The second article I wrote for this website was a topic near and dear to my heart:
Songs that feature killer bass lines.
The list went from the mid 60s through the 80s.
Well, today I would like to move forward into the next two decades.
I’m talking about great bass lines from songs that were popular on rock radio in the 90s and ‘00s. Maybe you’ll agree with me. Maybe you won’t.
Quite possibly you’ll have some of your own. For my list, I kept it to songs that would be classified as rock and charted either on some kind of US rock chart or the Hot 100 or both. I also limited it to one song per artist. It’s in no particular order. A Spotify playlist will be waiting for you at the end, of course.
OK. Let’s get the party started.
(Yes, that was intentional.)
“Hysteria“
Muse (2003)
#9 US Alternative Airplay
Chris Wolstenholme’s fuzzed out, incredibly fast and frenetic bass line makes this the scorcher that it is.
A song being driven by the bass is not unprecedented, but what is unique here is that the line continues at a breakneck pace without ever stopping.
It is routinely ranked as one of the most difficult rock songs to play on bass because of the physical and mental stamina needed to consistently nail it all the way through.
“Lithium”
Nirvana (1991)
#25 US Alternative Airplay, #64 Hot 100
I wrote this in a post elsewhere back in 2002 and it still holds:
“Kurt Cobain was usually the force behind Nirvana’s songs, but on this one, bassist Krist Novoselic shines.”
“The bass carries the verse, outlining the unconventional chord structure, and then deftly weaves in and out of the menacing power chords on the chorus.”
“Aeroplane”
Red Hot Chili Peppers (1995)
#8 US Alternative Airplay
Choosing one stand out Flea bass performance from the Peppers’ hits is not easy. While “Give It Away” arguably features his most iconic work, I prefer this one. The man does it all here- the silky smooth line of the chorus, the outbreak of slapping and popping on the verses, a breakdown solo that is on the money…
… And the ascending and descending line at the end that pushes the song’s energy to its conclusion.
When a section repeats, the bass line doesn’t stagnate: but grows like a creeping vine wrapping itself around the rest of the song. More than just a bass clinic, it’s the spark that ignites a joyful celebration of the music that brings us life and sustains us.
“In the Meantime”
Spacehog (1995)
#2 US Alternative Airplay, # 32 Hot 100
The ebullient feel of this song helped it stand apart in a predominantly grim landscape.
That tone is in no small part due to Royston Langdon’s bouncing, buoyant bass line on the intro and verses.
“Comedown”
Bush (1994)
#1 US Alternative Airplay, #30 Hot 100
Dave Parsons’ lumbering, hypnotic bass line on the intro and verses provides all of the movement in an otherwise sparse arrangement.
It consists of a grand total of four different notes and is anything but sophisticated, but it frees up everything around it to take shape exactly as it should.
“Schism”
Tool (2001)
#2 US Alternative Airplay, #67 Hot 100
Justin Chancellor’s repetitive bass riff doesn’t sound like anything else out there. It sets the stage for a slow building, brooding, nearly seven minute song that with mixed meters, very little structure, and only a semblance of a hook, defies all conventional ideas of what one could hear on the radio.
Midway through, as the song gradually moves toward its peak, the bass is not as prominently featured, but it more than did its job to get us there.
“Panic Switch”
Silversun Pickups (2009)
#1 US Alternative Airplay, #92 Hot 100
Nikki Monninger lays down an angular bass line that relentlessly keeps the song in an edgy groove that never diminishes.
“Blood Makes Noise”
Suzanne Vega (1992)
#1 US Alternative Airplay
Deftly played by Attractions’ Bruce Thomas, this nimble, fast-paced, workman-like bass line practically jumps out of the speakers.
It immediately pulls you into the strange and wonderful world of Vega’s singular songwriting and musical vision. One of my favorites on this list.
“Interstate Love Song”
Stone Temple Pilots
(1994) #2 US Alternative Airplay
The abilities of rock bassists in this era could often be overshadowed by the guitar work. Robert DeLeo makes sure that does not happen here. He goes well beyond just thickening up the guitar lines.
He’s cruising around all over the place down there and is a key reason why the song grooves as hard as it does. It’s a thing of beauty.
“Welcome to Paradise”
Green Day (1994)
#7 US Alternative Airplay
Go ahead and yell at me for not picking “Longview.” Get it out of your system. Yes, I understand that Mike Dirnt’s bass line meant practically everything to a song that for most of us, was the first we had heard from this seminal punk-revival band. Call it personal preference, but I’m more drawn to his playing on this one.
Not only is he surgically precise on the intense bass-driven instrumental interlude in the middle, but he goes beyond the usual basic lines on both the verses and choruses.
Anytime he deviates from the root note and throws in a choice lick, it just totally works.
“You Oughta Know”
Alanis Morissette (1995)
#1 US Alternative Airplay, # 6 Hot 100
When it exploded onto the scene seemingly out of nowhere, I’m willing to bet that almost no one was paying any great mind to the bass playing on this blistering, rage-filled, graphic tale of a younger woman scorned. I sure wasn’t. If you don’t recall the bass work, take another listen. It’s surprisingly funky and just flat out sick what is going on down there. And surprise, surprise:
Flea is the responsible party.
“Would?”
Alice in Chains (1992)
#19 US Mainstream Rock
Mike Starr’s foreboding bass line is somehow both amorphous and a clear outline of the song’s harmonic structure.
It emerges, covered in the sludge of the murky depths from which it was spawned, and sets the pitch-black tone for one of the defining anthems of its era.
“The Day I Tried to Live”
Soundgarden (1994)
#25 US Alternative Airplay
Chris Cornell is the only credited songwriter on this, so it’s highly possible that bassist Ben Shepherd did not come up with the throbbing, lugubrious bass line that’s foundational to the song. Whatever its origins, Shepherd nails it.
It’s all very classic Soundgarden, creating tension in its chromaticism, and keeping things off balance with a 7/4 measure tacked on at the end of the pattern, essentially causing it to lose a beat. What’s not to love?
“Human Behavior”
Bjork (1993)
#2 US Alternative Airplay
Wait, what is a timpani sample doing on this list?
Just listen and maybe you will understand why it needs to be here.
“Girls & Boys”
Blur (1994)
#4 US Alternative Airplay, #59 Hot 100
As someone who came of age in the late 70s/early 80s, oh man, do I dig this.
It’s not only because of Alex James’ muscular disco-infused bass line, but that’s a start.
“The Impression That I Get”
The Mighty Mighty Bosstones (1997)
#1 US Modern Rock Tracks
Rollicking ska punk bass.
Need I say more?
“Wrong Way”
Sublime (1996)
#3 US Alternative Airplay
More ska punk bass.
What a time to be alive.
“A-Punk”
Vampire Weekend (2008)
#25 US Alternative Airplay
Not ska punk, but that bass line could slide right into that world very easily.
Love it.
“Tomorrow”
Morrissey (1992)
#1 US Alternative Airplay
Bassist Gary Day is driving the bus for the bulk of this song, helping fuel the emphatic quest of a doomed Morrissey grasping for affection that is eternally out of reach.
A choice cut for me from the early 90s.
“It’s My Life”
No Doubt (2003)
#32 US Alternative Airplay, #10 Hot 100
This is a cover of a hauntingly gorgeous song from artsy new wavers Talk Talk from 1984.
The original bass part is left mostly intact by Tony Kanal. Is it cheating to include it here?
I don’t care. It makes the list, end of story.
“Steal My Kisses”
Ben Harper and The Innocent Criminals
(1999) #1 US Adult Alternative Songs
Does Adult Alternative count? At this point, does it matter?
Juan Nelson is tearing it up on the bass for the entire song, with a solo that totally rips.It would be wrong to not include this.
“Wild Nights”
John Mellencamp, Meshell Ndegeocello
(1994) #3 Hot 100
This Van Morrison cover really cooks, with two singers in lock step with each other.
And a tighter than tight groove that is powered by Meshell’s slick bass lines.
“Nothingness”
Living Colour (1993)
#17 US Modern Rock Tracks
A more low-key offering from these guys, but it still has that trademark groove. Doug Wimbish on bass is a solid contributor to that.
He never strays from the pocket with the drums but finds many ways to spice it up down there with all sorts of variations of the basic line, as well as some irresistibly tasty fills in between.
As promised, here is a playlist of all the songs mentioned, plus a few extra.
Note that three of the songs have an “E for explicit” rating, for good reason. I was unable to find the radio versions of them on Spotify, so listen at your own discretion.
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