Posts by Wade Wilby

Wyllys shares a mix for the hopeless romantics out there.

A smattering of songs on the subject of death put together by Wyllys.

Wyllys contributes this week’s Friday Mix Tape.

Wade “Wyllys” Wilby prepared a mix of slow jams for your listening pleasure.

Wyllys offers his take on Rock N Roll Resort’s Thanksgiving event.

Wyllys shares and discusses a mix featuring acts that influenced LCD Soundsystem’s sound.

Wyllys chats with Tom from Work Drugs about the band’s new album and more.

I have been very lucky to share my journey on the road with so many amazing musicians and technicians. From very small bars in high school with my dear friends Rane with whom I co wrote many songs, all the way up to arenas with superstars like Beck and My Chemical Romance, I have had […]

Aaaaaand we’re back here at Wyllys and the World Party. I’ve been touring the country meeting some amazing DJ’s, producers, and bands. The scene seems to be teeming with talent these days and this edition’s band is one of the most skilled duo’s on the road.

In 2006, as the world at large was bidding their love affair with drum and bass adieu, Clay Parnell and Johnny Rabb were just getting started on a breakbeat project that would span across all genres of electronic music. BioDiesel, named after their trusty first tour vehicle, was born out of an idea a promoter had for the Zen Festival. Brian McEnany knew that Clay was a master of D+B bass playing and that Johnny Rabb literally wrote the book on that style of drumming. Initially the idea was to have Johnny Rabb as the only constant member and have a rotating cast of special guests each night. However, once Clay and Johnny played together the chemistry was undeniable so the rotating musician idea was altered to have Clay and Johnny as the constant center and special guests each night.

The first guest was Borhan Lee on keyboards. Then, at the next gig the keyboard player had to leave early and they had to do the encore as a duo. Everyone agreed the encore was the most bangin’ part of the night so that gave them confidence to play as a duo moving forward.

Today, BioDiesel is considered to be true sonic pioneers of the live EDM (Electronic Dance Music) scene and have moved into all genres of dance. I recently went on tour with them throughout California and had some very memorable set change jams with them and got to see the pair rip the roof of venues from Arcata to San Francisco. I caught up with Clay after the tour to pick his brain about the origins and future of BioDiesel.

Wyllys: Can you shed a little light on the technical aspect of what you guys are doing, or how you figured out the live formula for BioDiesel?

Clay Parnell: We started writing loops in ’06 / ’07. This is right before Ableton when everyone was using an MPC for sampling. Johnny started using Ableton through his SPDs and then we realized we could trigger anything using the SPDs. We could have a sample of any length or file type we wanted which is a huge part of our live show. So we flew to Nashville before our first tour and through lots of trial and error and pulling our hair out we eventually got the sample triggering where we needed it to be.

I remember the first few gigs – things not working out and having to rely on a lot of improv, but a couple dates into tour we got it together and wrote our first chunk of full tunes like Mellow Tone and Hippo Break. We were traveling in an ambulance that ran on biodiesel and turned the back of it into a studio. We’d be driving to the next gig and we’d be banging out tunes. Johnny had a drum kit in the back of this thing. It was wild. Until that ambulance exploded it was the coolest thing ever.

READ ON for more of Clay Parnell’s chat with Wyllys about BioDiesel…

After ending an amazing tour of the East Coast, I ended up in Brooklyn to find the world had frozen over. New York was starting to resemble Hoth. Dallas looked like the Winter Olympics. Lake Shore Drive looked like a scene out of a disaster movie. My travel plans were pushed back, forcing me to […]

Winter’s comin’ and I’ve got a debut…and what a night it was. Months in the making, Wyllys and the New York Hustler Ensemble made their first appearance ever at Sullivan Hall on December 30th as part of the Phish After Party series thrown by CEG. The gig blew all of our expectations out of the water and we can’t wait to do it again. We already have three more gigs in the books but that’s for another article.

[Photo by Laura Wainer]

I figured my column here on HT would be a great place to give the public insight as to how the project came together, our method of writing/rehearsing, and what we plan to do in the future. If you, the reader, thinks this reeks of shameless self promotion, you’re right. But who better to interview me than myself. ENJOY.

About two years ago I began collecting Nu Disco and Re Edit records when I lived in Chicago. My DJ partner Lax Class had turned me onto the genre and I slowly became obsessed with it. The style seemed to be what Dubstep is to Drum and Bass; a slower, funkier and more psychedelic version of its predecessor. I loved the tunes but couldn’t figure out how people were suppose to dance to it. It was a drastic tempo change from House but still had the 4-on-the-floor groove. The more I listened, I started to identify the main components of each record. Indigenous instruments and soulful vocals were on almost all of the tunes. I figured if I really wanted to play this style out in the clubs I would need to magnify these human attributes, and what better magnifiying glass than actual humans.

READ ON for more on The Hustlas’ debut performance…

DJ and HT staff member Wade “Wyllys” Wilby penned an open letter to the promoters, production team, artists and fans of Jam Cruise.

I sit now at this computer reveling in the joy that was Jam Cruise. It takes a village to throw this kind of experience, and to all those involved from the top (Cloud 9) to the bottom (MSC Poesia Crew) my hat is off to you. Though words of any kind can never do this adventure justice, I must try to make this keyboard sing its praises, for the adventure, while based in music, is more indicative of a deeply emotional human experience we are all loosing day by day as technology pushes us further away from each other.

[Sunrise on Jam Cruise 9 by JRapp]

In the beginning of social networking, I was enthralled by the idea of reconnecting with people whom I had lost touch with for one reason or another, I was also horrified for the very same reason. As the medium began to grow from MySpace to Facebook it spread like wildfire from PC to PC, phone to phone, and into every home. Networking had never been easier and the pros seemed to well outweigh the cons. The information superhighway was now a road back to people you had considered lost forever.

Now it seems we are all so dependant on these networks almost to the point of addiction. For some, it’s a healthy distraction at work, a convienient time waster that can get you through the day with a few laughs and some new songs to add to your playlists. At first glance, it seems like a harmless internet fad that even your parents are starting to take part in. This Jam Cruise, I suddently realized exactly what kind of damage these social networks were actually doing to human interaction and communication.

All kinds of folks take part in Jam Cruise, which is what makes it so magical. Fans of all ages, people of all different professions and backgrounds and cultures get together to collectively let their hair down in a way that is impossible from the shore. There is a complete disconnect from your phone and computer and when you let those technological chains loose from your heart, you really get to see the true beauty of the people and world around you. READ ON for more of Wade’s open letter about Jam Cruise…

Wyllys and The World Party had time to catch up with fellow ex-Burlington native Mike Jones this week about his new label Party Guy Records and its latest release Future Sounds of North America. The compilation caught my eye by stating it was showcasing “the future sound of bass” in North America, also citing the previous styles of bass this country was so famous for (Miami Bass, Baltimore Club, and Chicago Juke).

Party Guy Records was founded in February of 2010 by Mike Jones (Kuato) and Adrian Sakgrime (DJ Hatian). The two DJ’s were playing lots of parties together and had mutual friends that were producing lots of quality tunes that they felt needed to be released, namely Bardeenz and Dub Chi. Originally, PRG was going to be an Electro House label. Their first release came from Bardeenz titled Messed Up Maison, a blippy House romp that certainly fell under the Electro moniker.

• Previously on W+TWP: Burlington Beats

Not long after the Bardeenz release, PRG started to branch out stylistically. The second offering from Guttstar titled Battery Hues was a Dubstep collection featuring remixes by PRG artists Kastle and Dev 79. This began to illuminate the label’s allure to bass sounds and culture. DJ Hatian had always been known for evil bass tones in his sets, so it seemed a natural progression.

READ ON for more of Wyllys and the World Party…

After taking most of the fall off the road after the IT festival, The Phish from Vermont got together for four shows before the 2003 New Year’s run in Miami to celebrate their 20th anniversary as a band. Most people thought the band was conceived on Halloween in 1983, though the announcement of the 20th Anniversary Run made it clear that Phish’s first show did indeed take place on December 2, 1983 at Harris/Millis Cafeteria on the campus of UVM. So it came to be, a four-night run through their stomping grounds of the Northeast culminating with the 20th Anniversary Show at The Fleet Center in Boston, Phish’s first show there since New Year’s ’96.

2003 was a “festive” time for Phish, with members having their own party agendas most nights. Even with their propensity to get loose, 2003 saw many of the band’s best post-hiatus shows. This run, while celebratory in vibe, did not showcase the best the group had to offer this year in any consistent manner. There was flashes of utter brilliance at times but they came in disjointed shows. My tour mates and I had an unbelievable time this run celebrating what Phish had given to our lives, so we really couldn’t be pissy about the band reveling in much of the same merriment.

So let’s have a look at these flashes of brilliance in chronological order.

NIGHT ONE: NASSAU

11/28/2003 – Nassau Coliseum, Uniondale NY

Set 1: Bouncing Around the Room, Runaway Jim, Ghost -> What’s the Use? > AC/DC Bag > First Tube, Frankie Says, Bathtub Gin -> Free

Set 2: Waves > Sample in a Jar, Down with Disease, Walls of the Cave, Two Versions of Me, Crowd Control, Mike’s Song > I Am Hydrogen > Weekapaug Groove

Encore: Crimes of the Mind

Notes: This show included the debut of Crowd Control. Trey introduced Mike to sing “his song.” Crimes of the Mind (first since July 10, 1994, or 504 shows) featured the Dude of Life on vocals. During the song, the Dude congratulated Phish on their 20 years together, and wished them success for 20 more.

[All setlists via Phish.net]

The first night of the run took place at the Nassau Coliseum. Fans were psyched to get back into the room that saw Destiny Unbound dusted off earlier that year, and of course the first two nights of The Island Tour in ’98. The highlights from this show all come from the first set. Oddly enough, this set opened with Bouncin’, the first Bouncin’ opener since Nov. 10, 1995.

READ ON for more of Wade’s take on the 20th Anniversary Run…

Take whatever title you want for this week’s installment of Friday Mix Tape. I compiled these tunes because in November every year I put these same songs in a playlist as an ode to the seven women who have changed my life forever. I guess I’m just a sentimental fool or have some inability to […]

Tonight was a big night for Phoenix as the French alt-popsters headlined at Madison Square Garden in New York City. In breaking wews, Robot Dance masters  Daft Punk sat in with their fellow frenchman during the encore for a smoking version of 1901. The live remix contained Harder, Better, Faster, Stronger and One More Time samples. Bon Appetit, NYC. [Photo […]

Howdy kids. It’s been a while since W+TWP last posted, and for that I am sorry. During the time off I got to thinking about why I started the blog in the first place. I wanted it to be a place where kids could download the latest and greatest in Electronic Music. Really what ended up happening was me trolling other blogs who were on top of their shit and regurgitating it to you lovely folks, and that is no way to operate. So once again, I am sorry. So then the next question arose : How do I make it better?

Given that I am now touring full time as a DJ, I will be in contact with other DJ’s, bands and producers out on the road, and what could be more current than those folks? So the idea of Wyllys and The World Party 2.0 is to get interviews with these people I tour with to get their take on Electronic Music and how they are pushing the genre forward, as well as links to their music and upcoming tour dates.

Sound good? Well I took my most recent gig to re-light the fire here at W+TWP with Chris Are from Long Island, NY. Chris, myself, The Durians, Sonic Spank, and The Egg took over Burlington’s Club Metronome last Sunday and we all had a fucking blast. In short, everyone showed up and played their ass off and we all got drunk. Good times in the Queen City. Chris Are got my attention. His sounds were meticulously crafted and his beats were interesting. It had a Dub Step feel, but none of the sonic qualities that are assoaciated with that genre. It was very psychedelic yet structured. We were sharing a booth together and he was very knowledgable about music in general so I called him a few days later to pick his brain for Hidden Track.

Wyllys: Give us a brief history of Chris Are as a musician….

Chris Are: Well, I started making beats around 2002, but I started playing drums at age 4. I started making beats on an old Yamaha keyboard and then moved the MPC 2000. My current studio rig consists of Pro Tools running on a Mac, some random synthesizers, the Abelton ATC 40 controller, a new Korg Kaos Pad, and, of course, the MPC 2000. I do all my sampling off a turntable and have a HUGE vinyl collection. The Hip Hop of the early 90’s influenced my beats heavily and that’s the rhythm pattern I use the most these days.

READ ON for more of our chat with Chris Are…

There were a number of great musical moments at Phish shows on Sept. 30th including an amazing run of Landlady > Lizards > Tweeprise from Ohio, a psychedelic Mike’s > Keyboard Cavalry from Shoreline and the infamous “Hiatus Forbins” from Vegas. As for the 29th, we had to include audio of the one timer of Aerosmith’s Cryin from The Greek, the DEPIC 2001 from The Pyramid and the Spock’s Brain from Vegas. From everyone at Hidden Track, thanks for all the inspiration you have given us. Have a great day, Red. All setlists provided by Phish.net and all links provided by “The Spreadsheet.”

Monday, 09/30/1991 The Dugout Lounge, Ohio University, Athens, OH
Set 1: Chalk Dust Torture, Foam, Fee, Paul and Silas, Stash, Colonel Forbin’s Ascent > Fly Famous Mockingbird, Sparkle, Take the ‘A’ Train, Llama
Set 2: Possum, Cavern, The Mango Song > Tweezer, My Sweet One, Horn, The Landlady > The Lizards > Tweezer Reprise
Encore: Love You > Hold Your Head Up, Good Times Bad Times

• Download: Phish – 09/30/1991

READ ON for setlists and downloads of more shows from Trey’s birthday and musical highlights from various Phish shows on September 29…

Yesterday we posted the first part of Wade Ellis Wilby’s latest installment of our Storytellers series about the effect Steely Dan’s Aja had on him growing up. Today, we bring you his anecdotes on Side Two of the LP…

Peg

So girls were obviously a huge part of any 17 year old’s life. No scientific breakthrough there. The great groove to this song was really what drove me to it as well as the fantastic harmonies and slick guitar work. But Peg…something was up with this broad. She was the starlet that hung in poster form on some guys wall in the 60’s. She was from a time far away from ’97 but I smelled what they were stepping in. She loved the limelight, and this guy loved seeing her in the limelight. Did she exist without it? Did he think about her when she wasn’t in a movie?

I had all kinds of crazy emotions and feelings about woman at this time. I had a girlfriend of three years at this point whom I loved VERY much and love to this day. This song made me think about why you love someone and if there are any situational ethics involved with love and attraction. I mean, we were meeting TONS of broads out on the road and this song made me realize those girls probably thought we ceased to exist once the lights go out and we pack up the gear. We go from star to student in a matter of hours and what did we matter to these girls whom hours ago wanted to sleep with all of us…even the light guy? Oh well…if Peg had any consolation advice to offer I heard it: “It Will Come Back To You.”

Home At Last

12/29/95. Not the summer or even ’97, but needs to be addressed for this anecdote. I was one of the lucky ones who was there for the life-changing Bathtub>Real Me>Bathtub segue from the Phish NYE run in ’95, hallowed as one of the best segues the band has done to date. However, the counter culture was still being explored by this up and comer and I decided to take more LSD than I was accustomed to at this point in time.

READ ON for more from Wade on the songs of Aja…

Wade Ellis Wilby presents Hidden Track Storytellers. This is a creative writing workshop for fiction and nonfiction stories & poetry inspired by music.

My father turned 60 the other day which got me very nostalgic about the many great things he has taught me over the years. One of the greatest lessons I inherited was his vinyl collection. Back in the day, people use to write on album covers like high school year books. So not only do I have an amazing collection of classic rock and jazz, i also have love notes from my mom to my dad etched forever on the covers of so many historical records…Abbey Road being one of them – the album is covered with little pictures of “jan loves lew” – cute right?

Well, sometime after I ruined the family record player by trying to scratch with a Grado needle, and sometime before my friend bequeathed to me his turntables, I was left with only a cassette Walkman. It is at this point my Dad hands me two tapes : Aja and Gold, two monsters from the Steely Dan vault. This is the summer of my junior year in high school – 1997. And I didn’t know that when I pressed play on Aja, I would be entering into a deep part of the counter culture that only so many people were “in” on. The rest of the majority would pass off Steely Dan as “jazz fags”. Not my father, and certainly not me. And I have to tell you…the weed helped.

By now, I was deep into Phish and weed had saved my life two years earlier. I was a hot headed kid who just LOVED violence. The weed helped mellow that side of me out and opened me up to many different cultures and types of music and people. I am SO happy I decided to fire up before taking that first walk with Aja down my suburban street in Enfield, CT. It got me into that slippery, slithery vibe that is “The Dan”. Below is a story full of memories and lessons I associate with the record Aja. I hope you enjoy this trip through my youth and the summer of 97. (Went Rage Tales Not Included)

READ ON for more of this installment of Storytellers…