Consequence’s Bass Week kicks off with a list of 100 Greatest Bassists of All Time. Make sure to check out our list of the 50 Greatest Basslines of All Time, and check out the rest of our Bass Week content. Also, take a look at other greats with our 100 Best Guitarists and 100 Best Drummers of All Time lists.
“None of us wanted to be the bass player. In our minds he was the fat guy who always played at the back.” –– Paul McCartney
While Macca’s quote may be a bit harsh, it is true that bassists primarily stay out of the spotlight. However, they can often be the driving force in the band, whether keeping rhythm with the drummer or delivering a groovy bassline. Or, as in the case of McCartney, they can be among the most beloved musicians ever.
When Consequence set out to determine the greatest bassists of all time, we didn’t want to just go on skill alone — otherwise the list below would look a lot different. Sure, technical ability plays a big part, but influence, songwriting, innovation, stage presence, and more were all factors.
Not to mention, we got a lot of help. We surveyed more than 30 bass players from various bands across genres. Each one of them gave us their own personal Top Five, and we factored in their selections with our own staff picks. We also asked them to tell us why their choices deserved recognition, and included those testimonials in the final list.
What resulted is a list that features the old-school jazz and Motown players who set the foundation for the rock bassists to follow, alongside notable musicians from classic rock, punk, heavy metal, pop, R&B, new wave, disco, and more. Wherever they made their name, each one of these artists has left a deep (literally) mark on music.
So, take a ride along the low-end as we count down the 100 Greatest Bassists of All Time. We’ll be keeping the rhythm rolling all week with contributions from more artists throughout Bass Week, so check out all the content here.
-Spencer Kaufman
Managing Editor, Heavy Consequence
100. Troy Sanders
Troy Sanders, photo by Amy Harris
As singer-bassist in Mastodon, Troy Sanders helped pioneer the sludge metal sound heard on Mastodon’s seminal early albums. And while there’s a sharp contrast between Mastodon and Motörhead, the crushed-out, distorted low-end of the latter band’s legendary Lemmy Kilmister paved the way for bassists like Sanders. What sets Sanders apart from his peers is his post-hardcore background, as he brings a prog-like technicality that melds brutal tones and with rhythmic complexity — arguably Mastodon’s defining trait. — Jon Hadusek
99. Jenny Lee Lindberg
If you’ve ever had the thrill of seeing Warpaint play, you’ve undoubtedly noticed the way Jenny Lee moves on stage, how her whole body is expressed in her playing. The basslines she writes and plays are an extension of that physicality: These are basslines you simply cannot sit and play, you have to get up and move with them. Lindberg’s basslines slide, they bounce, they sneak, they push and pull, like a force with teeth, alive and hungry. The effect is hypnotic in the best way. — Nick Harmer (Death Cab for Cutie)
98. Leland Sklar
Leland Sklar has lived many session player’s dream, first as a member of James Taylor’s backing band, and then becoming a staple at Asylum Records as part of the label’s house band, The Session. In addition to Taylor, Sklar has recorded with heavy hitters like Carole King, Phil Collins, and Linda Rondstadt, among many others. His setup is famously simple, which helps make him one of the more agile bassists. — Mary Siroky
97. Tom Petersson
Not only can Tom Petersson’s bass playing be heard on Cheap Trick’s classic songs, the dude helped conceive and develop the 12-string bass that he has famously played for roughly a half century. — S. Kaufman
Tom Petersson’s 8- and 12-string basses are just amazing. Half the time, you don’t even realize that it’s only one instrument. It sounds like rhythm guitar and bass at the same time, but I just love that sound. — Trevor Dunn (Mr. Bungle)
96. George Porter Jr.
Funk music wouldn’t have been the same without George Porter Jr. The New Orleans instrumentalist and co-founder of The Meters has been part of The Big Easy’s music scene for six decades, from prodigy to elder statesmen. He collaborated in-studio with David Byrne and Tori Amos, and his band The Runnin’ Pardners is still running today. — M. Siroky
95. Melissa Auf Der Mar
Melissa Auf der Maur, photo by Jean Baptiste Lacroix/WireImage
Melissa Auf der Maur initially made a name for herself in the Montreal music scene by fronting the band Tinker before her pen pal, Billy Corgan, got her an audition to be Hole’s new bassist. Even though she declined Courtney Love’s offer at first, Auf der Maur was with the band for about five years (performing on the landmark Celebrity Skin), before briefly linking with The Smashing Pumpkins in 1999. Add in a fascinating solo career, and her bass is an essential sound of turn-of-the-millenium alternative rock. — Sun Noor
94. Nick Harmer
[Death Cab for Cutie’s] Nick [Harmer] just bops! He comes off as so assured and it makes for these amazing, winding basslines like on “Summer Skin” or “I Will Possess Your Heart.” He also always seems to find the perfect transitional note when he’s walking up to the next part of a measure (“Soul Meets Body,” “Grapevine Fires”), and I think when those little notes flash by, they carefully turn the screws on everything around them and lock a song in. — Sean Neumann (Ratboys)
93. Nik West
In terms of pure pizazz, few bassists can match Nik West. Her Millennial reinterpretations of funk drew the attention of Prince, Eurythmics’ Dave Stewart, John Mayer, and others, but it’s her sizzling stage presence that makes her unforgettable. All bright colors and funky slapping technique, she puts the idea of the boring bass player to rest with her electric solo work. –– Venus Rittenberg
92. Alex Webster
Good luck playing death metal without goopy, cavernous, and utterly thick bass tones. As the founding bassist for Cannibal Corpse — the GOAT of OSDM — bassist and founding member Alex Webster discovered as much in the late ’80s, when extreme metal finally embraced subsonic frequencies and birthed death metal as we know it. The down-tuned gurgling underbelly of Cannibal Corpse and the genre at large remains indebted to Webster, one of its earliest practitioners. –– J. Hadusek
91. Krist Novoselic
Krist Novoselic sometimes gets knocked for ‘merely’ writing simple, hummable basslines, as if a riff that gets stuck in your head is something anyone can do. His fuzzed-out bass tone inspired a generation of players, and Nirvana’s loud-soft dynamics worked so well because the rhythm section was so tight. Other artists on this list spent more time showing off, but Novoselic’s work won’t be forgotten any time soon. — Wren Graves
90. Doug Pinnick
Doug Pinnick, photo by Chris McKay/WireImage
Like Tom Petersson of Cheap Trick, King’s X singer-bassist Doug Pinnick is known for his mastery of the 12-string bass, and his combination of groove and distortion has powered the progressive metal band for more than 40 years. His resume reaches far beyond King’s X, as he’s also released a number of solo albums and has played in supergroups like KXM and Pinnick, Gales & Pridgen, among other projects. — S. Kaufman
89. Mike Dirnt
The Green Day bassist brings bouncy basslines, thick, meaty tones, and heaps of style to his band. Mike Dirnt has created so many indelible riffs that range from complex to the powerfully simple — “Longview,” “When I Come Around,” “She,” and “Minority” come to mind, but his impact on every Green Day album cannot be understated. No matter the tune, Dirnt’s undeniable skill is palpable in the mix . — Paolo Ragusa
88. Steve DiGiorgo
Extreme metal journeyman Steve DiGiorgio has an extensive list of bass credits, though his work on the Death albums Human and Individual Thought Patterns are perhaps his crowning achievements. DiGiorgio was one of the first to embrace a fretless bass in the field of death metal (Death’s “Vacant Planets” is a strong example), and his heavily prog-influenced playing has become the de facto bass style for the technical death metal genre. His other credits include albums by Sadus (which he co-founded), Autopsy, Testament, and Iced Earth, not to mention that he’s the current bassist for Megadeth. — J. Hadusek
87. Suzi Quatro
Legendary rocker Suzi Quatro made a name for herself bouncing around the Detroit scene in the ’60s in an all-female band, The Pleasure Seekers, before she broke out as a soloist in her own right in the early ’70s. Quatro infused her Motown roots and love for soul music in every step of her career, developing an affinity for basslines that sat in contrast to a melody. Her mastery of the instrument proved to be more than enough to command the spotlight. — M. Siroky
86. Yves Tumor
Yves Tumor is fluent in so many different genres and instruments, but in their music, the bass ties it all together. From the early genre-bending experimentations through their recent rock god ascension, Tumor has showed a nearly unparalleled ability to create a pocket for the rest of the song to slide into. The backbone of “Noid,” the whole second half of Heaven to a Tortured Mind, and every song on Praise a Lord… (our favorite album of 2023) is a four-string masterclass. Even the bass samples, like the one on “Echolalia” from NEON’s “Lobotomy,” are pure bass nerdery. — W. Graves
85. Phil Lynott
Phil Lynott, photo by Pete Still/Redferns
When the frontman of a band is holding a bass, you know shit’s about to get good — and that’s largely thanks to the precedent set by hard rockin’ icons like Thin Lizzy’s Phil Lynott. Pick in hand, his voice and basslines were able to keep up with his band’s symphony of guitar theatrics, ultimately helping iron out the blueprint for the four-stringed instrument’s role in hard rock and heavy metal. — Jonah Krueger
Incredible rock riffs. Have they put up a statue of any other bassist? [Editors note: Yes, but point still taken.] — Nestor Chumak (PUP)
84. Martin Mendez
As the music of Opeth grew more and more progressive throughout the 1990s, it demanded tighter instrumental prowess from the musicians. Enter Martin Mendez, who took over in 1997 ahead of the band’s classic three-album run beginning with 1998’s My Arms, Your Hearse. Mendez’s worldclass skills translate to all of Opeth’s sonic facets, from death metal to straight clean-toned prog, and he plays his role well, receding into the rhythmic backdrop when necessary and stepping up for the odd bass riff or solo when the song calls for it. — J. Hadusek
83. Scott LaFaro
The Bill Evans Trio records with Scott LaFaro are really free. Scott LaFaro was a huge influence on me, but maybe not the best early influence for a bass player because he was so advanced and free. If I’m teaching someone how to play jazz, I would start more basic, but I really got into him early and started playing jazz that way. –– Trevor Dunn (Mr. Bungle)
82. David Ellefson
Despite where the tumultuous relationship between David Ellefson and Dave Mustaine currently stands, nobody can discredit Ellefson’s contributions to Megadeth’s musical legacy. He provided the thumping low-end on the band’s most celebrated albums throughout the ’80s and ’90s, and he even has an iconic bassline to his name in the form of the “Peace Sells” intro, notably used as the MTV News outro theme. — J. Hadusek
81. Phil Lesh
As a founding member of the Grateful Dead, Phil Lesh takes a distinctly melodic approach to the instrument. But more than just crafting adventurous basslines, Lesh also rarely sticks to what he might have laid down in a recording, giving himself the space to experiment on the fly and making one performance of a song different from how he might play it the very next night. This “stream of consciousness” style is a testament to Lesh’s creativity. — M. Siroky
80. Justin Chancellor
Justin Chancellor, photo by Amy Harris
With all respect to Paul D’Amour’s picking on Opiate and Undertow, Chancellor is the reason Tool leveled up on Ænima. Starting from the “Stinkfist” riff and his playful bridge, it’s clear that Chancellor is doing much more than try to keep up. “Schism” is perfect in its simplicity, the lovely harmonics of “Dispositions” are a technical wonder, and if you can track the rhythm, “Rosetta Stoned” is about as much fun as a person can legally have on four strings. He made a good band great. — W. Graves
79. Laura Lee Ochoa
In Khruangbin, Laura Lee Ochoa’s warm, indulgent basslines are a definite highlight. She’s a master of tone, bringing gorgeous compliments to Mark Speer’s gentle guitar work and DJ Johnson’s carefully-drawn drum lines, creating a rhythmic tapestry that ties the trio together. Ochoa’s myriad of global influences establish her sonic variety and her versatile feel on the instrument, allowing each Khruangbin song to contain basslines designed to live in forever. — P. Ragusa
78. Roger Glover
Deep Purple might be most famous for a guitar riff — yes, that guitar riff — but beneath the smoke resting on the water lies killer bassline after killer bassline, all courtesy of Roger Glover. The bassist grounded the group, giving rockers like “Highway Star” or “Space Truckin’” the cojones they deserved. For that, as well as his contributions to Ritchie Blackmore’s Rainbow, Glover rightfully stands as one of hard rock’s premier bassists. — J. Krueger
77. Brian Ritchie
Brian Ritchie lies at the heart of Violent Femmes folk punk angst. Sure, the snarling vocals and blistering (ha!) acoustic guitar help round out the band’s folky fury, but Ritchie’s bass holds it all together, acting as an anchor for the eccentricities of the rest of the band while managing to match their energy. It’s a delicate balance, but one that Ritchie perfected almost immediately with his iconic acoustic bass. — J. Krueger
76. Doug Wimbish
Doug Wimbish might be best known as the bassist for the hard rock act Living Colour, but his contributions to the low-end of music extend far beyond barn-burners like “Cult of Personality.” Beyond laying down sick-ass basslines for the funk-mental act, Wimbish has worked with artists in just about every genre, from Sugarhill Gang to James Brown, Grandmaster Flash to Depeche Mode. He was even a permanent member of the house rhythm section of Sugarhill Records. Talk about leaving your mark. — J. Krueger
75. Paz Lenchantin
Paz Lenchantin, photo by Debi Del Grande
A Perfect Circle and The Pixies are nothing alike musically, thus proving Paz Lenchantin’s versatility as a bass player. Not only did she fit in beautifully in both acts, but she was also a shining light in Billy Corgan’s short-lived band Zwan. Along with holding down the low-end, she’s also a wonderful vocalist and a skilled violinist. — S. Kaufman
74. Michael Anthony
First off, imagine how difficult it must have been to create the stand-out basslines alongside the mighty Eddie Van Halen! Before most of us ever even heard Eddie play, we first heard Michael Anthony’s bassline on the Van Halen debut needle drop, with his eight driving distorted quarter notes on the intro of “Running with the Devil,” which would define his legacy as the foundation to the mighty Van Halen forever. Michael’s tone and freeform ad lib parts (especially on Women & Children First) were the underpinnings of Eddie’s musical odyssey. — David Ellefson (Dieth, Kings of Trash)
73. Joe Lally
Joe Lally etched his name into punk rock history with perhaps the defining bassline of post-hardcore: “Waiting Room.” As Fugazi (and Messthetics) fans know, however, Lally’s energetic contributions to the world of rock bass don’t stop there. His work often becomes the focal point of the composition, ultimately serving as a shining example of just how bullshit the notion of “If a bassist is doing their job perfectly, you won’t notice it” really is. — J. Krueger
72. John Deacon
John Deacon is one of few instrumentalists who could steal the spotlight from Freddie Mercury, as he did on Queen’s “Another One Bites the Dust,” as well as David Bowie, which he did with four notes and a fourth down (co-written by Bowie) on “Under Pressure.” If he had wanted, he probably could have had a brilliant solo career, but that wasn’t his style. Listen to the more restrained supporting bass parts on other Deacon songs like “I Want to Break Free,” and you’ll hear a selfless artist committed to doing whatever it takes. — W. Graves
71. David Hood
When Mavis Staples coos, “I need you here. Help me out,” to “Little David” on “I’ll Take You There,” she’s talking to David Hood. A member of the Muscle Shoals Rhythm Section, Hood helped lay the foundation for the group’s legendary output. But he’s also heard across pop (Paul Simon’s “Kodachrome”), rock (Bob Seger’s “Old Time Rock and Roll”), and Americana (with his son, Drive-By Truckers’ Patterson). Although not a flashy player, Hood can nestle supple grooves into whatever pocket surrounds him. — Ben Kaye
70. Eric Avery
Eric Avery, photo by Scott Dudelson/WireImage
A key component that set Jane’s Addiction most apart was the bass playing of Eric Avery. Sure, Farrell had pipes and Navarro could shred, but Avery’s musical touch brought those two away from Sunset Strip and into the skate park. For all the celebrity of his bandmates, Eric Avery is the quiet hero and his contributions to Nothing’s Shocking hold up as some of the best rock bass playing, period. Melodic, full of hooks, indelible tone, exceptional feel, but I digress. I fell in love with the bass guitar learning how to play Eric’s parts on this album. Through him I began to understand how the bass could support and stand out without stealing the spotlight and being overly flashy. — Nick Harmer (Death Cab for Cutie)
69. Rick Danko
The fingerprints of Rick Danko’s bass playing and songwriting are littered throughout rock music’s canon. A founding member of The Band, Danko’s excellence doesn’t come from flashiness or virtuosity, but rather his undeniable intuition, always perfectly supplementing the jam at hand. Throw on “The Weight” and listen for Danko — you might not have noticed it during casual listening sessions, but he’s keeping the whole damn thing together. — J. Krueger
68. Esperanza Spalding
Esperanza Spalding made global headlines back in 2011 for winning the Best New Artist Grammy over Justin Bieber, introducing many to the next jazz superstar. The virtuosic bass player creates abstract compositions with a unique blend of bossa nova, soul, and R&B, performed with utter precision and soul. Eight albums in, Spalding continues to prove that she’s not just another gifted jazz artist, but an undeniable musical genius. — S. Noor
“Virtuosic” generally gets thrown around a little too casually for my liking, but I do believe that Spalding is the real deal. She is a damned amazing player on both double and electric bass and conquers any genre she decides to dive into, her well rounded background has pushed the discipline of “bass” further, we should all be paying attention to her. — Nicolette Alvarez (Pool Kids)
67. Pino Palladino
One of the greatest electric bass players ever. His pocket is undeniable and you can hear him on everything from early Peter Gabriel records to Dangelo to modern pop records. He is a chameleon while at the same time having a sound so distinctive. Probably one of the biggest influences in getting bass players in recent years to sit far behind the beat. He is a bass player’s bass player, while at the same time always serving the song so perfectly. –– Dan Molad (Coco/Lucius)
66. Paul Jackson
Paul Jackson made his mark as a member of Herbie Hancock’s band Headhunters and as a player on Hancock’s solo albums. In the mid ’80s, he moved to Japan, where he established Jazz for Kids, teaching Japanese youth about African-American history via music until his passing in 2021. –– S. Kaufman
There’s so many great records with Paul Jackson, but all those Herbie Hancock records that he’s on, I love. There’s just kind of a freedom, very funky, but very free at the same time. He is probably one of my bigger influences. — Trevor Dunn (Mr. Bungle)
65. Gail Ann Dorsey
Gail Ann Dorsey, photo by Chris McKay/Getty Images for Live Nation
Although she’d collaborated with acts like Tears for Fears and Gang of Four, Gail Ann Doresy is mostly known for her work with David Bowie. She was a fixture of Bowie’s live band from 1995 through his live retirement in 2004, even taking Freddie Mercury’s vocal parts while laying down one of music’s sickest basslines during “Under Pressure.” Her resumé also includes Lenny Kravitz, The B-52’s, and The Indigo Girls, on top of numerous vocal collaborations (The National, The Charlie Watts Big Band). And to think, the Philadelphia-born musician initially sought out to become a guitarist. — S. Noor
64. Noel Redding
It might not have been called the Noel Redding Experience, but the bass player was nonetheless essential when it came to turning Jimi Hendrix into the Jimi Hendrix Experience. Playing alongside arguably the greatest guitar player to ever do it, Redding held his own, getting flashy when the song called for it and knowing when to step aside for Hendrix’s theatrics. He was an all-time support player who deserves all the respect in the world. — J. Krueger
63. Paul Chambers
Jazz great Paul Chambers walked all over the fretless fingerboard of a double bass, and he’s heard on many a standard. That’s him all over Miles Davis’ Kind of Blue, and keeping John Coltrane on his toes throughout Giant Steps. Chambers, who passed away at just 33, knew how to fit between the spaces of a combo like no other, while also leading them into uncharted territory with his knack for navigating melody and harmony. — B. Kaye
62. Tal Wilkenfeld
Very few bassists have a resume as stacked as Tal Wilkenfield. Her tenacity — and more importantly, talent — has led her to share stages with Jeff Beck, Incubus, Eric Clapton, Prince, and Mick Jagger, and she’s recorded with the likes of Ringo Starr and Brian Wilson. But if all those stamps of approval aren’t enough, take a listen for yourself, and you’ll hear a skilled instrumentalist who has developed into a songwriter and bandleader very much in her own right. — M. Siroky
61. Sting
Sting is a charismatic, impressive frontman, but let us not forget his remarkable abilities on the bass guitar. It’s evident in The Police’s biggest songs, with Sting working perfectly off of Stewart Copeland’s backbeat emphasis and adding body to Andy Summers’ kaleidoscopic guitar lines. As the group’s primary songwriter, Sting very carefully let his bass work shine in a myriad of ways, lending memorable moments to “Every Little Thing She Does is Magic” and the expansive, otherworldy Zenyatta Mondatta. — P. Ragusa
60. Matt Freeman
Matt Freeman, photo by Raymond Ahner
When you think of early punk music, you hear the bass, but you don’t necessarily think of or pay too much attention to the bass — but when Matt Freeman came along in the late ’80s with Operation Ivy, he changed that forever. And even more so when he and Tim Armstrong formed Rancid. Matt is a busy bass player, no doubt about that, but not just busy to be busy. Every Rancid song has a bass hook and yet it doesn’t seem like it takes away from the vocals ever. It complements the vocal and it happens in every song. Operation Ivy and Rancid don’t have their signature sound without Matt Freeman. Period. — Cone McCaslin (Sum 41)
59. Chuck Rainey
One of the most recorded bassist of all time, Chuck Rainey may also be one of the most heard bassists ever; millions of people heard his bass welcome on Sanford & Son nearly every Friday from 1971 to 1977. His work with Quincy Jones was part of a prolific ’70s, which included landmark recordings with Aretha Franklin (“Rock Steady”) and Allen Toussaint (“Just a Kiss Away”). Rainey’s insane range is best displayed on the isolated track for Steely Dan’s “Kid Charlemagne,” a song on which he once said he “played everything I knew.” — B. Kaye
58. Robbie Shakespeare
Robbie Shakespeare — one half of the production duo Sly & Robbie, known for their work with Grace Jones, Joe Cocker, Bob Dylan, and No Doubt — was an understated genius on the bass guitar. His work with artists as a session musician was just as influential as when he and Sly were behind the boards calling the shots, and you can hear his laidback, masterful grooves on four decades of music. He’s called “Basspeare” for a reason — his work on the instrument is almost as prolific as his namesake. — P. Ragusa
57. Rex Brown
Rex Brown is the unsung hero of Pantera — the steady, sobering hand that has guided the group since its inception. With the musical virtuosity of Dimebag Darrell and Vinnie Paul being more “up front” and palpable, Brown — like many bassists — naturally slid into the background. But it was his propulsive airtight bass playing that acted as the glue in the mix, allowing the late brothers to freewheel and flex on their instruments. –– J. Hadusek
56. Tony Levin
Innovation defines Tony Levin’s style on the bass. The King Crimson bassist is credited with developing funk fingers alongside his guitar tech, Andy Moore — because not everyone would be brave enough to see what happens when you attach two short drumsticks to your hand and keep playing. Beyond that, Levin also certainly helped popularize the Chapman Stick, a distinct and recognizable instrument; essentially, Levin is the perfect argument against the idea that a good bass player is meant to blend in and go unnoticed. — M. Siroky
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