Melvin Dunlap’s bass line is what you hum after listening to this tune, but Gadson’s groove is so funky and deceptively complex.
This particular pattern comes at the top of the tune before the vocals come in.
Gadson was experimenting with 16th-note grooves and the syncopated left hand.
This phrase requires some tricky coordination, like cracking the snare while playing a soft note on the hat. The ?drum break really flips the beat around too.
“Frankly, I like to groove,” said James.