When Willie Nile‘s American Ride appeared on my road trip oriented radar last spring, I thought his name sounded vaguely familiar but couldn’t really connect it with anything. When I later heard a tune, Vagabond Moon, from his 1980 debut album, it, too, sounded vaguely familiar. I probably did hear both the name and the music thirty years ago but I didn’t hear it enough or pay enough attention for it to stick with me. I’m now realizing that I am certainly the poorer for that and I’m learning that I’m not alone.
I was pretty happy when I first learned that Willie was coming to the Southgate House Revival in Newport, Kentucky. Then, when I found out it would be on Groundhog Day Eve and my plans for the holiday started to form, Willie’s concert got pushed aside. I intended to visit a friend in northern Illinois where another Willie, a groundhog named Woodstock Willie, is the focus of a pretty good party in the town where the movie Groundhog Day was filmed. Then weather forecasts, which turned out to be rather accurate, called for several inches of snow in Illinois and I decided to stay in Ohio which meant I could make the concert and that was a very good thing.
Even after the event was firmly on my agenda, I had no idea that it would compel me to post my first actual concert review. I didn’t have a camera with me and, though I could have tried to grab something with my phone, I did not and resorted to a stock publicity shot to start this post. Fortunately, Kirsten O’Connell shared this photo of the show on Willie’s Facebook page so you can get a glimpse of how things looked.
Thinking I would not be be going, I did no research and had no idea what to expect. I thought it quite possible that it would be a solo show with just Willie and a guitar. Boy, was that ever wrong. Willie took the stage with a topnotch high-powered 4-piece that blew me and the rest of the packed Revival Room away.
There are three performance spaces at SGHR. The Sanctuary is the biggest and there is a stage in the smallish Lounge. The Revival Room is a mid-sized place on the second floor. Yes, SGHR is a re-purposed church; the 1866 Grace Methodist Episcopal Church. How they resisted calling the upstairs venue The Upper Room, I’ll never know. I’ve seen a few shows in the Sanctuary and a couple in the Lounge. This was my first time in the Revival Room and it instantly became my favorite. It held forty-eight folding chairs. There would have been fifty but the middle of five rows was truncated by support posts. Every seat was filled and another thirty or so people stood at the back and along the walls.
The show was riveting from beginning to end. Despite never having seen Willie Nile before and knowing only a few of the songs, I felt right at home. There was a touch of Springsteen and Dylan and Grahm Parker and Lou Reed and Elvis Costello and other rock ‘n’ rollers I can’t exactly name. But it was all Willie Nile. Willie doesn’t bring to mind first tier singer-songwriters because he mimics them but because he is one.
The band was top tier, too. I believe Alex Alexander, who played drums on the American Ride album, has been touring with the group but Larry the Chicago Guy (Sorry, forgot the last name.) is wielding the sticks for a few shows. If that subtracted anything from the performance, it’s hard to imagine what. The group was tight and professional. Matt Hogan’s guitar solos were impressive without being over indulgent and bassist Johnny Pisano got in his own share of fancy licks — and leaps. Hogan and Pisano both appear on American Ride. In addition to looking good and sounding great, it was obvious that all four musicians were enjoying themselves to the max. Nothing impresses me more than an entertainer having fun while delivering quality.
Things mellowed briefly when Willie sat down at an electric piano — after they found the plug — and the band left the stage. The piano is Willie’s first instrument. He performed The Crossing solo then moved onto Love is a Train. One by one, the others returned as the song progressed and before long the train was a rockin’. Apparently a song and a half of mellow is enough for Willie. Other songs I remember were three dedications to musicians the world lost quite recently. Heaven Help The Lonely was dedicated to Phil Everly, One Guitar to Pete Seeger, and a rousing version of Sweet Jane was dedicated to the man who wrote it, Lou Reed. Surprisingly, he did not play American Ride and I did not miss it and I mean that both it not being played and me not missing it were surprises. I don’t mean that I did not notice its absence; I mean that the concert seemed full and complete and satisfying without it.
Early on, Willie let it be known that he thought SGHR was a pretty cool place. He also talked of it being his first time in Kentucky until a fan in the front row reminded him of his 1980 gig opening for The Who in Lexington. Willie smiled at the correction and said he intended to be back again before long. I believe him and I’ll be waiting.
I learned of the song American Ride, first on the radio then in this video, in the week preceding the start of my Lincoln Highway centennial drive. The album had not yet been released but the title song was available as a 99 cent download. I bought the song and had thoughts of it playing as we departed Times Square. I failed at making that happen but, at 7:23 AM on June 22, as we were leaving Manhattan, I did send the following pre-written Tweet:
Leaving New York City with a tank of gas.
Got my bag and my camera, I’m gonna get out fast.
The album was released June 25.
For me, virtual road trips will never replace the real thing but with sub-zero temperatures and several inches of snow on the ground, I took a look at one and had some fun. I did not discover it because I was searching the web for just this sort of thing. I learned of it through an email of the sort that contain link exchange offers or promises to increase your search engine ranking or something similar and which are usually deleted about the time my eyes reach the third or fourth sentence. But this one was well written and polite and, not only did I read it all, I actually clicked on the link it contained and, as I said, had some fun.
This book has thousands of words, many with multiple syllables, and dozens of pictures in 50+ shades of grey. It tells the story of an old man in an old car on an old road and is available 
Everyone loves a winner and, in 1794, the United States Army finally became one. In his earlier work, 
I thought I might never get this posted but I did it and it’s not even a year late. It’s close, though. The official release of Acoustic, which coincided with 
Yes, that says “Preview”. The book does not yet exist. I don’t know exactly when it will exist or if Walking to Listen will even be its title. But I am confident that it will exist and that it will be worth reading.
Before I get around to actually talking about this book, I am going to tell how I learned of its existence. I first saw Theodora R, the boat whose mast the author was behind, in July of 2011. I was in Albuquerque, New Mexico, when a friend tipped me off to a nearby museum called 
Carl Fisher was a busy man in 1913. His Prest-O-Lite Company and his automobile dealership were both going great guns, the Indianapolis Motor Speedway he co-founded looked like it might amount to something, the Ocean-to-Ocean Rock Highway he had proposed in September of 1912 was taking off, and then there was the Indiana Automobile Manufacturers’ Association.
I was hesitant to post a review of this book because some of those “Photos Through Time” are mine but I decided that it would be a bad thing only if I rave about how marvelous the book is. No harm in simply describing it, right? So here are the facts.
It is organized neither geographically nor chronologically. The first section following the foreword is titled “History”. Here, among pictures of collectibles and artifacts, Butko gives a very brief history of the road’s birth and short life. It is enough to give someone who knows little or nothing about the Lincoln Highway a starting point and someone who knows everything a quick refresher on key dates and events. It is a stripped down but adequate introduction to the pictures that follow.
Those pictures are organized by their subjects. Butko identifies ten things that comprise the Lincoln Highway and gives each one a chapter. They are “People”, “Gas”, “Food”, “Lodging”, “Vehicles”, “Attractions”, “Signs”, “Markers”, “Bridges”, and “Roads”. The chapters are themselves samplers. Historic images from postcards and other sources are combined with modern photographs. Images of things along the road, which is every chapter other than “People”, are from locations spread over the road’s entire length.
The Lincoln Highway turns a hundred this year. Brian Butko’s Greetings from the Lincoln Highway turns eight. At first glance, the 2013 Greetings… looks an awful lot like the 2005 Greetings… with a soft cover and a “Centennial Edition” banner on the front and it’s a fact that, in many ways, it is the same. It has the same organization with an introductory chapter and a chapter, with map, for each state the highway passed through and a very high percentage of the words and pictures in those chapters are the same, too. Another thing that remains the same and which accounts for the small in percentage but large in number changes is the care and attention to detail. Butko probably didn’t catch everything in the book that the passage of time has altered but he sure tried and he sure got a lot.
Aside from the occasional new photo, the most visible changes may be in the statistics and maps at the front of each state chapter. Here population numbers from the 2010 census replace those from the 2000 census and the maps get a line for the Proclamation Route. The Lincoln Highway Proclamation Route was a list of cities published by the Lincoln Highway Association on September 14, 1913. Shifts started happening almost immediately and a detailed route was never signed or published that matched the September 14 announcement. But several of the cities dropped in 1913 fought unsuccessfully to return and many have fought more recently and more successfully to be recognized. Butko acknowledges that by including the ephemeral route. All of the quotes from postcards and other period communication that appeared in the margins of the original are still there and a few more have been added.
I’m reading this book for the third time. I read it around 2005 when I was dabbling with short drives on the Lincoln Highway to my east. I reread it in 2009 when I was getting ready to drive the Lincoln from the east edge of Illinois to the west coast. My current read is in anticipation of another long, hopefully full length, drive of what Drake Hokanson calls Main Street across America. I never read the original, only the pictured Tenth Anniversary Edition which is now fifteen years old itself.