Aced Out Podcast By cover art

Aced Out Podcast

By: Ace Alan
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  • Summary

  • Dispatches from Planet FunK: it’s the Aced Out Podcast. Dedicated to all whom the Man tried to ace out by profiting from soul without stopping to give props to the prophets of Soul. Hosted by Ace Alan, aka Barack Wayne. Brought to you by the letter P, sponsored by P.E.T.E.(People for the Ethical Treatment of Earholes), and Funkanaut fam affiliated. Because FUNK is spelled FUN with a K—that’s why.
    David Kostiuk
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Episodes
  • Ep 32: Linda Shider [P-FUNK/GARRY SHIDER]

    Ep 32: Linda Shider [P-FUNK/GARRY SHIDER]
    Nov 23 2023
    visit acedoutpodcast.com to see photos and moreWhen singer/musician/songwriter LINDA SHIDER met the folks in Parliament-Funkadelic, she was working as a stewardess for Pan Am. A friend of hers had just moved to San Francisco, so she invited Linda to come visit. That friend in turn introduced her to a woman who was dating Bernie Worrell, wizard of the boards, and from there she became acquainted with the rest of the funk family, including GARRY SHIDER, whom she wound up hanging out with at a party in L.A. Linda “Legz” had a boyfriend at the time, but she had already been an admirer of the band. “To me, they were like the black Rolling Stones,” she says. “Their aura… their vibe… They were just so intense, and you know they were real sexy onstage.” Garry kept making comments about Linda and trying to make moves, but she would always rebuff him. Then one day, when the band was at a hotel, some guy came rushing in with a gun, looking for George Clinton, who may or may not have been with his girl. Garry swooped in to protect Linda from the ensuing gunfire by pushing her into a phone booth. He was her hero, and they decided to be a couple soon after. She went on the road with him–following the tour bus in her car, or flying in for certain gigs. Then she joined them onstage for the first time–at Madison Square Garden. She even wound up on the cover of Rock & Soul magazine. But she wasn’t just some random hanger-on in the entourage. She was a leader with a deep background in civil rights advocacy who had fronted her own band, Legz, belting out heavy rock tunes like “Back in Black” by AC/DC. They also released the epic single “It Don’t Come Easy,” a impressively intricate and gooey deep cut which exhibits her complex compositional chops.Indeed, this particular skill led to her becoming one of the very few credited woman songwriters in P-Funk history. It all started with a baby grand which lived in a hallway at United Sound in Detroit, where most of the P-Funk stuff was recorded. A gifted pianist, she just sat down and started playing. Somebody’s ears perked up. “George came by and he said ‘Hm, I like that,’” she recalls. “And he said, ‘Garry… figure out the chords and stuff and let’s go record that bad boy… I think Ima use that for Parlet.’” Garry and the fellas did just that, and a unique track of music began to take form, a mid-tempo, haunting yet poppy combo of funk and prog rock. “Once I heard the whole musical thing gelling,” she continues, “that’s when I came up with the lyrics.” The tune sounded like it was coming from outer space, but she didn’t have to look far for inspiration. “It was a love song,” she says. “A lot of stuff that Garry and I did [was] that kind of material because we were so in love with each other. You know, we were hot and heavy and we just kinda like shared it with people.” The song was called “Are You Dreaming?” and arrived to the world as part of Parlet’s classic debut, the Pleasure Principle. Mrs. Shider was also part of another momentous event in P history: the birth of Garry’s iconic stage outfit, or perhaps we can call it a uniform: the diaper, man. But was it an actual diaper? “It was always a towel,” reveals Linda. “They’d stay at the Holiday Inn a lot, so it has the Holiday Inn logo down the middle.” The story goes that Garry decided to give it a try after seeing George put one on that one time. Garry chose to combine the diaper look with a pacifier and some thigh-high boots. Everyone responded so positively that the simple ensemble stuck thereafter. But did Garry wear underwear under there? “No he did not,’ laughs Linda. “Sometimes the willy would kinda pop out if the diaper was too small… It was kinda scary sometimes as well, you know what was gonna happen… ‘Oh, god. Here we go.’ All the groupies would be like ‘Yes!’” Like his lovely spouse, Garry Shider was a particularly loyal funk soldier, the only one who stayed with George while all the other members were coming and going–from the day he and Boogie Cordell Mosson left United Soul to join the P, until the unfortunate day that he passed. And as bandleader for (at least) 35 years, Mr. Shider was the herald of the P, the one who would kick off every show, sometimes just playing a little guitar first, then taking the crowd to the highest heights with his golden voice. Even after saying all of that, it is hard to describe what Garry has fully done for that band and its history. “In the studio, he was the vocal arranger,” says Linda. “He’d produce. Most of the time George was off doing drugs somewhere or sleeping with some chick.” But despite her husband's massive contribution to the history and songbook of Parliament-Funkadelic, he always remained humble. As Linda explains, “One of his favorite sayings was ‘I’m no better than my surroundings.’ He said that all the time… He was like ‘I ...
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    1 hr and 22 mins
  • Episode 31: Dawn Silva [FUNK QUEEN]

    Episode 31: Dawn Silva [FUNK QUEEN]
    Jun 17 2023
    visit acedoutpodcast.com to see photos and moreWhen DAWN SILVA – (Brides of Funkenstein, P-Funk, GAP Band, All My funky Friends] – shopped her autobiography, The FUNK QUEEN to book publishers, they didn’t exactly grasp the entire vision. “Everybody said the same thing,” she says. “‘You can’t do it.’” This is because the OG funkateer had created something you don’t see on shelves every day. “Mine is not only a table book with classic photos,” she explains. “It also has an autobiography, and there‘s about maybe five books within that one book.” Gathering the photos was a tale unto itself, starting with a man by the name of Steve Labelle, an ex-police officer turned photographer who traveled with Parliament Funkadelic from 1976 to 1981. “He was a fanatic,” she recalls. “So he went out on the road with us for all those years and he took all these photos… His health took a turn for the worse and he had been sitting on those photos for about 30 years… So he asked me to make him a promise that, if he sent those photos to me to me, I would put them in my book.” So she raised the capital and had it manufactured herself—a seven pound (!) hardcover masterpiece in the form of a beautifully printed, glossy package containing over 500 pages of rich funk history, way more than knee deep with amazing and tragic tales, as well as brushes with funk and soul greatness that will inspire ladies young and old while imbuing the fellas with a greater respective for Dawn’s legacy. And just like everything else in her storied career, she had done exactly what the powers that be had said she couldn’t do. “I took a chance because everyone said I couldn’t do it and it wouldn’t work,” she confirms. “And it’s working.” Taking chances is what made Dawn a professional singer in the first place. As a young lady, her first major singing gig was as a member of a latterday version of Sly & the Family Stone. Then she jumped ship—mothership that is—and, along with other funk queens whom Dawn calls “thoroughbreds”—she appeared across all P-Funk platforms, from Parliament’s Motor Booty Affair and Funkentelechy vs the Placebo Syndrome, to Funkadelic’s One Nation Under Groove and Uncle Jam Wants You. Her voice can also be heard all over such essential, stanky classics as Eddie Hazel’s beloved solo album Game, Dames & Guitar Thangs, and the Sweat Band and Horny Horns albums. Even more importantly, she took center stage to co-lead the BRIDES OF FUNKENSTEIN, whose funktastic albums Funk or Walk and Never Buy Texas from a Cowboy are still much admired today.  Dawn did eventually break away, however, recording and touring with artists such as Ice Cube, Roy Ayers, the GAP Band, and even the Platters. But her best work was not behind her. She decided to put the album out herself on her own independent label. She also expanded her reach by being an early adopter of online forums—where a million plus fans could follow her directly—and entered into indie licensing deals in places like Holland, Germany, France, Japan, China, Thailand, and Sierra Leone. “I ended up selling over a quarter of a million CDs out of my kitchen,” she says, “from a ‘dead’ market, supposedly.” If all that weren’t impressive enough for a woman in funk, her promotional activity overseas led to a headlining gig (!) at the mammoth North Sea Jazz Festival in the Netherlands alongside Chaka Khan, Herbie Hancock, and the Yellowjackets. And by the way: Funky Friends is still selling today. “I proved to the naysayers, to corporate record companies in the states that here was a very viable market for the funk,” Dawn surmises proudly. “Actually, it’s even bigger today than it was then. That’s why I continue on.”  In this thoughtful, revealing, and illuminating interview, Dawn promotes the legacy of other fem funk legends, from Malia Franklin to Gail Muldrow, and how they were instrumental in pushing P-Funk to the top of the heap despite not getting the recognition they are still due.  She also reveals how the Sly Stone Fam paid more and was better organized than the Clinton camp, and recalls how the late, great Glenn Goins taught her to sing funky lyrics with character. On top of all that, Dawn discusses why her friend James Baker’s New Birth was one of the most influential self-contained Black bands in funk history, exciting news about her plans to finally put out certain unreleased material, and the importance of her African-Indigenous-European lineage.Produced & Hosted by Ace AlanExecutive Producer Scott Sheppardw/ Content Produced by Dawn SilvaWebsite & Graphics by 3chards Recorded & Filmed @Different Fur Studios, San FranciscoEngineered by Grace Coleman Video shot by Cedric Letsch w/ Jarrett Rogers Video & Sound Editing + Graphics by Nick “WAES” Carden for Off Hand Records, OaklandIntro song “Inertia” by Ace Alan (feat. Stymie, Mojo Powell, Chris Powell, and ...
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    1 hr and 32 mins
  • Episode 30: Rickey Vincent [HISTORY OF FUNK]

    Episode 30: Rickey Vincent [HISTORY OF FUNK]
    Jan 13 2023

    visit acedoutpodcast.com to see photos and more

    As an undergrad at Cal Berkeley in the early 80s, RICKEY VINCENT— (History of Funk show and book/ Party Music/ Phool 4 the Funk)— stumbled into a music history course. It was quite dense with Black culture, but on the very last day of the 2nd semester, the teacher came to class with his scratchy James Brown 45s, including “Superbad.” Young Rickey found this to be exciting yet problematic. “‘If I taught a class like that,’ he thought to himself, ‘I would start with James Brown!”

     

    This proved to be a good call, because there seemed to be a certain point on the timeline where all pontification on Black culture inexplicably stopped. “There’s all this writing about blues and soul and the 60s and civil rights,” explains Rickey. “I got no problems with that.” But the 1970s brought a new priority that had yet to be expounded upon. “It’s about the Bomb!” he declares. “It’s about the funk… Where’s the chapter about putting it on the One? Where’s the chapter on James Brown changing the language and the rhythm and putting it all down? No one had written about that.”

     

    Ultimately, what we got was a lot: the HISTORY OF FUNK radio show — a celebration of all things stanky which is still going strong every Friday on KPFA.org — and FUNK: The Music, The People, and the Rhythm of the ONE — an essential tome which should be required reading in any self-respecting household. Indeed, thanks to Rick’s reflections, interviews, and vinyl archeology, we learn about the Five Dynasties of Funk — beginning with the Period of Unification — the Tendencies of Funk, the “heterogenous sound ideal,” and how James Brown invented extended play, changing our expectations of what a song could do. Overall, the professor found that the Funk is not just a look or a sound, but also a particular approach that nobody had really spoken on yet. “Cuz there’s ways to say it,” explains Rick in regards to describing the music, which is more like a movement, organically unifying elements of rock, jazz, blues and gospel. “You can say it from an ethnomusicological point of view… [or] you can look at it as a Black Power thing… These folks were saying ‘All of this is ours.’” 

     

    We are honored to have Rickey Vincent grace us with his essence, and can’t wait to hang with him some more in the future. In this wide-ranging, thought-provoking interview, Rickey talks about how funk artists “arranged the rage,” the importance of visual artists such as Pedro Bell and Overton Lloyd, and why Jimi Hendrix was a fully formed, fully realized Black man who changed the sound of the Isley Brothers forever. Rick also discusses the rise and importance of Sly Stone, how funk artists of today are decentralized and resigned to a life of playing off the grid, and why we need a new Don Cornelius. If all that weren’t enough, we also have two performances by the FUNKANAUTS with emcees DUB ESQUIRE, MWNSTR and MEL YEL. Funky New Year to all!

     

    an Issac Bradbury Production © 2022

    visit acedoutpodcast.com to see photos and more
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    2 hrs and 16 mins
Music History Social Sciences
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