Eight excellently exciting basslines from classic 1980s songs

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As a seasoned music enthusiast with a penchant for deciphering the intricacies that lie beneath the rhythm and melody of iconic tunes, I must say this form presents a fascinating exploration of basslines that have left an indelible mark on popular music.

In discussing the impressive basslines from ten songs of the 1970s, it became apparent that this musical prowess was not confined to that decade alone. While disco and funk were particularly prevalent styles during that time, the bass guitar found a natural niche within them. However, its versatility is remarkable, seamlessly blending with various genres.

Over the years there have been plenty of examples of excellent basslines making songs stand out. Sometimes it’s an elaborate walking bassline or slapping out a jazzy rhythm. It could be adding a funky tone or driving the tune in pace or melody. And there are plenty of other variations of the way a bassline is used and the type of music it features in. 

This time around, let’s delve into some timeless tunes from the 1980s. These eight tracks display a remarkable range in genre and performance, with each having a notable role for the bass. Although the bass is crucial in most of these pieces, the reasons vary. In many instances, you’ll encounter true masters of the bass guitar, but not all eight are in that category – you’ll discover more about that as we go along.

Eight excellent 1980s basslines

Queen – “Another One Bites The Dust”

For this particular list, the “one-artist rule” is enforced starting with John Deacon of Queen, who contributed two exceptional songs in the 1980s. His compositions, featuring remarkable bass lines, include the hit tracks “Another One Bites The Dust” from the album The Game in 1980 and “Under Pressure” from a subsequent release. While “Another One Bites The Dust” has a slight edge due to its 1980 release, both songs could make a strong case for being selected.

As a gamer, I’ve got to say that “Another One Bites The Dust” stands out for me with its catchy, groovy bassline that runs throughout the song. From the get-go, it beats and pulses in a way that gets my adrenaline pumping. While it strays slightly from Queen’s usual sound, it still retains that classic vibe. And let me tell you, Deacon has a knack for composing tunes like this one!

Pink Floyd – “Another Brick In The Wall”

Was it here that Pink Floyd and Roger Waters tried their hand at disco as well? There seems to be a hint of disco rhythm permeating in, which is quite unusual for Pink Floyd, given their style. However, the bassline stands out distinctly in this piece, which is notable since David Gilmour often plays the bass in many Pink Floyd songs, even on albums like “The Wall,” where “Comfortably Numb” can be found. This particular track, though, showcases Roger Waters’ skillful playing of the basslines.

In this album, the track splits into three segments. The second part, notably, is the one Pink Floyd enthusiasts would immediately recognize, as it was individually released and garnered much focus. It’s in this section that Roger Waters’ bass playing will resonate most with many fans.

The beginning is a gradual, ominous unfolding, with the bass line gaining strength as it progresses. There’s a subtle, foreboding hum lurking beneath the melody. Although Roger Waters and David Gilmour don’t always agree these days, their collaboration – Waters on bass and Gilmour’s guitar solo later in the song – is remarkably harmonious and enhancing. A perfect match, indeed.

Continued on next slide 

New Order – “Age Of Consent”

In a different take, we’re talking about another skilled artist, Peter Hook, who graced this 1983 track from New Order. Previously, he collaborated with Joy Division on a noteworthy list of outstanding 70s basslines and now reappears with the band that succeeded them. Once more, Hook’s distinctive bassline is prominent in the music.

The band New Order was known for having many fantastic songs where Hook’s bass was prominently showcased. One standout example of this is the song “Age Of Consent,” which appeared on their 1983 album Power, Corruption & Lies. It’s no surprise that Hook counts it among his favorite songs from the band due to its quality.

In a characteristic manner reminiscent of New Order’s music, the bass guitar doesn’t just set the tone or propel the song further; it takes charge and guides as well. Unlike playing a subtle rhythm, it takes up the melody instead, which is quite unusual. This is one reason why Hook is another standout bass guitarist.

Level 42 – “Lessons In Love”

You can’t have a 1980s list on bass guitar and not include Mark King and Level 42. He’s an absolute master of the instrument. King played slap bass superbly, adding a jazz funk element to the music of Level 42. 

1986 saw the release of “Lessons In Life” as a single off Level 42’s popular album Running In The Family. This track is just one of many impressive songs by the band, showcasing King’s exceptional bass talents. The rhythm and speed of the lively bassline are truly remarkable, made even more so by the fact that King is also handling lead vocals. Interestingly, it’s said that there were actually seven distinct basslines on the recording from the studio.

Check out King’s live performance of this piece at the Night of the Proms event held in Germany back in 1998. With a massive orchestra behind him, his natural talent shines through vividly, and the quality of his bass sound is simply astounding. As an added treat, the track follows that serves as the album’s title!

Continued on next slide 

The Jam – “Town Called Malice” 

Here’s another way to put it: The bass guitar isn’t just for funk or disco; it also played a significant role in the music of The Jam, who originated from punk and had refined their sound by 1982 when they released “Town Called Malice.” Despite having their own distinct style, this song bore a strong resemblance to a classic Motown tune.

The bass from Bruce Foxton was heavily responsible for that. It’s yet another simple riff, kicking the song off and setting the scene for that Motown-style rhythm and feel. The riff has all the right factors to make it memorable on its own, as the intro, and to make the song work perfectly. “Town Called Malice” hit number one in the UK immediately on release. It also had some success on the US Billboard Dance (number 45) and Mainstream Rock (number 31) charts, the bass certainly helping that Dance chart listing. 

Michael Jackson – “Billie Jean”

Michael Jackson might not be as popular these days, but it’s difficult to overlook the amazing tunes of his timeless classics, such as “Billie Jean,” which was meticulously crafted and required significant studio work, as evident in its creation for the groundbreaking 1983 album, Thriller.

When discussing the bass, it becomes clear that bassist Luis “Thunder Thumbs” Johnson had played every bass guitar he owned before Jackson ultimately concluded that the Yamaha bass produced the best sound. This gives us a sense of the meticulous attention to detail. In reality, it wasn’t just Johnson’s bass that was delivering those deep, almost hypnotic tones in the rhythm; three separate synthesizers were also set up to enhance his sound.

The bass beat on the record from Johnson surprisingly owes a lot to ”State Of Independence” by Jon Anderson and Vangelis. Jackson’s producer Quincy Jones has previously admitted the link. A slight key change down and a slower speed from that song and the basslines tie in with “Billie Jean”. But that shouldn’t detract at all from the Jackson/Johnson version being a classic. Although maybe I should have included that original song here. Have a listen and see if you can spot that connection. 

Continued on next slide 

Motorhead – “Ace of Spades”

Here’s another iconic song from the band, featuring remarkable basslines performed by the lead vocalist. The 1980 hit “Ace of Spades” by Motorhead offers a quick, energetic, and hard-hitting rock experience. While Lemmy Kilmister’s bassline may appear less complex compared to other tracks, it remains intense and is executed at high speed.

The opening melody establishes the atmosphere and there are multiple adaptations of this captivating tone throughout the verses and choruses. Additionally, a remarkable lead guitar solo can be found in the track. However, it’s crucial to note that the bass line significantly enhances the overall tune. This is yet another instance where the bass plays an essential role in carrying the song forward towards its end. In summary, the bass is integral to the composition of the song.

The Cure – “The Lovecats”

In this tune, there are some quirky aspects that might overshadow its excellent bassline if not handled properly. Initially penned by frontman Robert Smith, it’s a song he doesn’t hold in high regard. He has openly discussed the writing and filming of the video as being heavily influenced by alcohol, and even referred to the track “The Love Cats” as a joke.

Instead, it’s worth noting that the bass in question isn’t strummed on a bass guitar. Interestingly, it’s played by the band’s producer, Phil Thornalley, who is not the regular bassist Simon Gallup. In an unusual turn of events, he chose to play a double bass, despite having little to no experience with this instrument. This unexpected move came about due to Gallup’s 18-month absence and the double bass being present in the studio when Thornalley and Smith arrived to record the track.

From low expectations perhaps comes a classic bass contribution. The double bass adds a subtlety of tone and style matching the song superbly. Once again, the bass is a fundamental part of the tune and you can’t imagine it all sounding anywhere near as good without that playing along. Another classic, iconic bass at its best, regardless of the back story of skill and experience.

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2024-09-02 13:01