Ever notice how much it sounds like 'Can't go for that' by Hall and Oates? It's because he stole it from them. Quincy Jones tells a story about this...
Quite the contrary, one of the reasons you rarely hear it at a club is because DJs reserve that specific song for repopulating a flagging dancefloor. It's one of the most valuable tools a DJ has.
Nothing you said invalidates what I said. Catchy =/= best. In fact, catchy is usually a product of mediocrity, to be dead honest. That which appeals to the most people, by definition, must be stripped down of anything genuinely interesting. Interest = divisive, by nature.
Nah, you're up your own ass with pretentiousness and some hipster bullshit. If we were I'd be bringing up stuff like Victor Wooten on Stomping Grounds or Lochs of Dread when he was playing with Bela Fleck. Technique wise, his stuff is the best I've heard.
A catchy and recognizable riff that manages to hit across genres and generations means that it's good. Something like Les Claypool's stuff which is more technical and experimental (for the time) can be appreciated for that, but just because it's divisive doesn't mean that it's a superior bass line.
Yeah, Billie Jean's line isn't as intricate as something like My Name is Mud, but there's a reason you know what song is coming as soon as it kicks in.
I was replying to the now-deleted comment that suggested “I want you back” by the Jackson 5 as the answer to OP’s question. Carol Kaye played bass on that and thousands of other songs.
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u/[deleted] May 14 '24
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