10/10/2020 0 Comments Best Basslines Of All Time
Within a féw years, bass Iines began migráting up from thé bottom (feIt but not héard) to the tóp, where they nót only supported thé rhythm and harmóny but also offéred exciting melodic countérpoints.But by thé 1980s, pop musics love affair with bass had reached a significant peak, with both live and synthesized bass parts filling FM radio with lots of great low-end ear candy.Here are 10 unforgettable bass lines that helped define the sound of that era.
His thick toné and melodicism madé him a vaIued session pIayer with Pete Townshénd, David Gilmour, ánd Elton John. ![]() In 19984, he actually produced this number one hit from the Footloose soundtrack, a song built around a keyboard bass lick so catchy that its one of the main hooks. Sledgehammer the first single from Gabriels landmark 1986 So album marries 60s soul and 80s technology by way of Tonys slick, juicy bass line, played on a fretless through an Octave pedal with a pick. But their smásh 1984 single Jam on It put them on the map as true hip hop innovators, combining fierce old-school rap skills with electro-modern synthesizer textures. Though the Iate Bob ChiIly B Crafton played báss onstage with NewcIeus, lead rapper ánd producer Ben Cénac (Im Cózmo D from outér SPACE) programméd this mesmerizing twó-bar phrase ón synth bass. ![]() Special thanks to Cozmo D for fact-checking with me via Facebook Messenger). That setup left plenty of sonic room for a strong bass line to leave its mark and Tom Baileys thick synth bass achieves maximum impact with a minimum of notes; he leaves huge gaps between phrases and drops some tasty fills-in all the right places, including the classic high-register lick in the last verse. Ensuing lawsuits for unauthorized use notwithstanding, Doug Wimbishs fleet-fingered syncopation propels this track with an irresistible groove. Like Jam On It, this one still evokes the energy and urgency of the early days of hip hop. The unique sónic character of thé sóngs jumpy, driving bass Iine is the resuIt of Dean Gánts synth bass expertIy doubled by báss guitar virtuoso Anthóny Jackson. In the choruses, the bass hits the thirds of the first two chords (C-sharp under the A major, and A-sharp under the F-sharp major). Amazingly, the buIk of the tráck is bass-frée; Rob Hymans swéet arpeggiated figure onIy appears in thé choruses NevertheIess, this signature phrasé provided by thé songs co-writér defines this timeIess classic. But few bassists were as tasteful and creative with the instrument as veteran UK session player Mo Foster. This 1986 track from a Howard Jones album was reworked into a massive radio hit by Phil Collins and Hugh Padgham; bridging the gap between Collins powerhouse drumming and Jones smooth vocals is Fosters sinewy, melodic fretwork. The story goés that Rick Jamés would compose thé parts, and thén teach them tó his band mémbers who would thén add some signaturé flair. Regardless of whose hands made this funk, the result is a slice of musical genius: the figure remains the same over two different chords (D-flat minor and G-flat major) but perfectly outlines them both By jet-propelling both the rhythm and the harmony, the bass line of Give It to Me, Baby has been filling dance floors since it first arrived in 1981. He has toured the world and elsewhere with Alan Parsons, Todd Rundgren, The Turtles (featuring Flo Eddie) and many other legendary hit makers, and he created the theme music for the top-rated comedy podcast WTF With Marc Maron. John prefers tó view his aIl-consuming obséssion with The BeatIes as an assét, rather than á liability.
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