Best Funk Bass Lines: 20 Essential Grooves Ranked

The best funk bass lines are the very definition of groove. They aren't just background noise; they are the engine, the heartbeat, and the soul of the track, compelling you to move. From the greasy syncopation of The Meters to the thumb-slapping thunder of Larry Graham, these iconic grooves are more than just notes. They're a physical force that defined a genre and influenced generations of musicians.

This guide breaks down the absolute titans of the low-end. We'll explore the players, the techniques, and the songs that built the church of funk, one 16th note at a time.

The Best Funk Bass Lines: What Makes a Groove Legendary?

What separates a good bass line from a truly great one? In funk, it comes down to a few key ingredients. The bass is the crucial link between the drums' rhythm and the harmony of the guitars and keyboards. It’s the backbone of the entire song.

A core characteristic is a heavy emphasis on syncopation. Funk bassists play around the beat, using off-beat rhythms to create a tension and release that makes the music feel alive and unpredictable. This rhythmic complexity is what makes you want to dance.

Then there's the concept of "The One," made famous by James Brown. He relentlessly drilled his bands to hit the first beat of every measure with power and authority. This strong downbeat acts as an anchor, a rhythmic center of gravity around which all the other syncopated notes revolve. After hitting "the one," the space is filled with intricate 16th-note grooves, creating a busy yet locked-in feel. These rapid-fire notes, often including percussive "ghost notes," are the engine of funk.

This approach is a stark contrast to other genres. While some of the best metal bass lines focus on driving eighth notes that follow the guitars, funk bass often creates a counter-rhythm that plays off the entire band.

The Pioneers Who Built the Funk Foundation

Before we list the songs, we must honor the architects. These players didn't just play bass; they invented a language.

Larry Graham

Often called the father of slap bass, Larry Graham developed his "thumpin' and pluckin'" technique to compensate for not having a drummer in his early bands. Playing with Sly and the Family Stone, his percussive style on tracks like "Thank You" was a revelation. The Larry Graham style became a benchmark for funk and is still one of the most important slap bass classics ever recorded. Learning his parts is a rite of passage for any serious funk player.

Bootsy Collins

If Larry Graham was the innovator, Bootsy Collins was the psychedelic spaceman. After cutting his teeth in James Brown's band, he joined George Clinton's Parliament-Funkadelic and took the bass to another planet. His use of an envelope filter (auto-wah) on his "Space Bass" created a vocal, bubbly tone that was instantly recognizable. His lines are often deceptively simple but drenched in feel and personality.

Bernard Edwards

As the bassist and co-producer for Chic, Bernard Edwards was a master of taste and precision. His bass lines were the driving force behind disco's biggest hits, but his pocket was pure funk. Lines like "Good Times" are models of efficiency, using perfectly placed notes and rests to create a groove that is both sophisticated and impossibly deep. Many producers looking to learn how to make money as a music producer study his work with Nile Rodgers for its timeless appeal.

Francis "Rocco" Prestia

The engine behind Tower of Power, Rocco Prestia was the king of 16th-note subdivision. His style was incredibly busy and intricate, using muted "ghost notes" to create a relentless, bubbling rhythmic pulse. His left-hand muting technique was legendary, ensuring every note was perfectly articulated and staccato. Playing a Rocco line is a true test of stamina and precision.

George Porter Jr.

As a founding member of The Meters, George Porter Jr. defined the sound of New Orleans funk. His bass lines are greasy, syncopated, and full of space. He understood that the notes you don't play are just as important as the ones you do. "Cissy Strut" is a masterclass in this approach: a simple line that leaves tons of room for the band to breathe while remaining undeniably funky.

The Definitive Ranking: 25 Funk Bass Lines You Must Know

Here they are: the grooves that have filled dance floors, inspired countless musicians, and stood the test of time. We've ranked them based on influence, technicality, and pure, unadulterated funkiness.

Rank	Song	Artist	Bassist	Why It's Essential
1	Good Times	Chic	Bernard Edwards	The most sampled bass line in history. A masterclass in groove and note choice.
2	Flashlight	Parliament	Bootsy Collins	Defined the P-Funk sound with its synth bass line doubled on electric bass.
3	Thank You (Falettinme Be Mice Elf Agin)	Sly and the Family Stone	Larry Graham	The song that introduced slap bass to the masses. A true game-changer.
4	What Is Hip?	Tower of Power	Rocco Prestia	A relentless 16th-note workout that defines Rocco's signature style.
5	Cissy Strut	The Meters	George Porter Jr.	The quintessential New Orleans funk groove. Simple, greasy, and perfect.
6	Brick House	The Commodores	Ronald LaPread	An iconic, instantly recognizable line with a massive tone and swagger.
7	Forget Me Nots	Patrice Rushen	Freddie Washington	A smooth, melodic line with a killer slap-and-pop intro.
8	For the Love of Money	The O'Jays	Anthony Jackson	A legendary intro played through a phaser pedal. Dark, moody, and funky.
9	Sex Machine	James Brown	Bootsy Collins	The definition of playing "on the one." A simple riff that's all about feel.
10	Super Freak	Rick James	Oscar Alston / Rick James	A driving, aggressive line that powered one of the 80s' biggest hits.

---

1. Good Times – Chic

Bassist: Bernard Edwards

There's a reason this is one of the most sampled bass lines ever, forming the foundation for "Rapper's Delight" and "Another One Bites the Dust." Edwards' line is the epitome of sophisticated funk. It’s a perfectly constructed melodic and rhythmic statement, using octaves and smooth, chromatic walks to create constant forward motion. It’s hypnotic, elegant, and will be studied as long as people play the bass guitar. It's truly one of the most iconic bass lines of all time.

2. Flashlight – Parliament

Bassist: Bootsy Collins

This track is pure P-Funk genius. The main riff wasn't even played on a bass guitar initially; it was a Minimoog synthesizer line created by Bernie Worrell. Bootsy Collins then doubled the synth line on his electric bass, adding his signature greasy feel and percussive pops. The result is a bottom end so massive and rubbery it sounds like it came from another dimension.

3. Thank You (Falettinme Be Mice Elf Agin) – Sly and the Family Stone

Bassist: Larry Graham

This is the big one. The patient zero of slap bass. Larry Graham's innovative "thumpin' and pluckin'" technique turned the bass into a percussive and melodic lead instrument. The groove is aggressive, syncopated, and completely changed what was thought possible on the bass. Without this track, the sound of funk and popular music would be vastly different. For new players inspired by this, there are many easy slap bass songs for beginners to get started with the technique.

4. What Is Hip? – Tower of Power

Bassist: Francis "Rocco" Prestia

Hold on tight. This bass line is a freight train of 16th notes. Rocco Prestia's signature style of muted, staccato notes is on full display here. He creates a percussive, bubbling foundation that is incredibly difficult to replicate with his level of precision and endurance. It’s a technical marvel that never sacrifices groove for flash. Trying to find accurate funk bass tabs for this one is a challenge, as so much of the magic is in his unique muting technique.

5. Cissy Strut – The Meters

Bassist: George Porter Jr.

This is the ultimate lesson in playing with space. George Porter Jr.'s line on "Cissy Strut" is brilliantly simple but unbelievably funky. It's a two-bar phrase that locks in perfectly with Zigaboo Modeliste's iconic drum beat. The genius is in its syncopation and the air between the notes, creating a relaxed, behind-the-beat feel that is the essence of New Orleans funk.

6. Brick House – The Commodores

Bassist: Ronald LaPread

You know this line from the first two notes. It's got swagger for days. LaPread's groove is bouncy and playful, built around a simple but effective riff that uses a great slide. The tone is huge: round, warm, and sitting perfectly in the mix. It's the kind of bass line that makes everyone in the room smile.

7. Forget Me Nots – Patrice Rushen

Bassist: Freddie Washington

This song features one of the best bass intros in music history. Freddie Washington's popping intro is crisp, clean, and instantly memorable. The verse groove that follows is a masterclass in melodic fingerstyle funk, supporting the vocals perfectly before returning to the iconic slap riff. It's a complete package of funk bass techniques.

8. For the Love of Money – The O'Jays

Bassist: Anthony Jackson

Drenched in the swirling sound of a phaser pedal, Anthony Jackson's bass line is dark, menacing, and impossibly cool. The riff is repetitive but hypnotic, creating a tense, moody atmosphere that drives the entire song. It proves that funk doesn't always have to be upbeat party music; it can be serious and heavy, too.

9. Get Up (I Feel Like Being a) Sex Machine – James Brown

Bassist: Bootsy Collins (at age 18!)

This is the funk gospel according to James Brown. The bass line, played by a teenage Bootsy Collins, is a simple, two-note pattern. But the genius is in the rhythm and the relentless focus on "the one." It's a hypnotic, raw groove that locks in with the drums to create a foundation so solid you could build a skyscraper on it.

10. Super Freak – Rick James

Bassist: Oscar Alston / Rick James

Aggressive, punchy, and unforgettable. The bass line from "Super Freak" is the engine of the song, borrowing its core riff from Queen's "Another One Bites the Dust" (which was itself inspired by "Good Times"). It's a testament to how funk bass lines can be both derivative and completely original at the same time, powering a track to legendary status.

11. Cold Sweat – James Brown

Bassist: Bernard Odum

This is arguably one of the first true funk songs. Bernard Odum’s bass line is stripped down to its rhythmic essence. It breaks away from traditional walking bass lines and focuses on a syncopated riff that emphasizes the downbeat, a moment that many music historians point to as the birth of funk.

12. Chameleon – Herbie Hancock

Bassist: Paul Jackson (originally a synth bass line)

Another iconic line born on a synthesizer (an ARP Odyssey), "Chameleon" is one of the most learned famous bass riffs for aspiring players. The single-note riff is incredibly simple, but its syncopation and placement against the drum beat make it a foundational groove. Paul Jackson's interpretation on electric bass with The Headhunters became legendary.

13. Rock Steady – Aretha Franklin

Bassist: Chuck Rainey

Session legend Chuck Rainey laid down a bubbling, percolating groove on this classic. The line is full of movement, using slides and quick runs to dance around the beat. It’s a perfect example of how a busy bass line can support a powerful vocalist without ever getting in the way. Rainey's diverse career, which also included iconic work with Steely Dan, shows how a truly great funk player's sense of groove can translate across genres.

14. Hair – Graham Central Station

Bassist: Larry Graham

After leaving Sly and the Family Stone, Larry Graham formed Graham Central Station and took his slap technique to the next level. "Hair" is a showcase for his thunderous thumb, with a bass line that is both a rhythmic foundation and a lead melodic voice. It’s complex, powerful, and pure, unfiltered funk.

15. The Ghetto – Donny Hathaway

Bassist: Marshall Hawkins

This live recording is all about vibe. Marshall Hawkins' upright bass line is simple and repetitive, creating a deep, hypnotic trance. It demonstrates that funk is a feeling, not just a technique. The groove builds and breathes with the band, a testament to the power of a locked-in rhythm section.

16. I Wish – Stevie Wonder

Bassist: Nathan Watts

Played by the legendary Nathan Watts, the bass line on "I Wish" is pure joy. It's a complex, melodic part that perfectly captures the nostalgic feel of the lyrics. The groove is incredibly active, full of syncopated rhythms and walking lines that never stop moving. It’s a true workout for any bassist.

17. Le Freak – Chic

Bassist: Bernard Edwards

Another masterpiece from Bernard Edwards. Like "Good Times," this line is deceptively simple but flawlessly executed. It’s built on a driving octave pattern that is the definition of a four-on-the-floor disco-funk groove. It's a lesson in precision, tone, and knowing exactly what a song needs.

18. Low Rider – War

Bassist: B.B. Dickerson

Instantly recognizable from its first few notes, "Low Rider" is built on one of the most iconic Latin-infused funk grooves ever. B.B. Dickerson’s bass line is laid-back and cool, perfectly capturing the song's cruising vibe. It’s simple, effective, and has become a part of our shared musical DNA.

19. Can't Stop – Red Hot Chili Peppers

Bassist: Flea

Flea is a disciple of Bootsy and Graham, and he brought their funk sensibilities to the world of alternative rock. The main riff of "Can't Stop" is a masterclass in his percussive, aggressive fingerstyle technique. He uses muted notes and syncopation to create a driving, funky riff that is uniquely his own.

20. Stomp! – The Brothers Johnson

Bassist: Louis "Thunder Thumbs" Johnson

Louis Johnson earned his nickname. "Stomp!" is a slap bass anthem. The bass line is the star of the show, a technical tour-de-force of thumb slaps, string pops, and funky fills. It’s an energetic, joyful line that dares you not to dance.

21. Let's Groove – Earth, Wind & Fire

Bassist: Verdine White

Verdine White’s bass lines were always melodic and full of energy, and "Let's Groove" is a prime example. The line is bouncy and syncopated, driving the song's infectious energy. It’s a perfect blend of funk, disco, and pop sensibilities from one of the tightest bands in history.

22. Give Up The Funk (Tear the Roof Off the Sucker) – Parliament

Bassist: Cordell "Boogie" Mosson

While Bootsy is the most famous P-Funk bassist, Cordell Mosson held down the low end on many of their most iconic tracks. This bass line is the foundation of one of funk's greatest anthems. It’s a simple, repetitive groove that is all about the pocket. It’s heavy, hypnotic, and the glue that holds the entire wild track together. The influence of these funk lines on hip-hop is massive, with producers like Dr. Dre building an entire sound (G-Funk) around them. The cultural and financial success that followed, evidenced by milestones like Dr. Dre's net worth, is a direct testament to funk's enduring legacy.

23. Pick Up the Pieces – Average White Band

Bassist: Alan Gorrie

This instrumental track is pure funk fire. Alan Gorrie’s bass line is tight, punchy, and locks in perfectly with the horns and drums. It’s a lesson in ensemble playing, a groove that is interesting on its own but serves the song above all else.

24. Higher Ground – Stevie Wonder (Red Hot Chili Peppers version)

Bassist: Flea

While Stevie Wonder's original Clavinet bass line is legendary, Flea's interpretation for the Red Hot Chili Peppers' cover brought it to a new generation. His aggressive slap-and-pop version is a high-octane explosion of funk energy. It's a prime example of how a classic groove can be reinterpreted with a modern edge.

25. 1612 – Vulfpeck

Bassist: Joe Dart

Carrying the funk torch into the 21st century, Joe Dart and Vulfpeck have built a following on raw, minimalist funk. Dart's bass line in "1612" is a perfect example of his style: locked-in, no-frills, and impossibly groovy. He channels the spirit of players like Rocco Prestia and James Jamerson, proving that a great feel and a deep pocket are timeless.

Getting the Funk Sound: Gear and Technique

While it's often said that the funk is in the fingers, certain equipment can help you get closer to that classic sound. The Fender Precision Bass and Fender Jazz Bass are the two most common choices. The P-Bass has a thick, thumpy tone that sits beautifully in a mix, while the Jazz Bass offers a brighter, more articulate sound with more tonal variety.

When it comes to technique, mastering a few key skills is essential.

• Fingerstyle: The foundation of most funk. Being able to play clean, consistent 16th notes with your index and middle fingers is crucial.
• Slap and Pop: The percussive sound pioneered by Larry Graham. The "slap" is done by striking the string with the bony part of your thumb, while the "pop" is done by snapping the string with your index or middle finger. Choosing the best bass strings for slap can make a huge difference in getting a bright, crisp tone.
• Ghost Notes: These are notes muted with your fretting hand so they have no pitch, only a percussive "thud." They are used to fill in space and add rhythmic complexity to a groove.
• Muting: Controlling the length of your notes is vital. Using both your fretting hand and plucking hand to mute strings and keep the groove clean and tight is a hallmark of great funk playing.

If you're looking to build your own funk-producing setup, finding the best places to buy music studio equipment is a great first step toward capturing these classic tones.

Frequently Asked Questions

What makes a bass line "funky"?

A funky bass line is all about rhythm and feel. Key ingredients include syncopation (playing off-beat), a strong emphasis on the first beat of the measure ("the one"), the use of 16th notes and percussive ghost notes, and leaving space for the music to breathe. It’s less about the specific notes and more about how they are played in time with the drums.

Who is considered the king of funk bass?

This is highly debated, but three names are always at the top: Larry Graham for inventing the slap technique, Bootsy Collins for his otherworldly tone and personality with James Brown and P-Funk, and James Jamerson for his melodic Motown lines that inspired all funk players who followed.

What is the most famous funk bass line?

"Good Times" by Chic is arguably the most famous and influential. It has been sampled in hundreds of songs, most notably "Rapper's Delight" by The Sugarhill Gang, and its smooth, melodic groove is instantly recognizable worldwide.

What scales should I learn for funk bass?

The minor pentatonic scale is a great starting point for funk, as many classic lines are built from it. The Dorian mode and the Blues scale are also very common. Adding chromatic notes (notes outside the main scale) as passing tones is a key part of creating those smooth, walking bass lines you hear in Chic or Stevie Wonder songs.

Do I need a specific type of bass to play funk?

No, you can play funk on any bass. However, the Fender Precision Bass and Fender Jazz Bass are the most iconic choices for the genre due to their classic tones. The Music Man Stingray is also a popular choice, especially for slap bass. Ultimately, the funk comes from your hands and your rhythmic feel, not the instrument itself. For modern musicians, skill with your instrument is just one part of building a career; understanding the business is also key, including knowing the pros and cons of starting your own record label.