9 of the best Tim Commerford basslines
27th Feb 2014 | 16:59
The finest fretwork from Rage Against The Machine's rhythmic lynchpin
BASS EXPO 2014: Tim Commerford is the tattooed bedrock of Rage Against The Machine's hugely powerful instrumental trio.
From Killing In The Name to Wake Up, the vegan four-stringer supplies the audio beef in the band's biggest tunes, forging a powerful link between Brad Wilk's thunderous drumming and Tom Morello's guitar manipulation. For your audio pleasure, we've picked out nine of his finest bass moments…
Killing In The Name
The off-kilter riff that opens the track shouldn't work but it really does. Then Tim Commerford digs into the verse groove replete with cheeky runs up the fretboard.
Take The Power Back
Slap bass was never a huge part of the Rage sound, but Timmy C sets the groove from the start, slapping and popping his way through the tasty lead riff.
Bullet In The Head
Surely one of the most satisfying basslines to play of all time? Three simple notes that open a monster track. And let's not forget the bulldozing riffs that brings this banger home, too.
Yes Tom Morello is a guitar pioneer, but the monster riffs punctuating every exhilarating second of this relentless track wouldn't sound nearly as huge if they weren't locked in with Timmy C's bass.
A lesser-known track that featured on the Godzilla soundtrack. Timmy is firmly in the spotlight on this belter, notably the rapidfire fingerpicked run that builds to a frenzy as the track ends.
Without A Face
The closest Rage ever got to straight hip-hop. Stripped back verses are sinister in their darkness before Timmy's Jazz bass lends a head crushing muscle to the closing two-note riff.
Calm Like A Bomb
Unexpectedly slipped into gear by a cheeky Commerford bass solo. He then holds it down in style through the verses as Morello meanders off on another squeal fest.
How I Could Just Kill A Man
How do you make a hip-hop classic into a rock destroyer? Give it to Rage Against The Machine and have Timmy C slather it with groove. Textbook.
By the third album, Commerford and Morello were virtually telepathic in their note choices, instinctively matching heavily effected guitar with soaring basslines to make this an album highlight.