← Takin' A Walk - Music History with Buzz Knight
Takin' A Walk - Music History with Buzz Knight
Takin’ a Walk with Buzz Knight: Willie Nile's Inspiring Journey from Buffalo to Greenwich Village and Beyond
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- [00:01]
Willie Nile
Taking a Walk.
- [00:01]
Buzz Knight
He grew up in Buffalo, New York in what he calls a gregarious Irish Catholic family with music always playing in the house, a grandfather who ran an orchestra and played vaudeville with Bill Bojangles Robinson and two older brothers on piano. He studied philosophy at the University of Buffalo, then packed up and headed to Greenwich Village determined to to make his mark as a troubadour. And he did. I'm Buzz Knight and welcome to the Taking a Walk podcast. When Willie Niles self titled debut dropped in 1980, the New York Times called him one of the most gifted singer songwriters to emerge from the New York scene in years. The who invited him on their summer tour. The next Bruce Springsteen, people said, the next Bob Dylan. Then came a decade of legal battles that silenced him not fore but long enough to make the comeback that much more remarkable. Because Willie Nile didn't just survive the music business, he outlasted it. He's now released over 20 albums, earned the devotion of Bono, Pete Townsend, Lou Reed, Lucinda Williams and Little Steven, and the New Yorker has called him one of the most brilliant singer songwriters of the past 30 years. His latest album, the Great Yellow Light, was inspired by the letters of Vincent Van Gogh. He's a New York City original, a rockers rocker and coming up next, we're
- [01:35]
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going to talk this is an iHeart podcast.
- [01:38]
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- [02:41]
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- [03:41]
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- [06:55]
Willie Nile
Taking a
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Buzz Knight
Walk it's so great to have Willie Nile on the Taking a Walk podcast. Welcome, Willie.
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Willie Nile
Thanks for having me. I'm happy to be here.
- [07:05]
Buzz Knight
So is it true you studied philosophy at the University of Buffalo?
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Willie Nile
And.
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Buzz Knight
And how does a philosophy student end up as a rock and roller in Greenwich Village?
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Willie Nile
Well, I was a philosophy major at the University of Buffalo, but that was purely by accident. When I was back years ago when I was going to University of Buffalo, I was just taking classes that I liked. I had no. You know, kids go to school these days. They have a plan in mind. I just was taking classes that I liked. I figured I'd end up being an English major because I took a lot of. I think it was one course short of being an English major as well. And it turned out my senior year I went to visit my guidance counselor, who I'd never seen. I had him in a class once. George Boger. Great guy and said, how am I doing? You know, my senior year? He goes, you're doing good. You're a philosophy major. And I went, what? And I. And I said to him, well, that's great. What can you do with a philosophy degree? He said, you can go to graduate school. And I went, and I'm going to New York City to make records. He was really nice. And so I was. I took courses that I liked. The Philosophy of Art and Beauty. I thought, that sounds good. It wasn't. It sucked. But, you know, I just took things I liked. And then when I was. Got my degree, I moved to New York City 72, and started for the first time just jumping up on open open mics and started playing songs. That's really how it's. I was writing songs all through college, you know, and I. I thought they were good enough, that it was worth giving it a shot, you know, and I did.
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Buzz Knight
So tell me what the Village was like when you arrived. I recently on an episode of the podcast, had Alan Pepper, who owned the Bottom Line, on. And that was obviously a great hangout. But who were the people and the places that shaped you in those early years in the Village?
- [09:04]
Willie Nile
The early years in the village, we're talking 72, 73, and the very early beginning. And it was. There were open a lot of. A lot of guitar players you'd see walking down the street with guitars on their back. You don't see that much anymore. It's, you know, things change. And Folk City, the Bitter End, the Cafe A Go Go was still open at the time. And it wasn't long after that that CBGB's opened. And I actually played there before it became the punk mecca, you know, I just thought I would get the Village Voice and look and see what venues there were. And there was a cool ad for this place called cbgb and umfug. Other music for Underground Gorman Daisers. I didn't know what Hilly Crystal was smoking when he came up with that, but. And I liked the ads. I. I walked. I took my guitar, walked down Bleecker street, you know, and the end of Bleecker Street's the Bowery. And right there, it just runs right into CBGB's, you know, perpendicular. And there's a flop house, a men's shelter above it. And so it was. It was really seedy back then, you know, now it's more chic and gentrified, but it's still cool. But back then it was really funky. And I remember walking in and I asked the bartender who who do I talk to for playing here? And she said, that would be Hilly. He's in the back. He'll be out. So I got a beer, sat down after about 20 minutes. Nobody, no, Nothing. So I went over to the jukebox. They had a CBGB's, had a great jukebox. Really, really good. And. But I noticed the last two songs, the last song album, the last 45 that was on there was by a guy named Hilly Crystal. And I thought, how many hillies are there in the world? So I put about $4 of quarters. And I played the same song like, 10 times in a row. And after about seven or eight plays. Six, seven. This guy comes out from the back. This grizzly bear clearly had woke up looking all pissed off. What the hell? I walked up to him and said, hey, hi. Are you Hilly? He goes, yeah, I like your song. And. And I said, how do you get to play here? And he said. He just looked at me like I looked up and down. He goes, well, just get on the stage and play me something. So I stood on the stage, put my acoustic guitar out, played a couple songs, and he said, you're hired. And I played. There was a. A jazz pianist from City College that was doing the music at the time, and he was really nice black guy. He set me up on, you know, that night and whatever nights I played, and I would play. And then not long after that, Tom Berlane and Richard Lloyd from Television walked in and asked Hilly if they could start playing on Sunday nights, which they did. And that started a whole. Patty Smith joined them. And it started a whole avalanche of outsiders and loners and. And kids with visions and wannabes and all the above, and it was really great. I used to go there three or four times. So. CBGBs, I. I had one foot in the acoustic world and one foot in the electric world. Just because I. I was broke as a church mouse. I couldn't afford a band, you know, so I played acoustic. When I would get on stage, it was just me and acoustic guitar. And if there was a piano, I'd play the piano. But I was playing rock and roll songs. So I had one foot in acoustic and world and one foot in the electric and. A lot of interesting people back then, to say the least. Yeah.
- [12:39]
Buzz Knight
You know, when I think of your song Vagabond Moon, which is just so wonderful to this day, it does cast an image to me that feels very much like sauntering through the village. Is that really a fair assessment?
- [12:56]
Willie Nile
Absolutely. I wrote that song One night, it was about three in the morning. I was going out every night to clubs and, you know, Hank bars and just hanging out, just taking in the whole scene. That first year I was there and in my kitchen, I'm on the top floor. So the. It was. It was three in the morning and I had my acoustic guitar sitting in the kitchen with the lights off and the moon, a full moon was shining and the light was coming in through the kitchen last and the landing on the floor. And I just thought it was so beautiful. And I wrote that song, but it's very much a backstreet Greenwich Village song. Yeah.
- [13:35]
Buzz Knight
So I was talking to you before we started the interview. We have some history because I was programming a radio station and Fairfield County, Connecticut, technically It was Brookfield, Connecticut, called I95. And we were big fans of your music as you were hitting the scene and you played a place, I believe the venue was called Stage three. And in the magic of that era, that radio era, we were able to not only be the co sponsor, whatever, co presenter of that concert, but we also broadcast it live as it was happening. I mean, I got chills thinking about that show. It was so fantastic.
- [14:20]
Willie Nile
I don't remember the recording, but I remember playing shows back then with a great band that I had, you know, J.D. daugherty on drums, Fred Smith on bass. J.D. doherty played with Patti Smith still to this day. Fred Smith, who just passed last week, I'm brokenhearted about it. Great, great guy. He was the Television. Television was my favorite band by far back then. They were just so enigmatic, so mystical. Tom Berlane, Richard Lloyd, Fred Smith, you know, and Billy Figuet. And Fred played bass and Clay Barnes from a band called the Criers played lead guitar. And Peter Hoffman, a rocker from Boston, also played lead guitar. So I had a mighty band. I had two league guitar players and a great rhythm section and we had fun. That I do remember.
- [15:09]
Buzz Knight
It was outstanding. Now, how did you feel about this whole thing which a lot of artists of that time were subject to? The whole, oh, it's the next Dylan, you know. That whole pressure that came upon you, what was that like? And when you reflect on it, how did. Does it make you feel now when that came up?
- [15:31]
Willie Nile
Well, I remember exactly how I felt, you know, and I still feel the same. I just thought it didn't throw me. It put any pressure on me at all. I. I just thought it was ridiculous because. But I knew that they, you know, people were just looking for something to compare it to, you know, oh, here's the next this, the next that, next Bob Dylan, the next whatever. And I. I knew I didn't take it seriously at all. I just knew it was just a reference that was being used. I wasn't. I didn't get into music business, so to speak, to become some kind of icon, some kind of idol, to be famous. That was really never my focus. I. And it really saved me from a lot of stuff that. That kind of really focused. I was a songwriter, I was a poet. Writing songs that meant something to me and at the outside world had nothing to do with it. I mean, everything to do with it because it influenced me. But I was writing songs that, that, you know, I was expressing myself. And when I first started writing poetry, I was writing stream of consciousness. And there's no right or wrong with stream of consciousness writing. It just is what it is, you know. And so for four years at the University of Buffalo, I was writing songs with nobody looking over my shoulder. And so I really got a strong foundation of self and what I was doing. So when the first record came out and all these, I was very grateful, make no mistake about it, for the reviews that I got. I got rave reviews across the board. It was one bad review. The Boston Phoenix. I got slammed and it made me laugh because, you know, he wasn't buying it. You know, he thought, this guy's full of shit, you know. And it made me laugh because every single review was like, just like so strong and so supportive and this guy's amazing and he's going to be the next this, the next that. But I didn't take it seriously. So it didn't throw me. Didn't really. Didn't throw me off my balance. To this day, it's. I've been very fortunate, impressive and really good to me. And, you know, I just like to record my songs as well as I can and make the songs come to life and that. So they mean something to me and hopefully they'll mean something to somebody else. The whole fame circus I never was interested in was never a part of. That's why to this day I'm able just to carry on and, you know, with ups and downs of the business, it's like nonsense. I walked away in 1982 after two albums and like worldwide, you know, celebrated as the next big thing when it became more about business than about music. I had problems with the former manager, former lawyer and it. And it just turned me off so much. I thought I told my wife, to hell with this, let's get out of here. I walked away. Not. Maybe not the smartest thing to do, but I just. It was so. That doesn't, you know, I'm. Fame doesn't interest me. You know, stinking rich. I'm sure that. That I'd be interested in because I could. I could do some good things with the money and I could take care of, you know, my family and stuff. But like, that's what. That's what I was about back then, was trying to. I had two kids and four kids and wife to feed. So my concerns were very mundane and simple. So the whole comparison thing, I didn't. I knew it was just nonsense. I never. I just didn't give it a second thought.
- [18:55]
Buzz Knight
And we never knew back then the. The deep story that was going on in terms of the legal battles that you were faced with, I think there was sort somewhat you know, sheltered from us during that period. We knew we loved your music and we became f hands instantly. And then suddenly we're like, well, we want more of this guy. So this. This story was not truly told, at least in my view at that time, as clearly as it should have been.
- [19:22]
Willie Nile
It was brutal. It was like. It just. It's not what I expected. I mean, you know, you get into a, you know, a gold mine, oil field kind of business, like the record business, where people are following money and smelling it and wanting it, and that was not where I was coming from. And problems with the former manager, problems with the lawyer. We had the same lawyer, which was. Which was conflict of interest. And I'm going to arbitration during the day, doing shows at night, and it just. And all these managers coming from out of the woodwork, wanting to manage me because that was a double page spread and Billboard magazine, you know, the next big thing. Nonsense. I mean, I'm grateful that the record company, they probably pushed too hard. You know, people. There was a backlash to that, but I had no control over that. But it just turned me off. I just thought that I said to my wife, they're killing my buzz for music. I don't want that to happen. And so we just left town, turned my back, disappeared, and it took. It was 10 years later that I put another record out. You know, I went to Buffalo, she was pregnant. And, you know, I continued to write. I'll always write. You know, I don't write because somebody says to write. I just write because it's my natural way of expressing myself. And I love it to this day. And then I'm still very, very lucky that the inspiration is still coming out strong Very, very lucky. So I went back to Buffaloes writing and writing, you know, just. Which is what I do. And it was really hard times, you know, money ran out, I had to borrow money. I was writing. And then a couple, A couple years in, I was when I. I thought I got songs I want to record and I couldn't get arrested. Made phone calls, sent, you know, cassette tapes out of new songs and nobody was interested. They followed in general, people follow the hype, you know. And at that time I was. I was in Siberia, you know, I was up and outside of Buffalo, but it was basically Siberia. Really hard time. We had a great. You know, the one silver lining about those years in Buffalo, which was about nine years, was that I was able to be home all the time with. With my children growing up. So we became very, very close. It was. It's a very close family to this day. So that was a one. But otherwise it was really stressful trying to feed a family with. No, no. I mean, I had a publishing deal in the middle of that, which really saved my ass. But I, I didn't mind walking away. I didn't want him to kill my. You know, I love music more than ever. And the record companies that tried for me, eris, that totally tried, I'm very grateful. Clive Davis and his team there, people tried for me. I'm grateful for that. And when I signed to Columbia in 90, 88, that record came out in 91. Rick Chertoff signed me, tried for me, and the timing was wrong. He was. By the time the record got made, I was waiting for him to produce it and he was producing Patti Smythe and the Hooters and Tommy Conwell. I had to wait. I wanted him to produce it. By then he was in the doghouse and on the way out. So my record came out, didn't have it, you know, I was told later that it was dead before it came out. But I got to make it and Richard Thompson plays on it and a lot of Wayne Wright sings on it and wicks, Paul Wickens McCartney's keyboard player and Robbie McIntosh, a great guitar player from the UK, played the Pretenders and I mean, sorry, I got to make a great record. I'm very, very happy. Richard Thompson, for crying out loud, and his Bare Feet. Come on. So, I mean, it's very naive of me to think that way, you know, because, you know, I was living and dying on the income and it just came out. And someone told me later that the president at the time said at one meeting this record has four weeks to happen on its own or it's done. So that's not how it works. You know, they got to promote it and stuff and there's a few people at the label really did try, you know, which for which I'm grateful. So, you know, no chip on my shoulder. And that was the idea of walking away from the record business. When I first moved here, one of the really predominant things I saw was a lot of musicians with chips on their shoulder. Why not me? Oh, you know, I'm better than this guy, blah blah. I went, I want no part of that nonsense. So you know, to this day I don't have a chip on my shoulder. I'm very grateful for the journey's not been easy. You know, it was hard for my my wife and my kids, but no one ever complained. Not once. Deeply grateful for that.
- [23:51]
Ad Voice 2
We'll be right back with more of
- [23:53]
Willie Nile
the Taking a Walk podcast.
- [23:56]
Ad Voice 2
Support for the show comes from Public, the investing platform for those who take it seriously. On Public, you can build a multi asset portfolio of stocks, bonds, options, crypto and now generated assets which allow you to turn any idea into an investable index with AI. It all starts with your prompt. From renewable energy companies with high free cash flow to semiconductor suppliers growing revenue over 20% year over year, you can literally type any prompt and put the AI to work. It screens thousands of stocks, builds a one of a kind index and lets you back test it against the S&P 500. Then you can invest in a few clicks. Generated assets are like ETFs with infinite possibilities, completely customizable and based on your thesis, not someone else's. Go to public.com podcast and earn an uncapped 1% bonus when you transfer your portfolio. That's public.com podcast paid for by Public Investing Brokerage Services by Open to the Public Investing Inc. Member FINRA and SIPC Advisory Services by Public Advisors, llc. SEC Registered Advisor Generated Assets is an interactive analysis tool. Output is for informational purposes only and is not an investment recommendation or advice. Complete disclosure is available at public.com disclosures when people turn to telehealth for weight loss, they're looking for real support. That's why more people are choosing orderlymeds.com orderlymeds connects you with real doctors and access to proven GLP1 medications like semaglutide and Tirzeptatide. No guessing, just a more supportive experience and all shipped directly to your door in discreet packaging. Do your research, ask questions, then visit orderlymeds.com podcast for an exclusive offer. That's orderlymeds.com podcast. Individual results may vary. Not medical advice. Eligibility required. Seesite for details
- [25:27]
Ad Voice 3
this podcast is sponsored by Nurture Life. Hey, it's Danielle Fishel from Pod Meats World. And as a mom to two growing boys, I know how chaotic mealtime can get. No matter how confident I am with what I'm serving them, my kids will always find a way to call the meal gross or stinky or yuck. It's true. They can be wildly picky about new foods. And with my busy schedule, I don't have the time to become America's Next Top Chef. And so that's why I love Nurture Life. It's a meal delivery service that actually caters to kids. Ideal for ages 8 months to 8 years, fully cooked and ready to serve in just one minute. It's the problem solver I've been praying for. It's the top meal delivery service for babies, toddlers and kids. And everything is designed by registered dietitians so you can sleep safe, knowing your kids are getting the protein, veggies and nutrients they need while still eating favorites like Mac and cheese, spaghetti and meatballs, and so much more. Plus, it's allergy friendly, which we know is clutch. And when it comes to options, Nurture Life has you covered. There's more than 50 nutritious meals and snacks on their menu, from soft finger foods for babies and toddlers to balanced kids meals for when they get older. Nurture Life does the cooking. They deliver it straight to your door. And then you might even have time to eat something for yourself. So now is the time to head to nurturelife.com pod and use code pod for 50% off your first order plus free shipping. That's right, 50% off plus free shipping. Once again, that's nurturelife.com pod and make sure you use promo code pod. Even if you aren't a parent with young kids, you might have parent friends who struggle with mealtime. Make sure to share our Code POD with them. Remember, put your little ones first with healthy meals from Nurture Life. That website, one more time is nurturelife.com pod pod Picture this. Me, Reese Witherspoon in London ordering fish and chips so often they might start wrapping me in paper.
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- [27:42]
Willie Nile
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Willie Nile
Wait, what is a toad in a hole.
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- [28:58]
Ad Voice 2
Welcome back to the Taking a Walk podcast.
- [29:02]
Buzz Knight
Lucinda Williams once said, if there was any justice in the world, I'd be opening up for him instead of him for me. When you hear something like that from a peer of that caliber, what goes through your mind?
- [29:16]
Willie Nile
Well, I love Lucinda. I love Lucinda. And that when she said that we were down in Nashville, I think it was the year 2000, something like that. I just put out Beautiful Wreck of the World on my own label. And I met her at, after a show in New York and she invited me down to Nashville and literally set up a week of weeks worth of gigs, put a band together for me. We did a, I played, I think a couple gigs with a band. I did a solo gig. We did a songwriter circle in which she was a part of. There were lines down the block to see Lucinda and, and these other wonderful songwriters. And I'm sitting next to her watching her sing. I'm looking, she's right next to me. I'm looking at her throat going, where is that voice coming from? You know that, that amazing voice. Nobody sounds like Lucinda. And I played a song on the Road to Calvary and she just looked over when I was done and she goes, that's the most beautiful song I've ever heard in my life. Something like that. And she said that's when she made that quote about opening up for me. No, no, no, that's not. No, it was later that year she played in New York City at Roseland Ballroom, legendary venue. You know, Duke Ellington, Louis Armstrong, you know, great bands. So she played the Roseland Ballroom and I opened up, opened up the show with my band. This was 2000. Had a great, great band. I've been lucky with having great bands. We opened up the show, it was packed. You couldn't get a toothpick in the room. It was so crowded because she had just put out her great album, Car Wheels on a Gravel Road. Utter masterpiece. You know, if anybody hasn't heard that record, Car Wheels on a Gravel Road, I highly recommend it. It's just brilliant. And so we did it. We opened up, we got a great response. And I'm up in the dressing room taking off my wet clothes and somebody came running up telling me what she said. She just said to the crowd, you know, if there was any justice in this world, I'd be open up for Willie Nile instead of him alone for me. Well, that just shows you what a quality class act Lucinda Williams is. You know, in an industry filled with wannabes, pretenders, and people with big egos, here's Lucinda Williams championing another artist that she loves and respects. And she's done that with many artists. I'm not the only one that she's championed. And I think the world, Lucinda, I love her dearly, you know, and that made me feel, I mean, money can't buy some things, you know, if I was stinking rich, I couldn't buy that, you know. So God bless her for saying that.
- [31:59]
Buzz Knight
You've also had some incredible writing, collaboration and other collaboration with one of my favorites. He's been on the podcast Steve Earl. Talk about your, your work with Steve and what that means to you.
- [32:16]
Willie Nile
Oh, my God, Steve Earl. So Steve Earl, for lived like literally 1, 2, 3, 3 doors down from me. I'm in the middle of Greenwich Village right now and near the corner McDougal Bleecker. And he lived a couple doors over on Bleecker Street. And so I would see him all the time and we became friends. He has a non verbal autistic son, you know, a great, great burden. And he, he doesn't tour anymore from like mostly from September to end of May to be a single parent taking care of that boy. And I'll see him on the street coming back from a Yankee game with his son, you know. And so I really grew to love Steve, you know, I'm obviously a huge fan of his work. He's one of America's great songwriters. I mean, I ain't never satisfied Guitar Town. You can just go down. The revolution starts now. You can just go down the list of masterpieces that he's written. He's like Johnny Cash to me. I love Steve. And so I was making this record called the Day the Earth Stood still. And there's a song on it called Blood on youn Hands, which was about COVID politics, all about all the people who died out of mismanagement and which I consider murder. And I wrote a song called Blood on youn Hands. And we were mixing it, and I thought, you know, maybe Steve might want to sing on this. So I texted him, sent him a song. Five minutes later, I'm in. That's it. You know, and there's. There's a. There's a video of it. If people go to YouTube and look up blood on your hands with Willie now and Steve Earl, I'm so. I can't tell you how moved I am. It's like Lucinda, you know, these two giants. And then when I. I think a year later, I wrote a song called Wake Up America. And I was going to put. I wanted to put it out as a single, which I did before the election. Yeah, I love people. I love this country, you know, And I think that it's a lot better than certainly appears to be. You know, I think there's a lot of good people in this country and people disagreeing on the facts, you know, because it's so. There's so many news outlets, nobody knows what to believe. And people. It's so divided, so sad. This is utter tragedy. I mean, it's not going to last forever, but it's pretty bad. And there's a lot of great people, you know, in this country. And I think the vision, the dream that is this country is still alive. It's pretty buried right now. But I wrote Wake Up America. Just everybody like, hey, we can do better. Bobby Kennedy used to say that we're a good people, but we can do better. Neighbors being neighbors. Don't be jumping to conclusions, you know, let's not be judging so fast. We're all immigrants here. Other than the first nations, people that are that were here when the Europeans came over and all the people came from different countries. This is a country of immigrants. And shame on this assault on immigrants. It's just for show and it's just for appealing to a base. And it's a shame we're better than this. And I think if people knew there's a line and blood in Your hands. No, Sunko. Getting ugly out there. If the people ever knew what was really going on, there'd be another politician who'd be dead and gone. I mean, I believe in this country, and I think that we can do better. I think we will. And I wrote Wake Up, America, and I. Same thing. I texted Steve. Hey, Steve, you want to sing on this? I get a text message back, five minutes later, I'm in. And there's a video. It's on the. I put it on the new album. My new album is called the Great Yellow Light, which I'm so proud of, and it's one of my favorite records that I've made, and I love them all. And Wake Up America is on that album. And there's a video, and it's out. We put. We put it out. I think we've got 300,000 people looking at it or whatever. Wake Up, America. And Steve Earl's in it. You know, it's a. It's a. It's a prayer and a love song to this country, you know, that we can do better, and I believe that we will. New album.
- [36:19]
Buzz Knight
The Great Yellow Light is great. Love it. It's inspired by Van Gogh's letters to his brother. What is it about Van Gogh that resonated so deeply with you, with Van Gogh?
- [36:32]
Willie Nile
Like, the great yellow light amidst all this darkness and division? Like, it's pretty dark out there. You know, people's spirits are, like, down. You know, I remember in the early 60s, when John Kennedy was president and there was the Peace Corps, and that was. You can hear New York City outside my window. Anyway, the fire and the ambulance, and you'd be amazed during COVID how often you heard that all day long. And long story short, so with Van Gogh, so with all this darkness. I remember reading years ago one of Van Gogh's letters to his brother when he moved to Arles, when he moved to the south of France, he was blown away. But I love. I'm a huge fan of his. His work. I love Van Gogh, his story, his letters, his paintings. There's something primitive that really resonates with me there, and I love his work. And he mentioned to his brother that he referred to the Great yellow Light, how it inspired him so in South France. And that stuck with me. And I wrote a song a couple years later, not long ago called the Great Yellow Light. And it's not about Van Gogh. It's just about inspiration. In this case, you know, it's. It's about love. And I thought the. I thought that's the title of this record, the Great Yellow Light. I wanted to make a record that would inspire people. A feel good record that. That. That would inspire, you know, I mean, wake up, America's on there. It's, you know, it doesn't pussy foot around this record, but it's inspiring. Anybody listens to it, I think, you know, you'll feel better, whatever. It ends with Washington's Day. The album, the last song is called Washington's Day, a song I wrote with two of the Hooters, Hyman and Eric Bazillion. And also my producer at the time, Rick Chertoff wrote the song years ago in 1988. 87. 88. I just signed with Errors with Columbia Records, and I just written a song and I wanted to play it for the producer. He was in the studio working on a Hooters record. He was in the Record Plant. I called him up and he said, come the boys. The band's not here. It's just me and the engineer working on a mix. Come on by. So I went by the studio and was waiting for them to work on a mix. And he said that. He told me the song was called Washington's Day, which was a reference to July 4, Independence Day. And so I'm sitting in the back of the room listening to work on this mix, and it was so beautiful. There was no lyrics, not a word. And here they are mixing the song without a vocal on it. And it was like listening to Let It Be. It was so beautiful. And anybody hears that song, Washington State, you'll know what I mean. It's stunning. And in the back of the room, I just pulled out my pen and started writing. Did you think I could ever forget the night by the Arlington flame? In the silence I heard it through streets so deserted you whispered and called me by name. Did you think I could ever forget the rocket's red glare in your eye? Where Lincoln stood strong There you held me so long there that night on the fourth of July. The chorus, I hope and I pray that you'll be here with me when the mountains that rise tumble into the sea when the kingdoms that come set us free on our way Hope you'll be here with me home on Washington's day. I got chills just thinking about it. It's. It's a love. It's a Romeo and Juliet story that takes place in Arlington National Cemetery. And the lyrics broaden out to encompass war and, you know, the human condition and. But it's a. It's a song of. It's A Prayer for Better Things. It's an optimistic end of this album. This album is a firecracker. Starts out with Wild, Wild World, because it is a wild, wild world. You know, it ends with Washington's day. So I'm so, you know, to answer your question, Van Gogh inspires me to this day. And his phrase the great yellow light inspired that song. And it's the heart of the album. And I'm still. It's one of my. Maybe my favorite album, you know, I
- [40:41]
Buzz Knight
got chills as you were reciting that. It was so wonderful.
- [40:44]
Ad Voice 2
I know.
- [40:45]
Buzz Knight
You're going to be doing a bunch of dates, aren't you? You're. That's on you always, right?
- [40:49]
Willie Nile
My God, my calendars. I got a lot of. A lot of shows coming up. I'm leaving town next Wednesday, going to Tulsa, Oklahoma. The Bob Dylan Center's there and Woody Guthrie Center. I was there in July and October in Tulsa, and it's just amazing. Anybody listening? If you're looking for an interesting trip and you're any kind of a fan of Dylan, zero. Woody Guthrie's man. Is it interesting? Well, they're having a 60th anniversary event of Blonde on Blonde on 20th of February, and they've got all these really interesting people singing one song each off of Blonde on Blonde. Then I'm gonna. They asked me to sing Absolutely Sweet Marie, which I will. And then later in the evening, I'm gonna sing like a Rolling Stone. Talk about shooting fish in a barrel. They've got a great backing band. It's gonna be so much fun. And takes place at Cane's Ballroom, which is a legendary 30s roadhouse. And then I'm off stuff. I'm on a. I got a Caribbean cruise ledge. It's called Rock the Rock Legends Cruise, which makes me laugh. I don't consider myself a rock legend. I consider myself a simple poet with a guitar, but. And then I'm going to Buffalo. And then I'm off to Spain for a couple weeks, tour in Spain, to Italy for a tour in Italy. Then I'll crash there for a week, come back home. And then I got a Midwest tour in the middle of April, which with full band, it's going to be great. And then I've got a Spanish band that backs me in Spain. Great band. I've got an Italian band that backs me in Italy. Great band because it's expensive to take my American guys. You know, I'd love to do it, but it costs a lot of money and I'm not a stinking rich guy yet, but I'm working on it. And then in May I go to the west coast. I've got a solo, solo tour out there. So I've got a full spring and I'm, I'm happy about that. You know, I'm a 77 year old grandpa who loves what he does and is still fortunately in pretty good shape, knock on wood, because I live on a six floor walk up, which I have for 53 years. And I saw somebody sent me an article the other day, somebody saying how walking upstairs, sudden bursts of, you know, how, how good that can be for you. Well, I've hated those stairs for years, but the last few years as I walk up, I'm going, thank you, thank you, thank you, thank you. As I go up, because it's kept me somewhat fit.
- [43:11]
Buzz Knight
This is so great. Well, before I let you go, since we do call this podcast Taking a Walk, Willie, I have to ask you, if you could take a walk with somebody, just suspend disbelief, living or dead, who would you take a walk with and where would you take that walk with them?
- [43:31]
Willie Nile
Well, that's, that's a good one. Two, two places come to mind right away because I'll often ask people, if we had a time machine, what three places would you want to go? Where would you go? Well, there's a number of. I'd go a bunch of places. You know, I go to Dallas, Texas in 1963 and see what I can do to stop. Same with John Lennon, you know, and I was in the recording studio the night he was killed. And the Record Plant, the same studio. He was upstairs, I was downstairs and he left. Five minutes later he was murdered. And I would. Those are two places. But if I could take a walk, I would go to. I would go to Arles, France, south of France, take a walk with Van Gogh and just to watch his world. And other than that, I would go to Hamburg, Germany and I'd have to take a walk with four guys and go walk around Hamburg, Germany with the Beatles. And those are two magical places for me. You know, the south of France with Van Gogh and Hamburg, Germany with the Beatles. I'd love to do that.
- [44:31]
Buzz Knight
Oh, man. Willie Nile, this has been a joy reconnecting with you. The great Willie Nile. See him when he's out on the road. Check out the Great Yellow light and his entire catalog. It's an honor to be with you, Willie, and thanks for being on the Taking a Walk podcast here.
- [44:47]
Willie Nile
Well, thanks for taking the time. I've enjoyed it and bless your heart and Anyway, if I'm anywhere near where you are, let me know and be my guest. I'd love to see in person. Thank you for taking the time, my brother.
- [44:59]
Buzz Knight
I'm Buzz Knight and thanks for listening to the Taking a Walk podcast. Now please check out our companion podcasts produced by Buzz Night Media Productions with your host, Lynn Hoffman. Music Save Me Showcasing the healing power of music and comedy, Save Me Shining a light on how laughter is the best medicine. All shows are available on Apple Podcasts, Spotify, and are part of the I Heart Podcast Network.
- [45:30]
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- [47:34]
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- [47:38]
Willie Nile
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- [48:02]
Willie Nile
done,
- [48:04]
Ad Voice 1
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