Guys: great discussions and insight here!!
@Vik first of all, great to hear that and how you are bouncing back. Taking those chords and making them your own song sounds like the best “therapy” to move on. The chords and the sequence are used a lot, so nobody can really claim ownership here. How to take that chord sequence and add melody, lyrics, groove and all that is really how you make it your own!!
@Vik and @eric.kiser: Somehow, I don’t think it should be up to the bass player to “decide” on the key. It really depends on the chords, more specifically, which types of chords are being used. In the original post, it seemed these were simply power chords (root-fifth-octave), and, yes, there you have a lot of leeway in terms of basslines and melodies - just trust you ears!
However, as soon as there are thirds in the chords and sevenths etc, then you can no longer ignore these “flavors” as the bass player - unless, you slavishly stick to playing roots and perhaps some fifths, So, I think it is just more “natural” to construct a bass line over an existing chord sequence (taking into account the flavors of the chords) than to retro-fit some chords to an existing bass line (you might find chords that theoretically fit to the bass line, but the resulting chord sequence sounds lame/wrong/un-interesting).
Back to the key discussion, though: I wanted to re-iterate a question I originally posed: is it important to know the key?? Who really needs to have that information? Is it the bass player (does he/she need to know the key or is knowledge of the chords sufficient)? The singer constructing a melody? I guess both, bass player and singer, could just trust their ears. Is it then those who want to solo over these chords? Perhaps, as it could help them find a scale that works for all/most of the chords. But, again, in rock music, you’ll find that most soloists play by ear, and mostly use pentatonic or blues scales.
And in the example in the Neely video: did Lynard Skynard really think about what key their song was going to be as they sat down and composed? And did they, on purpose, put in a melody that would make the tonality ambiguous? I can’t imagine… I think they played what sounded good to them and were not overly concerned about music theory or some “nerds” arguing about the key of the song more than 40 years later 
So, for all practical purposes, in most pop and rock songs, it is really secondary what key it is in (IMHO).
Now, if you are writing sheet music (or transcribing), it is a bit different. Here, if you, for example, find yourself constantly writing #'s in front of your F’s and C’s, it is certainly much more convenient to put two #s at the beginning of each line and thus “declare” this song to be in D major/B minor. And, if it indeed resolves to B in the end, then I guess B minor is a fair conclusion.
The bass player telling the guitarist(s) what to do, and the parameters of playing. I may be just a tad biased by now, but the bass player is really the key person instrumentally, bridging the rhythm and melody section, so shouldn’t they be the one calling a lot of the shots?! 
Give me a couple of months.
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about my songs) Before I write it down, the music is often just recorded at home, on bass and sometimes on keys. When needed I write it down using Musescore for notation. Sometimes I get help from band members, mostly it’s just me on my own. To think about, it’s about time to get some recordings done in the rehearsal-room 
might schedule that in January…