I didn’t actually try to produce a flashback last week but I thought about it. Because I’d pre-ordered the CD, when Willie Nile released World War Willie back in 2016, I got a digital copy before the actual CD arrived. It was early spring and I took a nice walk around the neighborhood with the new music playing in my ears. The walk and the songs both made an impression. A similar situation existed with New York at Night. A digital version became available before the physical version arrived. My World War Willie introductory walkabout was powered by a 2011 vintage iPod. It still works fine but I no longer have any way to maintain its contents. This time I downloaded the music to my phone and set out to enjoy some fine weather and new music.

I’d previously used the phone for some podcasts and music but had not really mastered its operation. I tapped the first track listed; The phone played it to completion then stopped and waited for me to select another. There’s probably some way to get automatic movement between tracks, but a small screen in bright sunlight did not lend itself to figuring that out. So, as each track ended, I stopped walking long enough to tap the next one in the list. The screen size and bright sun also didn’t exactly help an old man’s eyes read each track name. I just tapped each track in the sequence displayed. Back home, I discovered that the list was not in the intended sequence. I’ve not deduced an actual pattern so maybe it really is random.

I quite enjoyed the warm and sunny walk and even stepped inside a store for the first time in several weeks. It was a United Dairy Farmers store where I bought an ice cream cone to help me get home. I also enjoyed the music and noted some tracks I looked forward to hearing again. But I did not feel the same kick and elation as on that 2016 walk. I started this article by saying I had not set out to intentionally reproduce a flashback. That’s technically true, but I think I must have expected one and was disappointed when it didn’t materialize.

Then the CD arrived. It was in the player when I set out on a drive long enough to hear it all. There was no flashback, but the kick was there and the disappointment was not. There’s no real need to dig for an explanation. Many things — and maybe music most of all — strike us differently for no more concrete a reason than it’s a different day. I’ve thought of some reasons for the difference and most have to do with my personal attitude and the fact that driving was less common than walking during the COVID-19 impacted 2020 while the opposite was true in 2016. But I honestly believe that the different sequences also had something to do with it.

The CD opens with “New York is Rockin'” which is, as you might have guessed, a solid rocker. The rockin’ continues through “The Backstreet Slide” and only lets up slightly with “Doors of Paradise” and “Lost and Lonely World”. It pretty much rocks, in fact, all the way through with a couple of exceptions I’ll get to later. Two of those first four CD tracks were among the first four tunes of the scrambled list on my phone but they are in reversed position. “New York is Rockin'” was the fourth song I heard on my walk and “Lost and Lonely World” was the first. The tone that was set was quite different and I think that walk vs. ride and my state of mind are only partly responsible.

Not only is the album heart-pumpingly uptempo, it is heart-warmingly upbeat. At its own heart, it is a love letter to New York City with the city celebrated in both the opening and title tracks. While I’ve often shared that NYC is not one of my favorite places, I very much recognize its concentration of art, culture, and energy, and it has been Willie’s favorite place for a long long time. He certainly captures that energy as well as anyone, and even makes me wish I appreciated the city more. That’s what happens with images like “Barishnikov is puttin’ on his blue suede shoes” and “Pavarotti’s singin’ up at Carnegie Hall” from “New York is Rockin'”.

“Under This Roof”, which I’d heard previously via an online video, is one of the two non-rockers I mentioned earlier. The album was recorded prior to the COVID-19 isolation and well before the ongoing national outrage triggered by the death of a black man in the custody of police in Minneapolis. Its generally lighthearted tone can be seen as a welcome and hopeful distraction and this tune’s message of love and sanctuary even more so. The other softer track features Willie alone at the piano doing a song, “A Little Bit of Love”, that was born in a conversation with his 102-year-old father.

Nile’s current touring (if only he could) band, Johnny Pisano, Matt Hogan, and Jon Weber, anchors the album but there is plenty of help. Perhaps the most notable comes from Jimi K. Bones, who was with Willie when I saw him most recently, and the Eagles’ Steuart Smith. Also notable, in my opinion, is the listing of not only one but two tabla players (Pisano and Frankie Lee). That’s something you don’t see every day.

As I considered the importance of sequencing, I may have discovered a subtle return to the past or I may be imagining it. Back in the heyday of vinyl, the first and last tracks on each side, often called the “four corners”, were considered important. Assuming a split with a half dozen tracks per side, the four corners of New York at Night are the two songs with New York in their titles, “A Little Bit of Love”, and something called “Run Free” which was recorded in 2003. “Run Free” is one of those rock ‘n’ roll anthems that seem perfect for ending a concert — or an album. Are the “four corners” on this album real or imaginary? Betcha know what I think.