Name: Invisible [rough mix] by Willie Wisely
Duration: 6 min 25 s
Description: I do believe all components of this recording are present and complete. However, it requires some objective ears to mix the thing. I can't seem to get the mix focussed on separate events and cut through the mush. Gotta bring out each part more separately: Kelly Jones backing vocals, John Fields bass drums, Mike Railo piano, Ken Chastain perch. Co-written with Cliff Hillis.

@francesco-carrozzo: no doubt, man's an awesome player

Great song! I understand your problem with the mix -- so much nice, and subtle, instrumental detail throughout. I'd like more of the backing vocals to come up a lot more -- you've got CSN as a tag which kind of tells me where you're aiming, and I think bringing the vocals up to where it's more of a singing group feel could help. We're trained from in utero to focus on the voices we hear; it's what we pull out of the acoustic environment first, what we're searching for. You have such a great voice yourself! As for the instrumental stuff -- as Quiller-Couch wrote about writing, "murder your darlings." Great stuff, Willie, from a fan.

Ooh! Crucial & Flawless jump to falsetto FTW!

The bongos here are awesome; you can bring them down after they've asserted their presence -- they'll still be there!

I think the breakdown here could be more complete -- you might try to pare it down a bit and bring some of these instruments in sort of sequentially after the drums kick in and build things up that way.

That guitar strum right there is brilliant. It's like a sigh.

He's filled with junk food confidence
He's her man, but now that's past tense

She's (Going to Get it Right)

"Ugly Tonight" the debut full album release from Nashville's indie rock darlings, Fake Makeup. Full of weirdo guitars, slinky drums and lyrics that capture the nervous, modern day zeitgeist. 

File it under Postmodern Boogie Trash!

WHAT S A BROKEN PROMISE MST 1 01

I do believe all components of this recording are present and complete. However, it requires some objective ears to mix the thing. I can't seem to get the mix focussed on separate events and cut through the mush. Gotta bring out each part more separately: Kelly Jones backing vocals, John Fields bass drums, Mike Railo piano, Ken Chastain perch. Co-written with Cliff Hillis.

Invisible [rough mix]

Widow Maker

Our cover of James' classic "Laid" featuring vocals from Jen Goma. 

The Pains of Being Pure at Heart - Laid

Russ Fradin, CEO and founder of Dynamic Signal, talks to Venrock partner Brian Ascher about his long history as an entrepreneur and&nbsp;how that experience has impacted&nbsp;the way he approaches running a business today.&nbsp;They discuss lessons learned from Dynamic Signal’s early pivot,&nbsp;as well as Russ'&nbsp;contrarian view on fundraising, why he’s always open to blind emails and why it’s stupid to be stealth in the enterprise world.&nbsp; Russ is a digital media industry veteran with nearly 20 years of experience at companies such as Adify, comScore and Flycast. Dynamic Signal’s&nbsp;employee advocacy and engagement platform changes how companies communicate, turning employees into experts, advocates and contributors.&nbsp;

Good Businesses Pivot Constantly

Patterns is this first track off my new album of modular synth / piano compositions; landscapes vol.1.

The piece began by experiment with the Noise Engineering Zularic Repetitor; a dynamic rhythm generator Eurorack module, and grew from there.

Patterns

Ravel

This is a song about how I fall asleep right after dinner when I visit my in-laws in. Sarasota, Florida.

Sarasota Midnight (Nils d'Aulaire)

Recorded in London December 2012.  Solo violin by Jack Liebeck.  Also featuring piano, string section, harp, atmospheres and effects.  Speech extracts taken from NASA recordings of the Apollo 11 mission.

The Thought Of Floating In Space

No one-trick pony, the Willie Wisely Trio leaps from era to era, delivering an ambitiously vivid aroma of days past. But wait, it's not retro. It's just easy to love.

Whether you're reminded of Mahalia Jackson “Moving On Up a Little Higher,” or Ray Charles proclaiming “I Believe To My Soul,” Rod Stewart coaxing a stadium to sing along to “Maggie May,” or Neil Young delivering an epic guitar solo, it's always more Willie than anything else. But that hasn't stopped comparisons. The group has been referred to as a “troupe of minstrels gallivanting,” “Sinatra on crack,” “Jazz-tinged bards” and “neo-burlesque.” One critic warned “David Lee Roth watch your back” while another imagined, “if Willie were to fart loudly you would no doubt feel inclined to utter an appreciative thank you.” The Willie Wisely Trio truly makes music in a different way.

If stripped naked the group would still be wearing Willie's songs. Loaded with content and blessed with form, Wisely composes like a theater director. Scene One: two lovers who don’t speak the same language. The curtain rises….. the song is half-rhymed in French, played to an oozy, 1960's TV commercial bossa nova funk. Scene Two: man comprehends the scope of his lustful desires and warns the lady to BEWARE. The curtain rises…. eight minutes of screaming guitar feedback sunk to the seething six-eight pulse of the most hideous of Hammond organ tones. Amazingly though, each song is just as effective if sung by Willie with an acoustic guitar. Indeed the Wisely's are a rare band, one that is compelled by their musical frontiers and not held captive by them.

The Chronology

In 1986, after leaving Beloit College and finding a job at the Wax Museum record store in Dinkytown, a university neighborhood in Minneapolis, Willie Wisely began a quest to understand and appreciate jazz. Previously, only the Beatles had really impressed him; and he was let down by most the music of the 1980’s.  So without a muse Willie turned to history for inspiration.

In many ways bassist James Voss became this muse. He and Willie met in 1987 while attending what would become McNally Smith College of Music in Minneapolis. They’d signed on for the performance degree programs to explode their skills. Despite being a good songwriter, Willie kind of sucked on guitar and felt the need to improve. Unfortunately, studying scales and modes, and going to class with 50 shredding metal heads, all playing at the speed of light, made Wisely so self conscious that he unimproved his skills (temporarily). It didn’t really matter because he was a prodigious entertainer, a born ham–and he could really sing too.

The two students became quick friends and decided to form a band that could fuse the classic jazz and classic rock that they loved. James, a versatile musician, had played in scads of 'jobber' groups of varied styles. In this network he met Peter Anderson, an exciting drummer who was in love with an eclectic mix of bands from the frenetic Babes In Toyland, to the placid The Carpenters. He also loved Neil Young in equal parts to free-jazz virtuoso Albert Ayler.

The Trio was complete. James played a dilapidated upright bass, freshly nicked from a school band department. Peter, taking cues from John Bonham and Tony Williams, syncopated the music with non-convential ingenuity. And then there’s Willie, trying to become his heroes John Lennon and Mahalia Jackson, but never quite hitting the mark. But failure is breeding round of innovation and so it was that local critics dug their unique approach. By April 1990, the band would be featured in a cover story for The City Pages weekly––Minneapolis’ Village Voice at the time.

In November 1989 the Trio was playing at a smoky little bar in Minneapolis (yes, you could smoke indoors!). It was there that Greg Wold, co-owner of the bar and accomplished trombonist, first saw the group. He played in the legitimate Twin Cities jazz scene, but had a proclivity for inviting chaos onto stage. He could make the slide trombone blare and squeal like a weezing old steam engine. He 

Invisible [rough mix]

Willie Wisely

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