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Funky Friday – Episode 73: SummerSonic

Updated: Jun 26

🎧 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

• 9 PM KCSM HD2


🎶 Catch the Replay  → Comming Soon

📖 Full Episode Recaps + Setlists → Here

📂 Renegade Radio Site → Here



Airdate: 6.26.26 - 9 AM Pacific Time on KDOG & 9 PM Pacific Time on KCSM HD2


Happy Funky Friday Renegades of Funk!


Funky Friday – Episode 73: SummerSonic


I didn't start episode 73 with a season in mind.


I started with one song.


It had that feeling where the first few seconds make you want to turn the volume up before anything interesting has even happened.


After that, another one showed up.


Then another.


Pretty soon I realized I wasn't building a playlist as much as following a mood that kept pointing in the same direction.


Some songs remind you of a particular year.


Others remind you of a place.


These kept bringing back little moments that didn't seem connected at first. Driving with the windows down. The sun still hanging around later than you expected. A backyard barbecue somewhere in the neighborhood. Somebody laughing from the next car over at a stoplight because they were listening to the same song.


Summer has always had its own soundtrack.


Not because the calendar says so, but because certain records seem to wake up this time of year.


One track makes you think about the beach.


Another feels like city streets after the pavement has been warming up all afternoon.


Some belong on a patio with friends.


Others deserve to be played loud enough that the people walking by stop for a second before they keep going.


I tried moving a few songs around, but every time I took one out the whole thing leaned in a different direction.


Eventually the playlist settled into its own pace.


It wasn't chasing nostalgia, and it wasn't trying to make a statement.


It just felt like the kind of hour I wanted playing in the background while summer gets underway.


The graphics ended up following the same idea.


Bright colors.


A little movement.


Something that feels like heat coming off the speakers before you even press play.


By the time I finished putting everything together, I realized I hadn't been thinking much about genres anymore.


Funk has always borrowed from somewhere else, and summer has a way of making those lines disappear for a while.


A groove that works in July usually doesn't care what label somebody put on the record jacket years ago.


I have a feeling there are going to be a few songs people recognize right away, and a few others that make someone stop and ask, "Who was that?"


Signal Discovery


While putting together this week's episode, I stumbled across the original 1975 promotional film for War's Low Rider. I'd never seen it before. It isn't what we'd think of as a modern music video. It feels more like a short documentary, capturing the cars, neighborhoods, people, and cruising culture that inspired the song. It's also a fascinating snapshot of 1970s filmmaking.




Funky Friday – Episode 73: SummerSonic


🔥 SETLIST + RENEGADE NOTES


ROY AYERS — EVERYBODY LOVES THE SUNSHINE (1976)

PERSONNEL: Roy Ayers (vibraphone, vocals), Philip Woo (keyboards), Harry Whitaker (keyboards), Doug Logan (bass), Chano O'Ferral (congas), Justo Almario (saxophone), Dennis Davis (drums).

RENEGADE NOTE: Few recordings capture the feeling of summer as effortlessly as Everybody Loves the Sunshine. Built around a relaxed groove, shimmering electric piano, and Roy Ayers' unmistakable vibraphone, the song has become one of the defining soundtracks of warm afternoons and long evenings.


KOOL & THE GANG — SUMMER MADNESS (1974)

PERSONNEL: Robert "Kool" Bell (bass), Ronald Bell (tenor saxophone, composer), Dennis Thomas (alto saxophone), Claydes Charles Smith (guitar), George Brown (drums), Ricky Westfield (keyboards), Robert Mickens (trumpet).

RENEGADE NOTE: Recorded as an instrumental during the Light of Worlds sessions, Summer Madness became one of Kool & The Gang's most enduring compositions. Spacious, atmospheric, and cinematic, it has become one of the most recognizable instrumental recordings associated with summertime.


RONNIE LAWS — ALWAYS THERE (1975)

PERSONNEL: Ronnie Laws (tenor saxophone), Roland Bautista (guitar), Patrice Rushen (keyboards), Nathan East (bass), James Gadson (drums), Bill Summers (percussion).

RENEGADE NOTE: Always There helped establish Ronnie Laws as one of jazz-funk's leading voices. Its uplifting melody and effortless groove have made it a favorite among jazz, funk, and soul audiences for decades.


KOOL & THE GANG — HOLLYWOOD SWINGING (1974)

PERSONNEL: Robert "Kool" Bell (bass), Ronald Bell (tenor saxophone), Dennis Thomas (alto saxophone), Claydes Charles Smith (guitar), George Brown (drums), Ricky Westfield (keyboards), Robert Mickens (trumpet).

RENEGADE NOTE: Before becoming one of the biggest crossover acts of the late 1970s and '80s, Kool & The Gang built their reputation on hard-driving funk. Hollywood Swinging remains one of the band's defining recordings, celebrating music, nightlife, and pure feel-good energy.


WAR — LOW RIDER (1975)

PERSONNEL: Lonnie Jordan (vocals, keyboards), Howard Scott (guitar), B.B. Dickerson (bass), Harold Brown (drums), Charles Miller (saxophone), Lee Oskar (harmonica), Papa Dee Allen (percussion).

RENEGADE NOTE: Low Rider became one of Southern California's defining musical statements. Released alongside an early promotional film that plays more like a short documentary than a traditional music video, it captured the sights, sounds, and spirit of lowrider culture decades before MTV. Be sure to treat yourself by viewing the official music video here


CHARLES WRIGHT & THE WATTS 103RD STREET RHYTHM BAND — EXPRESS YOURSELF (1970)

PERSONNEL: Charles Wright (vocals, guitar), Melvin Dunlap (bass), James Gadson (drums), Ray Jackson (keyboards), Bill Cannon (guitar), Al McKay (guitar), Watts 103rd Street Rhythm Band.

RENEGADE NOTE: Built around one of funk's most recognizable bass lines, Express Yourself became both a hit recording and a lasting cultural statement. Its message of individuality continues to resonate more than fifty years after its release.


THE CRUSADERS — KEEP THAT SAME OLD FEELING (1976)

PERSONNEL: Joe Sample (keyboards), Wilton Felder (saxophone), Larry Carlton (guitar), Stix Hooper (drums), Robert "Pops" Popwell (bass).

RENEGADE NOTE: The Crusaders helped blur the lines between jazz, soul, and funk throughout the 1970s. Keep That Same Old Feeling showcases the band's sophisticated musicianship while maintaining an unmistakably laid-back West Coast groove.


RONNIE FOSTER — MYSTIC BREW (1972)

PERSONNEL: Ronnie Foster (Hammond organ), George Benson (guitar), Gordon Edwards (bass), Jimmy Johnson (drums).

RENEGADE NOTE: Originally released on Blue Note Records, Mystic Brew quietly became one of the most influential jazz-funk recordings of its era. Its hypnotic groove would later introduce Ronnie Foster's work to entirely new audiences through extensive sampling.


RAMSEY LEWIS — SUN GODDESS (1974)

PERSONNEL: Ramsey Lewis (piano, keyboards), Maurice White (drums, producer), Verdine White (bass), Johnny Graham (guitar), Philip Bailey (percussion, vocals), Andrew Woolfolk (saxophone), members of Earth, Wind & Fire.

RENEGADE NOTE: Produced by Maurice White and featuring members of Earth, Wind & Fire, Sun Goddess became one of the defining collaborations between jazz and funk. The album introduced Ramsey Lewis to a new generation while helping shape the sound of jazz-funk throughout the decade.


GROVER WASHINGTON JR. — WINELIGHT (1980)

PERSONNEL: Grover Washington Jr. (soprano saxophone), Richard Tee (keyboards), Eric Gale (guitar), Marcus Miller (bass), Steve Gadd (drums), Ralph MacDonald (percussion).

RENEGADE NOTE: Winelight helped bring contemporary jazz to mainstream audiences while showcasing one of Grover Washington Jr.'s most memorable performances. Its warm production and expressive soprano saxophone remain instantly recognizable.


GEORGE DUKE — BRAZILIAN LOVE AFFAIR (1980)

PERSONNEL: George Duke (keyboards, vocals, producer), Byron Miller (bass), Ricky Lawson (drums), Paulinho da Costa (percussion), Sheila E. (percussion), Airto Moreira (percussion).

RENEGADE NOTE: Blending Brazilian rhythms with jazz-funk sophistication, Brazilian Love Affair highlights George Duke's remarkable ability to combine world-class musicianship with infectious grooves. It remains one of the signature recordings in his catalog.


QUINCY JONES — SUMMER IN THE CITY (1973)

PERSONNEL: Quincy Jones (producer, arranger), Hubert Laws (flute), Toots Thielemans (harmonica), Bob James (keyboards), Ray Brown (bass), Grady Tate (drums), featuring an all-star studio ensemble.

RENEGADE NOTE: Quincy Jones transformed the Lovin' Spoonful classic into a sophisticated jazz-funk excursion, layering rich orchestration and world-class musicianship over one of popular music's most familiar melodies. It provides a fitting close to SummerSonic, carrying the soundtrack from daylight into a warm summer evening.


🔗 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

• 9 PM KCSM HD2


🎶 Catch the Replay → Comming Soon

📖 Full Episode Recaps + Setlists → Here

📂 Renegade Radio Site → Here



Funk Facts


ROY AYERS — EVERYBODY LOVES THE SUNSHINE

Built around shimmering vibraphone, Fender Rhodes textures, relaxed vocal phrasing, understated bass movement, and spacious rhythmic interplay. The arrangement demonstrates how restraint and atmosphere can become as powerful as rhythmic intensity.


KOOL & THE GANG — SUMMER MADNESS

Constructed from layered synthesizer textures, electric piano, gradual harmonic development, minimalist percussion, and sustained melodic phrases. The arrangement exemplifies jazz-funk's ability to create atmosphere through patience rather than complexity.


RONNIE LAWS — ALWAYS THERE

Driven by melodic saxophone lines, syncopated rhythm guitar, electric piano accompaniment, fluid bass movement, and tightly integrated ensemble performance. The arrangement reflects the seamless intersection of jazz improvisation and funk groove.


KOOL & THE GANG — HOLLYWOOD SWINGING

Built around prominent horn riffs, syncopated rhythm guitar, energetic bass lines, ensemble vocal responses, and tightly coordinated rhythmic accents. The arrangement showcases the band's early emphasis on instrumental precision and dance-floor momentum.


WAR — LOW RIDER

Constructed from repetitive bass ostinatos, harmonica melodies, Latin-influenced percussion, relaxed vocal delivery, and understated rhythmic development. The arrangement demonstrates War's ability to create memorable grooves through simplicity, space, and ensemble interaction. e sure to treat yourself by viewing the official music video here


CHARLES WRIGHT & THE WATTS 103RD STREET RHYTHM BAND — EXPRESS YOURSELF

Driven by infectious bass lines, syncopated rhythm guitar, conversational vocal phrasing, steady drum patterns, and tightly integrated horn punctuations. The arrangement highlights funk's emphasis on groove, repetition, and rhythmic cohesion.


THE CRUSADERS — KEEP THAT SAME OLD FEELING

Built around electric piano, melodic saxophone, expressive guitar work, fluid bass performance, and understated rhythmic support. The arrangement illustrates jazz-funk's ability to balance improvisation with accessible song structure.


RONNIE FOSTER — MYSTIC BREW

Constructed from Hammond organ improvisation, guitar accompaniment, cyclical bass figures, spacious rhythmic development, and blues-influenced harmonic language. The arrangement reflects the organic interplay characteristic of early 1970s jazz-funk.


RAMSEY LEWIS — SUN GODDESS

Driven by layered keyboard textures, sophisticated harmonic movement, melodic bass lines, Earth, Wind & Fire-inspired rhythmic precision, and expansive ensemble orchestration. The arrangement demonstrates the increasingly seamless relationship between jazz and funk during the mid-1970s.


GROVER WASHINGTON JR. — WINELIGHT

Built around lyrical soprano saxophone, polished rhythm-section performance, contemporary jazz harmonies, understated guitar accompaniment, and refined studio production. The arrangement reflects the evolution of jazz-funk into the contemporary jazz movement.


GEORGE DUKE — BRAZILIAN LOVE AFFAIR

Constructed from Brazilian rhythmic influences, synthesizer textures, layered keyboard harmonies, dynamic percussion, and jazz-funk improvisation. The arrangement showcases George Duke's ability to blend international musical traditions with contemporary funk vocabulary.


QUINCY JONES — SUMMER IN THE CITY

Built around orchestral arranging, jazz improvisation, layered keyboard textures, sophisticated harmonic movement, and carefully balanced ensemble performance. The arrangement demonstrates Quincy Jones' ability to reinterpret familiar material through the lens of jazz, funk, and contemporary studio production.

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