Flea’s six best basslines with the Red Hot Chili Peppers
Flea, the unerring bassist of the funk-rock masters Red Hot Chili Peppers, is an artist who commands respect – even from those who may not consider themselves fans of the band’s work, reflecting how coveted his efforts on the four-string are. Blending outlandish technique with an energetic and affable personality, Flea’s work on the bass is a channel straight from his soul, imbuing the band with an authenticity that has allowed them to win over fans from every walk of life.
Having given the Los Angeles band their power, Flea has been key to their success since they formed in 1983. His work was famously augmented when drummer Chad Smith entered the fold in 1988, establishing a legendary four-legged groove machine that set the standard for all bands moving forward.
Although his more uptempo moments are what’s widely lauded, Flea is so much more than this, and he invariably serves the song, providing a ballast for guitar hero John Frusciante to shred on top of and for frontman Anthony Kiedis to deliver his scat-like vocals. He can be fast and slap or sit back in Chad Smith’s pocket with a simple eight-note bassline; this is how dextrous he is.
Pentatonic or percussive, Flea is the modern master of the bass, with almost every budding rhythmic maestro looking to his work as an example of how to do it. He’s delivered many stellar moments over the years, so duly, we’ve listed his six best basslines.
Flea’s six best basslines:
‘Good Time Boys’ – Mother’s Milk (1989)
Before gushing about Flea’s work on this early track, it must be said that ‘Good Time Boys’ rips and is a massively underrated track within the Red Hot Chili Peppers oeuvre. Kicking off with Flea’s repeated slap, the band then drop in with one hell of a groove, which is driven by their bassist’s catchy bassline. This is vintage Flea, and it is to be respected.
‘Give It Away’ – Blood Sugar Sex Magik (1991)
Some people would argue that ‘Give It Away’ is Flea’s greatest moment on a bass for Red Hot Chili Peppers. A swaggering piece of rock, the way he and John Frusciante’s respective instruments dovetail is an absolute masterclass.
Notably, Flea’s bassline is comprised mainly of slides and bends, which have the power to twist your brain inside out. This is a bassline that every bassist should have in their locker, with it demonstrating that the bass is most impactful when there’s space in the song. You don’t have to play throughout the whole song; drop out for a little bit.
‘Under The Bridge’ – Blood Sugar Sex Magik (1991)
One of the group’s more downbeat songs – until the finale, people often overlook Flea’s work here as it is mainly John Frusciante’s heartfelt guitar line and Anthony Kiedis’s iconic performance that grab the headlines. However, do not be fooled into thinking that Flea’s efforts on the track aren’t worthy of praise, again, they indicate his acute understanding of how to serve the song best. A beautifully mellow piece of bass work, it oozes soul.
‘Naked In The Rain’ – Blood Sugar Sex Magik (1991)
Another underrated Red Hot Chili Peppers cut, this funk-rock anthem is carried by the clank of Flea’s bass that links up with Chad Smith’s drums to create an unrelenting noise. There’s slap here, as well as more driving instances, showing the sheer ability that Flea has, which allows him to mix up the dynamics of his playing within a split second. Look no further for anyone wanting to hear what a genuinely interestingly bassline looks like. It also comes complete with one of his best solos.
‘Soul to Squeeze’ – 1993
This 1993 single has been a favourite of the band’s fans since it dropped and is also lauded as one of Flea’s best bass performances. A slower number, his work here goes much further than that on ‘Under the Bridge’, with it busy but still leaving room for the notes to breathe and for Frusciante and Kiedis’s work to shine. Perhaps the best ballad the group ever penned, Flea’s work holds it all together, and his melodic work in the chorus is simply stunning.
‘Around The World’ – Californication (1999)
Without this madcap number, no list of Flea’s best basslines would be complete. The high point of his uptempo work, the song is noted for the start that is driven by Flea shredding before it gives way to one of his funkiest grooves. A slap bass masterclass, this is Flea at his finest, with it being the culmination of all the brilliance that came before it. He juxtaposes the funk of the verse with a melodic chorus performance, showing us all just how powerful the bass can be when utilised properly.
