Ten brilliantly bouncing bass lines from 1970s classic songs

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As a music enthusiast with a heart for basslines that pack a punch and set my soul dancing, I find myself utterly captivated by the list presented here. Each of these tracks transports me to a different era, showcasing the evolution and diversity of funk, rock, and everything in between.

Meghan Trainor made the bass the focus of her popular 2014 song “All About That Bass.” However, even before that, we’ve been enjoying powerful, funky, resonant, rumbling, or springy basslines from outstanding bands and their talented bass players in numerous classic songs for decades.

A bass guitar can give an extra sound, drive the pace and rhythm, or become a key part of a song. Often it kicks the whole tune off with a major part or lead into the song intro, far more than just a backing instrument. The 1970s was a classic period for many styles of music. A great bassline isn’t limited to a particular type or genre. Be honest, you don’t have to be a funk band to have a great bassline on a song. Though you probably do need a great bass player to be a top funk band. 

You’ll discover exceptional basslines in a variety of genres like punk, funk, rock, soul, R&B, and others. To illustrate this, let’s delve into some timeless tracks from the 1970s. Keep in mind, though, that any list will be noteworthy for what it includes, but equally important for what is left out. This one is no exception to that rule.

Ten classic songs with brilliant basslines from the 1970s

One reason why a song you have in mind might not be here is the limit I’ve applied of a maximum of one song per artist or bass player. Otherwise, some superb bass guitarists could take over the list. Let’s get into it with these ten classic 1970s songs which just wouldn’t be the same without their distinctive bassline. 

Pink Floyd – “Money”

Speaking of timeless tunes, the Pink Floyd track “Money” from the album “A Dark Side Of The Moon” seamlessly fits the bill when discussing classic songs. Initially, Roger Waters’ bass lines establish a distinct atmosphere for the piece. The distinctive sound of cash registers marks its beginning, but soon after, Waters’ relaxed bass takes over, setting both the tempo and rhythm. Later in the song, this bass line harmonizes beautifully with David Gilmour’s guitar, creating an exceptional blend of sound.

Since the initial release, several variations of this song have surfaced. An early demo by Waters, for instance, showcases a unique take on the tune, as it incorporates an acoustic guitar. However, despite these differences, the original remains the most impactful version. Last year, Waters unveiled his reimagined rendition of Pink Floyd’s classic album. His interpretation of “Money” for this release is slightly altered, featuring a growled vocal style and a more languid bassline, although the main melody persists at a somewhat slower tempo. However, nothing can compare to the original, as the video below provides valuable insights into the development of the bassline itself.

Joy Division – “Transmission”

Leaving out Peter Hook’s deep, rhythmic bass would make the list feel incomplete. Among many potential choices, his debut single with Joy Division from 1979 stands out slightly. In typical fashion, he sets off “Transmission” with a swift and relentless bassline.

As a devoted fan, I’m captivated by how he maintains that ominous vibe throughout the track. It’s deeply emotional, intense, and rich in atmosphere – just what you’d expect from Joy Division. The bassline is intricate yet straightforward, with Hook manipulating pace and depth masterfully, giving the song an edge that sets it apart from other bass-heavy tunes. It’s almost as if he’s pioneering a new genre of bass playing here, one that he became renowned for with Joy Division and later with New Order.

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Yes – “Roundabout”

A lively, brilliant tune by progressive rock band Yes, “Roundabout,” released in 1971, is found on their album “Fragile.” Chris Squire, a skilled bassist, delivers an intricate bass line in this song. To put it simply, it’s not a rhythmic pulse or beat, but rather a challenging squiggle or unique riff that may be difficult for beginners to attempt playing on their own guitar.

The unique quality of this song is undeniably noticeable, with the bass line becoming even more intricate throughout. A vivid recollection I have is watching Yes perform live in a stadium during the 1970s, and feeling Chris Squire’s bass vibrate against my chest during this very song. Each riff resonated deeply within me. The sound was immense and required an exceptionally talented bass player like him to execute it flawlessly.

Squire’s bass harmoniously blends with the various other song components, such as Rick Wakeman’s impressive keyboards. It’s worth noting that Wakeman replaced Tony Kaye in Yes because Kaye declined to incorporate fresh keyboard sounds for this track. As a result, Kaye left and the talented Wakeman took his place. Squire’s complex bass lines mesh nicely with Wakeman’s contributions.

Fleetwood Mac –  “The Chain”

Instead of sticking with our current iconic bass, let’s move on to another renowned bassline from a pop and rock-oriented classic album, “The Chain”. This song is one of many excellent tracks from Fleetwood Mac’s celebrated album Rumours, released in 1977. Notably identifiable by its introduction, “The Chain” is more than just that; the high point comes later on.

The song’s chorus is exceptionally catchy, and it’s John McVie, the ‘Mac’ from the group’s name, who lays down a groovy bassline beneath it. It’s quite remarkable. However, McVie seems to have his “pass-the-beer” moment in the spotlight.

Three minutes into the tune, I find myself utterly captivated by one of the most impressive bass solos I’ve ever heard. Him and his fretless bass gracefully guide the extended finale of the song, leaving a lasting impression. The bassline in “The Chain” is truly remarkable, and it’s become legendary thanks to its frequent use during BBC’s Formula One racing broadcasts. Christine McVie’s contribution on the bass here is nothing short of iconic.

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Chic – “Good Times”

It’s time to groove and shake it to some disco tunes, especially when Chic plays their 1979 smash “Good Times”. This track is catchy, but part of its charm comes from the bass skills of none other than Bernard Edwards.

As a gamer, grooving to “Good Times”, the beat drops and I can’t help but feel like it’s all about that pulsing bassline – it’s the backbone of the song, setting its tempo and rhythm. But interestingly enough, the structure of the tune was already sketched out before the bass came into play. When Edwards stepped into the studio as Nile Rodgers and the band were working on it, Rodgers asked him to “walk his bass” to the beat they were playing. With a few deft strokes, Edwards added his signature bassline, and voila – the song was complete!

Edwards’ bassline and the accompanying song served as a catalyst for others. On occasions, Rodgers has suggested that Chic pioneered hip-hop with this tune, though that might be pushing it. Nevertheless, the Sugar Hill Gang utilized it extensively in their chart-topping single “Rapper’s Delight”. Furthermore, the bassline from “Good Times” is often credited as a source of inspiration for John Deacon when he composed “Another One Bites The Dust” for Queen.

Marvin Gaye — “What’s Going On”

As a devoted fan, I’d like to share that Marvin Gaye titled one of his 1971 album tracks “What’s Going On.” This track features another captivating walking bassline, setting its rhythm and pace. The bassline moves at an effortless, relaxed pace, subtly propelling the song forward.

As a gamer, I’d rephrase it like this: “In an unusual turn of events for a legendary recording, James Jamerson, the bass maestro, was found in a local bar by Marvin Gaye and whisked off to the studio for the session. You see, after hours spent in the bar, Jamerson couldn’t stand or even sit for long enough to play his part on the track. Yet, his incredible contribution to the song was made while he lay flat on his back, the only way he could play his guitar in his post-bar revelry state.”

You wouldn’t know at all. The bass bubbles along brilliantly and subtly behind Gaye’s soft tones. It’s quiet, but very present, and makes the song. Another top bassline despite the playing circumstances.

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Stevie Wonder – “I Wish”

This tune serves as a powerful illustration of why only one song per artist is allowed on this compilation. Starting from 1974, Stevie Wonder incorporated Nathan Watts into his band as the bassist, and since then, he hasn’t regretted the decision. Watts was not merely filling in for a simple bass line; instead, he added a unique and indispensable touch to Wonder’s music.

His CV is full of other appearances that underline his mastery of the bass. Credits include albums with many Motown stars, Lionel Richie, Herbie Hancock, and top bass player himself, Paul McCartney. Quite a list.

“Wonder’s song ‘I Wish’ is one where Watts truly shines. This groovy track from 1976 was taken from the album Songs In The Key Of Life. On this day, Watts played ‘I Wish’ on a brand new jazz bass and adopted a style similar to James Jamerson, as heard in Marvin Gaye’s music. A couple of bass slide notes with an aggressive tone were added at Wonder’s instruction. Watt’s bass line opens the song with its iconic introduction and maintains its funky rhythm throughout the track.”

James Brown — “Get Up (I Feel Like Being a) Sex Machine”

Here’s a fresh take on the funk vibe: James Brown, along with his “Sex Machine,” and Bootsy Collins on the fantastic bass guitar. It was during this period that Bootsy was relatively new to collaborating with Brown when “Get Up (I Feel Like Being a) Sex Machine” was released in 1970. At that time, Brown had revamped his band and brought in Bootsy and his brother Catfish, among others. This was one of the initial songs they recorded together as a group.

In this track, the Collins brothers contribute substantially, delivering persistent guitar melodies that maintain the rhythm. Bootsy contributes a wiggly bassline, and Catfish introduces more funk with his guitar as well. This element is remarkable in the song, and it significantly loses its appeal without the constant beat from the bass, particularly. If you’re not convinced, I recommend listening to over ten minutes of the supposedly live, but slightly edited, “Sex Machine” album by Brown released in 1970.

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The Clash – “London Calling”

Let’s switch things up with The Clash and their iconic song “London Calling” from 1979. Paul Simonon’s remarkable bass performance in this track is rumored to have been bolstered by Mick Jones, to give it more dimension. However, the intriguing album cover photograph shows Simonon destroying his Fender P-Bass on stage in New York that very year. Here’s why he did it:

Before he trashed that bass in frustration, Simonon used it to add a punchy baseline to “London Calling”. It’s like an angry burbling tone fitting within the overall protest rant of the song. The bass is distinctive, and notable, adding an extra dimension. This is another example of making the song work rather than being just another instrument. 

Talking Heads – “Psycho Killer”

As a lifelong music enthusiast who has spent countless hours immersed in various genres, I can confidently say that Tina Weymouth’s bass line in “Psycho Killer” by Talking Heads is one of my all-time favorites. The haunting and persistent rhythm perfectly encapsulates the song’s ominous title and lyrics, creating an atmosphere that lingers long after the music has stopped playing.

As a gamer, I’d say this tune has a consistent vibe that adds the perfect amount of grit while keeping things funky and rhythmic. It ain’t your typical disco track, but it started out as a ballad – quite an unexpected twist! Once you’ve heard Weymouth’s bassline on this, forgetting it is nearly impossible. This one’s iconic and deserves top spots in any ‘best basslines’ playlist.

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2024-08-26 13:01