15 Songs with Iconic Bass Lines

Reading Time: 23 min read

15 Songs with Iconic Bass Lines features songs by Herbie Hancock, LaBelle, Michael Jackson, Queen, The White Stripes, and Zapp.

[otw_shortcode_dropcap label=”T” size=”large” border_color_class=”otw-no-border-color” shadow=”shadow” square=”square”]he importance of bass can’t be overstated. It is essential! When it comes to music theory, the bass, the foundation, is a big deal – the sugar, honey, iced tea. Did you know that bass governs harmony?! R.I.P. my undergraduate music theory professor! Anyway, this playlist is “all about that bass, ‘bout that bass, no treble,” Meghan Trainor, and not just any bass. The songs that grace this list must feature important, iconic, badass, kick-ass bass lines. Woo! Not just any old bass line will do! There are lots of fantastic songs with stellar bass lines, but 15 Songs with Iconic Bass Lines is limited to 15. 15 Songs with Iconic Bass Lines features songs by Herbie Hancock, LaBelle, Michael Jackson, Queen, The White Stripes, and Zapp. So, without further ado, let’s turn that f🤬🤬kin’ bass up on these 15 Songs with Iconic Bass Lines! Woo![/otw_shortcode_dropcap]

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1. The White Stripes, “Seven Nation Army”	2. The Pointer Sisters, “Yes We Can Can”	3. Queen, “Another One Bites The Dust”
4. Zapp, “More Bounce to the Ounce”	5. Michael Jackson, “Billie Jean”	6. Pink Floyd, “Money”
7. LaBelle, “Are You Lonely?”	8. Chic, “Good Times”	9. Stevie Wonder, “I Wish”
10. Digital Underground, “Humpty Dance”	11. Herbie Hancock, “Chameleon”	12. Sly & The Family Stone, “Thank You (Falettinme Be Mice Elf Agin)”
13. The Temptations, “Papa Was a Rollin’ Stone”	14. James Brown, “Get Up (I Feel Like Being A Sex Machine)”	15. Queen & David Bowie, “Under Pressure”

1. The White Stripes, “Seven Nation Army”

Elephant » Third Man » 2003

Iconic bass: Jack White (guitar)

[nx_pullquote]“I’m gonna fight ‘em off / A seven nation army couldn’t hold me back.”[/nx_pullquote] Woo – I know that’s right! If you could only listen to one song by The White Stripes, which would you choose? Hopefully, it’s a no-brainer: “Seven Nation Army”! “Seven Nation Army” is by far the most popular song by the former, minimalist rock duo comprised of Jack White (b. 1975) and his ex-wife, Meg White (b. 1974). Worth noting, they’d been divorced about three years by the time Elephant was released in 2003 👀! As is the case with many of The White Stripes’ songs, Jack serves as the writer and producer. The Grammy-nominated song is more than two decades old, yet it is a prime example of a song where “Age ain’t nothin’ but a number”. Elephant was deservingly awarded the Grammy for Best Alternative Music Album.

“Seven Nation Army” is still a fixture at sporting events – a favorite for good reason. What is one of the biggest claims to fame on this joint? That would be the bass line, which is played on a guitar. It is one of the greatest bass riffs, or riffs otherwise, you’ll ever hear. The first time it enters those ears, it’s stuck! Beyond the bass-tastic nature of “Seven Nation Army,” Jack’s vocal performance is commanding, while the lyrics are expressive and memorable:

“And I’m bleeding, and I’m bleeding, and I’m bleeding

Right before the Lord

All the words are gonna bleed from me

And I will sing no more.”

“Seven Nation Army” exemplifies a once-in-a-lifetime song. Check out the Nate Navarro bass cover and play along.

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2. The Pointer Sisters, “Yes We Can Can”

The Pointer Sisters » UMG Recordings, Inc. » 1973

Iconic bass: Dexter C. Plates (Richard Greene)

It is amazing the work put into a vamp, phew!  Never underestimate the power of repetition because it can be the catalyst for a great, great song. Grammy winners The Pointer Sisters, one of the great girl groups of the 1970s/80s, struck gold on their 1973 album, The Pointer Sisters, with an Allen Toussaint (1938 – 2015) penned funk record, “Yes We Can.” Originally performed by Lee Dorsey, The Pointer Sisters made “Yes We Can Can” into a pop hit. “Yes We Can Can” peaked at number 11 on the Billboard Hot 100 and number 12 on the R&B charts. One of the crowning achievements of this David Rubinson-produced cover is none other than the bass line. The fat, irresistible bass line, a famous ostinato, performed by Dexter C. Plates (Richard Greene of the Hoodoo Rhythm Devils), emphasizes a C chord faithfully, in the most funky way possible! Adding to the allure is the epic groove, also funky as hell, that anchors!

It’s not just the simple music that’s lit 🔥 but also the vocals by The Pointer Sisters, led by Anita Pointer (1948 – 2022). The ladies ooze with musicianship, personality, and, what else, soul! That groove, which runs the course of six minutes, is plenty of fuel for the fire.  Anita’s lead – melody and riffs – are on autopilot. “Now’s the time for all good men / To get together with one another,” she sings, adding, “We got to iron out our problems / And iron out our quarrels / And try to live as brothers.” Preach, girl! Likewise, her sisters’ harmonized vocals are locked in, adding to the sheer excellence of “Yes We Can Can”.  The centerpiece is the chorus, which is catchy, infectious, and memorable to the nth degree!

“I know we can make it

I know darn well we can work it out

Oh yes we can, I know we can-can

Yes we can can, why can’t we?

If we wanna, yes we can-can.”

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3. Queen, “Another One Bites The Dust”

The Game » Hollywood » 1980

Iconic bass: John Deacon

[nx_pullquote]“Are you ready? Hey, are you ready for this? / Are you hanging on the edge of your seat? / Out of the doorway, the bullets rip / To the sound of the beat, yeah.”[/nx_pullquote] Queen spent three weeks atop the Billboard Hot 100 with “Another One Bites the Dust”. The beloved gem appears as the third track on the 1980 album, The Game. The other big-time song from The Game is “Crazy Little Thing Called Love”, another number-one hit for the Freddie Mercury-led collective.

What makes “Another One Bites the Dust” the sugar honey iced tea? It’s the groove, first and foremost! The drumming by Roger Taylor (b. 1949), and the robust, rhythmic bass line by John Deacon (b. 1951) provide a memorable, once-in-a-lifetime musical anchor. What a formidable foundation is laid down by these two, woo! The guitar, played by Deacon and Brian May (b. 1947), also contributes to the surefire excellence of the beloved classic. The music is as infectious as the lyrics. Deacon penned this song. Mercury, among the most entertaining and skilled frontmen of all time, does a superb job of bringing Deacon’s lyrics to life. The crowning achievement, of course, is the chorus, in all its infectiousness!

“Another one bites the dust

Another one bites the dust

And another one gone, and another one gone

Another one bites the dust

Hey, I’m gonna get you, too

Another one bites the dust.”

Check out the Nate Navarro bass cover and play along.

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4. Zapp, “More Bounce to the Ounce”

Zapp » Warner » 1980

Iconic bass: Roger (on keys)

[nx_pullquote]“More bounce / Much more bounce.”[/nx_pullquote] Word. Zapp came out swinging on “More Bounce to the Ounce”, the opener from their 1980 gold-certified self-titled debut album. The talented and influential Roger (Roger Troutman, 1951 – 1999) sang and penned this debut single, whose title came from a 1950s Pepsi ad. He produced it with another funk music force, Bootsy Collins (William Earl Collins, b. 1951). “Bounce much more / I like to bounce / And I’m gonna make you bounce / Much more bounce.” Ooh-wee! As important as “More Bounce to the Ounce” is, it performed modestly on the pop charts, peaking at number 86 on the Billboard Hot 100. Still, “More Bounce” helped propel Zapp to gold certification and has been sampled hundreds of times.

“More Bounce to the Ounce” shines for a plethora of reasons. The groove is super funky – the expectation for a funk record, of course! Beyond that anchor, the epic use of the talkbox deserves a shout-out. Roger’s vocals are picturesque thanks to the talkbox, as well as playful and filled with personality. The harmonized moments are truly a treat – striking to the ears. Alongside those vocals come repetitive but ultra-memorable lyrics. The likes of “Get-get-get-get-get-get on the dance floor, baby / Get down, mama, yeah,” provide contrast to the core lyrics (“More bounce to the ounce,” etc.). Beyond the groove, the glory of the talkbox vocals, and the catchy lyrics, other elements of the musical accompaniment shine. The rhythmic guitar sounds incredibly ripe. The synth bass line, performed by Roger, kicks some serious ass! And, of course, those synths are quite striking. All in all, Zapp delivered a synth-funk masterpiece with “More Bounce to the Ounce”, which remains fresh and potent as it pushes fifty years after its release.

Check out the Luke Million synth jam, including recreating the iconic synth bass line.

Appears in:

Zapp, More Bounce to the Ounce: Throwback Vibez No. 182 (2025)

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5. Michael Jackson, “Billie Jean”

Thriller » MJJ Productions » 1982

Iconic bass: Louis Johnson (bass); synthesizers

[nx_pullquote]“She was more like a beauty queen from a movie scene / I said, ‘Don’t mind, but what do you mean, I am the one / Who will dance on the floor in the round.”[/nx_pullquote] One of the greatest songs of all time is none other than “Billie Jean” by the late, great King of Pop, Michael Jackson (1958 – 2009). “Billie Jean” is just one of many hits from one of the greatest albums of all time, Thriller, released in 1982. Yes, Jackson has been a leading candidate to be cancelled for a fair share of controversies, but the genius of his music and artistry has never been disputable. “Billie Jean” is the perfect, timeless name song.

[nx_pullquote]“She told me her name was Billie Jean / And she caused a scene…”[/nx_pullquote] The lyrics are catchy as hell, while the music, produced by Jackson and the legendary Quincy Jones (1933 – 2024), successfully fuses pop, funk, and R&B. One of the key features of the musical accompaniment is – wait for it – the bass line! Interestingly, the bass line is comprised of four different instruments 🤯. One of the four instruments, unsurprisingly, is a bass guitar, performed by Louis Johnson (1955 – 2015, of The Brothers Johnson). The other instruments? Synths via keyboards! According to Quincy Jones, in a 2018 Vulture interview, Jackson “stole a lot of stuff,” specifically mentioning the source of the bass line for “Billie Jean” – “State of Independence”, originally released by Jon and Vangelis, and famously covered by Donna Summer. All musicians steal – hard not to do with a limited amount of notes, chords, etc. – and who can blame Jackson with a bass line this sick?! Beyond the scintillating instrumental, Jackson blesses us numerous times with his signature ad-libs, including “Hee-hee,” and “Hoo,” adding to the decadent listening experience. I’ll leave you with the most famous, memorable lyrics from the chorus:

“Billie Jean is not my lover

She’s just a girl who claims that I am the one

But the kid is not my son!”

Check out the Yellow Tabs bass cover.

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6. Pink Floyd, “Money”

The Dark Side of The Moon » Pink Floyd Music Ltd. » 1973

Iconic bass: Roger Waters

[nx_pullquote]“Money, so they say / Is the root of all evil today.”[/nx_pullquote] Pink Floyd is the definition of FIERCE, period. The iconic progressive rock band is renowned for exhibiting an innovative spirit throughout its illustrious career. Among the collective’s most celebrated albums is The Dark Side of the Moon, released in 1973. The crowning achievement from The Dark Side of the Moon is… “Money”, written by bassist Roger Waters (b. 1943). Besides composing the captivating record, his bass line is utterly sick. Rhythmically, it features quarter notes and eighth notes, BUT, it is set in an unconventional 7/4 time signature. The musicianship is top-notch. The record is bluesy and jazzy while firmly representing rock. It’s further amplified by money sound effects, use of Wurlitzer electric piano and a Wah-wah pedal (Richard Wright, 1943 – 2008), and a killer tenor saxophone solo (Dick Parry, b. 1942).

Of course, you cannot mention “Money” without shouting out guitarist and vocalist David Gilmour (b. 1946). He brings Waters’ lyrics to life superbly. Early on, he speaks about the power and danger of the five-letter word. “Money, it’s a gas,” he sings in the first verse, adding, “Grab that cash with both hands and make a stash.” Maybe more memorable is the profane lyric from the second verse: “Money, it’s a hit / Ah, don’t give me that do-goody-good-bullshit.” That is a mic drop moment for sure! Another memorable moment is where Gilmour highlights greed at its, well, greediest: “I’m in a high-fidelity first-class traveling set / And I think I need a Learjet.” Maybe the late, great Barrett Strong (1941 – 2023) said it best: “I need money (That’s what I want) / That’s what I want (That’s what I want)”. Oh, capitalism! Money aside, there is nothing evil about the top-20 prog rock classic that is “Money”.

Check out the Nate Navarro bass cover and play along.

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7. LaBelle, “Are You Lonely?”

Nightbirds » Sony Music Entertainment Inc. » 1974

Iconic bass: George Porter Jr. of The Meters

[nx_pullquote]“Are you lonely? (Lonely) Are you lonely? (Lonely) / Are you lonely, living in a city without a heart?”[/nx_pullquote]Those inquiring lyrics hail from one-of-a-kind funk/soul collective, LaBelle, which most famously comprised Patti LaBelle (Patricia Louise Holte, b. 1944), Nona Hendryx (b. 1944), and Sarah Dash (1945 – 2021). The song at hand, “Are You Lonely?”, is the third track from the dynamic trio’s 1974 album, Nightbirds. The Nona Hendryx-penned song is a solid album cut. The late, great Allen Toussaint (1938 – 2015) produced it.

“Are You Lonely?” funkifizes from the beginning. The bass line, performed by George Porter Jr. of The Meters (b. 1947), is sick. Perhaps more underrated than some bass lines, take my word when I say it is one of the best bass lines you’ll hear from the funk/soul catalog! It is a low-end, rhythmic earworm that you won’t get unstuck! The groove ‘grooves hard’ and is potent to the nth degree. Adding to the musical excellence are bluesy, soulful piano riffs and the articulated, exuberant horns. The backdrop is ample fuel for the ladies’ fire. Patti LaBelle delivers a dynamic, powerful vocal performance. Her skills bring the melodies to life, adding extra punch with her vocal ad-libs and riffs. She gets awesome backing vocals from LaBelle, including sensational harmonies. Hendryx put her foot into the songwriting in this minor-key joint. “You’ve been runnin’ around counting teardrops / They said it was rain falling from the sky,” Patti sings, authentically, continuing, “You’ve been wondering why the rain never stops / Only tears your people cry.” Word. The socially conscious lyrics are pronounced: “See the well-dressed preacher, living like a king / Hold the unwed mother, who’s afraid to scream / See the hungry children, posing for a shot / Hear their mothers tell them, that’s all we’ve got.” The centerpiece of the underrated “Are You Lonely?” is undoubtedly the chorus, in all of its lonely glory. LaBelle shines on this unforgettable album track that deserves more recognition.

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8. Chic, “Good Times”

Risqué » Atlantic » 1979

Iconic bass: Bernard Edwards

[nx_pullquote]“Good times / These are the good times.” Woo! Say that, Chic! “Leave your cares behind / These are the good times / … Our new state of mind / These are the good times,”[/nx_pullquote] the tuneful chorus of “Good Times” continues.  This beloved number one hit on the Billboard Hot 100 commences the funk/soul collective’s 1979 LP, Risqué.  Risqué also experienced success on the Billboard 200, peaking at number five. “Good Times” is kind of a big deal, and definitely a great means to lift the spirit, even north of four decades after its arrival. “Good Times” was written and produced by the one-and-only Nile Rodgers (guitar, b. 1952) and Bernard Edwards (bass, 1952 – 1996). The bass line is the crème de la crème of “Good Times.” What makes it cook? It’s the blend of simply holding down the beats, in articulated fashion (staccato, accents, and standard articulation), as well as the more ornate, syncopated moments. The falls are captivating, too, keeping this bass line colorful and intriguing to the nth degree. Check out the sensational bass cover + play along by EuBasss.

The bass hits hard, but there are even more striking features regarding “Good Times.” The record features vocals by Edwards in addition to five other vocalists. The vocals, hence, are performed by committee, which is intriguing.  The vocals carry those GOOD lyrics, including lifting the famous lyric, “Happy days are here again.” In the same verse, verse one, the singers assert, “Boys will be boys, better let them have their toys / Girls will be girls, cute ponytails and curls / Must put an end to this stress and strife / I think I want to live the sporting life.” Woo! Besides the lyrics, the backdrop of this disco record is incredibly impressive, featuring a tight rhythm section – specifically that bass line – as well as soaring strings 🎻. A popular source of sampling, “Good Times” is not only a funky dance joint but a highly influential one.  No GOOD list is complete without this gem – PERIOD!

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9. Stevie Wonder, “I Wish”

Songs in the Key of Life » Motown » 1976

Iconic bass: Nathan Watts (bass) and Stevie Wonder (keys)

[nx_pullquote]“Looking back on when I was a little nappy-headed boy.”[/nx_pullquote] That iconic Stevie Wonder (b. 1950) lyric hails from one of his very best songs, “I Wish”. “I Wish” is in elite company in the award-winning musician’s catalog. It is one of his number-one hits on the Billboard Hot 100. That’s right, this reflective joint spent one week atop the pop charts, showing Mr. Wonder flexing those crossover muscles – something he’s done throughout his career. Furthermore, it appears on arguably the best and most important album in his discography, Songs in the Key of Life (1976). The entertaining first verse continues, “then my only worry was Christmas, what would be my toy / Even though we sometimes would not get a thing / We were happy with the joy the day would bring.”

There are more compelling lines besides those excerpted from the first verse. In the second verse, Stevie sings, “Brother said he’s telling ‘bout you playin’ doctor with that girl.” Ooh, wee! There’s also “Smokin’ cigarettes and writing something nasty on the wall / Teacher sends you to the principal’s office down the hall.” The verses are awesome, but we all know the biggest claim to fame is the timeless chorus:

“I wish those days could come back once more

Why did those days ever have to go?

I wish those days could come back once more

Why did those days ever have to go?

‘Cause I love them so.”

Beyond the chorus, there’s no way you can mention “I Wish” and not compliment the funkiness of the production. Those keys! That drum groove! The harmonic progression! What musical instrument is the straw that stirs the drink? The bass, duh! Also, the left-hand of the keys… That bass line, performed by Nathan Watts and Wonder (keys), is epic thanks to its active, consistent, eighth-note rhythmic pattern and the scalar pattern – modal, with some accidentals creating chromaticism. The key, E-flat Dorian, adds to the challenge of playing this hypnotic bass line accurately in a consistent fashion. Check out florainbass model this badass bass line in all its glory!

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10. Digital Underground, “Humpty Dance”

Sex Packets » Tommy Boy Music, LLC » 1990

Iconic bass: Shock G (Gregory Jacobs)

[nx_pullquote]“Alright, stop what you’re doin’ ‘cause I’m about to ruin / The image and the style that you’re used to.”[/nx_pullquote] Oh, really, Shock G (Greg Jacobs)? “I look funny, but yo, I’m making money, see / So, yo, world, I hope you’re ready for me.” The world was ready for the late rapper, rapping “The Humpty Dance” as his alter ego, Humpty Hump. Humpty and Digital Underground dropped an entertaining, humorous, and once-in-a-lifetime banger. From the start, “The Humpty Dance” shines, with Humpty putting his foot into his rhymes: “I’m steppin’ tall, y’all, and just like Humpty Dumpty / You’re gonna fall when the stereos pump me.” “The Humpty Dance” is the opener from their 1990 debut album, Sex Packets. The biggest hit of their career, it reached number 11 on the Billboard Hot 100. It was certified platinum by the Recording Industry Association of America. Adding to the accolades, “The Humpty Dance” was nominated for the Grammy for Best Rap Performance By A Duo Or Group at the 33^rd Annual Grammy Awards.

“Ayo, fat girl, come here, are you ticklish? / Yeah, I called you fat, look at me, I’m skinny / It never stopped me from getting busy.” The bars from Humpty Hump continue to make “The Humpty Dance” endearing. Another highlight, this time from the second verse: “Oh yes, ladies, I’m really being sincere / ‘Cause in a 69, my humpty nose will tickle your rear.” Oh, snap! Beyond his compelling cadence and flow and personality-filled rhymes, the sound of the record, the instrumental, plays a sizable role in its success. From the production standpoint, “The Humpty Dance” incorporates five samples, including two from the beloved funk band, Parliament. The drums (sampled) ooze with funk, providing a mighty, groovy anchor ⚓️. The bass line is one of the most striking instrumental features, specifically the slide from low E-flat (E-flat 2) to a higher E-flat (E-flat 3). Approaching 40 years after its release, that bass line remains one of the most fun and memorable. The musical accompaniment is perfect fuel for the fire, particularly when performing the Humpty Dance itself. Going back to the lyrics, beyond three epic verses, the chorus is the crème de la crème: the crowning achievement:

“The Humpty Dance is your chance to do the hump (Come on, yeah, sexy lady)
Do the Humpty Hump (Come on, uh), do the Humpty Hump (Sexy baby, everybody)
Do the Humpty Hump (Come on and), do the Humpty Hump (Uh)
Do the Humpty Hump, do the Humpty Hump (Do you know what we’re doing? We’re doing the Humpty Hump, y’all, uh)
Do the Humpty Hump (Watch me), do the Humpty Hump.”

Woo! Much more could be said about “The Humpty Dance”. Ultimately, it is a fun, infectious, and irresistible hip-hop classic that never grows old. This is old-school, funked-up, West Coast rap at its finest! Notably, Tech N9ne sampled the bass line in his 2015 banger, “Hood Go Crazy”.

Check out DeLuca Bass demonstrate the sickening bass line from this gem!

Appears in:

Digital Underground, The Humpty Dance: Throwback Vibez No. 123 (2025)

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11. Herbie Hancock, “Chameleon”

Head Hunters » Sony Music Entertainment Inc. » 1973

Iconic bass: Herbie Hancock (Arp Odyssey synthesizer)

Herbie Hancock (b. 1940) ranks among the greatest musicians of all time, regardless of genre. He’s the GOAT – nothing basic about that man! The exemplification of genius, Hancock is an award-winning, highly respected jazz visionary. His musical versatility is one of many reasons why he is so special, thriving in both acoustic, electronic, and more experimental realms. His electronic-centric fusion jazz on “Chameleon” marks one of the most iconic moments of an illustrious career. “Chameleon” is the prolific, nearly 16-minute opener from Hancock’s 1973 fusion-jazz masterpiece, Head Hunters. Hancock had some marvelous musicians assisting him on this project. Those Head Hunters were Bennie Maupin (b. 1940, saxophone and bass clarinet), Paul Jackson (1947 – 2021, bass), Harvey Mason (b. 1947, drums), and Bill Summers (b. 1948, percussion). Hancock, Jackson, Maupin, and Mason penned this beloved fusion juggernaut.

“Chameleon” is EPIC. Perhaps that’s not the most poetic way to describe the record, but it is fitting. In the 21^st century, we might say that Herbie Hancock and company ATE! What makes “Chameleon” a certified, timeless bop? The melodies and riffs are top-notch. The musicians performing are on another level – extraordinary and otherworldly! The bass line, performed by Hancock on an ARP Odyssey synthesizer, is one of the most striking ever laid down. Continuous throughout the first half of the record, it not only provides a mean foundation, but it is truly a hypnotic, unforgettable earworm. By the end of the record, it returns in all of its glory. After setting the tone with the most famous bass line, the rhythmic melody is thrilling, including that distinct, bluesy, soulful tenor sax riff by Maupin. That man put some stank into it! The drumming is incredible, emulating the funk thriving outside of jazz at the time in the 1970s. Beyond the core groove, the fills and runs are impressive to the nth degree. Jackson’s bass playing fills things up in the second half of the lengthy cut. It’s simpler than the core bass line performed on the synthesizer, but it provides its own head-nodding bass goodness. Bill Summers’s percussion adds some extra spice, with the later prominence of conga.

Of course, the star of the show, Herbie, does Herbie things, serving up colorful keyboard patches and sounds. At times, his comping emulates a guitarist who is nowhere to be found on this track! Furthermore, the master serves up funked-up riffs and a heaping dose of prodigious musicianship. That musicianship includes thought-provoking solos, which don’t rely on acoustic piano/acoustic piano patches. His synthesizer playing synthesizes hard, baby, with some captivating, compelling, innovative, and noisy sounds. There is also the refined electric piano (Rhodes) that dominates the second half. The sound palette is incredibly rich and fulfilling from a quintet of musicians. “Chameleon” could be analyzed even further, given the lofty music theory behind it (Fabulous use of Dorian mode and a two-chord vamp) and timbral contrast. But, as with any musical masterpiece, it is best enjoyed by listening and soaking it all in, like a sponge.

Check out Bart FUNK Bass performing the striking bass line on the bass.

Appears in:

Herbie Hancock, Chameleon: Throwback Vibez No. 178 (2025)

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12. Sly & The Family Stone, “Thank You (Falettinme Be Mice Elf Agin)”

Greatest Hits » Epic » 1970

Iconic bass: Larry Graham

[nx_pullquote]“I want to thank you falettinme / Be mice elf agin.”[/nx_pullquote] “Thank You (Falettinme Be Mice Elf Agin)” is one of the most memorable lyrics and song titles of all time. The iconic soul/funk collective Sly and the Family Stone had a surefire hit on their hands – a number one hit to be precise! Musically, one of the biggest innovations cited when mentioning this song is the bass technique by Larry Graham, which would go on to influence numerous musicians in various genres. Beyond that, the vocals by Sly Stone are nothing short of awesome, infused with ample personality and oozing with soul.

Beyond the famed lyrics of the chorus (aforementioned), the lyrics of the verses are quite colorful.

“Lookin’ at the devil

Grinnin’ at his gun

Fingers start shakin’

I begin to run…”

Per a song fact from Songfacts, “Sly Stone wrote…the [song because he] as upset that people were not listening to the messages in his songs… They were an integrated band and tried to spread the message of racial harmony, but Stone thought that message was getting lost. The lyrics are scathing and mostly directed at Sly himself…” Interesting. One part of song that listeners can’t miss are the references made to other Sly and the Family Stone hits: “Dance to the music / All nite long / Everyday people / Sing a simple song.” “Thank You (Falettinme Be Mice Elf Agin)” is awesome, period.

Check out florainbass channeling their inner Larry Graham on this bass cover and play along!

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13. The Temptations, “Papa Was a Rollin’ Stone”

All Directions » Motown » 1972

Iconic bass: Bob Babbitt or James Jamerson

[nx_pullquote]“It was the third of September / That day I’ll always remember, yes I will / ‘Cause that was the day, that my daddy died.”[/nx_pullquote] Woo, those are iconic lyrics from The Temptations on one of their best songs, “Papa Was a Rollin’ Stone.” Notably, Dennis Edwards sings lead. Before Edwards ever sings those lyrics, “Papa Was a Rollin’ Stone” takes its time setting up, thanks to an incredibly classy, extended music intro (more on that later). As far as songwriting is concerned, on this lengthy classic from 1972’s All Directions (Barrett Strong and Norman Whitfield), it’s authentic, honest, and utterly sublime.

The best moment is the chorus, which I’d argue, is one of the greatest choruses on one of the greatest songs of all time:

“Papa was a rolling stone

Wherever he laid his hat was his home

(And when he died) all he left us was alone.”

According to Cake, when describing “Papa Was a Rollin’ Stone,” they state, ‘You’ll hear of the antics of a man found being selfish and philandering more interesting than taking care of his family.’ True dat! The lyrics convey a story of a ‘no-good-dad’ through and through. The unique voices of each member of The Temptations come together incredibly harmoniously, while the instrument is EPIC. Man, oh man, does “Papa Was a Rollin’ Stone” have one of the best productions/arrangements (Whitfield) of all time! The drum groove! That singable, rhythmic bass line, performed by either Bob Babbitt or James Jamerson! The rhythmic guitar! The strings that accentuate the dark vibes of that B-flat minor key! The trumpet solo! “Papa Was a Rollin’ Stone,” a number one hit on the Billboard Hot 100, is a masterpiece, bad father and all! Check out Edson Barreto model the iconic bass line.

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14. James Brown, “Get Up (I Feel Like Being A Sex Machine)”

The 50^th Anniversary Collection » UMG Recordings, Inc. » 2003

Iconic bass: Bootsy Collins

[nx_pullquote]“Fellas, I’m ready to get up and do my thing (Go ahead, do your thing, then, get on up and do it) / …I want to get into it, man, you know /… Like a, like a sex machine, man, (Yeah, yeah!).”[/nx_pullquote] There will only ever be one James Brown. Rightfully dubbed The Godfather of funk, he left an indelible mark on the soul sub-genre. One of his best songs is “Get Up (I Feel Like Being a) Sex Machine”. Sex Machine” was written by Brown, Bobby Byrd, and Ronald Lenhoff. Despite featuring sex in its title, it was a highly successful pop hit. It peaked at no. 15 on the Billboard Hot 100. More than five decades after its arrival, “Sex Machine” remains the sugar honey iced tea – a timeless gem from James.

What makes “Get Up (I Feel Like Being a) Sex Machine” so good? James Brown infuses ample personality into his performance, period. Electrifying, the electricity begins with the infectious intro. After establishing the tone, the rhythm section enters and is firmly ‘in the pocket. The groove is badass – funky as hell! The drums, rhythmic guitar, and bass ‘bring the heat.’ Focusing on the iconic bass line, what makes it cook is the chromaticism (the beauty of accidentals) and the quick syncopated rhythms, including brilliant use of sixteenth notes. Notably, The Original J.B.s back Brown. This includes Bootsy Collins on bass and his brother, Catfish Collins on guitar. Also, Brown provides some bluesy work on the keys. Even with sex raising eyebrows, the lyrics are simple and generally non-offensive.

“Get up (get on up) / Get up (Get on up)

Stay on the scene (Get on up)

Like a sex machine (Get on up).”

“Sex Machine” gives more of an attitude than bedroom talk. Notably, Brown quotes a past hit in the second verse: “You said the feeling you got to get / You give me the fever in a cold sweat.” Other notable moments include the unforgettable “Take ‘em to the bridge?” where Brown infectiously asserts, “Hit me now! / Come on! / Stay on the scene, like a sex machine.” “Get Up (I Feel Like Being a) Sex Machine” is a certified classic.

Check out Edson Barreto modeling this hella funky bass line!

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15. Queen & David Bowie, “Under Pressure”

Hot Space » Hollywood Records, Inc. » 1982

Iconic bass: John Deacon

[nx_pullquote]“Pressure on people, people on streets.”[/nx_pullquote] Sooo, what happens when an iconic, Grammy-nominated band, Queen – Freddie Mercury, John Deacon, Brian May, and Roger Taylor – and an iconic, Grammy-winning solo musician, David Bowie, collaborate on one track? Simply put, an iconic, once-in-a-lifetime collaboration. The fruits of Mercury and Bowie’s labor are “Under Pressure”, the 11^th track from Queen’s 1982 album, Hot Space. Queen and Bowie wrote and produced “Under Pressure.” A top 40 pop hit, “Pressure” peaked at number 29 on the Billboard Hot 100. In 2022, the single was certified multiplatinum by the Recording Industry Association of America. A great song deserves to be highly decorated!

There is a lot to sink one’s teeth into when it comes to “Under Pressure.” Among the first things that stand out about the iconic Freddie Mercury/David Bowie duet is the bass line: 1 & 2 & a 3 &… John Deacon did his big one on the low end! One of the truly tuneful anchors ⚓️, had “Under Pressure” offered nothing else substantial, Deacon’s iconic, once-in-a-lifetime bass line would be sufficient. Beyond the bass, “Under Pressure” thrives on its utterly infectious groove. Of course, the stars of the show are our singing duo, Mercury and Bowie. Mercury is the first voice heard, memorably scatting. The irresistible scatting recurs throughout. The first substantial vocals belong to Bowie with the unforgettable, pressure-filled lyrics: “Pressure / Pushing down on me / Pressing down on you / No man ask for.” Mercury enters the mix in the second half of the first verse, which is also pressure-laden. “Under pressure,” he sings, and continues, “That burns a building down / Splits a family in two.” Following a refrain of scatting, Bowie helms most of the high-pressure chorus, with one line courtesy of Freddie:

“It’s the terror of knowing what this world is about

Watching some good friends screaming, ‘Let me out.’

Pray tomorrow gets me higher

Pressure on people, people on streets.”

Ooh-wee! Freddie performs the brief second verse, showing off his falsetto (“These are the days, it never rains, but it pours”), followed by an interlude of scatting (Mercury) and emphasis (“People on streets” by Bowie). Following another intriguing chorus, Bowie primarily performs the bridge (“Keep coming up with love, but it’s so slashed and torn”), with one inquiring contribution from Mercury (“Why, why, why?”). Mercury performs the third and final verse (“Why can’t we give love that one more chance”), while Bowie performs the powerful, socially conscious outro (“‘Cause love’s such an old-fashioned word / And love dares you to care for / The people on the (People on streets) edge of the night”). No extensive analysis is necessary to know that “Under Pressure” is a special song. Queen and David Bowie put their foot into this one. Honestly, isn’t it hard to believe it wasn’t a more substantial pop hit? The earworm of a bass line, infectious scatting, and strong vocal performance by Bowie and Mercury make “Pressure” the sugar, honey, iced tea!

Check out CoverSolutions demonstrating this unforgettable bass line!

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Also, check out the BassBuzz video with the Top 30 Most Iconic FUNK Bass Riffs. It’s sure to FUNK U UP 😜!

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15 Songs with Iconic Bass Lines (2026) [📷: Brent Faulkner / The Musical Hype; Strut, Sony Music Entertainment Inc., Third Man, Tommy Boy Music, LLC, UMG Recordings, Inc., Warner; Canva AI; Gordon Johnson, Maura Nicolaita, OpenClipart-Vectors from Pixabay]

15 Songs with Iconic Bass Lines features songs by Herbie Hancock, LaBelle, Michael Jackson, Queen, The White Stripes, and Zapp.

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1. The White Stripes, “Seven Nation Army”

Elephant » Third Man » 2003

Iconic bass: Jack White (guitar)

2. The Pointer Sisters, “Yes We Can Can”

The Pointer Sisters » UMG Recordings, Inc. » 1973

3. Queen, “Another One Bites The Dust”

The Game » Hollywood » 1980

4. Zapp, “More Bounce to the Ounce”

Zapp » Warner » 1980

5. Michael Jackson, “Billie Jean”

Thriller » MJJ Productions » 1982

6. Pink Floyd, “Money”

The Dark Side of The Moon » Pink Floyd Music Ltd. » 1973

7. LaBelle, “Are You Lonely?”

Nightbirds » Sony Music Entertainment Inc. » 1974

8. Chic, “Good Times”

Risqué » Atlantic » 1979

9. Stevie Wonder, “I Wish”

Songs in the Key of Life » Motown » 1976

10. Digital Underground, “Humpty Dance”

Sex Packets » Tommy Boy Music, LLC » 1990

11. Herbie Hancock, “Chameleon”

Head Hunters » Sony Music Entertainment Inc. » 1973

12. Sly & The Family Stone, “Thank You (Falettinme Be Mice Elf Agin)”

Greatest Hits » Epic » 1970

13. The Temptations, “Papa Was a Rollin’ Stone”

All Directions » Motown » 1972

14. James Brown, “Get Up (I Feel Like Being A Sex Machine)”

The 50th Anniversary Collection » UMG Recordings, Inc. » 2003

15. Queen & David Bowie, “Under Pressure”

Hot Space » Hollywood Records, Inc. » 1982

~ Table of Contents ~ » ~ intro ~

15 Songs with Iconic Bass Lines (2026) [📷: Brent Faulkner / The Musical Hype; Strut, Sony Music Entertainment Inc., Third Man, Tommy Boy Music, LLC, UMG Recordings, Inc., Warner; Canva AI; Gordon Johnson, Maura Nicolaita, OpenClipart-Vectors from Pixabay]

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The 50^th Anniversary Collection » UMG Recordings, Inc. » 2003