Born and raised in Buffalo, NY, Nile came from a musical family—his grandfather was a vaudeville pianist who played with Bill "Bojangles" Robinson and Eddie Cantor; his uncles played boogie-woogie. His listened to the music of Elvis Presley, the Everly Brothers, Buddy Holly, and Fats Domino, brought home by his older brothers. Nile himself began playing piano at age eight and took classical music lessons until he was a teenager, when he taught himself his first rock & roll song. He soon began to compose short songs and continued the habit into his college years, when during the summers he made trips into New York City to frequent hootenanny clubs like Folk City and the Gaslight.
Nile studied philosophy at the University at Buffalo where he received a BA in 1971, before heading for Greenwich Village. After graduation, Nile took an apartment in the heart of Greenwich Village; however, during his first winter in New York, he contracted pneumonia, which put him out of commission for about a year. He continued writing songs while recuperating, determined to make a name for himself as a latter-day troubadour. That he did throughout the ’70s, becoming a fixture in the Village folk and rock scenes and getting tabbed as the next big thing to come out of that long-thriving artistic community.
He began hanging out at clubs like CBGB's, where he would see bands like Patti Smith, Television, the Ramones and Talking Heads.
EARLY CAREER
Establishing residency at the Village club Kenny's Castaways on Bleecker St., Nile began drawing ever-growing crowds, which in turn led to his first record deal. In a glowing review in The New York Times, rock critic Robert Palmer wrote of Nile; "Every once in awhile the times seems to produce an artist who is at once an iconoclast and near-perfect expression of contemporary currents. He is one of the best singer-songwriters to emerge from the New York scene in a long time."
Following a flurry of critical acclaim, he found himself courted by representatives from close to a dozen record companies; he chose Arista Records, and went into the studio with a band that included Jay Dee Daugherty from the Patti Smith Group. More rave reviews compared the singer to Bob Dylan and Buddy Holly, and called him "a one-man Clash." The excitement surrounding his self-titled debut album, Willie Nile, prompted Pete Townshend to request Willie's presence on the Who 's summer tour. Nile and his band were soon on the road with The Who, only a few months after Willie's first experience playing with a band. After two acclaimed albums, the self-titled 1980 debut and 1981's Golden Down, Nile fell prey to protracted legal problems which derailed his career for a number of years.
RE-EMERGENCE
Although he continued to write, Nile did not perform live or record again until a 1987 performance in Oslo, Norway, with Eric Andersen. A videotape of Nile’s performance in Norway prompted a Columbia talent scout to sign him to the label in 1988, but production on his album didn't start for two more years. Issued in 1991, His Columbia Records CD Places I Have Never Been contained the songs "Everybody Needs A Hammer" and "Heaven Help The Lonely." Places I Have Never Been featured appearances by backing musicians including Richard Thompson, Loudon Wainwright III, Roger McGuinn, and members of the Hooters and the Roches. His 1992 EP release, Hard Times in America, became a favorite among some listeners in Europe.
Nile has recorded and performed with many musicians, including Ringo Starr, Tori Amos, Elvis Costello, Lucinda Williams, Ian Hunter, and Barenaked Ladies. A live Central Park concert album, Willie Nile-Archive Alive, was released on Archive Recordings, and Nile was one of the vocalists on the ensemble album Largo, along with Joan Osborne, Cyndi Lauper, Levon Helm, The Chieftains, Taj Mahal and Carole King. Another project found Nile writing and performing most of the songs for the soundtrack to the Kevin McLaughlin film Pinch Me!
In the fall of 2003, Nile was invited to share the stage at three concerts with Bruce Springsteen and the E Street Band, including the two final Giants Stadium shows.
“Nile’s defining quality is his charismatic spirit. It’s a passion and enthusiasm that is infectious and earned Nile the admiration of fans and peers alike.” From Shea to the clubs and concert halls of Europe, "his live performances are legendary.
Studio albums
* 1980 - Willie Nile
* 1981 - Golden Down
* 1991 - Places I Have Never Been
* 1999 - Beautiful Wreck of the World
* 2006 - Streets of New York
* 2009 - House Of A Thousand Guitars
* 2010 - The Innocent Ones
Live albums
* 1997 - Live in Central Park - Archive Alive!
* 2007 - Live at Turning Point
* 2008 - Live From the Streets of New York
Gathering together his resources over time, he put out his first self-released album, Beautiful Wreck of the World, in 1999. It was chosen as one of the Top Ten Albums of the Year by critics at Billboard Magazine, The Village Voice and Stereo Review. Lucinda Williams called "On the Road to Calvary," Nile's song for Jeff Buckley, "One of the most beautiful songs I've ever heard." The album reached the finals of the Independent Music Awards for Best Rock Album of the Year.
In 2006, Nile released Streets of New York, which some consider to be his best work to date, due to quality production and clever songwriting. Former Time magazine music critic and Academy Award winning screenwriter Jay Cocks writes of Streets of New York, "The tunes he writes and plays with such blowtorch vibrancy get the myth and magic and danger and sadness and love in this town--of this town--truer, and righter, than anything I've heard since Dion. This record is a head-twister and heart-wrencher. It's rock and roll at its best. It's New York at its best. And there's nothing better than that."[citation needed]
House Of A Thousand Guitars was released on April 14, 2009.
On September 30, 2009, at his show at Giants Stadium in E. Rutherford, NJ, Bruce Springsteen invited Nile on stage to play with the E Street Band.
In addition, on November 22, 2009 Bruce Springsteen again invited him onstage to play the second last song of Springsteen's final concert of his tour, which was in Willie's hometown of Buffalo at HSBC Arena. Nile joined Springsteen and the E Street Band for the cover of Jackie Wilson's "Higher and Higher".
The Day I Saw Bo Didley In Washington Square
Willie Nile Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
There were oceans of people all going somewhere
It was just like a painting, a day at the fair
The day I saw Bo Diddley in Washington Square
There were heroes and villains, paupers and thieves
There were preachers from TV who rolled up their sleeves
There was much dirty laundry in need of repair
There were hipsters, and pop stars, and poseurs galore
The kind of location politicians adore
And the blind man was laughing, asleep on the stair
The day I saw Bo Diddley in Washington Square
Singin' lay down, lay down na-na-na
Singin' lay down with me
He sang a song for those who just don't have a prayer
The day I saw Bo Diddley in Washington Square
Oh the Salvation Army was lost in the fog
As the Emperor of Ice Cream was walking his dog
And the members of Congress were chained to a chair
The day I saw Bo Diddley in Washington Square
There were orphans and outcasts for whom no one cared
They were runaway children on a park bench somewhere
There were divas from uptown with nothing to wear
The day I saw Bo Diddley in Washington Square
Singin' lay down, lay down na-na-na
Singin' lay down with me
He sang a song for those who just don't have a prayer
The day I saw Bo Diddley in Washington Square
As the bagpipes were playing a mystical tune
The sky poured open the stars and the moon
And the arms of the infants were raised in the air
The day I saw Bo Diddley in Washington Square
As the full moon ascended its heavenly stare
Two lovers embracing were caught in the glare
There are millions of people who'll say there were there
The day I saw Bo Diddley in Washington Square
Singin' lay down, lay down na-na-na
Singin' lay down with me
He sang a song for those who just
Don't have a prayer (Lay down na-na-na)
The day I saw Bo Diddley in Washington Square
Singin' lay down, lay down na-na-na
Singin' lay down with me
He sang a song for those who just
Don't have a prayer (Lay down na-na-na)
The day I saw Bo Diddley in Washington Square (na-na-na)
The day I saw Bo Diddley in Washington Square (na-na-na)
The day I saw Bo Diddley in Washington Square
The lyrics to Willie Nile's "The Day I Saw Bo Diddley In Washington Square" are a vivid description of a moment in time where the singer witnesses a cross-section of society in one place, united by their love for music. The first verse sets the scene, describing the orange sky and bare trees, creating a stark contrast to the bustling crowd of people all going somewhere. The day is likened to a painting, with a carnival-like atmosphere and a feeling of excitement and anticipation. The mention of Bo Diddley, a legendary rock and roll musician, adds to the energy of the day.
The second verse describes the eclectic mix of people who have come to see Bo Diddley. There are heroes, villains, paupers, and thieves, as well as preachers and politicians who have come to the event. There is a sense of dirty laundry that needs to be aired and resolved, with many people in need of repair. Despite the varied group of people, they have all come together on this day to hear Bo Diddley's music.
The chorus "Singin' lay down, lay down na-na-na, Singin' lay down with me" is a call to unite, a call for all these people to lay down their differences and come together in the music. Bo Diddley's song is for those who just don't have a prayer, those who are lost or forgotten, ignored by society. The final verse adds a mystical element to the day, with the moon ascending and two lovers embracing caught in the glare. The song suggests that this was a moment in time that people will never forget, a moment of unification through music.
Line by Line Meaning
Well the sky it was orange, the trees they were bare
The setting was surreal and almost dreamlike
There were oceans of people all going somewhere
There were countless people moving in different directions
It was just like a painting, a day at the fair
The scene was picturesque and reminiscent of a carnival
The day I saw Bo Diddley in Washington Square
The songwriter is reflecting on a significant moment in his life
There were heroes and villains, paupers and thieves
People from different backgrounds and lifestyles were present
There were preachers from TV who rolled up their sleeves
Even religious figures were in attendance and engaged in the festivities
There was much dirty laundry in need of repair
There were underlying issues that needed to be addressed among the people present
The day I saw Bo Diddley in Washington Square
The songwriter is repeating the importance of this particular day to him
There were hipsters, and pop stars, and poseurs galore
People trying to fit into certain identities were also present
The kind of location politicians adore
The setting was perfect for politicians to exploit for political gain
And the blind man was laughing, asleep on the stair
Even people with disabilities were present and enjoying themselves
The day I saw Bo Diddley in Washington Square
The songwriter is reiterating the significance of the day
Singin' lay down, lay down na-na-na
Bo Diddley's song lyrics were a call for people to come together and connect
Singin' lay down with me
The singer was urging people to find solidarity with each other
He sang a song for those who just don't have a prayer
Bo Diddley's song was a message of hope for those who felt left out
The day I saw Bo Diddley in Washington Square
The songwriter is again reflecting on the significance of the day
Oh the Salvation Army was lost in the fog
Even organizations meant to serve the public were disoriented and out of place
As the Emperor of Ice Cream was walking his dog
People in positions of power were engaging in ordinary activities
And the members of Congress were chained to a chair
Political leaders were stuck and unable to take action
The day I saw Bo Diddley in Washington Square
The songwriter is emphasizing the memories of this particular day
There were orphans and outcasts for whom no one cared
The marginalized and neglected members of society were present
They were runaway children on a park bench somewhere
Even children without homes or families were in attendance
There were divas from uptown with nothing to wear
Even wealthy and glamorous people were present but feeling out of place
The day I saw Bo Diddley in Washington Square
The songwriter still considers this memory to be significant
Singin' lay down, lay down na-na-na
The chorus is repeated again, emphasizing the call to come together and find solidarity
He sang a song for those who just don't have a prayer
The song was meant as a message of hope for those who feel lost or ignored
The day I saw Bo Diddley in Washington Square
The songwriter is reminding the listener of the importance of this day to him
As the bagpipes were playing a mystical tune
People from different cultures and traditions were present and coexisting
The sky poured open the stars and the moon
The moment felt otherworldly and transcendent
And the arms of the infants were raised in the air
Even babies and children were enjoying the moment with their caregivers
The day I saw Bo Diddley in Washington Square
The memory still holds a significant place for the songwriter
As the full moon ascended its heavenly stare
The natural world seemed to be watching and present for the moment
Two lovers embracing were caught in the glare
Even romantic love was present and celebrated
There are millions of people who'll say there were there
The songwriter acknowledges that many people share the same memory with him
The day I saw Bo Diddley in Washington Square
The importance of this day to the songwriter is emphasized one last time before the song ends
Writer(s): Noonan Robert A, Frank J Lee
Contributed by Adrian A. Suggest a correction in the comments below.