WAYNE FOOTE aka “Foote Funk” never would have thought he’d be asked to replace Steve Arrington as lead singer in monster funk outfit SLAVE. After all, he was 19 years old, living with his folks just outside San Francisco in Daly City, while Slave were based out of Dayton, Ohio—part of the Ohio Player lineage and knee deep in a super-stank scene that included Zapp, Faze-O, Lakeside, Heatwave & Dayton. So how did this California kid wind up onstage opening shows with “Slide?”

Well, at the time Foote had been trying to produce local artists, so one day a friend of a friend connected Wayne with a woman named Kim who had two sisters that could sing. So he went to their home in Pacifica to start showing the sisters the parts for a song they were to record. But after the ladies heard Wayne’s pipes, they said: “Naw, we don’t want you to produce us.” What? Wayne asked. “We want Mark to hear you.” Mark who? “Mark Adams.” Mark Adams, the bassist from Slave?! “That’s my husband,” said Kim. “We want you to be the new singer for Slave.”

Soon after that visit, Adams called Wayne and offered him a one-way ticket to Ohio, a per diem, and an apartment. By spring of ’83, Foote was funkin with Slave. “These rehearsals were extremely intense,” says Wayne. “This was not a party for me… We would practice Monday through Friday, eight hours a day. I mean there was no breaks. If you had a cold, if you didn’t feel good—sorry! I almost had a heart attack, man. This whole experience was extremely overwhelming for me. But I absorbed it and I lived it.”

Today, Foote Funk is clean and sober, living in SF, ready to tour again while also making films and art. In this laughter-filled, revealing interview, Wayne talks about the many problems with Slave’s management, his struggles with alcohol, being treated like royalty in England, and almost cutting his finger trying to play like Mark Adams. Foote also raps about trombonist Floyd Miller being the backbone of the group, the intense rivalry between guitarist Drac and vocalist/guitarist Danny Webster, getting a good luck hug from Roger Troutman at the airport when Foote first joined Slave, and that time Webster hit him in the solar plexus with a guitar onstage.

“I think, if I didn’t have music, I wouldn’t know what I would be living for,” says EMILY PALEN, leader of Bay Area, CA superpower trio KNIGHTRESSM1. And from the sound of her soon-to-be-released album Dreams and Devastation, this composer, singer, producer, and shreddingly innovative violinist has gotta lot to live for these days. After all, her latest 12-track magnum opus was recorded at Dave Grohl’s Studio 606 with co-producer/engineer John Lousteau (Foo Fighters/Joan Jett/Iggy Pop), whom everyone calls ‘Lou.’ “He has an amazing recording bedside-manner,” says Emily. “Lou was really gracious and wise working with me and allowing me to get to the height of where I could at the time.”

Supported by just bass and drums, Palen’s violin replaces the guitar outright as the foundational, crunchy-riff-and-searing-solo machine of the band. Uniquely, she doesn’t use an electric but an acoustic violin—her sister’s in fact. This she plugs into a specially chosen amp for a sound that is heavy and even dirty as all hell, without sacrificing clarity. While all of this is going on, she sings lead. Indeed, as a live performer, Emily’s approach is striking. She seems to center herself into a sort of trance, conjuring a sincere urgency that successfully sells her music to the uninitiated. In fact, she imbues her stuff with a level of soulfulness seldom heard in today’s rock and metal scene.

Today, Emily lives in Oakland, 19-years-and-counting sober—and KM1 seems to have achieved an apotheosis of technically brilliant yet emphatically primal bad-assery, as we can already gleam from her advance singles/videos “Polarity Integrate,” “Lock And Key” — and soon to come, “Butterfly.” And lucky for all of us, she brought her violin to the podcast to jam with Ace and Jay Stone on an old Sly & the Fam song! (You are NOT going to want to miss that).

In this fun and inspiring interview, Emily gives advice to young ladies who might want to start their own band, describes how she “manifested” her performance with the Foo Fighters at Red Rocks Amphitheatre in Colorado, reveals her struggles with abuse, and explains why she tuned Dreams and Devastation to 528 Hz. She also provides a detailed rundown of how she concocted her signature sound, tells us why some spiritual gurus are bullies, explains why she and guitarist Eric McFadden are “peas in a pod,” and recalls that time John Paul Jones asked her for a violin lesson while they were rehearsing for a performance at the Grammys.

Don’t even get PATRYCE BANKS aka CHOC’LET from Graham Central Station started on the expression “old school,” which she can’t stand. “Here in America… it’s all about what is next,” she explains. “So anything that is vintage is considered old and old is considered no good… They want to throw everything old or experienced or vintage or classic away… So ‘old’ has a negative connotation.” Instead, she prefers to call it “true school,” or better yet, “BACK TO SCHOOL.”

In fact, when manager Dick Griffey got a very young Choc’let a gig opening for Sly & the Family Stone, she had already been going to “school,” performing and touring with bands for years. And, though she was a self-described “Sly & the Family Stone freak” who highly admired every person in the band, Choc’let asked Griffey if she could meet just one member: fonk bass innovator Larry Graham. Six months later, Choc’let found herself moving from her Los Angeles home to shack up with Larry in Oakland.

Soon, at Choc’let’s behest, the couple formed Hot Choc’let, a decision that would prove enormously consequential to both of their lives. Not long after that, circumstances compelled Larry to break with Sly & the Fam and join Hot Choc’let himself, changing the name to GRAHAM CENTRAL STATION. The band toured all over the world, recording some of the most pivotal fonk albums of all time: Graham Central Station, (her personal favorite), Release Yourself, and Ain’t No Doubt It Bout It. But somewhere along the line, this band that she had put so much blood and sweat into began ripping her off for songwriting credit and—more importantly—money. So she left during the recording of Mirror to find her own way.

Over the ensuing years, everyone seemed to want a little Choc’let in their sauce. She toured with Stephanie Mills, Chaka Khan, and B.B. King. She made music with Wayne Henderson of the Jazz Crusaders, recorded solo joints, and shared the stage with some of the biggest names in the fonk biz. Today, Choc’let has honed her craft as a broadcaster, clothing designer, and author. And she still fonks whenever she can.

In this compelling, truth-telling interview, Choc’let talks about forming and creating classic tracks with Graham Central Station, how ego essentially broke up the original band, what it was like to hang out with Betty Davis, and why all true fonk fans should read Choc’let’s book, Deja View: Memoirs of a Funk Diva. She also recalls how she wound up singing on There’s a Riot Goin’ On, how a session with Dr. Dre led to a stint as lead singer for Rose Royce, and that time she saw Jimi Hendrix split his pants from behind at Isle of Wight.

Cohosted by Patryce “Choc’Late” Banks (Graham Central Station)

Featuring:
Ray White (Frank Zappa / Wild Bunch)
Rustee Allen (Sly & the Family Stone)
Eddie “Cold Bird” Wright (road manager for GCS)
James McKinney (Graham Central Station / Wild Bunch)
Stozo the Clown (P-Funk)
Jay Stone (Funkanauts)

By the time O.G. Horny Horn RICK GARDNER (Bootsy’s Rubber Band, Parliament, et al) had reached his mid-20s, he was already a seasoned vet. After all, he had played with Kansas’ own Fabulous Flippers, a rockin’, blue-eyed soul outfit with a mean horn section famous for humbling Chicago at the Kansas City Rock Festival. Then, using his performance on the Flippers’ Something Tangible album as an audition, Rick had earned a top spot in Chase, blasting alongside his childhood idol, the legendary Bill Chase. So, when Rick found himself stuck in Los Angeles with badass drummer Melvin Webb after a gig had fallen through, he figured he already knew everything he needed to know about playing in a formidable band with top notch-brass.

Then came the call to Webb from the J.B. giant himself, trombonist/arranger extraordinaire Fred Wesley—after which Rick found himself rehearsing in Bootsy’s basement, then on the road to Detroit to work on a brand new project called Stretchin’ Out with BOOTSY’S RUBBER BAND. Rick wasn’t in Kansas anymore. But what started out as supreme awkwardness and culture shock soon became beautiful vibrations of brotherhood. Plus he was hitting The One with Wesley and another James Brown alum, the sax attacker known as Maceo Parker. But it wasn’t until about a year in—when yet another JB genius named Richard “KUSH” Griffith came onboard—that the HORNY HORNS finally reached the peak of their superpowers.

Throughout the mid to late 70s, the Horny Horns were featured all over such staples as Aah… The Name Is Bootsy, Baby! and Bootsy? Player of the Year, as well as some of the finest work that George Clinton and Parliament have ever done, including Motor Booty Affair, Funkentelechy vs. the Placebo Syndrome, and the almighty Clones of Dr. Funkenstein. Add to that albums by Brides, Parlet, Bernie Worrell, and even the Horny Horns themselves—all of which Rick, Kush, Maceo, and Fred had to support live, oftentimes in the same night!

In this ocean-deep, master class conversation, Rick opens up about the emotional highs and lows of his career, answers our technical questions about how The Funk was made, and relates touching personal stories about Glen Goins, Phelps “Catfish” Collins, and of course Kush—including Rick and his wife sharing Kush’s final days. Rick also raps about the arranging styles of Fred Wesley versus Bernie Worrell, Bootsy’s little-known musical gifts, why George would not tolerate a drummer messing with the beat, and that time Sade called Rick on the phone just to say “Hi.”

Each and every time he sets foot onstage or breathes into a mic, singer/songwriter/soul superhero STYMIE steals the show. Indeed, his beautiful, bountiful band of misfits, STYMIE & THE PIMP JONES LUV ORCHESTRA, has been assiduously stankifying stages since the mid-90s, when Stymie put together his first concoction of the collective in the Hayes Valley District of San Francisco. Nowadays, Stymie also records and performs regularly with Soul Ska, a strictly roots affair that’s been making a lotta noise on the live circuit, including frequent collaborations with Angelo Moore (Fishbone/Brand New Step).

In this singular episode, Stymie talks about getting discovered while performing as a youngster on Venice Beach, then being brought to New York City as a salaried frontman—until the music of Sly Stone finally drew him to the Bay Area. Stymie also raps about how art and film inform his writing process, performing with Fred Wesley and Billy Preston, winning an international songwriting award but waiting too long to receive the prize, and how he got scouted by Jonathan Korty (Vinyl) to be part of Soul Ska.

Drummer’s-drummer ROBIN RUSSELL (NEW BIRTH/THE NITE-LITERS) sure takes it to the stage—under protest, that is. He’d much rather do his thing where the drum was invented: OUTSIDE. In fact, whenever he can, this Crenshaw native gets up at 3 am, loads up his gear, and heads over to LA’s Griffith Park, where he sets up under his oak tree and plays through sunrise—though a steady stream of gig offers prevents him from getting out there as much as he’d like.

In this insightful interview, Robin raps about the virtuosity of Johnny “Guitar” Watson, being devastated by the passing of Jimi Hendrix, the magic of working with New Birth bassist Leroy Taylor, and why you’d better not sleep when playing for Little Richard. Robin also talks about spirituality vs. egocentrism, the blessed nature of working with one’s idols, that time he saved his kit (and himself!) from a recent California wildfire, and how he and Blackbyrd McKnight (P-Funk/Herbie Hancock) recorded the most far out cassette tape you’ve never heard.

JIM WRIGHT (now Jay Double You!) was just 12 years old when his big sister Debbie Wright’s bandmates—George Clinton, Bootsy, and the rest of Parliament-Funkadelic—started hanging out at his mother’s house in Detroit. In fact, Tiki Fulwood gave little Jim his first pair of drumsticks. And by the time he was in his late teens, he was already making a good living as a session player for legendary producer Don Davis at the local funk lab, United Sound.

But it was Parliament OG-vocalist Fuzzy Haskins who officially gave Wright his big break with the P. Fuzzy told the kid he had just two takes to make it in—Wright killed it in one, performing with no less than Glenn Goins, Garry Shider, and Boogie Mosson. By the late 70s, young Jim was not only the drummer for his sister Deb’s vocal trio PARLET, but also the original leader of the band. On top of all that, he played on tracks that became part of Bernie Worrell’s classic solo debut, All the Woo in the World.

Jay Armant, Jr never thought he’d become a member of Fishbone, much less co-lead vocalist of Year of the Dragon with Walter “Dirty Walt” Kibby. A self-described nerd, “Flyin’ Jay,” (as he would become known), figured he’d continue being a video game tester.  

But as a school kid, he took music as an elective, where he got turned on to the trombone. He immediately fell in love. And as he got older, the ‘bone kept calling him—until he found himself playing in a band and teaching music himself.  Then his mentor/boss Fernando Pullum hooked him up with the opportunity of a lifetime…

In this fun, info-packed interview, Jay chops it up about his indoctrination into the art of crowd-surfing, gigging with Al McKay of Earth Wind & Fire, crazy road stories, life after Fishbone, his project Electric Gremlin with Adam Fuller, and how much love and devotion his crew Year of the Dragon put into recording their new album, Take Control.

If her life were a mathematical formula, it would be Family + Church = MUSIC. Indeed, Vet Stone (Vaetta Stewart-Reese) began making sweet soul sounds when she was a five-year-old girl standing on a table, singing with her parents and siblings—including big brother Sly. At church, she met lifelong friend and collaborator Tiny Mouton, with whom she performed on such hits as “You’re the One” with Little Sister and “Stand!” with Sly & the Family Stone, as well as classic albums like Fresh, Small Talk, and High on You.

Ms. Stone honored us with a visit, talking about recording a gospel album as a teenager with the Heavenly Tones, living and sleeping in the studio while working on Sly’s creations, and her memoir, Blood Is Thicker Than the Mud.

Amuka solidified her place in  funk history with her recent appearance on Mike Judge’s animated doc series Tales from the Tour Bus, the George Clinton episode. Back in the day, her rock and roll chops earned her a spot in the Brides of Funkenstein, with whom she laid down the funk classic, Never Buy Texas from a Cowboy.

Amuka honored us with a call from her homebase of Detroit — testifying,  laughing, and even singing her way through an in-depth, truth-telling interview about her life and music.

Through his tenure as bassist for Sly & the Family Stone, Rustee Allen has solidified his place in Funky Soul history, with standout work on such pivotal releases as Fresh and Small Talk, including his breakout performance on “In Time.” 

Rustee honored us with his presence, sitting down for a deep dive into his career and discography, from back in the day to right about now.