wattie 2Born in a meth lab deep in the hills of Tennessee, Wattie Green was found and raised by a pack of coyotes; one of which only had three legs.  Wattie later took up with a band of nomadic gypsies who formed a band and made their living selling magic tonics and some taxidermy on the side. After a falling out with the gypsies, Wattie staged a rebellion and fled in order to single-handedly create the EDM subgenre of “Cave-Rave.” Dj’ing since ’99 and producing since 2004, this spelunking, multi-instrument playing, jazzy swing house producing phenom moves the crowd wherever he goes. Wattie’s vinyl and digital releases on Flapjack, Spatula City, Juiced, Knocturnal Emissions, Serial Sickness, Funk Mansion and Coyote Cuts have topped the charts of Stompy and Traxsource. Come check out how he has redefined the swing house sound with his nuskool/oldskool jackin’ feel.

You can catch Wattie at RISE this Friday, or at his residency on Tuesday afternoons at 2:15 p.m. at the Golden Years Retirement Community, where he always keeps the dance floor jumpin’…
Recently I spoke to Wattie Green about everything from Bluegrass to turntables to the Debt Ceiling debate, and wanted to pass along the pearls of wisdom I was lucky enough to have bestowed upon me.

Mojo/AF: So, what kind of stuff did you listen to growing up as a kid?  What was the first tape/CD you ever bought?

WG: My dad played music. He had a bluegrass band and I liked that stuff.  I also liked classic rock and Motown. My mom’s from Detroit and bought all these Michael Jackson records and Motown music.

I started playing guitar at 10 or 11. I played early alternative rock stuff like Nirvana and Pearl Jam. Sonic Youth was a big thing for me; different kinds of punk rock, commercial punk stuff like Bad Religion and Butthole Surfers…  Then at 14 I started going to parties with a fake ID.

AF: How did you first get into “electronic” or house music?

WG: Going to underground shows in Nashville, Memphis and Atlanta as an early teenager. They would be featuring Chicago house djs and drum and bass stuff from the east coast, and some west coast.  Paul Johnson Derrick Carter, strictly Jazz Unit Crew like Vic Lavender, Glen Underground; and at that time, it’s embarrassing to say now, but Bad Boy Bill and Humpty Vision– that was hot shit in ’97 and ’98.  Terry Mullin, DJ Dan– these people were all at parties that I was trying to sneak into. People like Farina, Sneak and Carter, frequented Nashville, Atlanta and Memphis … around 99. We’d go all the time on weekends, missed a lot of school…

I first got turntables when I was 15….I got them for Christmas and had those until I was 18, and I convinced my parents to use a small college fund on Technics at 18 and I still have them. That’s basically all I have.

AF: What was the first track you ever made?

WG: In 2009 I finally released some stuff.  I’d been trying to make tracks for 4 or 5 years but wanted someone to release them on vinyl, but most of the people I sent stuff to were not willing to do vinyl.  But,  eventually Frankie J agreed to release Sea Lion Woman on Flapjack. I made some tracks for Juiced Music in 2009 and 2010 I gave them several tracks. Flapjack and Spatula City and Juiced Music in 2009 and 201 were my first releases… I was the 2nd release on Flapjack.  (A.F. sidenote to readers.  This blows my mind and I have to take a moment to collect myself and get my breathing under control again, as this is a huge fucking deal….)


AF: Do you keep up with the “latest charts” on Traxsource and Beatport and the like?  How do you stay current on what’s coming out, or do you; and do you use those as any sort of guideline when you’re making new tracks, or do you just not care and do your own thing?

WG: As a DJ I’m supposed to, but I really do not.  I don’t keep up.  Every now and then I go through the top 10 or go to the Jackin’ top 10, and be like “I know that guy”, or I already have it or I ask them to send it to me… I only play stuff that people send me. I don’t pay attention to those websites… I play them when I get promos, but most of the good stuff that is top 20 in the genre I get most of it already, People are putting out stuff I love, but I hit them up and ask them….”Here’s my new thing, let me get that one thing.”  I really don’t keep up with all that stuff, I’m lucky if I get on line for 20 min every day… I am blessed that people send me promos… The only stuff I play live is the stuff people send me or stuff that I’ve made.

Wattie Green’s Beatport page

Wattie Green’s Traxsource Page.

AF: So what’s up with this cave stuff?

WG: Actually – me and my grandfather and my father, our pastime was to hunt for arrowheads…this was in Paris Tennessee, there is this land between lakes and between the rivers, and we’d find cave openings while hunting for arrowheads.  In middle Tennessee, we have some of the largest concentrations of caves in the US. I took up caving and repelling, well it’s been over 10 years that I’ve been doing that.  I’ve been members of caving grounds, it’s a big hobby of mine.  There are about 400 different caves I’ve been to.  I’m a member of Tennessee Cave Survey, Georgia Conservancy and Alabama Cave Survey. I am in this group of people who take notes and when they find caves they turn in coordinates and map them; it’s a big thing where I live.  A couple times of year we get together and share new information and digital information about new caves found, There are 11,000 caves in TN alone; they have more than any other state in the US.  So, it’s not only like a family tradition, a lot of my friends and I did that straight out of high school as a big hobby. I grew up in west Tenn.  there aren’t any caves there, but my grandparents were from Paris, and that’s where the caves start and we’d go canoeing down rivers and look for arrowheads and I went out on my own and took my friends and it was our hobby. There are lots of caving groups in upper Cumberland grotto, in the college town I live in.  I don’t do it as much as I used to, but usually when I do, it is revisiting things….so yeah, it’s been a family tradition and one of my major hobbies. (WATTIE:

AF: If you had to go spelunking with any people from history, musicians, actors, artists, etc., which 3 would you choose?

WG: You, Thomas Barr, who wrote the original book Caves of Tennessee in 1961 and Hunter S. Thompson, Robert Anton Wilson.

AF: What inspires you to make new tracks? Is it methodical and pragmatic for you, or do you just kind of go with the flow and create as it comes to you?

WG: I just spend time digging through old music, researching who, or what guy from this genre jazz or disco or whatever, search for other people like them, dig through old music, find something that lends itself to house music then I use it. I spend time researching and learning about old jazz, funk and disco music and when I run across something that lends itself to house; I try to work it in.  The library of Congress Recordings from the 20’s-60’s have been a giant influence to me… Alan Lomax is a big influence to me; one of the first people to do field recordings for Library of Congress.  Anything from jazz to bluegrass, the type of stuff I do is directly motivated and influenced by super old stuff I come across digging through old obscure things from folk to blues to jazz to funk and disco.  I try to go back and do something better that’s already been done.  I have a lot of respect for people who can make house music without using any samples from old music.  The main things people know from me and that I’ve had the best results with, it’s from is digging through old house, disco and funk music.

AF: Coolest show/venue you’ve ever played?

WG: Earlier this year in San Francisco at the Monarch with Mark Farina…this place was giant and packed and I got to rock…The Smart Bar in Chicago last year with Frankie J .and the dude that owns Gramaphone and South of Roosevelt. playing Bonnaroo, guitar on the street outside the big stages and bass…  and it’s like right down the street from my house….

AF: Place you’ve never been/played but really want to?

WG: I’ve never played anywhere in the pacific northwest .  Seattle or Portland or Eugene…

AF: Your biggest musical influences.  Name as many as you want.

WG: Derrick Carter, Sneak, Paul Johnson, Stevie Wonder, Herbie Hancock, Joe Sample, Rhodes piano players, Wes Montgomery, Django Reinhardt

AF: If you could play a show with anyone, who would it be?

WG: Miley Cyrus. Well….(I laugh hysterically) I’ve gotten to play with most of the people I wanted to… I’ve played with Sonny, Mes, MarkFarina, Sneak….   so Daft Punk or Basement Jaxx or Green Velvet or Cajmere….

AF: Wild Turkey, Jack Daniels, Jim Beam or Makers Mark?

WG: Yes please…   (Wild Turkey).

AF: What’s up with the debt ceiling debate?

WG: During the government shut down, the only national park in TN was closed down and that sucked…I would rather not speak on that.

AF: What’s up with Obama care?

WG: I have no idea; I don’t know what to say about the debt and I don’t even know what you just said.

AF: Is there any track or record you’ve done that you’re MOST proud of or that means the most to you?

WG: I used to ghostwrite for Jodeci but they never gave me any royalties and we don’t speak anymore,  I also was an original member of Menudo, but due to personal differences we don’t talk anymore. I guess the ones I put out on vinyl with Flapjack and Spatula City.

(AF Note to readers:  At this point I was laughing so hard I almost peed on myself)


AF: Someone you haven’t ever seen perform, but really want to; name up to 3.

WG: Project Pat, Daft Punk, Basement Jaxx.

AF: Three artists/djs/producers who are rocking your world right now; doesn’t have to be “new” and doesn’t have to be any specific genre.

WG: Mark Funk, my young buddies from Philly: Maggs Bruchez, Oh and Geraldine.

Wattie and Geraldine in Detroit at The Works the night before DEMF...like 3 years ago or so?

Wattie and Geraldine in Detroit at The Works the night before DEMF…like 3 years ago or so?

AF: If you could take private lessons, on any instrument, from any musician–past or present–who would it be and what instrument?

WG: I’d want to take banjo lessons from Earl Scruggs

AF: Anything to tell the people as to what they can expect from your show at RISE?

WG: Expect to see me get half way drunk, and then completely drunk afterward. Yeah, I’ll be playing my stuff and playing stuff from labels I’ve been on, the labels I’d like to be on. Expect jazzy funky disco house music; that’s what I do.

One of my favorite Wattie Green tracks, “We Can Funk”  

See you at 247 Skybar this Friday night 10:00 p.m.-3:00 a.m.  Don’t miss this monumental night!


WHO:  DJ E-Clyps – Known for his works on Todd Terry’s InHouse label, MK & Scottie Deep’s ‘Say Ahh’ label, and production for Kenny Dope, Lem (Of Mood II Swing), and others.

WHAT:  Debut full-length studio album “Flapjackin'” is a showcase of his prowess and versatility as an artist and House Music producer.

WHERE: InHouse records

WHEN:  Available September 24th, 2013.INHOUSE_wh_logo-01

You know The first time you heard House music, where was you at?  What was you doin’?”

This album starts out with a bang.  The first track, Remember House is what we call a “floor burner.”  The track has a straight up no nonsense “Chicago House”  sound and is guaranteed to move bodies.  It’s like as soon as you hit “Play,” it’s instant party.  At 3:50 it breaks into that sweet and funky disco sound and this is the part where, if you weren’t dancing already, you will bust out some moves.  Prediction:  This is going to be a big favorite for a lot of folks.


Another Night is my personal favorite track on the album, although it’s incredibly hard to choose.  This song just embodies everything I love about House music.  The funkiness, the disco element, the jackin’ tempo; and it features a vocal that gets stuck in your head for hours at a time; long after you’ve shut it off.  What makes this song my favorite is because it makes the listener feel like it’s 3:00 a.m. at The Smart Bar in Chicago; which just so happens to be the best feeling in the entire world. “Don’t wait ANOTHER NIGHT” to listen to this track; it will turn even the biggest frown into grin and cause uncontrollable dancing fits.

LSD – “Let us observe the effects…”  You don’t have to be on it or have ever used it to appreciate this track.  The beat, the horn-type sounds, the vocal sample that sounds like a scary underwater scientist, explodes into a jackin/tech-house explosion of sound, wonderment and hard beats.

Knockin’ Boots – This song is very melodic and is on that sexy deep house tip.  The high hats, along with that “handclap” beat makes you want to move, but not in a turnt up jackin, way, in a sensual, chill way. This song represents everything I enjoy about “Deep House.”

Make Me Melt starts out almost almost techno’ish.  “I want to get into your world…sexy vocal.  I want to be vulnerable with you.  I want it to be submissive to you… (SEXY BEAT)  Giving you anything you want.  You make me melt…”  This song has a deep, sexy vibe and makes the listener feel like makin’ babies. I foresee a lot of hot, sweaty sexually tense dancing when this track gets dropped in the club.  

Feel Like I’m on Dope – starts with a BEAT.  The song’s title is an accurate reflection.  Not to say you would know what it felt like to “be on dope” because we’re all upstanding, law abiding citizens who would never engage in such activities, but if we use our imaginations, we can imagine that this song actually does, or what we’d imagine does, feel like to be high.  It is happy, mellow, calm and just very chill.  Some very sweet deep house.  Prediction:  Some reputable Deep House producers are going to remix the hell out of this track; someone like Golf Clap would be dope!

Thoughts of Charlotte I know from one of E’s Facebook posts is his personal favorite track on the album, and it is because it has the most emotional significance to him.  This track is in honor of E’s grandmother, who unfortunately passed away just a few months ago.  E-Clyps shows off his R&B/hip hop production skills beautifully on this track.  The song does an excellent job of conveying a feeling in the brief 2:00.

Here is an excerpt from E-Clyps on what this song–and this album–mean to him:  “My grandmother passed away April 30th of this year and was the inspiration for this album. She was the one who made me pancakes in cast iron skillets and when she died, she had every piece of music I ever made in a box for safe keeping. She was a stern woman who loved through action and not with words. She is a woman that taught me to be mentally tough and always work hard for what you want in life. It’s sad that this album is coming out post-mortem, but I know she is listening to it loud in heaven and stood over my shoulder as I made it. The track “Thoughts Of Charlotte” is dedicated to her, and although it is the shortest one, it’s the most meaningful to me because it has her name on it.”

De’Moscato- Although not deep as in the sexy deep house from earlier in the album, De’Moscato starts out with a sort of peak hour deep house tease, into a nu disco celebration in your ears and everyone you ever thought was cool is there.  It makes me feel like I’m a beach at a party at 7 p.m. that’s been going on since 2:00 because it’s an island, and that’s just how we do it… ok, snap out of the daydream.  But that’s what this song does.  It makes you feel like you’re somewhere else, and you’re having a damn good time, wherever it is.  This song, when listened to repeatedly, actually does improve moods and increase happiness.  I’m predicting big things for this song.

Party’s Still Not Over:  This song steps it way up in tempo and sounds like what a good, classic old-school House track should.  First there’s the claps, and then in comes the bass, then the high hats, the vocal samples start and then…wait for it… “The Party’s Not Over!” is sang, and the track explodes into a frenzy as the involuntary dancing ensues.  E-Clyps really shows off his all-around prowess on this track.  Not just production; although the quality DOES sound absolutely crystal clear and perfect, but the intensity he builds at the proper times throughout the song.  The ability to completely manipulate a dance floor with his actions, while everyone thinks it is actually their own idea; that’s talent.  Party’s Still Not Over makes you feel like it is 20 minutes before the club is going to close but you are having such an amazing time that you never want it to end, and you dance like crazy in a futile attempt to “get it out of your system” before they turn the lights on.

Drunk as Phuck –  “Everybody with me, drunk as fuck.”  This describes a typical evening for me, so I really relate to and enjoy this song.  It’s very upbeat and fast paced; I love the almost tribal sounding percussion at times throughout the track and the filter sound he uses at 2:21 are all ingredients in this audible celebration.  I foresee a lot of booty shaking all over the world to this track in the near future.

In addition to being awesome enough to let me hear an advance copy of Flapjackin’, E-Clyps was also generous enough to take the time to answer some questions about the album and music in general.  

AmyMojo:  Tell me how long you’ve been working on this album, and where did the inspiration for the making of it come from?

E-Clyps:  The inspiration of the album honestly came from the passing of my Grandmother. It was a really difficult loss for me and I never properly dealt with it, still haven’t. But it also really hit home that we don’t last forever and tomorrow is not always in the  cards. So I asked Todd Terry what the next open release date was which also happened to be my birthday (September 24th). I booked a “blackout session” and just went non-stop until it was done.

AmyMojo: Do you want to talk about any special efforts you put into the album production wise?  What are you most proud of, or wanting to stick out about that aspect of the album?

E-Clyps:  I ventured to make an album to wasn’t an endless run of the same. Many albums don’t do well because it usually sounds like a bunch of versions of the same style. I listened to the people and took their feedback of what kinds of albums they liked the most and  used that as the blueprint. To make an album that appealed to a wide variety of people, because House as a whole is vast… so many styles to choose from and I love them all. Deep, Jackin, Funky, Tech, etc…  I didn’t want to be the “one trick pony” who you  always knew what was going to happen musically.  I’m most proud of the fact that everyone has a favorite tune, or have multiple favorites. The US DJ’s have embraced different ones from the UK and so on… that was the goal and glad it was received that way, so I’m pleased.

AmyMojo:  This album is extremely highly anticipated by a lot of big time producers and dj’s; Do you know of any of those reputable folks doing any forthcoming remixes of any of the tracks off your album?  Are you allowed to tell us?

E-Clyps:  I was honored to see Artists/DJ’s like DJ Mes, Bear Who, Maurice Tamraz, Colette, Midnite Jackers, and others who had heard the advance album and loved it. Funny part is when Todd Terry says nothing, that’s your indicator you actually did it right. I’ve learned  to never ask, because he’s not going to tell you, but then one day you hear him playing your record on Boiler Room TV, Ibiza, or something: and there’s your answer. I can say there may be remixes. Who is doing remixes if there will be any, I can’t tell you: I’ve taken the oath of silence.

AmyMojo:  Speaking of Midnite Jackers, another one of my favorite up-and-coming artists, when I asked them what they thought about your album they said, “We think it’s a great album from start to finish. Non stop dance floor mayhem,” and I couldn’t agree more!  *Smiles  *Back to business*  Is there a favorite track on this album for you, and if so, why?

E-Clyps:  It’s hard to pick a favorite… they all have a different feelings/vibes to me so it’s hard to pick one.

AmyMojo:  Do you see a potential tour following the release and subsequent blowing up of this album?  If so, there better be an Indy date!

E-Clyps:  I have been a nervous wreck just waiting for the album to come out and see how it is received by the people. They will determine what is going to happen. I would love to tour but cannot say that it is for certain, but it has been talked about.

AmyMojo:  Favorite show you’ve ever seen live?

E-clyps:  Best DJ I ever saw live? Which genre? LOL! Best live band? The Roots. Hip-Hop? KRS-One. Best DJ Performance? Kid Capri, Q-Bert, Scratch Picklez, Jazzy Jeff. Best House DJ performance? Todd Terry and DJ Dan… those dudes lay down clinics!

AmyMojo: Favorite show or venue you personally have ever played?  Or, any particularly unique gig that sticks out in your memory?

E-Clyps:  My residency at Nocturnal back in the day as well as the Get and Kingpin parties in Chicago/Indy. Those moments really helped me define my sound as a DJ and I will never forget them.

AmyMojo: What are some of your favorite things you’re listening to right now?

E-Clyps:  Wow, so much stuff… but lately I’ve been a big listener of the classics… Old Crydamoure releases, Rhythm Masters, Todd Edwards, Todd Terry, Olav Basoski, Green Velvet, Lil Louis, Azuli, stuff like that. All were rule-breakers.. game changers. When I worked  on the album I made it a point to not listen to anything recent, so right now i’m playing catch up.

AmyMojo: Who have you NOT had an opportunity to see live that you’d like to?

E-Clyps:  Carl Cox, hands down. Seen a ton of videos and heard a lot of mixtapes, but never the privilege to hear in person.

AmyMojo: Where is a venue that you’ve not gotten the opportunity to play that you want to some day?

E-Clyps-Ministry of Sound, Circus, ADE.

AmyMojo:  Thank you so much for taking the time to answer some questions and I’m excited for the world to hear Flapjackin‘ and wish you the best of success with it!

1. Remember House – House – 125bpm
2.Another Night – House – 126.7bpm
3.LSD – Tech-House – 127bpm
4.Knockin’ Boots – Deep House – 122bpm
5.Make Me Melt – House – 124bpm
6.Feel Like I’m on Dope – Deep House 122
7.Thoughts Of Charlotte – Hip Hop and R&B – 91bpm
8.De’Moscato – Nu Disco – 125bpm
9.Party’s Still Not Over – Jackin House – 127bpm
10.Drunk As Phuck – House – 130bpm

Label: InHouse Records
Release Date: Sept. 24, 2013

Buy the album on iTunes!

Find more DJ E-Clyps Here: