Funky Friday – Episode 89: City of Angels Funk
🎧 Quick Links:
🎧 Listen live on KDOG 9 AM Pacific Time→ Here
🎧 Listen live on KCSM HD2 9 PM Pacific Time→ Here
📆 Add to Calendar — Funky Friday (Weekly):
• 9 AM KDOG
Add to Google Calendar
• 9 PM KCSM HD2
Add to Google Calendar
🎶 Catch the Replay → Comming Soon
📖 Full Episode Recaps + Setlists → Here
📻 Renegade Radio Site → Here
Airdate: 10.9.26 - 9 AM Pacific Time on KDOG & 9 PM Pacific Time on KCSM HD2
Funky Friday – Episode 89: City of Angels Funk
This week, Episode 89 of Funky Friday continues our city tour with a trip to Los Angeles; a city whose funk sounds equally at home coming through a car window, filling a nightclub, or shaking the walls of a recording studio.
Welcome to City of Angels Funk.
When people picture Los Angeles, they often think of Hollywood.
The movies. The celebrities. The sign on the hill.
But this week, we’re listening for something else.
The musicians building grooves in Watts. The bands working the club circuit. The players behind the records. And the artists who arrived from somewhere else and found a musical home in Southern California.
Because L.A.’s funk story includes both hometown roots and westward journeys.
And sometimes, the same musicians turn up in places you might not expect.
Charles Wright & the Watts 103rd Street Rhythm Band give us one of the episode’s essential foundations with “Express Yourself.” But their connection to this playlist reaches beyond their own records.
When Arlester “Dyke” Christian recorded in Hollywood, musicians from the Watts band backed him in the studio. His 1969 hit “We Got More Soul” brings that connection into the hour; two artist names on the playlist, with a shared musical community behind them.
That’s one of the pleasures of following funk from city to city.
You start with the songs.
Then you discover the people connecting them.
With WAR’s “Low Rider,” the Southern California connection becomes unmistakable. The band drew on the neighborhoods and culture around them, including Compton and Long Beach. Lowriders were part of that world; saxophonist Charles Miller owned one, and his deep lead vocal helped give the song its personality.
The groove takes its time.
There’s room for every part.
And once that riff settles in, it doesn’t need much help getting your attention.
The Brothers Johnson bring a different kind of electricity.
George on guitar. Louis on bass.
Their early work included playing with Billy Preston before their partnership with Quincy Jones helped bring their sound to a much wider audience. We open with “Get the Funk Out Ma Face” and return later for “Stomp!”; two opportunities to hear how much personality a rhythm section can carry.
And since this is Los Angeles, a movie soundtrack belongs in the story.
Rose Royce’s “Car Wash,” written and produced by Norman Whitfield for the 1976 film, turns an everyday workplace into a dance-floor invitation.
Leon Haywood slows things down with “I Want’a Do Something Freaky to You,” while the Whispers and Shalamar carry us into the polished grooves of “And the Beat Goes On” and “Right in the Socket.”
Leon Haywood slows things down with ‘I Want’a Do Something Freaky to You,’ while the Whispers and Shalamar carry us into the polished grooves of ‘And the Beat Goes On’ and ‘Right in the Socket.
Lakeside closes our trip with “Fantastic Voyage.” Their roots are in Dayton, a city we visited earlier in this series, but their move west and eventual place at L.A.’s SOLAR Records make them part of this story, too.
And we’re making room for another generation.
Orgone’s “Sophisticated Honky” brings the groove forward. Founders Dan Hastie and Sergio Rios grew up in the San Fernando Valley, united by their love of raw soul and funk records. You can hear that affection in music that belongs comfortably beside the classics while carrying its own identity.
From Watts to the Valley, from neighborhood bands to studio sessions, this week’s playlist follows several paths through Los Angeles.
Some rough around the edges.
Some polished to a shine.
All worth turning up.
I’m Noah McDonough.
Welcome to Los Angeles.
Welcome to City of Angels Funk.
Signal Discovery
Some songs make you move.
The Whispers apparently came prepared with instructions.
This week’s Signal Discovery features the video for “And the Beat Goes On,” where matching outfits, synchronized footwork, and carefully coordinated turns give the groove a whole other dimension.
It’s funny.
It’s also impressive.
Watch one member for a few seconds, then watch the group. The steps have to line up. The gestures have to land. Everybody needs to know where they’re going and when they’re getting there.
These guys put in some practice.
And that’s part of the pleasure of watching. There’s a playful confidence to the presentation; they’re giving you something to enjoy at every microphone, even between the vocal lines.
On the radio, you hear the harmonies and the rhythm.
Here, you get the footwork, too.
The video is presented by UnidiscMusic as the official music video. Its original filming date and location aren’t established in the available description, but you don’t need those details to appreciate what’s happening on that stage.
Making it look this easy takes work.
Funky Friday – Episode 89: City of angels Funk
🔥 SETLIST + RENEGADE NOTES
The Brothers Johnson — “Get the Funk Out Ma Face”
Personnel: George Johnson — guitar and vocals; Louis Johnson — bass and vocals; Quincy Jones — producer. Written by George Johnson, Louis Johnson and Quincy Jones. Original album Look Out for #1, released in 1976.
Renegade Note: We’re opening our Los Angeles trip with a direct invitation from the Brothers Johnson. George’s guitar and Louis’s bass give this compact track plenty of personality, while Quincy Jones’s production keeps the musical details working together. Before establishing themselves as recording artists, the brothers played with Billy Preston; that experience connects them to the wider world of working musicians behind L.A.’s records and live shows. Listen to how quickly the groove establishes itself. At just under two and a half minutes, our opening selection makes its point without wasting a second.
Charles Wright & the Watts 103rd Street Rhythm Band — “Express Yourself”
Personnel: Charles Wright — lead vocals, songwriter and producer; Melvin Dunlap — bass; James Gadson — drums. Original album Express Yourself, released in 1970.
Renegade Note: Here’s one of the foundations of our City of Angels story. “Express Yourself” builds its identity around a bass line that is immediately recognizable, with drums, horns and Wright’s vocal giving each other room to work. NAMM’s oral-history account identifies Wright as the writer of that signature bass figure, played by Melvin Dunlap. The record later reached another generation through N.W.A.’s sampling, but the original deserves attention on its own terms. Listen to the space between the parts; the rhythm stays loose enough to breathe while holding everything together.
Dyke & the Blazers — “We Got More Soul”
Personnel: Arlester “Dyke” Christian — lead vocals and songwriter; Los Angeles studio backing associated with the Watts 103rd Street Rhythm Band. Originally released in 1969; this selection comes from Dyke’s Greatest Hits — The Complete Singles.
Renegade Note: Dyke & the Blazers had an important chapter in Phoenix, but this selection brings us into their Hollywood recording story. Working with Art Laboe’s Original Sound operation, Christian recorded with musicians from the Watts 103rd Street Rhythm Band. That makes the transition from Charles Wright more than a musical pairing; there are shared players behind the artist names. “We Got More Soul” delivers a forceful vocal over a hard-working groove. It also demonstrates why a city’s musical identity can include the sessions made there, alongside the bands formed in its neighborhoods.
WAR — “Low Rider”
Personnel: Charles Miller — lead vocals and saxophone; Lee Oskar — harmonica; Lonnie Jordan — keyboards and vocals; Howard Scott — guitar and vocals; B.B. Dickerson — bass and vocals; Harold Brown — drums; Papa Dee Allen — percussion. Original album Why Can’t We Be Friends?, released in 1975.
Renegade Note: Some records can establish a setting within seconds. “Low Rider” does it with an economical groove, a familiar instrumental hook and Charles Miller’s unmistakably deep vocal. WAR’s music drew on the communities around the band, including Compton and Long Beach, and lowrider culture was part of that experience. Miller owned a lowrider himself. Listen to the restraint in the arrangement; each part contributes something distinct without crowding the others. The record moves with the same unhurried confidence as the cars it celebrates.
Leon Haywood — “I Want’a Do Something Freaky to You”
Personnel: Leon Haywood — lead vocals, songwriter and producer. Originally released on Come and Get Yourself Some in 1975; this selection comes from the Starsky & Hutch soundtrack compilation.
Renegade Note: We slow the pace here, but the groove stays heavy. Haywood’s vocal sits inside an arrangement that gives the instrumental hook plenty of room to settle in. This is a useful change of texture after our opening run; funk can pull you into a slow, sustained rhythm as effectively as it can send you racing toward the dance floor. Our playlist copy comes from a movie compilation, but the recording belongs to Haywood’s 1970s catalog. The original album provides the historical reference point for this selection.
Rose Royce — “Car Wash”
Personnel: Rose Royce — performing band; Gwen Dickey — lead vocals; Norman Whitfield — songwriter and producer. Original album Car Wash: Original Motion Picture Soundtrack, released in 1976.
Renegade Note: Los Angeles makes movies, and sometimes those movies give a band its breakthrough. Norman Whitfield’s work on Car Wash introduced Rose Royce to a huge audience, turning the film’s everyday workplace into the setting for an enduring dance record. Listen to the handclaps, the rhythmic guitar and the way the arrangement builds anticipation around the vocal. The production has plenty happening inside it, but the central pulse stays clear. In this episode, “Car Wash” brings the studio, the screen and the dance floor together.
Orgone — “Sophisticated Honky”
Personnel: Orgone — Los Angeles funk and soul ensemble founded by guitarist Sergio Rios and keyboardist Dan Hastie. Playlist songwriting credits: Tim Glum, Dan Hastie, Sergio Rios, Sean O’Shea, Darren Cardoza and Stewart Killen. Original album The Killion Floor, released in 2007.
Renegade Note: Our L.A. trip moves into another generation with Orgone. Founders Dan Hastie and Sergio Rios grew up in the San Fernando Valley, sharing an appetite for raw soul and funk recordings. “Sophisticated Honky” gives us a chance to follow that enthusiasm into a later chapter of the city’s music. Listen for how the instrumental parts build momentum together, with the ensemble carrying the conversation. Its place in this set is a reminder that L.A.’s funk history kept developing long after the classic records surrounding it were released.
The Brothers Johnson — “Stomp!”
Personnel: George Johnson — guitar and vocals; Louis Johnson — bass and vocals; Quincy Jones — producer. Written by George Johnson, Louis Johnson, Valerie Johnson and Rod Temperton. Originally released on Light Up the Night in 1980; this selection is the single version from Strawberry Letter 23 / The Very Best of the Brothers Johnson.
Renegade Note: The brothers return with a bigger dance-floor production than our opening track. “Stomp!” combines a strong vocal hook with the rhythmic detail that makes their records rewarding beyond the first listen. Louis’s bass remains a central attraction, but pay attention to how the surrounding parts support and answer it. Quincy Jones and co-writer Rod Temperton connect this selection to a wider network of musicians shaping polished funk and pop at the beginning of the 1980s. We’re playing the single version; a concentrated dose of a very full arrangement.
The Whispers — “And the Beat Goes On”
Personnel: The Whispers — vocal group. Written by Leon Sylvers III, Stephen Shockley and William Shelby; Leon Sylvers III — co-producer. Original album The Whispers, released in 1979. This selection is the extended album-length recording.
Renegade Note: This is a groove worth spending some time inside. Our extended selection lets the rhythm stretch while the Whispers’ harmonies supply warmth and character. There’s another connection within the playlist, too; co-writers Stephen Shockley and William Shelby were members of Lakeside. Those shared creative relationships helped shape the SOLAR Records sound. Listen to how the vocal arrangement works with the rhythm, giving the record movement without needing to fill every available space. The beat keeps going, and the singers know exactly how to ride it.
Shalamar — “Right in the Socket”
Personnel: Howard Hewett, Jody Watley and Jeffrey Daniel — vocals; Leon Sylvers III — producer. Written by Dick Griffey, Kevin Spencer and Leon Sylvers III. Original album Big Fun, released in 1979.
Renegade Note: Shalamar keeps us inside the SOLAR Records world with one of the set’s most insistent dance grooves. Big Fun introduced the classic lineup of Howard Hewett, Jody Watley and Jeffrey Daniel, and “Right in the Socket” gives that combination a muscular setting. Listen for the relationship between the vocal phrases and the repeating instrumental parts. The arrangement has a polished surface, but there’s plenty of rhythmic bite underneath. Following the Whispers, it lets us hear another vocal personality working within the same thriving L.A. label community.
Lakeside — “Fantastic Voyage”
Personnel: Lakeside — performing band and producers. The recording-era lineup included vocalists Mark Adam Wood Jr., Thomas Shelby and Tiemeyer McCain; guitarists Stephen Shockley and Otis Stokes; bassist Marvin Craig; keyboardist Norman Beavers; drummer Fred Alexander Jr.; and percussionist Fred Lewis. Original album Fantastic Voyage, released in 1980.
Renegade Note: We close with a band whose journey connects two stops on our city tour. Lakeside began in Dayton before moving west, working Los Angeles clubs and becoming part of the SOLAR Records family. “Fantastic Voyage” makes a fitting departure; an invitation to get aboard, carried by a band with plenty of rhythmic power. Their story helps explain why L.A.’s funk identity includes both hometown musicians and arrivals who helped shape their adopted city. We’ve traveled through neighborhood roots, Hollywood sessions and dance-floor productions. Lakeside takes us home with the groove still moving.
🔗 Quick Links:
🎧 Listen live on KDOG 9 AM Pacific Time→ Here
🎧 Listen live on KCSM HD2 9 PM Pacific Time→ Here
📆 Add to Calendar — Funky Friday (Weekly):
• 9 AM KDOG
Add to Google Calendar
• 9 PM KCSM HD2
Add to Google Calendar
🎶 Catch the Replay → Comming Soon
📖 Full Episode Recaps + Setlists → Here
📻 Renegade Radio Site → Here
Funk Facts
THE BROTHERS JOHNSON — Get the Funk Out Ma Face
Built around electric bass, guitar, drums, keyboards, and vocals. “Get the Funk Out Ma Face” makes its point through tightly connected instrumental parts and a short, memorable vocal hook. Listen to how the bass and guitar share the rhythmic work. The bass supplies movement and personality in the lower register, while the guitar adds sharper punctuation above it. The repeated vocal phrase becomes another part of that pattern. At just under two and a half minutes, this selection offers a useful lesson in economy; a funk arrangement can establish a complete musical identity without a long introduction or an extended solo.
CHARLES WRIGHT & THE WATTS 103RD STREET RHYTHM BAND — Express Yourself
Built around electric bass, drums, guitar, horns, and Charles Wright’s lead vocals. “Express Yourself” gives its bass line enough space to become one of the record’s principal hooks. Listen to the relationship between that repeating figure and the drums. Together, they establish a relaxed but persistent foundation, leaving room for the horns and vocal responses to make their entrances count. Wright’s delivery adds urgency without forcing the instrumental backing to become busier. The groove depends on repetition, but the changing accents keep it alive. Try following the bass through an entire verse; its consistency helps make everything around it feel connected.
DYKE & THE BLAZERS — We Got More Soul
Built around drums, electric bass, guitar, horns, and Dyke’s forceful lead vocals. “We Got More Soul” brings a rougher attack to the set, with the vocal and instrumental responses pushing against a steady rhythmic foundation. Listen to how the horn phrases punctuate the performance. They help frame the vocal rather than running continuously over it, giving the arrangement a call-and-response character. The rhythm section keeps working underneath those exchanges. Much of the excitement comes from that combination; a dependable repeating groove supporting a singer who sounds determined to get everybody involved.
WAR — Low Rider
Built around bass, drums, percussion, guitar, keyboards, harmonica, saxophone, and Charles Miller’s low lead vocal. “Low Rider” shows how much character a band can create with a small number of memorable ideas. Listen to the bass pattern first, then shift your attention to the percussion and instrumental hook. Each part has a distinct place in the arrangement, making the combined rhythm easy to follow. Miller’s vocal adds another recognizable texture without crowding the instruments. The pace is unhurried, but the groove stays active. Notice how repetition makes the individual sounds more familiar and more satisfying with each return.
LEON HAYWOOD — I Want’a Do Something Freaky to You
Built around a prominent bass figure, drums, guitar, keyboards, orchestral textures, and Leon Haywood’s lead vocals. This selection brings the tempo down while keeping plenty of rhythmic weight. Listen to the repeating instrumental hook and the space around Haywood’s vocal phrases. The backing establishes a pattern that can sustain the song without constant changes, allowing his delivery to set the mood. Higher instrumental lines add color above the low end. It’s a useful example of how funk works at a slower pace; carefully placed accents and a strong repeating figure can create momentum without speed.
ROSE ROYCE — Car Wash
Built around handclaps, drums, electric bass, rhythmic guitar, keyboards, horns, strings, and Gwen Dickey’s lead vocals. “Car Wash” uses its opening to establish the pulse before revealing the full arrangement. Listen to how the handclaps prepare your ear for the beat, then follow the bass and guitar as the song fills out. The orchestral parts expand the sound while the rhythm section keeps the movement clear. Vocal responses reinforce the central hook and make the chorus feel communal. There are plenty of layers here; try following one instrument through the chorus to hear how its repeated part contributes to the larger dance groove.
ORGONE — Sophisticated Honky
Built around bass, drums, electric guitar, keyboards, percussion, and horns. This instrumental selection gives us an opportunity to follow the band’s musical exchanges without a lead vocal directing our attention. Listen for the short phrases that return throughout the arrangement and the accents that distinguish one passage from the next. The rhythm section supplies continuity while the other instruments move forward and step back. As you listen, notice which part catches your ear first, then follow something less prominent. Funk often reveals more of its construction that way; a supporting figure can be essential to the groove without demanding the spotlight.
THE BROTHERS JOHNSON — Stomp!
Built around electric bass, drums, guitar, keyboards, horns, and lead and backing vocals. “Stomp!” combines a steady dance pulse with bass playing that introduces a more active layer of rhythm. Listen to the contrast between the consistent beat and the bass line’s accents. The guitar and keyboards reinforce the pattern while the vocal hook gives the arrangement a clear destination. Compared with our opening Brothers Johnson selection, this recording presents a fuller production. Even so, the individual parts remain worth following. The single version concentrates that combination of instrumental detail and an immediately accessible chorus.
THE WHISPERS — And the Beat Goes On
Built around electric bass, drums, rhythmic guitar, keyboards, string-like textures, and layered group vocals. “And the Beat Goes On” balances a persistent dance groove with the warmth of a vocal ensemble. Listen to how the bass moves beneath the steadier pulse, then notice the backing voices answering and supporting the lead. The instrumental and vocal hooks take turns holding your attention. Our extended selection gives those relationships room to develop. Instead of waiting only for the next chorus, follow the repeating guitar or keyboard figures; their small rhythmic contributions help the long groove maintain its lift.
SHALAMAR — Right in the Socket
Built around bass, drums, rhythmic guitar, keyboards, and lead and backing vocals. “Right in the Socket” gets much of its energy from the interaction between repeating instrumental figures and vocal responses. Listen to where the sung phrases begin and end against the beat. Their placement gives the performance an extra rhythmic layer above the instrumental backing. Short accents keep the arrangement moving while the central pattern remains recognizable. This is a good selection for listening to repetition closely; the interest comes from how the parts interact and reappear over the course of an extended dance arrangement.
LAKESIDE — Fantastic Voyage
Built around electric bass, drums, guitar, keyboards, percussion, and group vocals, including its distinctive spoken captain’s introduction. “Fantastic Voyage” establishes a theatrical setting before settling into a substantial dance groove. Listen to the bass and drums beneath the voices, then follow the instrumental accents that answer the vocal phrases. The group exchanges make the performance feel populated with different personalities, while the rhythm section keeps everybody traveling together. It’s a fitting closing selection; the invitation to come aboard becomes part of the music’s structure, with the repeating groove giving the whole voyage its forward motion.
Comments