Funky Friday – Episode 75: The Record Man

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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)

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Airdate: 7.10.26 - 9 AM Pacific Time on KDOG & 9 PM Pacific Time on KCSM HD2

Funky Friday – Episode 75: The Record Man

Happy Funky Friday Everyone.

Many a music lover has had one.

That record store.

The place where an afternoon somehow turns into three hours.

Where you're not looking for anything in particular...

...until something catches your eye.

You pull an album from the shelf. Study the cover. Read the liner notes. Wonder what it sounds like. Sometimes you put it back. Sometimes you take it home. Sometimes it changes your life.

For generations of Bay Area music lovers, that place was The Record Man in Redwood City.

Last month, founder Gary Saxon passed away at the age of 82.

For nearly four decades, Gary built more than a record store. He created a place where curiosity was rewarded, conversations started between strangers, and discovering something unexpected was part of every visit.

His famous promise became legendary:

"If you can't find it at The Record Man, it doesn't exist."

This week's Funky Friday is dedicated to that spirit of discovery.

Rather than building a playlist around chart positions or familiar favorites, I imagined walking through the aisles of The Record Man,

pulling albums from the shelves one at a time. Some you'll recognize immediately. Others may become new favorites.

That's the magic of a great record store.

You never know what you're going to find.

Thank you, Gary, for reminding generations of music lovers that the best discoveries are often the ones we weren't looking for.

Now...

Let's go digging.

Signal Discovery

Earlier this week, KTVU FOX 2 visited The Record Man to share Gary Saxon's story and explore the remarkable legacy he leaves behind. More than a tribute to one man, it's a reminder of why independent record stores have always been about more than records—they're about community, conversation, and the thrill of discovering something unexpected.

Watch the report below before we begin this week's journey.

https://youtu.be/Q4TixDfv2PE?si=cwdNE5_dISG6gcPm

Funky Friday – Episode 75: The Record Man

🔥 SETLIST + RENEGADE NOTES

DONALD BYRD — Places and Spaces (1975)

Personnel: Donald Byrd (trumpet), Larry Mizell (keyboards, producer), Fonce Mizell (producer), Chuck Rainey (bass), Harvey Mason (drums), Jerry Peters (keyboards), King Errisson (percussion).

Renegade Note: Places and Spaces became the best-selling album in Blue Note Records' history at the time of its release, proving that sophisticated jazz musicianship and irresistible funk grooves could coexist beautifully. Donald Byrd's partnership with the Mizell Brothers helped define the sound of jazz-funk, and this title track remains one of the genre's essential recordings.

ROY AYERS — Chicago (1975)

Personnel: Roy Ayers (vibraphone, vocals), Harry Whitaker (keyboards), Doug Logan (bass), Chano O'Ferral (drums), William Allen (congas).

Renegade Note: Roy Ayers is often remembered for Everybody Loves the Sunshine, but Chicago rewards listeners willing to explore deeper into his catalog. Anchored by Ayers' unmistakable vibraphone and an effortless groove, it's exactly the kind of album cut that turns a casual browser into a lifelong fan.

AVERAGE WHITE BAND — Pick Up the Pieces (1974)

Personnel: Alan Gorrie (bass, vocals), Hamish Stuart (guitar, vocals), Malcolm "Molly" Duncan (tenor saxophone), Roger Ball (keyboards, alto saxophone), Onnie McIntyre (guitar), Robbie McIntosh (drums).

Renegade Note: Hailing from Scotland, Average White Band immersed themselves in American soul and funk, creating one of the decade's most enduring instrumentals. Pick Up the Pieces became an international hit through its infectious groove, proving that great music knows no borders.

THE SPINNERS — Rubberband Man (1976)

Personnel: Philippé Wynne (lead vocals), Henry Fambrough (vocals), Billy Henderson (vocals), Pervis Jackson (vocals), Bobbie Smith (vocals). Produced by Thom Bell.

Renegade Note: Produced during the group's legendary collaboration with Thom Bell, Rubberband Man combines dazzling vocal harmonies with one of the most joyful grooves ever committed to tape. Nearly fifty years later, it still has the power to brighten a room the moment the needle drops.

CYMANDE — Brothers on the Slide (1974)

Personnel: Patrick Patterson (guitar), Steve Scipio (bass), Sam Kelly (drums), Mike Rose (saxophone), Peter Serreo (saxophone), Pablo Gonsales (percussion), Joey Dee (vocals).

Renegade Note: Blending funk, jazz, Caribbean rhythms, and African influences, Cymande quietly created one of the most influential catalogs of the 1970s. Although overlooked during their original run, their music would later become a favorite among DJs, producers, and crate diggers around the world.

MANDRILL — Fencewalk (1975)

Personnel: Carlos Wilson (trumpet, vocals), Louis Wilson (saxophone, flute), Ricardo Wilson (guitar), Claude "Coffee" Cave II (keyboards), Fudgie Kae Solomon (bass), Neftali Santiago (drums), Omar Mesa (percussion).

Renegade Note: Mandrill refused to be confined by genre, blending funk, Latin rhythms, jazz, soul, and rock into a sound entirely their own. Fencewalk showcases the band's adventurous spirit and reminds us that some of the best musical discoveries happen just beyond the mainstream.

THE METERS — Africa (1974)

Personnel: Art Neville (keyboards), Leo Nocentelli (guitar), George Porter Jr. (bass), Joseph "Zigaboo" Modeliste (drums).

Renegade Note: While Cissy Strut introduced many listeners to The Meters, Africa reveals the depth of a band that helped invent New Orleans funk. Built on an unshakable rhythm section, it's a masterclass in restraint, groove, and musical conversation.

PLEASURE — Bouncy Lady (1977)

Personnel: Nathaniel Phillips (bass), Michael Hepburn (guitar), Sherman "Cocktail" Lloyd (keyboards), Bruce Smith (drums), Donald Henderson (saxophone), Larry Williams (trumpet).

Renegade Note: Portland's Pleasure crafted sophisticated funk that balanced tight musicianship with effortless swing. Bouncy Lady remains one of the hidden gems of late-1970s funk, rewarding anyone willing to wander beyond the biggest radio hits.

IDRIS MUHAMMAD — Could Heaven Ever Be Like This (1977)

Personnel: Idris Muhammad (drums), Bob James (keyboards, arranger), Grover Washington Jr. (tenor saxophone), Michael Brecker (tenor saxophone), Randy Brecker (trumpet), Eric Gale (guitar), Anthony Jackson (bass).

Renegade Note: Originally a jazz drummer with deep roots in New Orleans, Idris Muhammad created one of the most enduring grooves of the decade. Could Heaven Ever Be Like This has become a favorite of DJs and producers across generations, proving that patience, space, and feel can be just as powerful as speed and complexity.

Bob James — Nautilus (1974)

Personnel: Bob James (keyboards), Gary King (bass), Idris Muhammad (drums), Hubert Laws (flute), Ralph MacDonald (percussion).

Renegade Note: Few instrumental recordings have had a greater impact on hip-hop than Nautilus. Sampled hundreds of times while remaining relatively unknown outside jazz circles, it stands as one of the great hidden landmarks of modern music.

THIN LIZZY — Johnny the Fox Meets Jimmy the Weed (1976)

Personnel: Phil Lynott (bass, vocals), Scott Gorham (guitar), Brian Robertson (guitar), Brian Downey (drums).

Renegade Note: Thin Lizzy's reputation often begins with The Boys Are Back in Town, but Phil Lynott's songwriting reached far beyond the band's biggest singles. Johnny the Fox Meets Jimmy the Weed demonstrates his gift for storytelling while revealing another fascinating corner of one of rock's most underrated catalogs.

LONNIE LISTON SMITH — Expansions (1975)

Personnel: Lonnie Liston Smith (keyboards), Donald Smith (vocals), Cecil McBee (bass), Art Gore (drums), Michael Carvin (percussion).

Renegade Note: Expansions has become one of the defining recordings of spiritual jazz-funk. Built around shimmering keyboards, infectious rhythms, and an atmosphere unlike anything else released during the era, it has inspired generations of musicians, DJs, and producers.

THE HEADHUNTERS — God Made Me Funky (1975)

Personnel: Mike Clark (drums), Paul Jackson (bass), Bill Summers (percussion), Blackbird McKnight (guitar), Webster Lewis (keyboards).

Renegade Note: Emerging from the groundbreaking work Herbie Hancock began with Head Hunters, the Headhunters carried jazz-funk into bold new territory. God Made Me Funky remains one of the genre's defining statements, its irresistible groove later finding new life through countless hip-hop samples.

GRAHAM CENTRAL STATION — Hair (1979)

Personnel: Larry Graham (bass, vocals), Willie "Wild" Sparks (drums), David Vega (guitar), Robert "Butch" Sam (keyboards), Joe Thomas (keyboards).

Renegade Note: Larry Graham revolutionized modern bass playing through his pioneering slap technique, but Graham Central Station was about far more than virtuosity. Hair captures the band's infectious energy, deep groove, and fearless musicianship while highlighting one of the Bay Area's most influential funk innovators.

🔗 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 → Comming Soon

📖 Full Episode Recaps + Setlists → Here

📂 Renegade Radio Site → Here

Funk Facts

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DONALD BYRD — Places and Spaces

Built around lyrical trumpet phrasing, Fender Rhodes textures, melodic bass lines, sophisticated horn voicings, Latin-influenced percussion, and jazz-funk rhythm section interplay. The arrangement illustrates how acoustic jazz traditions and contemporary funk production merged to define the Blue Note sound of the mid-1970s.

ROY AYERS — Chicago

Driven by Roy Ayers' signature vibraphone, warm electric piano harmonies, syncopated bass movement, layered percussion, and soulful vocal textures. The arrangement demonstrates Ayers' unique ability to blend jazz improvisation with accessible funk and R&B grooves.

AVERAGE WHITE BAND — Pick Up the Pieces

Built around tightly synchronized horn riffs, rhythmic guitar comping, melodic bass lines, crisp drumming, and dynamic ensemble phrasing. The arrangement showcases the band's remarkable ability to fuse American funk traditions with precision musicianship and sophisticated instrumental interplay.

THE SPINNERS — Rubberband Man

Driven by soaring lead vocals, layered harmony singing, orchestral string arrangements, syncopated rhythm guitar, melodic bass lines, and polished Philadelphia soul production. The arrangement exemplifies Thom Bell's elegant fusion of funk rhythms and orchestral sophistication.

CYMANDE — Brothers on the Slide

Constructed from hypnotic bass grooves, Afro-Caribbean percussion, jazz-influenced horn writing, rhythmic guitar, and spacious ensemble textures. The arrangement reflects Cymande's seamless integration of African, Caribbean, jazz, soul, and funk traditions.

MANDRILL — Fencewalk

Built around explosive horn arrangements, Latin percussion, aggressive bass grooves, rhythmic guitar, synthesizer textures, and multicultural rhythmic influences. The arrangement demonstrates Mandrill's fearless approach to combining funk, jazz, Latin music, and rock into a unified musical statement.

THE METERS — Africa

Driven by understated guitar phrasing, deeply pocketed bass lines, second-line-inspired drumming, Hammond organ accompaniment, and conversational ensemble interplay. The arrangement highlights the effortless groove and rhythmic restraint that became hallmarks of New Orleans funk.

PLEASURE — Bouncy Lady

Built around elastic bass lines, shimmering keyboards, punchy horn accents, clean rhythm guitar, polished vocal harmonies, and dance-oriented percussion. The arrangement captures the sophisticated production and refined musicianship that distinguished late-1970s jazz-funk.

IDRIS MUHAMMAD — Could Heaven Ever Be Like This

Constructed from spacious orchestration, soaring horn melodies, Fender Rhodes textures, fluid bass lines, layered percussion, and an unhurried rhythmic pulse. The arrangement demonstrates how jazz, soul, disco, and funk can coexist within a single expansive groove.

Bob James — Nautilus

Built around Fender Rhodes, ARP synthesizers, spacious orchestration, syncopated bass movement, subtle percussion, and cinematic harmonic development. The arrangement showcases Bob James' pioneering fusion of jazz sophistication and modern studio production.

THIN LIZZY — Johnny the Fox Meets Jimmy the Weed

Constructed from dual lead guitar harmonies, melodic bass movement, narrative-driven vocals, dynamic rhythm-section interplay, and blues-inspired rock phrasing. The arrangement illustrates Phil Lynott's remarkable ability to combine literary storytelling with powerful rock musicianship.

LONNIE LISTON SMITH — Expansions

Driven by ethereal Fender Rhodes textures, spiritual jazz harmonies, hypnotic bass ostinatos, layered percussion, and extended improvisational passages. The arrangement demonstrates how jazz-funk can create both rhythmic momentum and expansive sonic atmosphere.

THE HEADHUNTERS — God Made Me Funky

Built around syncopated clavinet and keyboard textures, intricate bass grooves, advanced rhythmic interplay, jazz-informed improvisation, and tightly integrated ensemble performance. The arrangement exemplifies the innovative musicianship that helped redefine jazz-funk during the 1970s.

GRAHAM CENTRAL STATION — Hair

Driven by Larry Graham's pioneering slap bass technique, infectious vocal harmonies, rhythmic guitar, gospel-inspired call-and-response phrasing, and high-energy funk rhythms. The arrangement highlights Graham's lasting influence on modern bass playing while showcasing the band's unmistakable Bay Area funk sound.