzying runs while anchoring the chords. He adds scale fills and counter-melodies that weave around Steve Howe’s guitar and Rick Wakeman’s keyboards.

Squire turns the bass into both rhythmic foundation and melodic voice, locking with Bill Bruford’s drums on tricky accents to keep everything tight. Each pick attack is clear, and the dynamics reveal staggering detail.

8. Close to the Edge – Yes (4.7% of Votes)

A double entry for Yes seems in order. The 18-minute title track from Close to the Edge shows Squire treating the bass as both a lead instrument and a foundation that shakes the floor.

He plays nimble melodic lines that mirror or harmonize with Steve Howe’s guitar riffs. Then, he drops to thunderous low roots to support the organ and vocal sections.

You can hear the grit in slides and accents. Co-producer Eddy Offord aims to capture the band’s live sound, so the instruments gel naturally while leaving space for Squire’s bass to expand from pastoral quiet to full-on fury.

9. A Forest – The Cure (4.2% of Votes)

Simon Gallup’s bass line drives this atmospheric track. It’s a simple four-note riff that loops hypnotically through the minor scale, yet he infuses it with groove and vibe that keep it compelling throughout.

Gallup’s tone blends a phat, chorus-tinged midrange with a woody low end and distinct upper-note clarity. The bass has a prominent, oozing presence, propelling the song alongside flanged guitars and tight, mechanical-sounding drums.

This repeating line builds a trance-like groove, echoing synth motifs and perfectly complementing Robert Smith’s ethereal vocals.

10. Hit Me With Your Rhythm Stick – Ian Dury & The Blockheads (3.8% of Votes)

On Hit Me with Your Rhythm Stick, Norman Watt-Roy delivers a busy, almost frantic line. He packs more notes per bar than seems possible, yet it never feels overplayed. He also funk-walks through 16th-note runs, passing chromatic notes, and clever rhythmic accents.

And, because he locks so tightly with Charley Charles, the mix can push the bass forward without muddiness, letting it carry progressions and momentum.

In practice, the bass becomes the lead voice, and it is a great test of whether a system can keep fast passages clear.

11. Come Together – The Beatles (3.5% of Votes)

Paul McCartney’s bass line on Come Together flips conventional rock playing. The opening bars are iconic. Just a few hammer-ons, a touch of studio echo, and a wooden percussion tap, yet it creates one of the coolest intros in rock history.

Throughout the song, his part is sparse, swampy, and supremely melodic. He syncopates around Ringo’s laid-back drums with slides and bluesy passing tones. This gives the track a sly, lumbering funk.

The focus is on feel over technical perfection, with the bass slightly behind the beat, full of soul and character. It has a warm, rounded tone with enough midrange to cut through.

12. Green-Eyed Lady – Sugarloaf (3.1% of Votes)

Green-Eyed Lady is mesmerizing, mainly thanks to the bass groove.

Bassist Bob Raymond anchors the rolling riff under the organ intro, walking and skipping in a syncopated pattern that immediately grabs attention. Then, the bass co-leads the song alongside the Hammond B-3, keeping pace with the organ’s psychedelic patterns with a bubbling, flowing groove.

As for tone, it’s warm and rounded. Natural amp grit adds character, but the low end remains clean, with enough midrange to follow every run. The bass line feels loose and improvisational, reflecting the band’s spontaneous studio jam.

13. Son of a Preacher Man – Dusty Springfield (3.1% of Votes)

This 1968 hit is built on a legendary riff played by Tommy Cogbill. The line starts with a descending phrase that sets a bluesy, churchy mood. Throughout the verses, the bass dances around Dusty’s vocals, filling gaps with walk-ups and subtle fills in a call-and-response style.

The riff isn’t overly complex, but it goes beyond root notes, using chromatic approaches, passing tones, and syncopation that lock tightly with the drums. Cogbill’s tone is round and deep with enough attack to cut through. On top of that, the production gives the bass a warm, analog presence.

14. What Is Hip? – Tower of Power (2.9% of Votes)

Obsessed with Rocco Prestia’s performance on this 1973 funk anthem? You’re not alone. He drives a relentless 16th-note groove full of ghost notes and syncopation, creating the quintessential fingerstyle funk line.

His “Rocco gallop” approach blends muted and struck notes, often playing an eighth note followed by two 16ths on each beat. The groove is impeccably tight, locking perfectly with David Garibaldi’s drums.

That tightness comes from Prestia’s light pluck and heavy left-hand muting, which gives a punchy, short-decay tone you can feel as sixteenth-note ‘patter’ rather than sustain. The production captures every muted thump, making the bass almost a percussion instrument.

15. Used to Be a (Cha-Cha) – Jaco Pastorius (2.6% of Votes)

This largely instrumental track from Jaco Pastorius’s 1976 debut highlights fusion bass virtuosity and tasteful ensemble playing.

The piece is built on a Latin-flavored groove, with Jaco’s bass front and center. He establishes a laid-back, syncopated rhythm in the low end, plucking with a warm tone and subtle ghost notes that give the song a natural sway. His line remains prominent without overpowering the mix.

Even while holding the groove, Jaco adds fills and variations, sometimes in unison with the electric piano. He eventually launches into a solo, featuring fast fretless runs, harmonic glissandos, and chordal passages. Smooth and singing, his fretless bass offers a honky midrange growl and almost vocal-like high lines.

16. Good Times – Chic (2.4% of Votes)

If any bass line can claim to have launched entire genres, it’s Good Times. Here, Bernard Edwards plays a repeating E-minor funk riff with syncopated octave jumps and chromatic walk-downs that bounce endlessly.

Plucking near the bridge gives a taut, lively attack, so the mix keeps the bass upfront and lets every ghost note and passing tone read clearly.

Only a few bass lines can combine catchiness and technical precision like this one.

17. Money – Pink Floyd (2.4% of Votes)

Roger Waters crafted one of rock’s most recognizable grooves in an unusual 7/4 time signature.

The song is built on a looping, bluesy minor pentatonic riff that starts alone, counting out the off-kilter rhythm after the cash register intro. Played with a pick, each note has a strong attack. Additionally, space is used masterfully to make the odd meter feel natural.

The main riff stays mostly on B and its fifth, swinging funkily, before shifting to a walking blues line in 4/4 for the guitar solo. Waters’ Fender Precision through a bright amp delivers clarity, letting the growl of each note and the pick’s edge cut through. Even with the full band and sound effects, the bass remains punchy.

18. Seven Nation Army – The White Stripes (2.1% of Votes)

Despite The White Stripes not having a bassist, Seven Nation Army is a masterclass in bass line creativity. Jack White ran his semi-acoustic guitar through an octave-down pedal to create the signature low riff. Simple and minor-key, the melody is five notes up with a catchy three-note tail. In short, it proves the power of tone and economy.

The riff is deep and raw, with grit from the octave effect and amplifier crunch. That texture is glued together by 8-track analog, which adds that fuzzed, live edge.

White’s riff also carries both the hook and the bottom end that now fills stadiums as fans chant it at full volume.

19. Walk on the Wild Side – Lou Reed (2.1% of Votes)

Herbie Flowers crafted a memorable bass line for this 1972 classic, recording it with two basses in unison: an upright acoustic and an electric bass. The acoustic adds depth and a woody thump, while the electric provides clarity and a touch of sustain.

Together, they create a sultry, slinky tone that perfectly complements Lou Reed’s laid-back vocals. The bass line walks down the chords with subtle flourishes, sliding elegantly into key notes. The mix keeps it warm and centered, highlighting every nuance.

20. Another Brick in the Wall (Part 2) – Pink Floyd (2.1% of Votes)

The bass line in this mega-hit often goes overlooked, but it’s what gives the song its groove.

Roger Waters lays down a simple, fat disco-leaning line that pedals D in octaves. And, since the part relies on placement and sustain rather than complexity, producer Bob Ezrin subtly doubled it with synth bass for extra weight without crowding the guitars.

Thanks to this, each note lands with just enough length and tiny rests for bounce, creating a smooth, irresistible pocket.

21. Billie Jean – Michael Jackson (1.9% of Votes)

Billie Jean features one of the most famous bass lines in pop music, blending Louis Johnson’s electric bass with a Moog synth doubling it. This combination creates a thick, buzzing tone that almost everyone with a pulse can hum.

The riff is a simple, two-measure descending minor-key line, but it grooves so hard it carries the entire song. Played fingerstyle, Johnson’s bass is muted and clean, with no extraneous notes.

Meanwhile, the synth provides a steady sub tone, giving the line both weight and punch. Although the bass doesn’t change between verse and chorus, it elevates the song every time.

22. The Chain – Fleetwood Mac (1.9% of Votes)

John McVie’s fretless Alembic bass in the outro has become the stuff of rock legends. The line is a simple three-note motif (A–G–E) outlining an Em chord, played with a pick on flatwound strings for a smooth yet biting tone. When Lindsey Buckingham’s guitar drops out, McVie’s low rumble ramps the song’s intensity instantly.

The riff came from a jam added to the song’s collage-like structure. McVie’s fretless bass, with its stainless steel fingerboard, gives clear sustain and a singing quality to his slides. And, subtle glides into the root notes provide drama and chills.

23. Psycho Killer – Talking Heads (1.7% of Votes)

Tina Weymouth’s bass line is a textbook example of new wave minimalism with a funky undertone. Built on a simple root-octave pattern, it drives the song’s character from the very first bar.

The track opens with her isolated bass, letting listeners lock onto the pulse before guitar and drums enter. Weymouth largely alternates an F–F octave riff, creating a heartbeat-like throb that underpins the song’s nervous energy.

Subtle variations, like the chromatic walk during the “run run run” section, heighten the sense of unease. Her tone is round and muted, with a thumpy attack and little sustain. This effect is boosted as the mix keeps it slightly gritty and present, perfectly serving the song’s tense, rock-steady mood.

24. Sunshine of Your Love – Cream (1.7% of Votes)

The heavy riff that drives Sunshine of Your Love gets its full weight from Jack Bruce’s bass. A jazz-trained player, Bruce co-created the signature line with Eric Clapton, first coming up with it on upright bass late one night.

Its bass line is a 12-bar blues variant boiled down to a hypnotic ostinato: he hammers the tonic, then runs a descending scale with the iconic flat fifth, locking tightly with Clapton’s guitar for extra depth.

Bruce’s tone was groundbreaking, using a Gibson EB-3 through Marshall stacks to get fat, fuzzy, slightly woofy distortion. The raw production lets the creamy bass distortion complement Clapton’s overdriven guitar perfectly. This line presaged the heavy riff-rock of the late ’60s and ’70s, proving a bass could riff hard while carrying a song’s identity.

25. The Guns of Brixton – The Clash (1.5% of Votes)

Punk met reggae in The Guns of Brixton, giving rise to one of Paul Simonon’s most memorable bass lines.

Deeply influenced by the reggae of his Brixton hometown, he anchored the track with a slow, menacing groove that exudes defiant swagger. The dub-style riff is simple—rooted in Em and descending through a scale—but played with punk attitude.

Simonon’s tone is dirty and dubby, full of bassy thump with a gritty edge. The mix keeps the bass powerful yet clear, with subtle reverb adding space. Topper Headon’s drums, quiet off-beat guitars, and vocals all orbit around Simonon’s line, proving that a bass can carry both groove and attitude.

26. Come As You Are – Nirvana (1.5% of Votes)

Nirvana’s Come As You Are features a deceptively simple bass line that defines the song’s moody vibe.

Krist Novoselic largely doubles the riff, but his low-end gives it menace and weight. The line oscillates between two notes with a small step down, and the rhythm has a subtle swing, creating a gentle push–pull that feels like a loping heartbeat.

This simple riff carries both melody and harmony, which cements its place as one of the most iconic bass lines of the ’90s.

27. Around the World – Red Hot Chili Peppers (1.3% of Votes)

Flea’s bass hits immediately on Around the World, kicking off the song with a wild slap-and-pop intro that showcases his virtuosity. He launches into a rapid pentatonic run with slides and pops, a frenetic, funky lick that embodies the Chili Peppers’ signature funk-rock sound.

Once the song settles, Flea switches to fingerstyle for the verses, laying down a simpler motif that drives the groove. He locks tightly with Chad Smith’s drums, balancing showmanship and rhythm perfectly. The mix captures every growl and string buzz, letting his liquid slides and dexterous fills carry the song.

28. Papa Was a Rollin’ Stone – The Temptations (1.3% of Votes)

Crafted in 1972 by Motown’s session band, Papa Was a Rollin’ Stone’s bass line is deceptively simple: a four-note descending riff repeated endlessly. Those four notes outline the harmony sparingly, yet the spacing and groove make it mesmerizing.

The bassist plays slightly behind the beat, giving the track a lazy, rolling feel that perfectly suits the melancholic mood. His tone is smooth and buttery, with enough low-end to fill the mix while remaining defined.

29. Love Will Tear Us Apart – Joy Division (1.2% of Votes)

Joy Division’s signature track flips the traditional rock script, putting the bass front and center. Peter Hook’s high-register melodic lines define the song, weaving a sorrowful, shining melody that duets hauntingly with Ian Curtis’s vocals. The opening riff descends a scale and dances around chord changes with flourishes that are both catchy and aching.

Hook often played the bass an octave higher than usual, sometimes on a six-string, and added chorus and a touch of delay to give it a ringing, almost bell-like tone. Here, instead of simply supporting the band, the bass carries the melody, redefining its role and inspiring generations of musicians.

30. She’s Lost Control – Joy Division (1.0% of Votes)

She’s Lost Control is fueled by Peter Hook’s propulsive bass line. Built on a simple two-note motif, Hook repeats it relentlessly, creating a hypnotic, machine-like groove.

He hammers one note in sync with Stephen Morris’s electronic-style drumming, then drops a whole step for a brief release, mimicking someone teetering on edge. The effect is nervy, robotic, yet unexpectedly danceable.

The bass carries the song’s drive, with occasional slides or small riffs adding fleeting bursts of emotion in an otherwise stoic pattern. It functions almost like a rhythm synthesizer, providing a relentless, hypnotic foundation for the track.