Album Review: Willie Nile – The Great Yellow Light
This just in: Willie Nile has released another very good album. The thing is, the NYC artist has been doing that with regularity for a very long time, rarely receiving much exposure for doing so. The Great Yellow Light is his 16th studio album; along the way there have also been five live albums and an EP. But beyond the occasional enthusiastic review here and there, Nile has never managed to break through to the big time.
It almost happened, right near the start. Nile released his self-titled debut album in 1980. And rather than tour on his own in support of that album, her hooked up with a better-known act, opening for them on their U.S. tour. That act was The Who. I know: I saw Nile open for The Who on that tour’s Atlanta date.
Anyway, enough about the past. On The Great Yellow Light, Nile rocks in an energetic and melodic fashion. His raspy voice might suggest a more tuneful Bob Dylan, and his lyrics have an evocative character along the lines of Lou Reed or Phil Lynott. Right out of the gate, “Wild Wild World” hits the sweet spot between powerful, windswept arena rock and something more direct and earthy. He rocks like Rockpile, with a musical style not miles removed from that underrated and short-lived supergroup.
It’s unexpected when an artist sounds hungry and fence-swinging on a record they make 45 years into their recording career. But that’s what Nile has done here. There’s a storytelling quality woven though the songs on The Great Yellow Light, suffused with raw rock ‘n’ roll energy. Nile knows how to craft a memorable tune, with fist-pumping catchy choruses. Sex Pistols sang “We mean it, man.”
Willie Nile doesn’t serve up anything so literal and explicit, but from the first note to the last, his sincerity makes it own case. “An Irish Goodbye” answer the (unasked) question: What would The Waterboys sound like if they were from New York City? “Tryin’ to Make a Livin’ in the U.S.A.” is a bouncy song that weds that Celtic vibe to a c&w style, but the result ends up rocking. “Wake Up America” (featuring guest vocals by Steve Earle) is a clear-eyed observation of where we are at this fraught period in history. In places, The Great Yellow Light feels like it might just be… a concept album.
With The Great Yellow Light he may have just made the finest album of his career. Here’s hoping the record gets a measure of the coverage it deserves.
About the Author
Bill Kopp
With a background in marketing and advertising, Bill Kopp got his professional start writing for Trouser Press. After a stint as Editor-in-chief for a national music magazine, Bill launched Musoscribe in 2009, and has published new content every business day since then (and every single day for several years). The more than 5000 interviews, essays, and reviews on Musoscribe reflect Bill's keen interest in American musical forms, most notably rock, jazz, and soul. His work features a special emphasis on reissues and vinyl. Bill's work also appears in many other outlets both online and in print. He regularly hosts lecture/discussions on artists and albums of historical importance (including monthly events Music to Your Ears and Music Movie Mondays), and is a frequent guest on music-focused radio programs and podcasts. In Spring 2023 he taught a history of Rock 'n' Roll at UNC Asheville's College for Seniors. He also researches and authors liner notes for album reissues -- some 40 to date -- and co-produced a reissue of jazz legend Julian "Cannonball" Adderley's final album. His first book, Reinventing Pink Floyd: From Syd Barrett to The Dark Side of the Moon was published by Rowman & Littlefield in 2018, and in paperback in 2019. His second book, Disturbing the Peace: 415 Records and the Rise of New Wave, was published in 2021 by HoZac Books. His third book, What's the Big Idea: 30 Great Concept Albums is available now. Read even more about him here.