Funky Friday – Episode 79: The Big Funky

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🎧 Listen live on KDOG 9 AM Pacific Time→ Here

🎧 Listen live on KCSM HD2 9 PM Pacific Time→ Here (On mobile, scroll down to the KCSM HD2 player)

📆 Add to Calendar — Funky Friday (Weekly):

• 9 AM KDOG

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🎶 Catch the Replay  →Here

📖 Full Episode Recaps + Setlists → Here

📻 Renegade Radio Site → Here

Airdate: 8.7.26 - 9 AM Pacific Time on KDOG & 9 PM Pacific Time on KCSM HD2

Funky Friday – Episode 79: The Big Funky

Happy Friday and welcome to Funky Friday Episode 79: The Big Funky.

New Orleans has always moved to its own rhythm.

You can hear it in the rolling piano of Professor Longhair.

In the pulse of a second line moving through the streets.

In the chants of the Mardi Gras Indians.

And in the deep, syncopated pocket that helped give New Orleans funk its unmistakable sound.

This week, Funky Friday travels to the Crescent City for a journey through the artists, families, and musical traditions that built one of the funkiest places on Earth.

The story begins with The Meters.

Art Neville, George Porter Jr., Leo Nocentelli, and Joseph “Zigaboo” Modeliste created a sound that was loose and precise at the same time.

Every instrument had its place. Every empty space mattered. Together, they turned rhythm into conversation. But New Orleans funk was never created by one band alone.

It grew from Professor Longhair’s Caribbean-influenced piano, the street rhythms of the city’s brass bands, the songs and studio work of Allen Toussaint, and the chants passed through generations of Mardi Gras Indian culture.

Those traditions collided, evolved, and found new life in artists like Dr. John, Lee Dorsey, The Wild Tchoupitoulas, and The Neville Brothers.

The signal continued through Jon Cleary, Papa Grows Funk, Trombone Shorty, Galactic, and Dumpstaphunk.

Different generations.

Different sounds.

The same citywide pulse.

We open this week’s journey with The Meters’ original recording of “Fire on the Bayou.”

By the end of the hour, that fire will return in the hands of The Neville Brothers, transformed from a Meters groove into a full family anthem.

Between those two recordings lies the story of New Orleans funk.

Not a straight line.

A family tree.

A rhythm passed from one generation to the next.

Welcome to Episode 79.

Welcome to New Orleans.

Welcome to The Big Funky.

Signal Discovery

Some artists leave the day job behind when the hits arrive.

Lee Dorsey kept returning to his body-and-fender work.

Before his voice became part of the foundation of New Orleans funk, Dorsey had already served aboard a United States Navy destroyer during World War II and fought professionally as a lightweight and featherweight under the name “Kid Chocolate.”

After returning to New Orleans, he learned auto-body repair through the G.I. Bill.

Then someone heard him singing while he worked.

That moment began one of the most important partnerships in New Orleans rhythm and blues.

Allen Toussaint found the perfect interpreter for his songs in Lee Dorsey.

Dorsey’s warm, easygoing delivery made even the sharpest observations sound inviting. Toussaint famously described his voice as being “like a smile.”

Behind that voice, another important story was developing.

Art Neville, George Porter Jr., Leo Nocentelli, and Zigaboo Modeliste were becoming Allen Toussaint’s first-call studio rhythm section.

Before audiences fully knew them as The Meters, they were building deceptively simple, tightly interlocking tracks for singers like Lee Dorsey.

In some cases, the musicians recorded the instrumental tracks without knowing who would eventually sing over them.

Dorsey added the voice later.

Those sessions helped carry New Orleans rhythm and blues into the emerging language of funk.

In 1969, Dorsey released a song whose title sounded almost like a declaration of intent: “Everything I Do Gonh Be Funky (From Now On).”

The phrase continued traveling long after the record left the studio.

His music was covered by artists ranging from John Lennon and Little Feat to Devo and the Pointer Sisters.

Decades later, the Beastie Boys invoked Lee Dorsey by name in “Sure Shot,” using him as shorthand for something undeniably funky.

But behind the influence and the famous connections remained the body-and-fender man from New Orleans.

A Navy veteran.

A prizefighter.

A working craftsman.

And one of the voices that helped introduce the world to New Orleans funk.

This week’s featured track comes from Dorsey’s 1970 album, Yes We Can.

Written, arranged, and produced by Allen Toussaint and powered by The Meters, “Who’s Gonna Help Brother Get Further” combines social observation, call-and-response vocals, and a relentless New Orleans groove.

Watch Lee Dorsey’s remarkable story below.

Then hear “Who’s Gonna Help Brother Get Further” as part of this week’s journey through The Big Funky.

https://youtu.be/qDte56iKK60?si=uTyIRuI0IEN8AAwg

Funky Friday – Episode 79: The Big Funky

🔥 SETLIST + RENEGADE NOTES

THE METERS — Fire on the Bayou (1975)

Personnel: Art Neville (keyboards, vocals), Leo Nocentelli (guitar, backing vocals), George Porter Jr. (bass, backing vocals), Joseph “Zigaboo” Modeliste (drums, vocals), Cyril Neville (congas, percussion, vocals). Produced by Allen Toussaint and The Meters.

Renegade Note: Opening this week’s journey, “Fire on the Bayou” captures The Meters at the height of their powers. Cyril Neville’s percussion and vocals expanded the original quartet’s sound, helping transform the band’s famously spare pocket into something larger, heavier, and unmistakably New Orleans.

PROFESSOR LONGHAIR & EARL KING — Big Chief (Complete Version) (1965)

Personnel: Professor Longhair (piano), Earl King (lead vocals, whistling), Mac Rebennack (guitar), Curtis Mitchell (bass), Smokey Johnson (drums), Sydney Quezergue (percussion), with an expanded horn section arranged by Wardell Quezergue.

Renegade Note: Recorded in 1964 and released the following year, “Big Chief” became one of New Orleans’ essential Mardi Gras anthems. Professor Longhair supplied the rolling Afro-Caribbean piano, but songwriter Earl King handled the whistling and lead vocal after Longhair struggled with the lyrics and the unusually large arrangement.

THE GATURS — Gatur Bait (1971)

Personnel: Willie Tee (keyboards), Earl Turbinton (saxophone), George Davis (guitar), George French (bass), Dave Lee (drums).

Renegade Note: Led by keyboardist Willie Tee, The Gaturs brought a jazz-informed sophistication to the developing New Orleans funk sound. “Gatur Bait” was released as the flip side of “Wasted,” but its greasy organ, sharp horn lines, and tightly controlled rhythm made it a prized deep-funk recording in its own right.

ALLEN TOUSSAINT — Goin’ Down (1972)

Personnel: Album session credits include Allen Toussaint (vocals, piano, acoustic guitar, harmonica), Leo Nocentelli and Vincent Toussaint (guitars), George Porter Jr. (bass), Joseph “Zigaboo” Modeliste and Joe Lambert (drums), Alfred “Uganda” Roberts and “Squirrel” (congas), Gary Brown and Alvin Thomas (saxophones).

Renegade Note: Allen Toussaint usually worked behind the scenes as a songwriter, arranger, producer, and pianist. On “Goin’ Down,” he stepped to the microphone and placed his own voice inside a hard-edged groove, revealing the darker and more forceful side of the elegant sound he helped build.

LEE DORSEY — Who’s Gonna Help Brother Get Further (1970)

Personnel: Lee Dorsey (lead vocals), Leo Nocentelli (guitar), George Porter Jr. (bass), Joseph “Zigaboo” Modeliste (drums), Allen Toussaint (backing vocals, arrangement, production). Written by Allen Toussaint.

Renegade Note: Lee Dorsey’s inviting delivery turns Allen Toussaint’s social commentary into an irresistible call-and-response workout. With members of The Meters supplying the relentless rhythm, the recording captures the moment when New Orleans R&B was becoming something recognizably funkier.

AARON NEVILLE — Hercules (1973)

Personnel: Session credits include Aaron Neville (lead vocals), Art Neville (keyboards), Leo Nocentelli (guitar), George Porter Jr. (bass), Joseph “Zigaboo” Modeliste (drums). Written and arranged by Allen Toussaint; produced by Toussaint and Marshall Sehorn.

Renegade Note: “Hercules” surrounds Aaron Neville’s delicate voice with one of the deepest grooves of his solo career. Toussaint’s streetwise lyrics and The Meters’ restrained backing create a portrait of strength defined not by fearlessness, but by the determination to keep moving through a dangerous world.

DR. JOHN — Qualified (1973)

Personnel: Dr. John, Mac Rebennack (lead vocals, piano), Art Neville (organ), Leo Nocentelli (guitar), George Porter Jr. (bass), Joseph “Zigaboo” Modeliste (drums), Gary Brown (saxophones), Allen Toussaint (arrangement, additional instrumentation, backing vocals). Produced by Allen Toussaint.

Renegade Note: “Qualified” opens Dr. John’s landmark album In the Right Place with sly humor, rolling piano, and a groove supplied by The Meters. The collaboration between Dr. John and Allen Toussaint helped create the most commercially successful album of Dr. John’s career while keeping its musical roots planted firmly in New Orleans.

JON CLEARY & THE ABSOLUTE MONSTER GENTLEMEN — Got to Be More Careful (2004)

Personnel: Jon Cleary (vocals, keyboards, lead guitar, bass), Derwin Perkins (vocals, guitar), Cornell C. Williams (vocals, bass), Daniel Sadownick (percussion), Raymond Weber (drums).

Renegade Note: Born in England but musically formed in New Orleans, Jon Cleary became one of the most accomplished modern interpreters of the city’s piano tradition. “Got to Be More Careful” stretches that tradition into a long, simmering funk workout that carries echoes of Professor Longhair, Allen Toussaint, and Dr. John without imitating any of them.

THE WILD TCHOUPITOULAS — Brother John (1976)

Personnel: Album session credits include Cyril Neville (lead and backing vocals, congas), George “Big Chief Jolly” Landry (vocals), Art Neville (keyboards, backing vocals), Aaron Neville (piano, backing vocals), Charles Neville (percussion, backing vocals), Leo Nocentelli and Teddy Royal (guitars), George Porter Jr. (bass), Joseph “Zigaboo” Modeliste (drums).

Renegade Note: Written and sung by Cyril Neville, “Brother John” honors Mardi Gras Indian John “Scarface” Williams. The Wild Tchoupitoulas sessions brought all four Neville brothers together with members of The Meters, helping inspire the family collaboration that would soon become The Neville Brothers.

PAPA GROWS FUNK — Stanky (2007)

Personnel: John Gros (Hammond B-3, Wurlitzer, clavinet, piano, vocals), Jason Mingledorff (saxophone, cowbell, vocals), June Yamagishi (guitar), Marc Pero (bass), Jeffrey “Jellybean” Alexander (drums, percussion, vocals).

Renegade Note: Built during Papa Grows Funk’s legendary Monday-night residency at the Maple Leaf Bar, “Stanky” reflects a band that developed its sound in direct conversation with a New Orleans audience. Bassist Marc Pero’s composition trades flashy excess for a patient, muscular groove that earns its title one note at a time.

TROMBONE SHORTY — Hurricane Season (2010)

Personnel: Troy “Trombone Shorty” Andrews (trombone, trumpet, drums, percussion, keyboards), Dan Oestreicher (baritone saxophone), Clarence Slaughter (saxophone, flute), Pete Murano (guitar), Mike Ballard (bass), Joey Peebles (drums), Dwayne Williams (percussion). Produced by Ben Ellman.

Renegade Note: “Hurricane Season” announced Trombone Shorty’s major-label arrival with a burst of brass, rock energy, and New Orleans rhythm. Andrews calls his hybrid sound “supafunkrock,” a fitting description for music that respects the city’s traditions while refusing to be confined by them.

DUMPSTAPHUNK — Dancin’ to the Truth (2013)

Personnel: Ivan Neville (vocals, Hammond B-3, clavinet, keyboards), Ian Neville (guitar), Tony Hall (bass, guitar, vocals), Nick Daniels III (bass, guitar, vocals), Nikki Glaspie (drums, vocals).

Renegade Note: With two bass players, two members of the Neville family, and a drummer capable of driving the entire machine, Dumpstaphunk built its sound from the bottom up. “Dancin’ to the Truth” connects the foundational New Orleans funk of the 1970s to a heavier, modern attack while keeping the rhythm communal and dance-floor ready.

THE NEVILLE BROTHERS — Fire on the Bayou (1981)

Personnel: Album session credits include Art Neville (vocals, keyboards), Cyril Neville (vocals, keyboards, percussion), Charles Neville (saxophone, percussion, vocals), Aaron Neville (vocals, percussion), David Barard (bass), Herman “Roscoe” Ernest III (drums), Leo Nocentelli (guitar), Wardell Quezergue (piano, synthesizer), Mac Rebennack (keyboards, percussion), Ivan Neville (percussion), Whitney Houston, Cissy Houston, and Eltesa Weathersby (backing vocals).

Renegade Note: Closing the journey, The Neville Brothers reclaim The Meters’ “Fire on the Bayou” and transform it into a full family anthem. Art and Cyril carry the song from its original recording into a larger ensemble featuring Aaron, Charles, Ivan Neville, Leo Nocentelli, Dr. John, and an eighteen-year-old Whitney Houston among the backing vocalists.

🔗 Quick Links:

🎧 Listen live on KDOG 9 AM Pacific Time→ Here

🎧 Listen live on KCSM HD2 9 PM Pacific Time→ Here (On mobile, scroll down to the KCSM HD2 player)

📆 Add to Calendar — Funky Friday (Weekly):

• 9 AM KDOG

Add to Google Calendar

• 9 PM KCSM HD2

Add to Google Calendar

🎶 Catch the Replay  →Here

📖 Full Episode Recaps + Setlists → Here

📻 Renegade Radio Site → Here

Funk Facts

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THE METERS — Fire on the Bayou

Built around George Porter Jr.’s muscular bass, Leo Nocentelli’s clipped guitar, Zigaboo Modeliste’s deeply syncopated drumming, Art Neville’s keyboards, and Cyril Neville’s percussion and vocals. The arrangement demonstrates how The Meters could expand their famously economical groove without sacrificing the space, precision, and rhythmic conversation that defined New Orleans funk.

PROFESSOR LONGHAIR & EARL KING — Big Chief (Complete Version)

Driven by Professor Longhair’s rolling Afro-Caribbean piano, Earl King’s whistling and lead vocal, parade-inspired drums, guitar, percussion, and a jubilant horn arrangement. The recording captures the rhythmic crossroads of New Orleans, where blues, rumba, R&B, and Mardi Gras Indian tradition converge into something found nowhere else.

THE GATURS — Gatur Bait

Constructed from Willie Tee’s greasy keyboards, Earl Turbinton’s sharp saxophone lines, tightly syncopated guitar, elastic bass, and crisp drumming. The arrangement showcases The Gaturs’ ability to combine jazz sophistication with the compact, hard-hitting rhythmic pocket of early New Orleans funk.

ALLEN TOUSSAINT — Goin’ Down

Built around Allen Toussaint’s piano and understated vocal delivery, with interlocking guitars, deep bass, congas, drums, and carefully placed saxophone accents. The arrangement reveals the tougher side of Toussaint’s musical personality while retaining the elegance, restraint, and attention to detail that distinguished his productions.

LEE DORSEY — Who’s Gonna Help Brother Get Further

Driven by Lee Dorsey’s conversational lead vocal, infectious call-and-response backing voices, clipped rhythm guitar, tightly controlled bass, and an unrelenting New Orleans drum pocket. The arrangement transforms Allen Toussaint’s pointed social commentary into a communal groove that sounds inviting even as it asks a serious question.

AARON NEVILLE — Hercules

Constructed from a remarkably deep bass line, restrained guitar, sparse drums, atmospheric keyboards, subtle percussion, and Aaron Neville’s delicate tenor. The arrangement demonstrates how musical space and emotional contrast can give a funk recording tremendous weight without overwhelming the voice at its center.

DR. JOHN — Qualified

Built around Dr. John’s rolling piano, Art Neville’s organ, syncopated guitar, deep bass, slippery drums, horn accents, and sly backing vocals. The arrangement blends the rhythmic discipline of The Meters with Dr. John’s unmistakable vocal personality, creating a groove that feels humorous, streetwise, and completely self-assured.

JON CLEARY & THE ABSOLUTE MONSTER GENTLEMEN — Got to Be More Careful

Driven by rolling keyboards, biting guitar, muscular bass, layered percussion, commanding drums, and tightly coordinated vocal interplay. The extended arrangement allows the groove to build patiently, demonstrating how Jon Cleary and the Absolute Monster Gentlemen carry the New Orleans piano tradition into a modern, hard-hitting funk setting.

THE WILD TCHOUPITOULAS — Brother John

Constructed from Mardi Gras Indian chants, layered Neville family vocals, congas, hand percussion, interlocking guitars, rolling keyboards, bass, and second-line-inspired drumming. The arrangement captures music as living community tradition, connecting ceremonial street rhythms with the developing language of New Orleans funk.

PAPA GROWS FUNK — Stanky

Built around John Gros’ Hammond organ and electric keyboards, June Yamagishi’s rhythmic guitar, Marc Pero’s patient bass groove, Jason Mingledorff’s saxophone, and Jellybean Alexander’s muscular drumming. The arrangement favors feel over flash, allowing the band to settle deeply into a groove that grows heavier with every repetition.

TROMBONE SHORTY — Hurricane Season

Built around Trombone Shorty’s commanding brass lines, baritone saxophone, distorted guitar, driving bass, heavy drums, keyboards, and explosive percussion. The arrangement fuses second-line energy with rock power and modern studio production, creating the hybrid sound Andrews aptly describes as “supafunkrock.”

DUMPSTAPHUNK — Dancin’ to the Truth

Driven by Ivan Neville’s Hammond organ and clavinet, Ian Neville’s cutting guitar, the enormous low-end force of two bass players, Nikki Glaspie’s explosive drumming, and communal vocals. The arrangement updates the foundational Neville family sound with a heavier attack while preserving the rhythmic interplay at the heart of New Orleans funk.

THE NEVILLE BROTHERS — Fire on the Bayou

Built around layered Neville family vocals, expansive keyboards, guitar, bass, horns, rolling percussion, powerful drums, and a richly arranged backing choir. The arrangement transforms The Meters’ lean original into a sweeping family anthem, bringing the episode’s journey full circle while demonstrating how New Orleans music grows through inheritance, collaboration, and reinvention.