“I Got You (I Feel Good)” - Bernard Odum
Bernard Odum — James Brown (1965)
Single: I Got You (I Feel Good) (King Records)
Bernard Odum’s bassline on “I Got You (I Feel Good)” is a foundational groove in the evolution of funk — a line that bridges early R&B vocabulary with the more stripped-down, drum-centered funk that would crystallize later in the decade. What makes this line essential for Working Pro players is how Odum balances melodic clarity, tight pocket placement, and rhythmic stability inside a high-energy arrangement that never stops moving.
The Line — Melodic but Anchored
Unlike the hypnotic minimalism of “Cold Sweat,” the line here carries a more melodic shape, built from clear, singable motifs that support James Brown’s vocal phrasing. Odum outlines the harmony with straightforward chord tones, but the real artistry lies in how he phrases them — slightly clipped, slightly behind the beat, with just enough forward motion to keep the band lifted.
The recurring figure in the main groove is built on tension-and-release: a strong downbeat anchor followed by a light, bouncing response. This call-and-response internal design mirrors James Brown’s vocal delivery and keeps the groove conversational.
Time Placement — Behind, But Not Heavy
Odum sits behind the beat, but not with the weight of “Cold Sweat.” Here the pocket is buoyant, almost elastic — the notes land late, but the line still feels energetic. This balance is what gives the track its unmistakable swagger. Working Pro players should notice how Odum keeps the subdivisions extremely even, even though the note placement leans back.
This is where advanced funk players separate themselves:
behind the beat without dragging, energized without rushing, locked without sounding mechanical.
Note Length + Articulation — The Real Engine
Odum shapes each note with a short, controlled decay — enough to keep the line punchy and present, but not staccato. This attack-decay balance leaves space for the horns, which are extremely active in this tune, and leaves Clyde Stubblefield’s drum pattern plenty of room to breathe.
This track is an example of the horn arrangements essentially competing for rhythmic space — Odum maintains order by not overplaying. The bassline becomes the stabilizing element that everything else bounces against.
Interaction with the Band — Holding Ground in Organized Chaos
James Brown’s arrangements in this period are rhythmic ecosystems: horns firing in syncopated bursts, guitars skanking on offbeats, drums weaving between subdivisions. Odum’s role is to be the center of gravity. The bassline rarely changes, even as the band layers and clears textures; that stability is what gives the tune its iconic feel.