Wisely began his musical journey smitten with Neil Young, Simon & Garfunkel and The Beatles, all of whom are so distinctive in their sound that Wisely began a career long quest to sound like no one else. Eventually self-releasing numerous cassettes (now savored by collectors) to an eager fan base in Minneapolis, Wisely took to the road touring the Midwest in the tradition of his fellow hometown heroes The Replacements, Husker Du, and The Jayhawks. With his band, the Willie Wisely Trio, he played 150 dates a year and released his first nationally distributed CD on Chicago's Pravda Records.
The sound could only be defined as swing-alt-pop, and it heralded the emerging cocktail-nation trend of the mid-90's. With an upright bass, Gretch drums, trombone, and arch-top guitars, the band toured coast-to-coast and performed for ever-expanding hordes of delighted fans. When their Dodge van finally gave up the ghost after 350,000 miles, the members of The Trio decided to split up and Wisely sought a new path of expression.
Troma Films (makers of the underground classic Toxic Avengers) approached Wisely about composing and recording the original score for a new film, Tromeo and Juliet. He embraced the challenge of creating an accompaniment for this twisted adaptation of Shakespeare's great romantic tragedy, concocting an inspired soundtrack that musically keeps pace with the bizarre goings-on depicted in the movie. Tromeo and Juliet debuted at the Cannes Film Festival in 1997 and remains a hot cult rental nationwide.
In 1996 Wisely signed with October Records and released two widely acclaimed records, She and Turbosherbet, both of which were produced by John Fields (Switchfoot, Mandy Moore). Wisely and his band then embarked on a two-year cross-country tour, nightly knocking over audiences across the land with a singular sound rich with diverse influences ranging from 60's garage rock to vintage easy listening, including touches of Bowie, Elvis Costello and XTC-style melodic pop. In addition, Turbosherbet charted nationwide on dozens of AAA and CMJ stations.
1998 found Wisely's group besting every other contender on the bill for the Grammy Showcase, NARAS's national unsigned band contest. They took on the competition in Minneapolis and Chicago, culminating in a trip to the finals in Los Angeles and a featured spot on MTV News for Wisely.
Over the next two years, Wisely's prolific musical output enabled him to unleash six more self-released recordings under his name and that of his Minneapolis band, The Conquerors. He also returned to the theater, a creative outlet he had not explored since college, to serve as star of a stage and also Music Director for a treatment of Cradle Will Rock. To play the demanding role of Mark Blitzstein, the famed communist, Broadway composer, and Orson Welles' protege, Wisely studied and performed ragtime piano, going on to earn rave notices throughout an extended run of the production in Minneapolis's West Bank theater district. Wisely marked the dawn of the new millennium by relocating to Los Angeles. He no sooner touched down in LA, however, before he won IAM.com's International Music Casting Call and was flown to New York City as a finalist to work with director Spike Lee on a television commercial. Wisely's work received national exposure when the spot aired during the 2000 Superbowl, and he capped the event with an appearance on ABC's Good Morning America. The it was back to Los Angeles to work on new projects such as writing and producing with Rebecca Lord (of MTV's Road Rules) and touring with Anna Waronker (formerly of that dog.) in her new band. Wisely also composed and recorded cues for the feature films Scooby Doo 1 & 2 with the screenwriter James Gunn.
Next Wisely debuted his self-titled band Wisely with a five-week residency at the Knitting Factory in Hollywood, ending the run with all sold-out shows. He pressed on composing and recording tracks for both Sccoby Doo I & 2 features with screenwriter James Gunn and polishing up his Broadway chops co-starring with "Family Ties" star Tina Yothers in the stage premier of Lovelace: The Musical, at the sold-out Key Club in Los Angeles.
Wisely's acting career continued to thrive, including principal roles on Alan Ball's Emmy-award-winning HBO series Six Feet Under, the feature film Auto Focus, and even cut a rug with Mike Meyers in Ausin Powers: Goldmember. He has also been involved in several feature films including Playground Girls, which won Best Picture and Best Soundtrack (produced by Wisely) at Showdance 2001, an alternative festival that runs coincidentally with the Sundance Film Festival. Playground Girls, would go on to screen at the Los Angeles Museum of Contemporary Art in conjunction with the national tour of the Basquiat Exhibit.
Wisely, in January 2006 with producer Linus of Hollywood released Parador (Ella/Not Lame), Wisely's founding work for the musical movement EVOC-POP (evocative pop). Joan Anderman, Pulitzer Prize winning music writer for the Boston Globe immediately wrote, "Parador is filled with sharp words and sweet hooks... straddling the divide between classic songcraft and idiosyncratic visions." Music people everywhere were immediately a-buzz: "This consistently perfect record puts the artist's talents on full display - and that's a helluva display." Said Wende Crowley, Music supervisor for CBS' "Cold Case".
Wisely will toured throughout 2006 in support of Parador. His soundtrack and production work will also be heard this year in the forthcoming film "Danny Roane: First Time Director", produced, directed by, and starring the comedian Andy Dick. Besides performing in Andy's live show The Bitches of the Century, he is has also composed and performed the soundtrack for the short film The Man Who Invented The Moon starring Sean Gunn (Gilmore Girls). Willie's production work may also be heard on National Lampoon's website for the artist Shmuskin.
Videos for five songs off the Parador CD will be released, culminating in a February 2007 launch of the video for 'Through Any Window', featuring a breathe-takingly sad story, with a surprise ending, starring Jenna Fischer, star of NBC's 'The Office'.
She Said Yeah
Willie Wisely Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
She said yeah, she said yeah, oh she said it
So when are we going to, when are we going to
Make love
I've been tidily
Wholly undeniably
All I want to do is make love
Her body's all I ever think of
If she'd just say, yeah, yeah, yeah
If I was just a floozy
A boozing loser wanna-be
Maybe I could take some rejection
All I want to do is cuddle
She'd be melting to a puddle
She'd see I'm so lovable
If she'd just say, yeah, yeah, yeah, yeah
She said yeah, she said yeah, oh she said it
She said yeah, she said yeah, baby she said it
So when are we going to, when are we going to
Make love
When are we going to make love
I've been tidily
Wholly undeniably
Flat out and completely rejected
You've been bated but not taken
I'm the boy for whom you're waiting
So grab a tail, don't be shaken
Just keep saying yeah, yeah, yeah, yeah
She said yeah, she said yeah, baby she said it
She said yeah, she said yeah, baby she said it
So when are we going to, when are we going to
Make love
When are we going to make love
The lyrics of Willie Wisely's song "She Said Yeah" encapsulate a sense of longing and unrequited love. The singer is expressing a deep desire to be intimate with the person they are attracted to, but they feel continuously rejected despite their genuine affection. The repetition of the phrase "she said yeah" highlights the singer's yearning for a positive response from their love interest and their hopeful anticipation for physical intimacy.
The singer expresses frustration and disappointment at feeling consistently rejected despite their genuine feelings. They feel undeniably turned down, which adds a layer of vulnerability to their longing for a physical connection. The contrast between the singer's desire for love and the perceived coldness of the other person creates a bittersweet tone in the song.
In the second verse, the singer reflects on the idea that perhaps if they were different, more carefree or less serious, they could handle rejection better. They yearn for a simple gesture of acceptance, wishing for a warm and loving response from the person they desire. The emphasis on physical touch and cuddling as expressions of love underscores the singer's desire for emotional and physical closeness.
The chorus serves as a refrain, emphasizing the central question of when they will finally be able to make love. Despite the repeated rejection, the singer remains hopeful, believing that their love interest is the one they have been waiting for. The final plea to keep saying "yeah, yeah, yeah" suggests a plea for mutual recognition of their feelings and a desire for a deeper connection. Overall, the lyrics of "She Said Yeah" convey a mix of longing, vulnerability, and hope in the face of unreciprocated love.
Line by Line Meaning
When are we going to make love
Expressing desire and eagerness to take the relationship to a more intimate level
She said yeah, she said yeah, oh she said it
Hopeful and excited that the partner is agreeing to the idea of making love
So when are we going to, when are we going to
Reiterating the question of when the intimate moment will happen
Make love
Expressing the desire to engage in a romantic and physical relationship
I've been tidily
Feeling neatly and precisely in terms of emotions
Wholly undeniably
Completely and inescapably
Flat out and completely rejected
Feeling fully rejected by the partner
All I want to do is make love
Expressing that the main desire is to have a romantic and physical connection
Her body's all I ever think of
Constantly thinking about the partner's physical presence
If she'd just say, yeah, yeah, yeah
Hoping for the partner to agree enthusiastically
If I was just a floozy
Feeling like a promiscuous person
A boozing loser wanna-be
Feeling inadequate and unsuccessful
Maybe I could take some rejection
Thinking that maybe rejection would be easier to handle
All I want to do is cuddle
Expressing a desire for physical closeness
She'd be melting to a puddle
Imagining the partner being deeply affected by affection
She'd see I'm so lovable
Believing in one's own qualities of being worthy of love
So when are we going to, when are we going to
Repeating the question regarding the timing of intimacy
You've been bated but not taken
Being enticed but not fully pursued
I'm the boy for whom you're waiting
Feeling like the ideal match for the partner
So grab a tail, don't be shaken
Encouraging the partner to take action without hesitation
Just keep saying yeah, yeah, yeah, yeah
Urging the partner to continue showing enthusiasm and agreement
Lyrics © O/B/O APRA AMCOS
Written by: William John Jr. Wisely
Lyrics Licensed & Provided by LyricFind