Rev. Peyton's Big Damn Band at The Wilbur, 3-27-25 Concert Review

photo by Tim Doherty

Rev. Peyton's Big Damn Band is on tour, celebrating the release of Honeysuckle, the excellent new album which came out just about a month ago. On this tour, they've been supporting Gaelic Storm, the ol' darlings of Santa Monica who once upon a time had a regular gig at O'Brien's Pub. Both bands are known for their fun, energetic performances, and they delivered an outstanding show at The Wilbur in Boston last night.

Though Rev. Peyton's Big Damn Band was scheduled to open the night, the crowd was first treated to a special performance by Boston Police Gaelic Column, all pipes and percussion, a wonderful surprise. At one point, they did "Rattlin' Bog" straight into "I'll Tell Me Ma." Their set was just sixteen minutes, and two minutes later, Rev. Peyton's Big Damn Band was taking the stage. Drummer Jacob Powell took his spot behind the kit, and immediately established a beat, announcing the celebration had begun, that these special spiritual services were now about to launch us all into another space. Reverend Peyton and Breezy Peyton took their positions, and, bam, a hole burst open, and a raw power erupted, coming forth through the opening, the three musicians acting as emissaries sent here by some otherworldly force to rock us. They started the set with "My Old Man Boogie," Reverend Peyton's guitar a glittery gold in the lights, Breezy's boots also shining, a sparkling silver. And the headlights of the car pictured on the backdrop behind the drum kit were shining in time with the beat, that car aimed at the audience, ready to run us down should we prove unworthy. This opening number featured some great stuff on guitar.

"We are so happy to be here," Reverend Peyton said after that first song, also mentioning that they were getting near the end of the tour. He then got out his harmonica, and tested it. "It's working pretty good," he determined. Indeed! The band then began "Poor Until Payday," some good swampy blues with a serious power. It was a fun number featuring some totally delicious work on harmonica. But, truly, everything is fun when these guys are on the stage. "Well, I'm starting to get warmed up," Reverend Peyton told the crowd, and then introduced the band while switching guitars. "On bass, my thumb," he said, mentioning that there were no tricks up there, no hidden laptop computers adding to the sound. No, everything there was real, was honest, was true. And he made that guitar sound like two or three guitars playing simultaneously, including bass guitar. The song they were playing then was "Pot Roast And Kisses," and, yes, it was clear they were warmed up, the heat pouring off the stage. I love that song. After that one, Reverend Peyton had everyone in the audience stand, and quickly got them involved in the next song, "Clap Your Hands." teaching them when to clap on the first verse. It was on the 1, 2, 3 and 4, not on the 5, 6, 7, and 8, though he said he appreciated their enthusiasm. The bass player (his thumb) got that song started. During the number, he switched to a guitar that looked like an actual axe. Hey, it was on the third verse that the audience was supposed to scream, and that axe seemed to promise some incentive to take those screams further.

photo by Tim Doherty

Breezy and Jacob left the stage, so that Reverend Peyton could perform "Honeysuckle" solo. That's the title track (and also opening track) from the new album. What a great, raw performance. "Trouble, trouble, but it's all mine." The band then followed that with another song from the new album, "Like A Treasure," which is one of my personal favorites. "I want to stay in this moment forever," Rev. Peyton sings in that one, and the desire to remain in the moment must have been felt by many (if not all) in the crowd. These are the moments we live for, these great concert performances where the energy and joy are felt by everyone in the room. Reverend Peyton got out his resonator guitar for "Something For Nothing," and there was an adjustment to the drum kit, leading Breezy to joke that she had told Jacob that whenever he's bad she'd take one drum away. When the hi-hat was returned, Breezy said, "He gets one back when he gets it right." The band then wrapped up the set with a fantastic rendition of "Rattle Can," that featured some great drumming from Jacob. Breezy beat that Big Damn Band drum near the edge of the stage and set her washboard aflame during that incredible jam. What a way to finish a set! The set concluded at 8:53 p.m., but that wasn't the last we heard from Rev. Peyton's Big Damn Band. 

photo by Tim Doherty

After an incredibly fun set by Gaelic Storm that included a whole lot of interaction with the audience, just like the old days, Rev. Peyton's Big Damn Band joined that band for the night's encore, which began with a cover of John Denver's "Take Me Home, Country Roads." The audience sang along (this is one of those songs that everyone loves), and at the end, the band sang "Massachusetts" in place of "West Virginia," which, of course, received a cheer from the crowd. Rev. Peyton then led the bands in a rendition of "Freeborn Man," a song written by Mark Lindsay and Keith Allison, and recorded by Paul Revere & The Raiders for Alias Pink Puzz. It is a song that Rev. Peyton covers on his new album, and last night he delivered some great, mean work on harmonica. The encore concluded with an energetic "I'll Tell Me Ma," always a crowd-pleaser. Clearly the two bands were having great fun performing together, and that encore was a special treat. The show ended at 10:55 p.m.

Set List

1. My Old Man Boogie
2. Poor Until Payday
3. Pot Roast And Kisses
4. Clap Your Hands
5. Honeysuckle
6. Like A Treasure
7. Something For Nothing
8. Rattle Can

Gaelic Storm Encore

1. Take Me Home, Country Roads
2. Freeborn Man
3. I'll Tell Me Ma

The Wilbur is located at 246 Tremont St. in Boston, Massachusetts.

Christopher Lockett: “A Town We Painted Blue” (2024) CD Review

At the recent Bill Morrissey tribute concert, host Mike Berman asked Christopher Lockett to run sound for his set, joking that since Christopher is a filmmaker he’ll be able to handle the soundboard with ease. Christopher playfully reminded him that video and audio are two different things, but of course he did a great job on sound for Mike’s set, because in addition to being a filmmaker he is a talented musician and songwriter, with a great ear as well as a great voice. And on that day he used that great voice to deliver one of Bill Morrissey’s most beloved songs, “Birches.” Christopher released his self-titled debut album in 2009, and followed it in 2012 with Road Songs For The Restless, then in 2018 with Between The Dark And The Light, and in 2022 with At The Station. Between The Dark And The Light and At The Station were produced by Fernando Perdomo, who also produced Christopher Lockett’s latest album, A Town We Painted Blue. Fernando Perdomo not only produced it, but also plays lead guitar, drums, bass, keyboards and mandolin on these tracks. Christopher Lockett plays rhythm guitar, harmonica and Appalachian dulcimer, and is also joined by the incredible Scarlet Rivera on violin, Bob “Boo” Bernstein on pedal steel, Craig “Fergheart” Ferguson on mandolin and dobro, and Kitten Kuroi on backing vocals. Most of the songs on this album were written by Christopher Lockett.

Scarlet Rivera makes her presence felt and appreciated from the beginning of the first track, “A Town We Painted Blue,” the album’s title track, delivering some wonderful work. I love the title, by the way, a play on the idea of painting the town red. And that phrase is also used in the song’s first lines: “We painted the town red/The last time I came through/Now we both sit alone/In a town we painted blue.” And Christopher’s voice seems to speak for all of us. It has that sort of quality, both friendly and commanding, a voice of experience. “It’s up to the poets to revive the gods.” We get the sense he could do that if he so desired. Scarlet Rivera delivers a brief, but gorgeous lead in the track’s second half. Then “Santa Ana Winds Are Good For Cryin’” has more of a country feel, with prominent pedal steel work. This song has that wonderful southern California vibe that I love. This album came out several months before the recent fires, and this song’s title carries a different connotation now, for the Santa Ana winds brought cause for tears rather than the ability to dry them quickly. But I love that idea of standing in the winds, using them to hide one’s despair. This track features some really nice backing vocal work. Kitten Kuroi has worked with many artists over the years, and is probably best known for her work with Elvis Costello.

“No Wildwood Flower” features some great stuff on guitar right from its opening moments, which fits well with the song’s opening lines and its theme. “He picked up his papa’s guitar/Hoping there were still some songs left inside.” There is a wonderful feel to this song, in part because of that guitar work, but also because of the way it urges us “Find yourself a dancer and waltz through your days.” Life is so brief, so fill the days with music, with dancing, with that special someone. That’s where the joy of life is. Then “Death Ain’t Nothin’/No Mercy” comes as a surprise, with its strong pulse and its powerful bluesy force. This is the album’s sole cover, a combination of “Death Ain’t Nothing But A Thief And A Robber” and “Death Don’t Have No Mercy,” delivered as a duet with Kitten Kuroi. It’s a fantastic, passionate and striking rendition. The track list on the CD case has the order wrong, listing “Dulcimer De Leche” as coming before “Death Ain’t Nothing/No Mercy,” but actually it follows that song. As you might guess from the title, this one features dulcimer. This instrumental track also features a nice bass line and some cool percussion. It has an uplifting, cheerful vibe.

“Aren’t you ever tempted to just close your eyes and slip away?” Christopher Lockett asks in “May Your Guitar Be Louder.” It’s a line that stands out to me, and I think we all feel like that from time to time. But here he also offers these lines: “May your guitar be louder/Than your demons tonight.” Oh yes! That’s just the sort of message we need to hear. On this track, guest Trevi Fligg joins Christopher on backing vocals, delivering some really good work. “Every choice you’ve made has brought you here/You know you’re the only one to blame/And a bad decision feels better/Than waiting on a grace that never came.” That’s followed by “Six Mile Saturday Night,” which features some sweet work on mandolin. “You never know where it’s gonna lead/But you gotta start somewhere/Might as well be on the dance floor/With the music in the air.” The song then takes the story forward several years, and there are now children. Yes, it started with magic, and somewhere along the way real life took over, but that’s not necessarily a bad thing. It’s life, right? And there is humor here, in lines like “The children were getting older/So of course they were too/It’s the chorus before the bridge/It’s just what you do.”

Scarlet Rivera delivers some beautiful work on violin on “Lamp Posts.” One of the song’s early lines that stands out is this: “A woman at the bar is louder than the band.” I’m sure anyone who has attended a decent number of concerts has encountered that woman, and probably at more than one bar. There is humor here also, which I appreciate: “My parents were right to send me to church/Everything worked out fine/The preacher bored the hell right out of me/Every single time.” Interestingly, the drumming here has the feel of a march, giving us the idea of inevitability, of some sort of steady progress. This song really speaks to me, in part because of this line: “My little hometown’s not so little anymore.” When I was growing up, my town had approximately 2,500 people; now there are 8,000. “I still carry this place with me wherever the wind blows.” That’s followed by “Suitcase Full Of Kisses,” a sweet number, a love song. “Gotta hold onto the love you’ve got when this ol’ world turns bad.” That is something to keep in mind, especially these days when so much has turned bad, so much has turned ugly in this country. This is a delightful song.

On the CD case, “Down By The Riverslide” is listed as the next track, but actually it’s “Force Multiplier,” a fun instrumental track that features some great stuff on harmonica. It has this delicious loose vibe, and it comes to an ending all too soon. Then we get “Down By The Riverslide,” the title a nice play on “Down By The Riverside.” This song has a good bluesy vibe, also containing some cool stuff on harmonica. The album concludes with “Long And Troubled Road,” which has a somber vibe, and is for all of us who feel we should be doing better, both personally and collectively. “Traded your sweat for money/Until it cost you your health/Maybe you’ve traveled on this road yourself.”

CD Track List

1. A Town We Painted Blue
2. Santa Ana Winds Are Good For Cryin’
3. No Wildwood Flower
4. Death Ain’t Nothin’/No Mercy
5. Dulcimer De Leche
6. May Your Guitar Be Louder
7. Six Mile Saturday Night
8. Lamp Posts
9. Suitcase Full Of Kisses
10. Force Multiplier
11. Down By The Riverslide
12. Long And Troubled Road

A Town We Painted Blue was released on September 28, 2024 on Gritbiscuit Records.

The Tasty Kings with Blondie Chaplin: “Native Tongue” (2023/2025) CD Review

You likely know, or at least have heard, vocalist and guitarist Blondie Chaplin. He was a member of The Flames in the 1960s, and then The Beach Boys in the early 1970s. He also recorded with The Rolling Stones and The Band, as well as several other artists, and released a few solo albums. The guy has quite a music career. He joined The Tasty Kings for Native Tongue, which was released digitally in 2023, and has now gotten a proper CD release. Why it didn’t get a wide release initially is something I can’t fathom. It features excellent songs performed by accomplished musicians. The Tasty Kings were founded by guitarist Andrew Morse, who wrote the material on this album. The band has had several different members over the course of its history, and now includes Darryl Jones, who also plays bass in The Rolling Stones, and Charlie Sexton, who is known for his work with Bob Dylan and is also a member of Elvis Costello’s band. So, you know, this is a band you might want to pay attention to. This album also features the talents of Charley Drayton on drums (you know him from his work with Keith Richards), Kevin Trainor on guitar, Tony Garnier on bass, George Reiff on bass, Stephen Barber on piano and keyboards, Ian McLagan (of Small Faces) on keyboards (those tracks must have been recorded a while ago, as McLagan died in 2014), and Jose Galeano on percussion. Juliana Sheffield, Sally Allen and Teresa Gattison provide backing vocals.

The album opens with “Done & Dusted.” There is a bit of a Rolling Stones vibe to this song, it taking place in that great meeting place of country, blues and rock. Blondie Chaplin delivers a good lead vocal performance. “Done and dusted/I’m just waitin’ to be/Done and dusted/Nothing left of me.” Andrew Morse wrote this one at the beginning of the pandemic, when everything was shut down and people were afraid to go out. It was a strange experience, to be sure, walking about in a usually-crowded area, and finding no one, the restaurants and everything closed. I remember driving at rush hour here in Los Angeles, and never having to hit my brakes. “Done and dusted/In the city that sleeps.” That’s followed by “Maybe I’m A Queen,” a stirring song, in which Blondie Chaplin sings, “Maybe I believe/Maybe I don’t/Maybe I’ll succeed/Maybe I won’t.” The repetition of the word “maybe” works so well, particularly as there are no certainties anymore. There is a sort of introspective bent to it, but then it turns outward, as it comes to address another person: “Tell me, my love, my love/When we were enough.” The song seems to encompass, or embrace, all possibilities, and so all people. It’s a beautiful and sad song, and Blondie Chaplin gives a passionate and beautiful vocal performance. Milo Deering plays dobro on this track, delivering some wonderful work. This is one of my personal favorites.

Listening to “Birthday Girl” the first time, I couldn’t help but think of my niece, who had turned nineteen just two days earlier. How the time flies. “The years go by, that’s how it goes.” Indeed. There is a nice vibe about this song. “You’re the birthday girl/And the whole wide world loves you.” This is one of the tracks to feature Ian McLagan on keyboards. Then there is a more somber, but dreamlike quality to “South America” as it begins. And the first line hits us hard: “The Statue of Liberty has gone dark.” Yup, that is just about right. It’s a big line, isn’t it? It is interestingly followed by a somewhat more mundane and usual concern: “And there’s nowhere to park.” Certainly, that’s a common frustration, at least for those of us who live in cities. These lines make me think of that whiny sociopath currently occupying the White House: “And his big day was ruined/By the small size/Of his crowd.” But this song is not about that; rather it is a look back at a relationship that fell apart. There is a sad beauty to its sound, to its delivery. “And if just one more time/I could put my lips/On South America/I’d remember for a while/And die with a smile.” I love the guitar work on this track, particularly that lead in the second half.

“Oceans Unfaithful” certainly has a Rolling Stones flavor, and its opening lines grab us: “The sky is right/The wind is wrong/The ocean’s unfaithful/But it won’t take long.” That idea, that image, of an unfaithful ocean is particularly wonderful. “Take my hand/Aces and eights/And lay your head/On the dinner plate/The world is stuck/In black and white/To live my life/In paradise.” That’s followed by “George Floyd.” There have been several songs written about George Floyd. His murder by the police sparked outrage in anyone with a pulse. It was yet one more bit of evidence that this country hasn’t really made any progress at all. If you need further proof of that, just look at who is in the White House now, and think of all the eager little fascists who put him back there. This is a strong and moving song. Here is a taste of the lyrics: “Well, two sets of rules/One black and one white/That’s the best we can do/As you beg for your life/A few on the ground/Tried to shut down/What they saw/But the men of the law/The men of the law/Oh, the men of the law.” This song does not end on an optimistic note, but rather an honest one: “But the river of evil/That runs through the hearts/Of the men/Will do it again/Again and again/And again.”

“Flyboy” is a song touching on Greek mythology, particularly the story of Daedalus and his son Icarus. It has something of a sweet country flavor, and contains what is possibly the album’s best vocal performance. It is powerful and passionate, just fantastic, reminding me a bit of some of Richard Thompson’s work. And that performance is the main reason this track is another of the disc’s highlights. Here is a taste of the lyrics: “He considers the grace/And the shape of a bird/And tries to imagine/Escaping this earth/Slipping the bonds/Of the surly unkind/To go somewhere new/For the rest of his life.” The Tasty Kings then turn to a reggae groove for “Steady Reggie,” a song about a moving company. This one features John Mills joining the group on saxophone and Joel Diamond joining on keyboards, and also contains a lot of good stuff on guitar.

“Kiss Me” has a sweet folk sound, featuring some pretty guitar work. After we’ve gotten comfortable in this wonderful music and atmosphere, Blondie sings the first line, “Maybe you should kiss me.” And there is so much joy in the room that a kiss sounds like exactly the right thing. Though, after a brief pause, he follows that line with this one: “Maybe you should dismiss me.” This is another of my personal favorites. It even contains a Shakespeare reference: “If all the world’s a stage/Maybe we should turn the page.” That reference is to Jacques’ famous speech from As You Like It, which begins “All the world’s a stage/And all the men and women merely players.” A kiss plays a part in “Girl Next Door” too: “But I remember/I kissed her once before/That girl next door.” This is another of the tracks to feature Ian McLagan on keyboards, and there is some really nice guitar work too. It’s a perfect conclusion to an excellent album.

CD Track List

1. Done & Dusted
2. Maybe I’m A Queen
3. Birthday Girl
4. South America
5. Oceans Unfaithful
6. George Floyd
7. Flyboy
8. Steady Reggie
9. Kiss Me
10. Girl Next Door

Native Tongue was released on CD in late January 2025.

Fernando Perdomo: “Waves 2” (2025) CD Review

This year started with a great new release from the always-busy songwriter and musician and producer Fernando Perdomo. Titled Waves, it featured all original instrumental material in the progressive rock world. It was also the first in a projected series of twelve albums, a new one coming out each month this year. That is something that would be a daunting task for most artists, but not for Fernando Perdomo, who will undoubtedly find the time to produce several other albums as well during this time. The second volume in the series, Waves 2, was released on February 1st. As on the first volume, this one features all original material, with Fernando Perdomo playing all the instruments. He also produced the album.

“Brothers Of The Ocean,” the album’s first track, begins with a short vocal section that has a hint of a Beach Boys flavor, and then kicks in with a powerful burst of color and energy, dropping us right into the action. We sense great streaks of light across wide open spaces, and there is a sort of rock opera overture vibe at moments. Halfway through this track, there is a momentary change, taking shorter, slower steps in an interesting dance, before going back into the main theme of the piece. There seems to be a large, bright force at work here, with a world of possibilities opening before us. This track fades out, and is followed by “Journey On A River.” As this one opens, there is the sound of water flowing, and then the track quickly takes on a good rock energy, the drums leading us in. There is some great stuff on both bass and guitar, and I especially appreciate how the guitar lifts us up. And as the title suggests, there is a strong sense of motion, of a journey, one taken with some haste, as well as some cheer. There is an overall positive feel to this track, and that is part of what makes it so appealing.

There is a gentler, more introspective feel to “Queenstown” as it begins. A relaxing, soothing atmosphere is created, over which the guitar is able to ponder, to remember, and to pull us along into those memories, and in doing so makes them our own. This is a pretty track. Interestingly, there is a moment when it seems ready to come to its natural, gentle conclusion, but then suddenly bursts open into another section, the guitar now calling more energy to the telling of its story. The music does relax again, and this time the ending is real. Then there is something magical about the way “Sea To Sea” opens. It settles into a rather soothing space, presenting an opportunity for us to ease back, close our eyes, and let our thoughts take us to a more appealing time, perhaps one of memory, perhaps one of our own creation. All motions here are friendly, loving, and there is no conversation, and so no chance of misunderstanding or argument. It’s wonderful. It is followed by “Black Mountain, Blue Sky.” As this one begins, it seems to promise a magical landscape too, and then suddenly kicks in with a stronger, more grounded sound, the song having a strong pulse. Here we are not alone, the music working to gather people in. It begins to slow toward the end, to unwind. A stranger door unexpectedly opens in front of us as the track reaches its conclusion, and we glimpse once again that magical landscape.

“Everything Under The Sun” has a lighter, more fun sense about it, and I find myself smiling throughout this track. It takes us up the mountainside, with a good deal of joy, and lets us slide back down, or dance back down, if we wish. There is some really good guitar work on this track. This one fades out all too soon. Then “Calm For Now” has a more meditative air, with a somewhat darker, heavier atmosphere. The guitar is the light piercing it, becoming familiar, something we grab hold of and let take us where it will. This track also features some wonderful stuff on bass. That is followed by “This Appearing Act.” There is a 1960s feel to this track, particularly in the guitar work, which drives the music forward. In the second half, there is an unexpected moment where things seem to shut down, to melt in the machinery, then just as quickly find their footing again and continue. One note: on the CD case, the titles of those two tracks, “This Appearing Act” and “Calm For Now,” are reversed.

“Alone By The Ocean” has something of a Pink Floyd vibe as it begins. Sometimes being alone at the ocean can be incredibly soothing, peaceful, and sometimes we find ourselves moving through the possibilities and choices of our lives, and there might be something lamented, which the guitar seems to express here. There is a lot going on in this piece, a lot of energy, and perhaps decisions are reached regarding the direction of our lives. The track gains power in the second half, as it drives forward, and some interesting electronic effects give it another layer. Then “Sunset In Queenstown” takes us to a much prettier place, and features some absolutely wonderful guitar work. This track reflects on the day with some satisfaction and joy, and also looks out toward the horizon, toward tomorrow, and somehow we know it’s going to be okay. It’s a beautiful conclusion to the album.

CD Track List

1. Brothers Of The Ocean
2. Journey On A River
3. Queenstown
4. Sea To Sea
5. Black Mountain, Blue Sky
6. Everything Under The Sun
7. Calm For Now
8. This Appearing Act
9. Alone By The Sea (3 AM)
10. Sunset In Queenstown

Waves 2 was released on February 1, 2025. By the way, for those in the Los Angeles area, I just learned that Fernando Perdomo is going to take part in Busk-Aid L.A., a benefit for wildfires relief that is going to be held on March 30th in Echo Park. That promises to be an excellent day of music.

Songwriters Celebrate The Music Of Bill Morrissey, 3-9-25

Mike Berman and Amilia K Spicer

Bill Morrissey was an important voice in the New England folk scene. He established himself a few years before the really big folk explosion happened in Boston, and so was someone that the younger singer/songwriters looked up to and took inspiration from. If you were into folk music at all, you certainly knew Bill’s work. Bill Morrissey not only inspired the younger group of songwriters, but in some cases helped them by producing their albums. He did that for Ellis Paul, producing Say Something, which was Paul’s first album to be released on CD (Urban Folks Songs and Am I Home were only available on cassette at that time), and also for Peter Keane, producing both The Goodnight Blues and Walkin’ Around. His music got an incredible amount of airplay on the Boston stations. But I didn’t know what, if any, sort of audience he had in other parts of the country. I suppose in my teens, if I had thought about it at all, I would have assumed that he was known in all corners. Our brains worked like that: if I knew him and loved him, then people everywhere must be the same. I remember in high school when people started talking about how they loved Morrissey, I assumed they meant Bill. I wasn’t all that aware of The Smiths at the time and certainly couldn’t name anyone in that band, and that led to some confusing, jumbled conversations. But the main confusion for me was in wondering how my classmates could not be fans of Bill’s music. And when I moved to the west coast in the 1990s, I found Bill wasn’t really known there, at least not by many people. So what a delightful surprise it was to learn that a group of Los Angeles singer/songwriters were going to perform a tribute show. Of course, these folks weren’t always based in L.A., and so brought their appreciation of Bill’s music to this great city from elsewhere. The show was held at Jeweled Universe in South Pasadena as part of the Acoustic Jewels music series, hosted by Mike Berman, and featuring Christopher Lockett, Arielle Silver, Steve Key and Amilia K Spicer.

Mike Berman

Mike Berman kicked off the show at 2:30 with “Barstow,” a song from Bill Morrissey’s self-titled album. You know it. It’s the one where he sings, “I can’t believe I pissed my twenties away/But if you take me back this time, baby, I promise you I’ll stay.” Mike mentioned hearing that song for the first time in Princeton, New Jersey, and also seeing Bill in concert in 1986 around the time of the Red Sox/Mets World Series. He followed “Barstow” with “Grizzly Bear,” also from that self-titled album. It’s a delightful song, with lines like “She’d spent so much time in the mirror, she could not tell left from right” and “I‘d never seen a girl with so many names written on her clothes.”  He wrapped up his set with a gentle, sweet rendition of “Summer Night,” playing harmonica on this one. This song comes from Standing Eight, which was released in 1989. Christopher Lockett was up next, and while he was setting up, Mike Berman told the crowd that it was Chris’ idea to do this tribute show. Chris leapt right in with “Birches,” perhaps Bill Morrissey’s most famous song, and delivered a good rendition. He then talked a bit about Bill’s first album, which was released in 1984, then picked up by Philo and re-issued, and then re-recorded and released again in 1991. He followed “Birches” with “Love Song/New York, 1982,” saying in his introduction to the song that it “has one of the most devastatingly existential lines.” I’m guessing he was referring to the line “But everyone must die alone.” But the lines in which the woman says goodbye and he says that to this day he pretends he never heard her also always strike me. He then wrapped up his set with “Robert Johnson,” a song from Inside, and one that was featured in Robert Mugge’s Hellhounds On My Trail: The Afterlife Of Robert Johnson.

Christopher Lockett

Arielle Silver

When Arielle Silver took the stage, she joked about how she had gotten so caught up in enjoying the other artists that she forgot she was next. It’s great that music has that effect, that power on performers as well as audience members. She talked a bit about getting into Bill Morrissey’s catalogue of music, and about her time working at Club Passim in Cambridge, and then opened her set with one of my favorite Bill Morrissey songs, “Inside.” These are the song’s first lines: “This ain’t Hollywood/It never really gets that good.” Arielle delivered a beautiful rendition of a beautiful, sad song. She then mentioned that she likes doing tributes because it gives her an opportunity to really dive into another songwriter’s material and psyche. She followed “Inside” with another song from that same album, “Man From Out Of Town.” This one begins with these lines: “The house burned down on a rainy night/And they never did find out why.” Arielle had chosen songs that spoke in some way to present-time Los Angeles. The song’s final line is “This house is fireproof.” But my favorite line is “There were curses in the shapes of old men.” Arielle Silver concluded her set with an original song, one that Mike Berman requested she play for it has that lightness coupled with heaviness that Bill was so good at. The song is titled “Asteroids And Chaos,” one of my favorites from her Watershed album. The line “Hold each other through the panic” nearly had me in tears yesterday. Steve Key then started his set with “Letter From Heaven,” a fun number with lines like “It’s a great life here in heaven/It’s a great life when you’re dead.” The song contains references to several deceased musicians, but the line about Lincoln finally getting to see the end of the play is the one that makes me laugh the most. Steve mentioned how he opened for Bill once. He then played “Long Gone,” a song from Inside (that really is one of the best Bill Morrissey albums), first mentioning how Bill’s headstone contains that song’s opening lines: “I’ve been long gone/From the stage to the highway/To the night grille/And everywhere I went/Time just stood still.” And as for a Los Angeles connection, this song’s lyrics mention Malibu. He wrapped up his set with a really nice rendition of “Small Town On The River,” a song that was originally on a Fast Folk compilation in 1982 and also included on his self-titled album.

Steve Key

Amilia K Spicer

Amilia K Spicer was the tribute’s final performer, and she is someone who toured with Bill Morrissey and recorded with him. She talked a bit about that at the beginning of her set, mentioning playing on the new material recorded for the compilation The Essential Collection. She opened her set with “Handsome Molly,” a song from the Standing Eight album. She delivered a beautiful rendition, playing guitar on this song, and joined by Mike Berman on guitar. She then moved to keyboard for “She’s That Kind Of Mystery,” also from Standing Eight. This is a song that John Gorka recorded for his Bright Side Of Down album, and Amilia K Spicer sang on that recording. Mike Berman accompanied her on guitar for this song as well. He then left the stage, and Amilia performed her last song solo on keyboard. This song, “Delayed Effect,” was an original number, a song that Bill Morrissey liked. It was included on her Seamless album, released on 2003. She said that Bill especially liked the song’s opening lines: “He’s got his hands in his pockets/Like it’s keeping him balanced/And he looks like a page nobody read.” Who wouldn’t love those lines? It’s a great song. After her set, all the performers got on stage for one last song, “He Was A Friend Of Mine,” a traditional number that Bill Morrissey and Greg Brown recorded together for their Friend Of Mine album. For this song, Mike Berman played guitar and Christopher Lockett played harmonica. Mike, Steve Key and Arielle Silver each took a verse. It was a wonderful way to wrap up a beautiful tribute to an incredible songwriter. By the way, Mike Berman mentioned that the theme of the next Acoustic Jewels concert will be Bob Dylan’s lesser known material. That will be in April.

"He Was A Friend Of Mine"

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