The bass guitar. For some, it’s the instrument lurking in the shadows, the quiet sibling to the flamboyant lead guitar or the powerhouse drums. But for those who truly listen, for those who feel music in their bones and in their chest, the bass is the thunder down under, the rhythmic soul, the harmonic bedrock upon which musical worlds are built. It’s the pulse that quickens your own, the groove that commands your feet before your brain even registers the command. A great bassline doesn’t just support a song; it defines it, it elevates it, it becomes its unforgettable signature.

Here at Charlie and Johns, we’ve always been about the strings that help musicians tell their stories. And now, with uncontainable excitement, we’re diving headfirst into the deep end, bringing our passion for quality and precision to the world of the low end with our brand-new line of bass strings. Players can discover a wide range of options from top brands like Ernie Ball and Elixir, suitable for all playing styles and number of strings, ensuring every bassist finds the perfect match.

So, to mark this momentous occasion, we’re plugging in, turning up, and taking a deep dive into ten of the most earth-shaking, booty-quaking, and soul-stirring bass riffs ever laid down on tape. We encourage you to buy from our new line, where you’ll find a variety of options from trusted brands, suitable for every need and preference. These aren’t just collections of notes; they’re stories, innovations, and the very DNA of songs that have become timeless. Now, we know what you’re thinking – “only ten?!” And you’re right; the ocean of incredible basslines is vast and deep. Consider this list not a definitive decree, but a curated gallery of undisputed masterpieces, a starting point for endless debate and discovery. Each one is a testament to the power of those thick strings and the visionaries who made them sing, roar, and groove.

The Anatomy of an Iconic Bass Guitar Riff: What Makes a Bassline Stick?

Before we cannonball into the list, let’s ponder: what elevates a bassline from merely functional to truly iconic? It’s a potent alchemy, a blend of visceral feel and artful construction. An unforgettable bassline often possesses an undeniable Groove Factor. It’s that infectious, often deceptively simple rhythmic pattern that locks in with the drums, becoming the song’s unwavering engine. Think of the primal urge to move when a truly great bassline hits; that’s the groove taking hold. Bernard Edwards of Chic was a grandmaster of this, proving that minimalism and momentum can be utterly captivating.

Then there’s Melodic Memorability. Even within its rhythmic duties, an iconic bassline often boasts a distinct melodic contour, a sequence of notes so well-chosen it becomes as hummable as the lead vocal. Paul McCartney, for instance, was a pioneer in crafting bass parts that were essentially counter-melodies, songs within songs. This doesn’t always mean complexity; sometimes, a few perfectly placed notes achieve what a flurry cannot.

Rhythmic Ingenuity & Drive also play a crucial role. Beyond a simple pulse, the greatest riffs often employ syncopation, strategic rests, and rhythmic variations that inject character and propel the music forward. Larry Graham’s revolutionary “thumpin’ and pluckin’” technique is a prime example, turning the bass into a percussive powerhouse that could single-handedly drive a track.

Crucially, there’s The Perfect Tone. The actual sound of the bass—its timbre, attack, and sustain—is inseparable from the riff’s identity and emotional impact. Whether it’s the clean, articulate punch of a MusicMan StingRay favored by players like Bernard Edwards and John Deacon, the distinctive growl of Chris Squire’s Rickenbacker, the warm, woody thump of James Jamerson’s P-Bass strung with flatwounds, or the fuzzed-out aggression of modern rock behemoths like Chris Wolstenholme, the tone is the message as much as the notes themselves. This is where the subtle but significant choice of bass strings makes its mark, shaping the fundamental voice of the instrument. The type and string gauge of your bass strings—such as 45-105 or 45-100 sets—can determine the feel and sound of your instrument, so always check the scale length and choose the set of strings that best fits your bass. Different gauges, like those found in 4 string and 5 string sets, may require more finger strength and can be better suited to certain playing styles or the body type of your bass guitar. The material of your strings, such as nickel plated steel, plated steel, or phosphor bronze, also plays a major role in tone and durability, and some players prefer long scale or short scale strings depending on their instrument. Most basses use standard tuning, with the four lowest strings tuned an octave lower than a regular guitar’s lowest strings, and players can buy single strings to customize their setup. It’s important to check the ball end length and consider cases where different scale lengths or body types require specific string options—many stores keep popular gauges in stock for quick replacement.

Finally, Innovation and Context often seal a riff’s legendary status. Many iconic lines broke new ground, perhaps by introducing a novel technique like slap bass, by deploying the instrument in an unconventional manner such as John Entwistle’s lead bass excursions, or by perfectly encapsulating the spirit of a musical era.

The bass guitar’s journey through popular music is a story of evolution from the shadows to the spotlight. Initially, it provided foundational walking lines in early R&B and rock and roll, often an amplified version of its upright predecessor. Then came the Motown revolution, where visionaries like James Jamerson transformed the bass into an instrument capable of weaving intricate, melodic counterpoints that were as vital as the lead vocals. As music evolved, so did the bass, taking on lead roles in the explosive creativity of funk, the ambitious soundscapes of progressive rock, and the sheer power of metal. This evolution underscores the instrument’s incredible versatility and the boundless creativity of the players who wielded it. Some of the most enduring lines are marvels of restraint, proving that what you don’t play can be as powerful as what you do. Others are breathtaking displays of technicality, pushing the boundaries of what the instrument was thought capable of. Both paths lead to greatness, showcasing the bass’s remarkable adaptability.

The Pantheon of Punch: Our Top 10 Bass Riffs of All Time

Alright, the moment has arrived. Prepare for a journey through ten basslines that didn’t just support their songs—they became them.

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

The Lowdown & The Line: When you talk about disco-funk royalty, Chic sits on a velvet throne, and Bernard Edwards was its Minister of Groove. Released in 1979 from the album Risqué, “Good Times” isn’t merely a song; it’s a rhythmic phenomenon, widely considered the gold standard of disco basslines.
The Spark & The Story: Edwards, alongside his guitar-wielding partner-in-funk Nile Rodgers, sculpted this masterpiece. An interesting tidbit is that the lyrics subtly nodded to the Great Depression-era anthem “Happy Days Are Here Again” as a commentary on contemporary economic anxieties. The track was also partly inspired by Kool & The Gang’s “Hollywood Swinging”. From its inception, the sheer infectiousness of its groove was undeniable.
Under the Hood – The Riff Deconstructed: The magic of “Good Times” unfolds in the key of E minor, with the riff elegantly navigating an Em7 to A7 progression, often evoking an E Dorian mood. It locks into a dance-floor-commanding tempo of 110 BPM. Edwards’ genius lies in the riff’s deceptive simplicity; it’s a perfectly calibrated sequence of notes forming an irresistible, cyclical groove. Central to its tight, funky character is his “chucking” technique—using his thumb and forefinger almost like a plectrum to create percussive, subtly muted notes that dance around the beat. The sixteenth-note flourishes and Edwards’ impeccable timing are the hallmarks of this legendary line.
The Player & Their Gear: Bernard Edwards was a maestro of taste, timing, and tone. His primary weapon of choice was a late 1970s MusicMan StingRay bass. Legend has it he often kept the original factory strings on it for extended periods (rumored to be GHS flatwounds initially, later GHS roundwounds), and he’d typically boost the bass on the instrument’s 2-band EQ while adding just a touch of treble for definition. In the studio, an old Sunn amplifier was reportedly part of his signal chain.
The Legacy: “Good Times” boasts one of the most sampled basslines in music history. Its most famous reincarnation echoes through The Sugarhill Gang’s “Rapper’s Delight,” a track that effectively launched commercial hip-hop into the stratosphere. The connection doesn’t end there; Queen’s John Deacon, after spending time with Chic in their studio, was so captivated by the groove that it directly inspired his own iconic bassline for “Another One Bites The Dust”. It’s a powerful testament to a bassline so potent it helped birth new genres and influence rock royalty. Beyond these monumental instances, its DNA can be found in tracks like LL Cool J’s “Rock the Bells” and Will Smith’s “It’s All Good”.

2. “Another One Bites The Dust” – Queen (Bassist: John Deacon)

The Lowdown & The Line: Queen, a band celebrated for their flamboyant, operatic rock anthems, struck an entirely different kind of gold with this minimalist funk-rock gem. Released on their 1980 album The Game, the riff, penned by the band’s famously reserved anchor, John Deacon, is instantly recognizable from its first few dry, percussive notes.
The Spark & The Story: The genesis of this iconic line is a fascinating tale of cross-genre inspiration. John Deacon, after spending time with Chic during their “Good Times” sessions, was clearly bitten by the funk bug. He crafted the bassline first, initially pairing it with some “goofy lyrics about cowboys”. Realizing the music needed a harder edge, the theme shifted. The song might have remained an album track if not for a fateful backstage encounter. It was none other than Michael Jackson who, after hearing the track, enthusiastically told Queen, “That’s a fantastic track. You must release it!”. The rest, as they say, is history.
Under the Hood – The Riff Deconstructed: While many guitarists and bassists learn it in E minor for ease of playing, the original recording is actually pitched up to F minor. The tempo is a rock-solid, groove-defining 110 BPM. Deacon’s riff is a masterclass in what music critics have called “simplicity and groove” ; Record World even described it as a “brutal bass”. It’s a sparse yet incredibly effective five-note loop, characterized by its staccato, sharply punctuated notes that lend it an almost synthetic, incredibly bouncy feel. The genius lies in its minimalism; the space between the notes is as crucial to the feel as the notes themselves.
The Player & Their Gear: John Deacon was often dubbed Queen’s “secret weapon” for his melodic contributions and solid rhythmic foundation. On “Another One Bites The Dust,” his multi-instrumental talents were on full display, as he played not only the iconic bassline but also rhythm guitar, piano, and percussion. His bass of choice for this era was likely his Music Man StingRay, renowned for its punchy, cutting tone. Some suggest he ran it through Sunn amps in the studio. Deacon often favored Rotosound flatwound strings for much of his career, and his technique of plucking close to the bridge contributed to that tight, defined sound.
The Legacy: The song became a colossal global hit, marking Queen’s second US No. 1 and propelling The Game to the top of the album charts. Its undeniable groove transcended genres, conquering both rock audiences and dance floors worldwide. Beyond its musical impact, its steady 110 BPM tempo has even found a practical, life-saving application in CPR training, providing an ideal rhythm for chest compressions. The riff’s influence is vast, having been widely sampled by artists like Grandmaster Flash, interpolated by Gwen Stefani in “Hollaback Girl,” and famously parodied by “Weird Al” Yankovic with “Another One Rides the Bus”.

3. “My Generation” – The Who (Bassist: John Entwistle)

The Lowdown & The Line: Exploding onto the scene in 1965, “My Generation” is more than just a song; it’s the snarling, stuttering anthem of a rebellious youth, and John Entwistle’s bass isn’t just a part of that rebellion—it leads the charge with unprecedented audacity.
The Spark & The Story: Penned by guitarist Pete Townshend, the track was a potent social commentary aimed squarely at the Mod generation, capturing their frustration and desire to be heard. Roger Daltrey’s iconic stuttered vocal delivery (“Why don’t you all f-f-f-fade away”) added to its confrontational edge, a quirk allegedly inspired by bluesman John Lee Hooker or suggested by manager Kit Lambert to mimic a British Mod high on amphetamines.
Under the Hood – The Riff Deconstructed: The song is a dynamic whirlwind, kicking off in the key of G and aggressively modulating upwards—first to A, then to Bb—before culminating in a final, chaotic key change and instrumental breakdown. It moves at a blistering 190 BPM. Entwistle’s bass completely transcends its traditional rhythmic role. It engages in a fiery call-and-response with Daltrey’s vocals and effectively functions as a lead instrument, filling every available space with thrilling, improvisational runs. The track is legendary for featuring one of rock’s earliest and most celebrated bass solos—a series of rapid-fire, blues-infused runs based around the G pentatonic/blues scale, broken into four distinct sections and employing techniques like half-step bends and a “fluttering” effect achieved with his unique picking style. To ensure his lines cut through the band’s glorious cacophony, Entwistle used a pick and a treble-heavy tone, a sound that was remarkably clear for the era. His three-finger picking technique was often described as being like a “typewriter”.
The Player & Their Gear: John “The Ox” Entwistle, also affectionately nicknamed “Thunderfingers,” was a true revolutionary. His technical prowess and innovative approach elevated the bass guitar from a background instrument to a formidable lead voice. The recording of “My Generation” has its own gear saga: Entwistle initially wanted to use his Danelectro basses, but after repeatedly breaking their rare, thin strings (and finding replacements impossible to get), he frustratingly went out and bought a Fender Jazz Bass. The only strings the shop had were La Bella tapewounds, which he then used for the session, played through a Marshall 50-watt amplifier and a 4×12 cabinet. His earlier use of Rotosound roundwound strings on the Danelectros was also a pioneering move for the time, contributing to his bright, cutting sound.
The Legacy: Entwistle’s electrifying performance on “My Generation” redefined the possibilities for the bass guitar in rock music, establishing a new paradigm. The iconic solo, however, became what keyboardist Rick Wakeman termed the “John Entwistle My Generation syndrome”; it was so distinctive that fans and even critics would complain if he didn’t replicate it note-for-note in live performances, eventually forcing Entwistle to meticulously learn his own improvised studio solo. “My Generation” remains one of The Who’s most signature songs, a timeless anthem of youthful angst and defiance, and was ranked #11 on Rolling Stone magazine’s list of the 500 Greatest Songs of All Time in its 2004 and 2010 editions. It has been covered by a diverse range of artists, including Iron Maiden, Green Day, and Oasis, a testament to its enduring power.

4. “Money” – Pink Floyd (Bassist: Roger Waters)

The Lowdown & The Line: Emerging from the sonic tapestry of Pink Floyd’s monumental 1973 album, The Dark Side of the Moon, “Money” and its distinctive, loping 7/4 bassline, courtesy of Roger Waters, became one of the band’s most instantly recognizable and commercially successful tracks.
The Spark & The Story: Roger Waters, the band’s principal lyricist and conceptual architect, penned the song, including its foundational riff which he first conceived on an acoustic guitar. The lyrics offer a sharp, ironic critique of greed, consumerism, and the corrupting influence of wealth, a theme Waters would revisit throughout his career. The famous introductory tape loop, a rhythmic collage of ringing cash registers, clinking coins, and tearing paper, was also Waters’ ingenious creation. He painstakingly spliced these sounds together in a makeshift studio in his garden shed, creating a seven-beat effects loop that perfectly set the song’s theme and unusual meter. Waters later described his original demo of “Money” as sounding “prissy and very English” compared to the final version’s more robust, bluesy, and transatlantic feel.
Under the Hood – The Riff Deconstructed: The song is primarily in the key of B minor (though Waters’ demo was in G-sharp minor). Its most defining characteristic is the unusual 7/4 time signature that propels the verses and main riff, giving the song its slightly off-kilter, unforgettable swagger. This 7/4 meter is often felt and phrased in subdivisions of 3+4 beats, though one bar in the verse progression notably breaks this pattern with straight crotchets, a clever disruption. For David Gilmour’s searing guitar solo, the song shifts to a more conventional 4/4 time, making it easier to improvise over, before returning to the 7/4 feel. The tempo isn’t static, subtly increasing from around 125 BPM at the end of the second verse to 132 BPM for the guitar solo, and reaching 140 BPM by its closing stages, a common occurrence for bands recording without click tracks in that era. Despite the odd meter, the bassline itself is rooted in a standard 12-bar blues structure and possesses a swung eighth-note feel throughout. This is particularly evident during the guitar solo, where Waters lays down a cool, jazz-influenced descending chromatic line. Music writer Adrian Ashton lauded it as “one of the most memorable classic bass riffs ever recorded”.
The Player & Their Gear: While Roger Waters was more renowned for his lyrical and conceptual contributions than his technical bass prowess, his playing on “Money” is solid, foundational, and perfectly suited to the song’s needs. He typically employed a pick for a more defined attack. For this track, and much of the Dark Side of the Moon era, he likely used his Fender Precision Bass (a sunburst model with a maple pickguard is often associated with these recordings ). To achieve the recorded tone, a light palm-muting technique while picking would help balance the initial attack with a satisfying low-end thump.
The Legacy: “Money” became Pink Floyd’s first hit single in the United States and remains an enduring classic rock staple, instantly identifiable by its unique rhythmic signature and iconic sound effects. David Gilmour himself noted that the quirky 7/8 (or 7/4) time signature was distinctly “Roger”. The song’s cynical take on materialism, ironically, contributed significantly to the band’s immense wealth and success. It has been covered by diverse artists such as Velvet Revolver and The Flaming Lips, and its unforgettable cash register loop has been sampled numerous times, cementing its place in popular culture.

5. “Billie Jean” – Michael Jackson (Bassist: Louis Johnson)

The Lowdown & The Line: The second single from Michael Jackson’s 1982 cultural juggernaut, Thriller, “Billie Jean” is instantly recognizable from its cool, slinky, and utterly hypnotic bassline. This iconic groove was laid down by the legendary session bassist Louis “Thunder-Thumbs” Johnson.
The Spark & The Story: Michael Jackson penned the song, drawing inspiration from real-life experiences with obsessive fans who made false paternity claims—a recurring theme in his life. According to Q magazine, Jackson meticulously worked on the bassline alone in his home studio for three weeks. The creation process wasn’t without its debates; producer Quincy Jones initially had reservations. He reportedly disliked the song’s long introduction and the bassline itself, finding it too repetitive. Jones even suggested changing the title to “Not My Lover” to avoid any potential confusion with the tennis star Billie Jean King. However, Jackson, confident in his vision, insisted on keeping these elements, which ultimately became defining features of the track.
Under the Hood – The Riff Deconstructed: “Billie Jean” is set in the key of F-sharp minor and pulses along at a danceable 117 BPM. The bassline is undeniably the driving force of the song. It’s a syncopated, largely repetitive two-bar pattern that establishes an irresistible and instantly recognizable groove. The line makes its entrance after the drums and shaker have set the rhythmic stage. A crucial element of its unique texture is that each time the bassline passes through the tonic note, it’s doubled by a distorted synth bass, adding depth and a distinctive sonic character. While the core pattern is repetitive, subtle nuances and variations within this framework keep it engaging and dynamic throughout the song. The chord progression it outlines is primarily F#m – G#m – A – Bm, with a C#7 dominant chord adding tension and release in the chorus.
The Player & Their Gear: Louis Johnson, renowned for his groundbreaking work with The Brothers Johnson and his mastery of the slap bass technique (earning him the nickname “Thunder-Thumbs”), brought his signature funk and precision to “Billie Jean”. While Johnson’s signature sound was often associated with the Music Man StingRay bass , for this particular track, Michael Jackson had him try out several different bass guitars before settling on a Yamaha model to achieve the specific tone he envisioned for the song.
The Legacy: “Billie Jean” was more than a hit; it was a global cultural phenomenon. The song topped charts worldwide, and its groundbreaking music video famously broke racial barriers on the burgeoning MTV network. The track’s spare, bass-driven arrangement is widely credited with helping to pioneer what one critic dubbed a “sleek, post-soul pop music” sound. Record producer Antonio “LA” Reid once remarked that “Billie Jean” has “more hooks in it than anything I’ve ever heard,” adding that “Every instrument was playing a different hook”. Its influence is vast, with numerous covers by artists such as Chris Cornell and Weezer, and samples by the likes of Cee-Lo Green in “Bright Lights Bigger City” and an iconic remix by Blackstreet, “No Diggity (Billie Jean Remix)”.

6. “Hysteria” – Muse (Bassist: Chris Wolstenholme)

The Lowdown & The Line: Unleashed on their 2003 album Absolution, “Hysteria” by Muse features a relentless, heavily fuzzed-out bassline from Chris Wolstenholme that has become a modern rock anthem and a formidable benchmark for aspiring and seasoned bassists alike.
The Spark & The Story: The song delves into themes of intense, consuming obsession, with lyrics painting a picture of someone losing their mind in pursuit of another. Interestingly, the distinctive bass riff that defines “Hysteria” actually originated as a lead guitar part conceived by frontman Matt Bellamy during a soundcheck on their Origin of Symmetry tour. However, the band soon realized its raw power would be even more impactful on the bass, shifting it to Wolstenholme’s domain and allowing the guitar to take on a more melodic role. “Hysteria,” along with “The Small Print,” was one of the first tracks written for the Absolution album.
Under the Hood – The Riff Deconstructed: “Hysteria” is composed in the key of A minor and drives forward at a tempo of 93 BPM. Wolstenholme’s riff is a continuous, breakneck gallop of 16th notes, often described with words like “incredibly fast and frenetic,” a true “scorcher”. It’s a long, fluid line that isn’t strictly scalar in its construction, making it a piece that bassists often learn in sections or as one entire, challenging block. Open strings are strategically employed throughout the riff, not only to establish tonality but also to inject a raw “gutsiness” into the sound. The primary challenge for any bassist tackling “Hysteria” lies in maintaining the speed, precision, and sheer physical stamina required to play it accurately and consistently for its entire duration.
The Player & Their Gear: Chris Wolstenholme is renowned for his aggressive fingerstyle playing—producer Rich Costey noted, “His finger strength is staggering… He hits the strings really goddamn hard” —and for crafting basslines that often serve as central melodic motifs in Muse’s music. For the signature distorted tone on “Hysteria,” he employs a complex blend of signals: an unaffected clean bass signal is mixed with the sounds of a Human Gear Animato distortion pedal and a Russian Big Muff fuzz pedal. This already potent concoction is then further layered with a Roland JP8000 synthesizer doubling the bassline, creating its massive, cutting sound. Live, this intricate sound is often replicated by running multiple amplifier cabinets, each dedicated to a different part of his signal chain (e.g., one clean, one with Big Muff, one with Animato).
The Legacy: “Hysteria” is frequently lauded by fans and critics as one of the greatest and most difficult rock basslines ever written. It even topped a MusicRadar readers’ poll for the best bassline of all time. For many aspiring bassists, mastering “Hysteria” is seen as a rite of passage, a “gateway song” that signifies a leap from beginner to intermediate or advanced skill levels. Its complexity and iconic status have led to covers by diverse artists such as the classical crossover duo 2Cellos.

7. “The Chain” – Fleetwood Mac (Bassist: John McVie)

The Lowdown & The Line: A standout track from Fleetwood Mac’s emotionally charged and commercially monumental 1977 album Rumours, “The Chain” is revered for its brooding atmosphere and, most notably, John McVie’s unforgettable, driving bassline that anchors the song’s legendary outro.
The Spark & The Story: “The Chain” holds a unique place in the Rumours saga as the only song credited to all five band members (Stevie Nicks, Lindsey Buckingham, Christine McVie, John McVie, and Mick Fleetwood). This shared credit is a testament to its unusual, composite creation, literally pieced together from various previously rejected song fragments, lyrical ideas, and spontaneous studio jams during the album’s famously fraught recording sessions. The iconic outro, which kicks off with McVie’s signature bass riff, was developed from a jam session between McVie and drummer Mick Fleetwood. McVie reportedly had the riff in his arsenal already, originally intending it for a different song, but it found its perfect, powerful home as the engine of “The Chain’s” climax. According to co-producer Ken Caillat, McVie spontaneously unleashed the incredible bassline during a studio run-through: “just like that it just came to him. What a part!”.
Under the Hood – The Riff Deconstructed: The famous outro riff is rooted in the key of E minor. The tempo for this powerful section settles around a determined 76-84 BPM. McVie’s bassline is a masterstroke of deceptive simplicity. It primarily moves in deliberate half and whole steps, notably descending to an open E string, which imbues the riff with immense depth and a menacing, anticipatory bite. In the song’s structure, this bassline is played three times by McVie alone, each repetition building tension and atmosphere, before the rest of the band dramatically crashes in, unleashing the song’s full instrumental fury. This instrumental passage, driven by the bass, forms the song’s powerful and cathartic climax.
The Player & Their Gear: John McVie, the famously stoic and reliable anchor of Fleetwood Mac’s rhythm section, delivered one of his most career-defining moments with this part. For “The Chain,” he employed his distinctive 1976 Alembic Series 1 custom fretless bass. This unique instrument featured a striking stainless steel fingerboard—Alembic even preferred to call it a “continuously fretted” bass rather than fretless. This particular bass was strung with flatwound strings and played with a pick, a combination that contributed significantly to its smooth yet remarkably resonant and defined tone, allowing each note of the iconic riff to ring out with clarity and power.
The Legacy: “The Chain” is rightfully considered a cornerstone of Fleetwood Mac’s discography and a highlight of the Rumours album. The outro bassline, in particular, achieved a unique form of fame in the United Kingdom, where it was adopted as the incredibly popular and instantly recognizable theme tune for the BBC’s Formula One motor racing coverage for many years. Adding to its unique recording history, “The Chain” is also noted as the only track on the Rumours album where the core instrumental parts—guitar, bass, keyboards, and drums—were recorded live together in the studio, a factor that undoubtedly contributed to its palpable organic energy and undeniable groove. The song has been covered by artists like Tantric, Three Days Grace, and Evanescence, and its potent bassline sampled by acts such as Sway for “Up Your Speed”.

8. “Roundabout” – Yes (Bassist: Chris Squire)

The Lowdown & The Line: A sprawling, multi-part progressive rock epic from Yes’s seminal 1971 album Fragile, “Roundabout” is as celebrated for its intricate musicianship and surreal, evocative lyrics as it is for Chris Squire’s pioneering and utterly distinctive bass work, which takes a prominent, almost lead role throughout.
The Spark & The Story: The song was co-written by vocalist Jon Anderson and guitarist Steve Howe, its lyrical imagery inspired by their travels through the Scottish countryside, particularly the numerous roundabouts they encountered on the road and the mountains that seemed to “come out of the sky”. The original album version clocks in at an ambitious 8 minutes and 29 seconds. It was famously, and much to the band’s initial surprise, edited down to a concise 3:27 for its single release. Jon Anderson recalled hearing the edit for the first time on the radio, remarking, “Wow, that must have been a big pair of scissors to edit that song”.
Under the Hood – The Riff Deconstructed: “Roundabout” drives forward at a brisk tempo of 138 BPM. Squire’s bassline is a tour de force of aggressive, highly articulate picking, packed with rapid eighth and 16th notes, strategically placed ghost notes for percussive effect, and fluid hammer-ons. His tone is legendary: famously bright, punchy, and infused with a gritty overdrive that allows it to cut through Yes’s often dense and complex instrumental arrangements. It’s often described as a “trebly,” “clanky,” or even “angry” sound. He almost exclusively used a pick, sometimes reportedly even a coin, to achieve this sharp attack. A much-discussed “fast part” or fill that occurs just before the vocals enter (often described as “tara-nara-nara-nara”) has been a point of debate among bassists; while some attribute it to a keyboard or guitar overdub on the record, Squire was known to play this intricate line live.
The Player & Their Gear: Chris Squire was a true pioneer of rock bass playing, setting new standards for tone, technique, and the instrument’s role within a band. His style was often complex and melodic, with his basslines frequently jumping “out in front of the arrangement” rather than just providing background support. His weapon of choice was his signature Rickenbacker 4001 bass, which was crucial to his unique sound. He strung it with Rotosound roundwound strings to enhance its brightness and aggressive character. Squire’s iconic tone was famously achieved through bi-amping: he would split the stereo output of his Rickenbacker (the “Ric-O-Sound” jack), sending the signal from the thinner-sounding bridge pickup to an overdriven guitar tube amplifier (often a Marshall Super Bass), and the signal from the meatier neck pickup either directly to the mixing board or to a clean bass amplifier (like an Ampeg). This created what has been described as a “tonal sandwich,” giving his bass a huge sonic footprint with both distorted top-end bite and solid, clean low-end. On the recording of “Roundabout,” he also reportedly doubled some bass parts on an acoustic guitar to add further texture.
The Legacy: “Roundabout” became Yes’s breakthrough hit in the United States, reaching #13 on the Billboard Hot 100. Chris Squire’s innovative playing and distinctive sound, alongside contemporaries like Geddy Lee (who was a great admirer of Squire), inspired countless musicians to pick up the bass guitar and explore its sonic possibilities. In more recent times, the song gained a new wave of popularity and became an internet meme due to its use as the ending theme for the popular anime series JoJo’s Bizarre Adventure. The track has been covered by artists like Yo La Tengo and Paul Gilbert, and sampled by acts such as Black Milk in their song “Action”.

9. “Thank You (Falettinme Be Mice Elf Agin)” – Sly & The Family Stone (Bassist: Larry Graham)

The Lowdown & The Line: Released in late 1969 and hitting its peak in 1970, “Thank You (Falettinme Be Mice Elf Agin)” by Sly & The Family Stone is not just a funk anthem; it’s the track that widely introduced the revolutionary “slap” bass technique to the masses, courtesy of the pioneering Larry Graham. The song appeared on their Greatest Hits album.
The Spark & The Story: The song’s unusual title is a deliberately “funky” spelling of “Thank you for letting me be myself again”. Lyrically, it reflects a certain weariness with the pressures of show business and contains references to the band’s previous hits like “Dance to the Music” and “Everyday People”. Sly Stone wrote it feeling that the band’s messages of unity weren’t always being grasped by their audience.
Under the Hood – The Riff Deconstructed: The song is rooted in the key of E major. Its tempo is a solid funk groove, around 105 BPM , though some describe it as having an “upbeat tempo” while others note a “slow and steady darkness” in its overall feel. The entire song is famously built upon Larry Graham’s repeating, percussive bass riff, which establishes the track’s undeniable groove and rhythmic feel. This is the track where Graham’s innovative “thumpin’ and pluckin'” technique (his term for slap bass) truly came to the forefront of popular music. He developed this style out of necessity while playing in his mother’s band, which lacked a drummer. Graham used his thumb to strike the strings (the “thump,” emulating a kick drum) and his fingers to pull or “pop” the strings (emulating a snare drum), creating a full rhythmic accompaniment on the bass. On “Thank You,” this technique provides not just a bassline but the primary rhythmic foundation, mixed prominently to drive the song.
The Player & Their Gear: Larry Graham is widely regarded as the “father of slap bass”. His style is characterized by aggressive, hard-hitting thumps and sharp, decisive plucks. For recordings with Sly & The Family Stone, the band often cut tracks live. Graham’s bass sound would typically be captured by miking his amplifier in the control room and also running a direct line from his bass, aiming to capture the natural sound of his instrument, strings, pedals, and amp as it sounded “in the room”.
The Legacy: “Thank You (Falettinme Be Mice Elf Agin)” was a monumental hit, reaching #1 on both the Billboard Hot 100 and the Soul Singles charts. More profoundly, Larry Graham’s bass playing on this track revolutionized the role and technique of the bass guitar in popular music. The slap bass technique became a cornerstone of funk music and went on to influence countless bassists across numerous genres, including rock, pop, and jazz fusion. The song itself was inducted into the Grammy Hall of Fame in 2017. Its influence is evident in many subsequent tracks, most famously being sampled by Janet Jackson for her 1989 hit “Rhythm Nation”. Other notable samples include Brandy’s “Sittin’ Up in My Room” and the 2024 Snoop Dogg & Dr. Dre track “Thank You”.

10. “What’s Going On” – Marvin Gaye (Bassist: James Jamerson)

The Lowdown & The Line: The title track from Marvin Gaye’s groundbreaking 1971 album, “What’s Going On” is a sublime piece of socially conscious soul, and its warm, fluid, and deeply melodic bassline by the legendary James Jamerson is an integral part of its enduring magic.
The Spark & The Story: The song marked a pivotal moment for Marvin Gaye, who was becoming increasingly politicized and grappling with personal issues, as well as a strained relationship with Motown Records head Berry Gordy. Gordy initially detested the song, calling it the “worst record I ever heard in my life” and refused to release it. It was only after the single was “slipped out” by a Motown executive while Gordy was on vacation and subsequently sold 100,000 copies that he relented and demanded an entire album in the same vein. The recording session for the bassline is steeped in legend. Gaye, always preferring Jamerson for his bass parts, had to track him down. Jamerson was found in a local bar, considerably inebriated. By the time he arrived at Motown’s Studio A (the “Snakepit”), he was reportedly too drunk to sit upright and, as the story goes, played the entire iconic bassline lying flat on his back on the studio floor, sometimes with someone holding the sheet music for him. Arranger David Van DePitte has claimed he wrote the part out, which Jamerson then played verbatim, but the sheer Jamerson-esque fluidity and embellishments make many believe much of it was his inimitable interpretation.
Under the Hood – The Riff Deconstructed: The song is often cited as being in the key of E major, or D-flat minor (Db minor being the relative minor, and some sources list it as 12A/Dbm). The tempo is a relaxed and soulful 102 BPM , though various backing tracks exist at slightly different practice tempos. Jamerson’s bassline is a masterclass in melodic invention and rhythmic sophistication within a supportive role. It flows with an almost swing-like feel, characterized by his trademark use of chromaticism, syncopation (often achieved with ties across bar lines), ghost notes, and inventive inversions. During the bridge section, he employs short “rakes” between a higher tonic note and the note a fourth below, and the final two bars of the 12-bar bridge feature him playing chromatically, culminating in a fast, raked B minor figure against an A major chord that leads beautifully into the next verse in E major. His famous “one finger” plucking technique, known as “The Hook,” was used to articulate these complex lines with incredible feel. He also made deft use of open strings to facilitate smooth position shifts.
The Player & Their Gear: James Jamerson is almost universally regarded as one of the greatest and most influential bass players in modern music history. He fundamentally expanded the role of the bass in popular music, moving far beyond simple root notes and repetitive patterns. His primary instrument was his beloved 1962 Fender Precision Bass, famously nicknamed “The Funk Machine.” This bass was typically strung with old, heavy-gauge La Bella flatwound strings (he rarely changed them, believing “the gunk keeps the funk” ), and he played with a notoriously high action, which contributed to his distinctive percussive attack and sustain. He played through an Ampeg B-15 Portaflex amplifier in the studio, and often used a foam mute under the bridge cover of his P-Bass.
The Legacy: The album What’s Going On is considered one of the most important and influential albums ever recorded, and Jamerson’s bass playing is a crucial element of its timeless appeal. This album marked one of the first times Jamerson received an official credit on a major Motown release, with the sleeve notes acknowledging “the incomparable James Jamerson”. His playing on this track, and throughout his career, became the DNA for much of the bass vocabulary that followed, influencing generations of bassists. The song has been covered by a multitude of artists, including Donny Hathaway, Quincy Jones, Cyndi Lauper, and A Perfect Circle, and sampled by artists like Mos Def for “Modern Marvel”.

Iconic Riffs At-A-Glance

Song Title	Artist	Bassist	Year	Key Album	Signature Gear/Technique Note	Defining Characteristic
Good Times	Chic	Bernard Edwards	1979	Risqué	MusicMan StingRay, “Chucking” technique	Gold-standard disco groove, relentlessly sampled
Another One Bites The Dust	Queen	John Deacon	1980	The Game	MusicMan StingRay, flatwounds, pick near bridge	Minimalist funk-rock, staccato, 110 BPM CPR rhythm
My Generation	The Who	John Entwistle	1965	My Generation	Fender Jazz Bass (recording), tapewounds, pick, treble-heavy tone, pioneering roundwounds	Anarchic energy, lead bass role, iconic early rock bass solo
Money	Pink Floyd	Roger Waters	1973	The Dark Side of the Moon	Fender Precision Bass, pick, palm-muting	Unmistakable 7/4 time signature, blues-based riff
Billie Jean	Michael Jackson	Louis Johnson	1982	Thriller	Yamaha Bass (recording), syncopated fingerstyle, synth bass doubling	Hypnotic, driving post-disco groove
Hysteria	Muse	Chris Wolstenholme	2003	Absolution	Fingerstyle, heavy distortion (Animato, Big Muff), synth layering	Relentless 16th-note fuzzed-out rock assault
The Chain	Fleetwood Mac	John McVie	1977	Rumours	Alembic Series 1 fretless, flatwounds, pick	Brooding, iconic outro riff, builds immense tension
Roundabout	Yes	Chris Squire	1971	Fragile	Rickenbacker 4001, Rotosound roundwounds, pick, bi-amping	Aggressive, trebly, technically demanding prog-rock
Thank You (Falettinme Be Mice Elf Agin)	Sly & The Family Stone	Larry Graham	1969	Greatest Hits	“Thumpin’ and pluckin'” (slap) technique	Pioneering, foundational slap funk groove
What’s Going On	Marvin Gaye	James Jamerson	1971	What’s Going On	Fender P-Bass (“The Funk Machine”), flatwounds, “The Hook” one-finger style, Ampeg B-15	Soulful, melodic, complex counterpoint, improvisational feel

Beyond the Notes: The Enduring Spirit of Bass Guitar Strings

Looking back at this pantheon of punch, it’s clear that these basslines are far more than just sequences of low notes. They are pivotal moments in music history, snapshots of innovation, and profound expressions of the personalities who crafted them. The bassists featured here represent a spectrum of styles: the stoic, groove-solidifying presence of a John McVie or Roger Waters; the flamboyant, technique-pioneering showmanship of a Larry Graham or Flea (whose work on tracks like “Give It Away” with its liquid slides and dexterous fills, though not on this specific list, is legendary in its own right ); the lead-instrument audacity of a John Entwistle or Chris Squire; the understated melodic genius of a Paul McCartney (another legend whose work on countless Beatles tracks could fill its own list); and the profound, genre-defining soul of a James Jamerson or Bernard Edwards.

What emerges is a portrait of the bass guitar as an instrument of incredible versatility and power. It uniquely bridges the worlds of rhythm and harmony, providing not just a physical pulse that moves bodies, but an emotional foundation that resonates deep within the listener. The evolution of bass playing, from the foundational walking lines of early pop and R&B to the intricate counter-melodies of Motown, the percussive assaults of funk, and the acrobatic leads of progressive rock and metal, mirrors the expanding vocabulary of popular music itself. Bassists like James Jamerson didn’t just play on hits; they fundamentally changed how the bass was perceived and utilized, turning it into a voice capable of profound melodic and rhythmic complexity. Larry Graham didn’t just invent a technique; he birthed a cornerstone of funk and influenced generations. John Entwistle didn’t just play solos; he redefined the bass as a lead instrument in rock.

These riffs, many now decades old, continue to be sampled, covered, and revered, demonstrating a timelessness that speaks volumes about their fundamental musicality and impact. They prove that a great bassline often transcends mere technicality; it’s about the feel, the connection, the perfect marriage of notes, rhythm, and that all-important tone that makes a song unforgettable.

Conclusion: Pick Up Your Axe – The Groove Awaits!

Our journey through these ten monumental bass riffs has been a thunderous ride, a celebration of the sheer power, ingenuity, and soul that resides in the low end. From the deceptively simple grooves that laid the foundation for entire genres to the complex, acrobatic lines that pushed the instrument to its limits, each riff tells a story of a player, an era, and the enduring magic of music. They remind us that sometimes the most profound statements are made not by the loudest voice in the room, but by the one that provides the unwavering heartbeat.

We encourage you to revisit these classics, perhaps with a new appreciation for the artistry thrumming beneath the surface. Listen closely. Feel that pulse. And then, tell us: what are your desert island bass riffs? Which lines make the hairs on your arms stand up? Share your favorites in the comments below – let’s keep the groove conversation going!

Ultimately, the greatest joy these riffs can offer is inspiration. Inspiration to listen more deeply, to learn, to create. The beauty of music is its accessibility, its power to connect us. Whether you’re a seasoned pro effortlessly nailing these legendary lines, a beginner just starting your journey with the magic of those four (or five, or six!) strings, or a dedicated listener who simply loves a great groove, the foundation of a truly great bass sound often begins with the right strings.

Here at Charlie and Johns, we’re incredibly passionate about providing that very foundation. As we launch our new line of bass strings, we do so with a profound respect for the giants whose shoulders we all stand on, and with an unwavering commitment to helping today’s players find their own unique voice and lay down the iconic riffs of tomorrow.

Explore the new Charlie and Johns bass string range and tell us which iconic riff you’ll be tackling first! Let the groove be with you.