Master the pick: 10 iconic bass riffs that changed rock history

Long seen as heresy, the pick was originally a technique used by guitarists curious to try out the electric bass, which officially hit the market in 1951. Some of them even became legends of the instrument, Paul McCartney being one of the most famous examples.

Other bassists adopted this approach around the same time as McCartney, like Carol Kaye, who played on a huge part of the American pop scene during the ’50s and ’60s. In fact, she may have inspired Sir Paul in his style and technique. Carol used a pick with a small piece of foam placed under the strings near the bridge, giving that distinctive vintage sound from the era.

In the early ’70s, Yes bassist Chris Squire also made a name for himself with his pick usage, inspiring many in the progressive rock scene. And over the years, a whole wave of bassists followed like Peter Hook from Joy Division in the ’80s, whose melodic and unconventional playing still makes every New Wave kid from that decade nostalgic.

Then came the explosion of bassists using picks in the ’90s and 2000s: Krist Novoselic from Nirvana, Mark Hoppus from Blink-182, Pete Wentz from Fall Out Boy, and Jason Newsted, then bassist for Metallica.

All these four-string legends seem to thoroughly debunk the stereotype that bass shouldn’t be played with a pick…

So, is the pick just a frustrated guitarist’s trick, or does it have genuine value for bass?

Well, believe it or not, it really does have legitimate advantages on our favorite instrument!
First, in terms of sound, you can get certain tones that are much harder to achieve with traditional fingerstyle. A more percussive tone, more attack and midrange, which can help your playing cut through the mix with more clarity.

That’s what we’ll explore through 10 basslines that use this technique and perfectly illustrate its value.

Before we dive in, let’s go over some basics for anyone new to the pick.

You hold it between your thumb and index finger, with both fingers roughly perpendicular around the pick. (Everyone’s hands are different, so think of this as a guideline, not a strict rule.) The idea is to form a pinch grip. As with any technique, don’t over-tense your muscles. It’s all about a balance between your forearm and wrist. Avoid locking up the forearm, or you risk tendinitis. While the forearm gives momentum, it’s mainly the wrist that brings flexibility and smooth motion. Depending on the tempo, you can use downstrokes for slower songs, or alternate picking (down-up) for faster parts.

It’s all about personal taste and what you need. Picks come in tons of shapes, sizes, thicknesses, and materials. Triangular, rounded, plastic, wood, even aluminium—there’s something for everyone. These factors all influence both your tone and technique. A thinner pick will have more snap and brightness. A thicker one will give more attack and roundness. For beginners, I recommend trying several types to find what works best for you, both in terms of feel and sound.

The type of strings you use also affects how a pick sounds. With flatwounds, known for their warm, vintage tone, the pick adds more definition and a cool retro vibe. With roundwounds, which are naturally brighter, using a pick gives even more presence and a more modern sound.

1- Come Together – The Beatles (1969)

We mentioned Sir Paul McCartney right at the start. Bassist, guitarist, singer, and even drummer (according to legend), in one of the greatest British bands of the era. The bassline in “Come Together” is simple yet super effective and innovative. It’s one of the most famous lines of the last century. That distinctive tone? Flatwounds and a pick.

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2- Highway Star – Deep Purple (1972)

A classic ’70s rock track, “Highway Star” is a Deep Purple hit. Bassist Roger Glover delivers a hard-hitting line that clearly shows the arrival of heavy metal in the early part of the decade. Near the end of the chorus, his creativity shines : he seems to be playing around with chord arpeggios. The pick was probably his go-to method for songs like this.

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3- Sledgehammer – Peter Gabriel (1986)

A must-know for any self-respecting bassist: “Sledgehammer.” Tony Levin, a studio legend with over 500 albums under his belt, plays a fretless bass with an octaver (doubling the note an octave below) for that extra low-end. The result is an extremely groovy and unique line that gives this ’80s anthem its unmistakable character. The pick adds extra funkiness to Tony’s playing. This song is not yet available in mySongBook.

4- Guns N’ Roses – Sweet Child O’ Mine (1987)

A global hit off Appetite for Destruction still one of the best-selling debut albums ever. Bassist Duff McKagan, from Seattle’s punk scene, met Slash in L.A. His playing is melodic and unique, with a bright attack thanks to his use of relatively soft picks. That intro? An anthem still sung by fans today.

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5- Just Like Heaven – The Cure (1987)

Another classic from 1987. Many kids in France remember it as the theme song for the show Les Enfants du Rock. Simon Gallup, a founding member of The Cure, likely had no idea those four notes would become so iconic. Influenced by punk, using a pick was a natural move for him, giving the line clarity and presence in the mids.

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6- Get The Funk Out – Extreme (1990)

Not easy standing out next to Nuno Bettencourt and Gary Cherone. But Pat Badger held his ground just fine, thank you. That legendary intro blends glam and funk rock, combo that’s more than proven itself over the last four decades. In the ’90s, using a pick was common, especially to beef up low-end power. Warning: this one grooves hard.

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7- Schism – Tool (2001)

Winner of a Grammy for Best Metal Performance, this progressive metal juggernaut is hard to miss. After a chordal intro, the bass settles into an ostinato that runs through nearly the entire track. Classic Justin Chancellor alongside drummer Dan Kenny, they form the core of Tool’s sound. In Drop D tuning, with complex time signatures (switching between 7/8 and 5/8), this one’s a real challenge.

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8- No One Knows – Queens of the Stone Age (2002)

Josh Homme’s band hit like a freight train with their early albums, and in 2002, Songs for the Deaf took it to another level. Still considered their best work, it features one of the tightest bass-and-drum pairings in American rock: Nick Oliveri and Dave Grohl. Nick’s pick-driven solo on “No One Knows” is played high up the neck with hammer on, it’s tricky, so warm up first before jumping in.

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9- Snow – RHCP (2006)

Yes, it’s true Flea has used a pick before, and more than once! In “Snow,” a well-known RHCP song, the verse and pre-chorus are fingerstyle but the chorus is played with a pick. He strums chords, a concept often overlooked or misunderstood by some bassists (we see you). This kind of chordal work highlights the technical side of pick playing, which he also explored in 2002 on “Don’t Forget Me.”

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10- The Pretender – Foo Fighters (2007)

Most of the songs so far have basslines that stand apart from the other instruments. But sometimes, locking in with the rhythm guitar hits just right. “The Pretender” is the calm before the storm. Dave Grohl’s band dives in hard, every note and beat supports his vocals. The pick gives the line its sharp, aggressive edge. Bassist Nate Mendel stays low-key but effective, while the late Taylor Hawkins brings wild energy to the drums. Two contrasting personalities that proved how powerful differences can be.

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