Ten Favorite Bass Lines

As if anybody with any musical knowledge could only choose one!

So, I chose 10. Here they are.

Inner City Blues; Marvin Gaye: Funk Brother, Bob Babbitt, borrows rhythms from the classic drum pickups of late, fellow Funkster, Benny Benjamin, to kick things off. As the song progresses, Babbitt works subtle changes on the central melodic figure. His endlessly inventive playing calls to mind the tenuous, slippery, constantly-shifting nature of inner city life. More thoughts on this song here.

Roll Over Beethoven; The Beatles: Paul McCartney takes inspiration from James Jamerson -- and his own time in the clubs of Stuttgart's Reeperbahn district. Notice how he switches up the bass line in the last verse, giving a fresh burst of energy to flagging dance floor denizens.

Monkey Man; The Rolling Stones: Bill Wyman was part of one of the greatest rock rhythm sections of all time. But, sometimes, you need to shake loose and have fun. This is fun -- perhaps inspired by Jagger's loopy lyrics. Was it magic mushrooms, or just Laffy Taffy?

Tales Of Brave Ulysses; Cream: Jack Bruce's colorful playing here says everything about going on a life-changing journey -- the tentativeness; the over-confidence; the rebellion; and, finally, the wholesale rejection of everything you ever thought you wanted. The most emotionally-truthful work on this list.

Linus and Lucy; Vince Guaraldi Trio: This bass track was most likely recorded by Fred Marshall, who doubles Guaraldi's piano so closely that they sound like one instrument. They break away from each other in the sparkling improv section, then reunite when the A theme returns. The buzz of Marshall's bowed bass strings is the last thing you hear as the track fades out. More about the song in this playlist.

I Ain't Superstitious; The Jeff Beck Group: Listen to the heavy, heavy syncopation; [bassist Ron Wood spends] so long on the dotted eighths that the sixteenth notes almost come too late. The hard, un-syncopated triplets in the instrumental breaks that follow make for a stunning rhythmic contrast with the slinky groove in the verses. More on his performance here.

Let Him Run Wild; The Beach Boys: Fuzzy, happy bass work from both Jimmy Bond on acoustic bass, and Carol Kaye on electric, guides the rest of the band through some wicked changes said to be inspired by the sounds of Burt Bacharach. Bonus: Steve Douglas, picking up the bass line on tenor sax. More thoughts on the song and the band here.

5:15; The Who: John Entwistle, who was also an accomplished french hornist, doubles his fellow brass players on the song's distinctive, jazzy riff; driving the rest of the proceedings with an almost Baroque countermelody. Yes, Virginia, classical and jazz music can play very well with rock 'n' roll.

Going To A Go Go; Smokey Robinson: Silky and snake-hipped, thanks to the mighty James Jamerson -- surely one of the greatest musicians who ever lived. His sinuous bass line evokes the luxurious, low-lit confines of an exclusive club packed with Motown's cool kids, but somehow, open to everyone. 

Too Much Girl; The Resonars: Rippling bass by Matt Rendon fuses The Who and The Hollies in the greatest power pop act you've never heard.

This song is 50 years old today. Gulp!

This is the best bluegrass version out there, but I do have an issue with it: I'm an American with Western and Southern roots -- cowboys/surfers and moonshine runners, if you're hewing to stereotypes. I never met a T that I couldn't soften. Yet, American diction mars this performance, even for me. There's something about the hard Ts in the original that reflects the almost classical formality of the arrangement (a formality that's due to George Martin, no doubt).

These boys, who usually display a keen eye for detail, could have turned a good performance into a great one with that one, small adjustment.

Here are The Punch Brothers with "Paperback Writer".

Way back in the synth-pop 80s, this band had one of the most original, unusual, and – dare I say it? – futuristic sounds out there. Tell me this doesn’t prefigure Counting Crows.

If you acknowledge that, you must also acknowledge the debt this band owes to the early work of Rod Stewart ("Mandolin Wind", in particular), which was just as innovative in its way.

Here are The Hooters with their chamber-pop take on “Lucy In the Sky With Diamonds”.

Vocal Gymnastics, Brazillian Style

This Brazilian singer/songwriter/guitarist has managed to elevate the popularity of traditional Brazilian musical styles while collaborating with everyone from Paul Simon to James Taylor to Duran Duran.

In eight minutes and 44 seconds of thoughtful vocal gymnastics and astounding musicianship, he manages to turn a very simple song into something glorious.

Luxuriate in this version of “Hello Goodbye” from the wildly-eclectic Milton Nascimento.