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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