Buzz Magazine - Monday, April 9, 2018
Roy Orbison: In Dreams
By Stephen Springate
Then all at once he was standing there, so sure of himself, his head in the air’’ goes the Orbison classic Running Scared. Depending on your stance, this is either a triumphant or unfortunate choice of lyrics to watch such a venerable and unmatched musical icon as Orbison sing minutes after rising from the floor, like a background extra in Disney’s Haunted Mansion.

There is no denying that in terms of sheer entertainment quality, tonight could not have been better. It was a unique chance to hear many of Orbison’s best songs (and there are so many of them) amplified at arena-sized volume, cutting cleanly through the mighty live clout of the Royal Philharmonic Orchestra as his backing band. The music is played in the style of 2017’s A Love So Beautiful album which combined Orbison vocal takes with the backing of the orchestra, and in a live setting these versions could not sound better.

The visual spectacle too is certainly impressive. The literature promises that tonight Cardiff is being treated to the first night of a tour which will be a first of it’s kind; taking a long-deceased superstar on a worldwide headline tour in hologram form.

As an orchestral montage of his greatest hits plays to a scrapbook archive, counting down to his appearance on stage, the tension is undeniably palpable and it genuinely sends a shiver down the spine when he pops up out of the floor and stands face to face with the audience. It’s startling how real and solid the hologram feels, with minor details like the tassles on his jacket sleeve swaying in the wind bringing the 4K projection to life.

After the novelty wears off though, the projection starts to feel a bit… well, lifeless. Without the thrill of sharing a room with the actual legend there in front of you, it’s hard to muster much more excitement than you would for a particularly good tribute act. At some point after the shock factor is gone, it does start to feel at best a bit gimmicky, at worse a shameless cash grab. Especially considering that instead of breathing life into archive footage from an old performance, the figure onstage has been created from a number of techniques including CGI to deliver a completely ‘new’ performance, making it feel all the more exploitative.

Had it been left as a recording project marrying up some excellently refurbished vocal tracks with a tasteful contribution from the Royal Philharmonic, it would have felt like a decent contribution to Orbison’s legacy. Instead, the whole tour makes the album seem in retrospect like it was made to serve what amounts to a project that feels like a ghoulish cash-in, trading on gimmickry and shock value to sell copies. It may have been fully approved by his family, but there is something very ethically unsettling about the whole endeavour. Is it an entertaining event worth seeing? Yes, but prepare for it to be interrupted by a constant, nagging uneasiness.

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Long day's journey into the night

By Joe Breen

DUBLIN'S victory In Croke Park yesterday was not the only victory for the city. For in Dalymount Park before a crowd of approximately 11000 People, Thin Lizzy fronted by its own black pearl, Phil Lynott returned to their native city in rip roaring fashion.

The day-long concert, which began at 3 o'clock, and attracted people from all over the country produced no violent scenes and though there were a few minor scuffles, one of the Red Cross men told me later that all in all it had been a very well behaved and happy crowd. The weather also held up with just some drizzles towards the end.
The promoter, Pat Murphy, who spent over £35,000 in staging the show, can be quite happy, as in indeed he was, with the day's proceedings.

The concert began with some local bands, including " The Radiators from Space", which pleased many in the audience. Next came Fairport with its own brand of celtic-rock.

However, the first band to arouse the crowd in a major way was the Boomtown Rats, who displayed a total lack of inhibition coupled with forthright aggression in producing a set worthy of a band breaking big In Britain at the moment. The band, all from Dublin, who have a new single released at the moment, "Looking After No. 1", appear on Top of the POPS next Thursday, which, for once, should be worth watching, especially with singer Bob Geldof, in such raucous form.

The next band on were Graham Parker and the Rumour. By this stage the crowd had grown considerably larger owing to the extra 2,000 or so People who came after the match in Croke Park. Earlier, when Ken Stewart had announced Dublin's win over Kerry, the crowd had responded in the expected fashion, chanting "Dublin Dublin”, but their main heroes were yet to come.

Although Parker and his band played a very fine set with all the panache and fervour for which they are renowned, all they really did as the rest of the concert did, was provide an appetiser for the main fare of the evening.

Thin Lizzv, of which two of the four members are from Dublin. but which Is generally recognised as a Dublin band, if not in body, in spirit, took to the stage in a haze of smoke and flashes which Introduced their first number, Soldiers of Fortune, which is on their new album soon to be released. "Bad Reputations."

Phil Lynott, the band's bassist, writer, singer and general leading personality, who is probably unique in that he is the only black Dublin rock star, warmed to the audience's reaction and performed his by now ritual antics such as the black power salute with an almost visible joy at being home once again.

And the crowd, totally at one with their hero, responded feverishly. Ken Stewart, the compere for the day, had introduced the band with the phrase culled from its own hit single, " The Boys Are Back In Town" — which aptly reflected the empathy between the singer and the crowd. The band ended the day with two encores; “Me and Boys were wondering what you and girls were doing on the way home from Dalymount” and "The Rocker" which sent the weary and hoarse crowd happily home to their beds.

The facilities provided by the promoter seemed to meet with the approval of the crowd. There was little overt criticism of how the show was run, both from the crowd's point of view and that of the artists. There were no police on duty Inside the ground, so the young People happily enjoyed their little wrong-doings, such as the odd marijuana joint and open cuddle and kiss In the shady corners of the pitch.

Later, the organisers said the day had been a total success and expressed hopes of another concert in similar vein in the future. The were no names mentioned, through Rod Steward would appear to be a favourite among some of Mr. Murphy troops.

Original Review

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The Observer - Sunday July 17, 1988
A principal boy in total control
by John Peel

The last time I saw Michael Jackson at Wembley, he was a diminutive fifth of the Jackson 5, cute and precocious. On Thursday he returned as superhero, larger and appearing stranger than life, with a show I do not expect to see equalled in my lifetime.

The evening paper had a story of spivs selling tickets for the Jackson show at £150 a time. The dispirited scousers I spoke to outside told an altogether different tale. Ruin, I gathered, stared them in the face. Repressing the urge to press coppers into their hands, I continued the yomp in from beyond the extended wheel-clamp/tow-away zone, having left the racer in an area which only a year or so ago was probably all sylvan glades and babbling brooks alive with carp.

Once installed in Section 80 with the £5 tour programme and a packet of plain crisps, I settled back in anticipation of a feast of fun. All about me citizens were peering at the empty stage through cardboard opera glasses bearing the "Bad" logo, while others attached "Bad" balloons to their clothing. Below us the huddled masses cheered each time the Michael Jackson Pepsi advertisement appeared on the screens at the side of the stage.

At six o'clock, we cheered as technicians took their places. Five minutes later we enjoyed the first of few Mexican waves. An hour later Radio 1's Gary Davies appeared to ask whether we were ready to boogie before urging a big Wembley welcome for Kim Wilde.

I felt a bit sorry for Kim. Very much the bread roll with which we toy absent-mindedly while awaiting the meal, she had yet, as the tabloids had emphasised with their usual quiet persistence, to meet Michael Jackson. But there she was, waving a red scarf and bending over a lot so that the cameras could catch the cleavage. 'It's great to be here,' she said. After a song or two a discussion developed in our row about the catering staff, who were dealing out the lager and cold dogs in what seemed to be Motherwell colours. We reached no important conclusions.

In the interval we amused ourselves by leaping up from time to time to gawp at celebrities arriving in the glass-fronted banqueting suite. We liked Frank Bruno the best. But suddenly there was thunderous music from the stage, a battery of lights blazed out over the audience and there, scarcely believably, was Michael Jackson.

'How ya doin,' he asked after a couple of hits. Well, I was as fine as anyone with sore feet standing in a cold, damp football stadium could be - but how was Michael? From close-ups on the twin screens, he did not look too good. The famous remodelled face glowed faintly inhuman beneath a surfeit of rouge - and his performance to date had been curiously uninvolving, despite our overfamiliarity with it from a host of videos.

But Michael Jackson clearly needs a few minutes to get into gear and as the costume changes came and went and the stage and lighting effects grew more audacious, he took control with a performance of matchless virtuosity. Making much of stagecraft learned, surely, from James Brown - especially a device whereby a song apparently finished, with the star seemingly in emotional crisis, frozen save for lips moving as though in prayer, would be reprised - Jackson led his dancers, singers and musicians, all fearsomely well-drilled and rakishly handsome, through less a sequence of songs, more a series of scenes, the whole resembling some futuristic, technological pantomime, with Michael Jackson himself a distillation of all principal boys, singing some of the world's best known songs and dancing with such authority, timing and energy that the odd action replay would not have come amiss.

My only wish is that my children could have been there to see this stupendous performance. It is something they would never have forgotten.

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https://www.flickr.com/photos/8095451@N08/8574271826
Review for the concert

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Petty And Lone Justice Home Again At Forum
Saturday August 3, 1985 Robert Hilbrun
The Los Angeles Times



Tom Petty and Lone Justice both had something to prove in their homecoming performances Thursday night at the sold-out Forum. Only Lone Justice fully succeeded.

Petty and his augmented Heartbreakers band played relatively long (nearly two hours) and most definitely hard in their first local appearance in two years.

And there were glorious moments as they reprised many of the inspiring anthems--from the opening "American Girl" through "Refugee"--that established Petty a few years ago as one of the most popular and respected figures in American rock.

For all its crowd-pleasing vigor, however, the concert failed to resolve a problem that has been nagging Petty ever since his hugely successful "Damn the Torpedoes" album in 1979: the suspicion that this slender, Florida-born rocker has peaked.

That view is supported by the sales charts. None of Petty's post-"Torpedoes" LPs, including the current "Southern Accents," have shown the commercial punch of that collection. But the suggestion of decline is refuted by his post-"Torpedoes" music itself--at least most of it.

While much of the "Hard Promises" and, especially, "Long After Dark" albums did sound similar to Petty's earlier work, there was an increased subtlety and sophistication in Petty's lyrics, which are chiefly uplifting expressions about innocence and desire.

The problem is that sophistication isn't what much of Petty's "Torpedoes" audience wanted. They were eager for more of the hard-edged, ringing-guitar rockers. So, here was a man who was getting better as a writer--yet finding a large part of his audience slipping away. That dilemma apparently confused Petty, who spent several agonizing months putting "Southern Accents" together.

The result was a schizophrenic package in which Petty dug deep into his Southern background for some thoughtful, endearing songs about the struggle to achieve your dreams. So far so good. But Petty also worried about restoring his commercial momentum and overcoming the criticism that his music was sounding too much alike.

Working with Eurythmics' Dave Stewart, who guested on guitar on a few numbers Thursday, Petty came up with some psychedelic and horn-accented touches in the album. While the songs did introduce new strains musically, they lacked the imagination and purpose of his best work.

The Forum show was as schizophrenic as the album.

The best songs from "Southern Accents"--including the title track and "The Best of Everything"--defied you to think this man isn't growing as a writer. He sang them with an intimacy that made them the highlights of the evening.

However, the other new songs--including "It Ain't Nothin' to Me" and "Don't Come Around Here No More"--seemed disturbingly insignificant. Because of this conflict, the "Southern Accents" material failed to center the show. This left the old numbers as the dominant element of the evening, which gave the show a definite "oldies" feel at times.

The show had the appearance of newness, with the quintet expanded to include three horn players and two female backup singers, but they seemed window dressing.

The Heartbreakers tour continues with shows Sunday at the Universal Amphitheatre, Monday at the Pacific Amphitheatre, Tuesday and Wednesday at the Wiltern Theatre and Friday at the San Diego Sports Arena, but Petty must already be looking to the future.

Every album is crucial in the fast-changing world of rock, but Petty's next one seems especially important. The best moments of Thursday's concert demonstrated that Petty is still a strong talent but needs to listen more to his heart.

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The Blues Bros. give it their all in Concord
By Peter Finch
The Stanford Daily, July 22, 1980

Dan Aykroyd and John Belushi were not raised as rhythm and blues musicians. For this reason, they have come under some fire lately. Blues purists claim that the two actors are ripping off the public in their act as Jake and Elwood Blues, two Chicago bluesmen. There are much better, and perhaps more "real" blues musicians who should be getting the recognition, the purists say; not these two rich white boys. And they're probably right. The Blues Brothers are an act. They're not for real. Their band, probably the best one money could buy. is just that — bought. And their fans are mostly cleancut white kids who live in places like Piedmont and Atherton. not Chicago's back streets. But there comes a time in dealing with self-righteous purists and/or experts in any field when one must simply ask them to "shut the hell up." If there were ever a time to do so, this may be it. Aykroyd and Belushi have embraced their Blues Brothers act with such care and energy, it shines like a freshy-polished Cadillac. You have to sec them in person to believe it; TV, records and the movie just don't do the trick. The Blues Brothers were in town last weekend, playing two sold-out shows at the pleasant, open-air Concord Pavilion. And from their now famous opening to their exuberant rendition of "Soul Man." the show oozed entertainment. One might even go so far as to call it "family entertainment," though Belushi's language is not exactly guarded, and many of the songs contain rather lurid lyrics. Part of what makes the Blues Brothers live show so Fun (with a capital "F") is the fact that Aykroyd and Belushi are very talented showmen. The two dance like nothing you ever saw, combining some Charleston, some jitterbug and some whatever. In fact, one of the evening's biggest surprises came when a flickering strobe light was switched on in the middle of one of the Brothers' dances. Already dressed in '40s clothing, the two took on the look of Laurel and Hardy in a jerky old motion picture. But beyond the Brothers' mugging and the stage's Chicago gas station set (complete with regular gas listed at 27.9 cents). Belushi is not a bad singer and Aykroyd plays the harmonica with far better than average skill. Belushi got his chance to really show off his singing skill on a couple songs, most notably
"Shot Gun Blues," the bluesiest of the evening's tunes. Belushi's weakest moment was when he sang Randy Newman's 'Guilty." Instead of sounding genuinely blue, Belushi sounded more like his hilarious Joe Cocker imitation. But one weak song out of an entire evening's worth? Not bad for a comedian. Despite repeated attempts to divert some of the attention from themselves to their band, Aykroyd and Belushi stole the show. It's certainly understandable, though somewhat unfortunate. Buoyed by big names (well, they're all pretty big names) like
Tom Scott on saxophone, Tom Malone on trombone and Matt Murphy on guitar, the Blues Brothers Band really rocks. The band's precision on songs like "Green Onion," a classic instrumental by Booker T. and the MG's, entranced the audience. The show, which included 25 songs, including encores, was comprised mostly of material from the band's two albums. Briefcase Full of Blues and their movie soundtrack. Songs which they haven't recorded, like "Going to Miami," "Who's Making Love to Your Old Lady," and a modernized version of "There's a Riot Going On" (the warden has a laser gun, now), added extra class to an already strong show. So the purists may not like it, hut the Blues Brothers are extremely entertaining. And what the purists may not realize is that in their own way, Aykroyd and Belushi are introducing a great style of music to a group of people who might otherwise have spent their whole life listening to Sammy Hagar and Pat Travers. I guess Aykroyd put it best as he and the rest of the band took a final bow, "We're on a mission from God," he said, "and the mission is the music!"

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The Blues Bros. give it their all in Concord
By Peter Finch
The Stanford Daily, Tuesday, July 22, 1980

Dan Aykroyd and John Belushi were not raised as rhythm and blues musicians. For this reason, they have come under some fire lately. Blues purists claim that the two actors are ripping off the public in their act as Jake and Elwood Blues, two Chicago bluesmen. There are much better, and perhaps more "real" blues musicians who should be getting the recognition, the purists say; not these two rich white boys. And they're probably right. The Blues Brothers are an act. They're not for real. Their band, probably the best one money could buy. is just that — bought. And their fans are mostly cleancut white kids who live in places like Piedmont and Atherton. not Chicago's back streets. But there comes a time in dealing with self-righteous purists and/or experts in any field when one must simply ask them to "shut the hell up." If there were ever a time to do so, this may be it. Aykroyd and Belushi have embraced their Blues Brothers act with such care and energy, it shines like a freshy-polished Cadillac. You have to sec them in person to believe it; TV, records and the movie just don't do the trick. The Blues Brothers were in town last weekend, playing two sold-out shows at the pleasant, open-air Concord Pavilion. And from their now famous opening to their exuberant rendition of "Soul Man." the show oozed entertainment. One might even go so far as to call it "family entertainment," though Belushi's language is not exactly guarded, and many of the songs contain rather lurid lyrics. Part of what makes the Blues Brothers live show so Fun (with a capital "F") is the fact that Aykroyd and Belushi are very talented showmen. The two dance like nothing you ever saw, combining some Charleston, some jitterbug and some whatever. In fact, one of the evening's biggest surprises came when a flickering strobe light was switched on in the middle of one of the Brothers' dances. Already dressed in '40s clothing, the two took on the look of Laurel and Hardy in a jerky old motion picture. But beyond the Brothers' mugging and the stage's Chicago gas station set (complete with regular gas listed at 27.9 cents). Belushi is not a bad singer and Aykroyd plays the harmonica with far better than average skill. Belushi got his chance to really show off his singing skill on a couple songs, most notably
"Shot Gun Blues," the bluesiest of the evening's tunes. Belushi's weakest moment was when he sang Randy Newman's 'Guilty." Instead of sounding genuinely blue, Belushi sounded more like his hilarious Joe Cocker imitation. But one weak song out of an entire evening's worth? Not bad for a comedian. Despite repeated attempts to divert some of the attention from themselves to their band, Aykroyd and Belushi stole the show. It's certainly understandable, though somewhat unfortunate. Buoyed by big names (well, they're all pretty big names) like
Tom Scott on saxophone, Tom Malone on trombone and Matt Murphy on guitar, the Blues Brothers Band really rocks. The band's precision on songs like "Green Onion," a classic instrumental by Booker T. and the MG's, entranced the audience. The show, which included 25 songs, including encores, was comprised mostly of material from the band's two albums. Briefcase Full of Blues and their movie soundtrack. Songs which they haven't recorded, like "Going to Miami," "Who's Making Love to Your Old Lady," and a modernized version of "There's a Riot Going On" (the warden has a laser gun, now), added extra class to an already strong show. So the purists may not like it, hut the Blues Brothers are extremely entertaining. And what the purists may not realize is that in their own way, Aykroyd and Belushi are introducing a great style of music to a group of people who might otherwise have spent their whole life listening to Sammy Hagar and Pat Travers. I guess Aykroyd put it best as he and the rest of the band took a final bow, "We're on a mission from God," he said, "and the mission is the music!"

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In Concert
By Mike Joyce July 4, 1980

Call them what you will, The Blues Brothers put on a wild and exhilarating show at Merriweather Post Pavilion last night.
From the moment John Belushi first spiraled across the stage, heels over head, until the final encore when the young crowd greeted "Soul Man" with tumultuous applause, The Blues Brothers sustained a level of energy and excitement they never came close to achieving in their recent movie.
Wearing their faded suits and performing before a mock-up of a gas station, complete with pumps and a pay phone, The Blues Brothers staged an R&B party for a solid two hours.
Belushi and Dan Aykroyd are hardly the musical equivalents of the master musicians they emulate, but they certainly are no embarrassment to the blue-eyed soul.
Singing in a husky, almost hoarse voice, Belushi's feeling and affection for the music was undeniable, and Aykroyd contrubuted far more on harmonica than the simple tremolos some have suggested.
What's more, their band, which features the veteran guitars of Matt Murphy, Steve Cropper and Donald "Duck" Dunn and a blasting Stax-inspired horn section led by Tom Scott, is the finest working in rhythm and blues today.
Last night they made The Blues Brothers worthy of the classic tunes they performed.
From The Washington Post 1980

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Stylee who became Friends of Gavin were an awesome Band..what happened to them?

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review in german language here: Black Sabbath in Dortmund

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review (in german language) and some images here: Eric Gales at the Blues Garage

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A gig I went to (belated birthday present from big brother). We watched Bon Jovi, I didn't rate them at all (not heavy enough). Kiss were great live even sans the makeup, gig sound wasnt great as left hand PA speaker stack buzzed all through the gig. Funny I remember that but not my breakfast this morning!

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Full to capacity gig in support of the Banshees album Kaleidoscope. Altered Images were going well until someone upset the drummer & he temporarily left the stage. Nevertheless they put in a great set. Athletico Spizz 80 were a surprise - & very welcome - addition to the lineup. Spizz was a bit angry with the spitters in the audience & pretended to mow them down with a toy rifle during Soldier Soldier. Siouxsie & the Banshees were incredibly powerful, starting the gig with the venue in total darkness as the band walked on to the intro tape. Starting with 'Helter Skelter' the lights came up as Siouxsie high kicked the air & the audience went wild. They had some equipment failure during 'Clockface' but soon got going again. It was a set comprising mostly of material from Kaleidoscope plus a few tracks from the debut album The Scream, some singles & B sides plus some new material. The line up, which included John McGeogh, Steve Severin & Budgie were the strongest I had seen the band in quite a while. They played for about 90 minutes, coping very well with the spitters in the crowd - at one point (just before 'Switch') Siouxsie threatened to walk off stage if they didn't stop spitting, saying that the band 'always keep their promises' A superb gig in every way.

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review in german language with some nice images of this concerts here: Jefferson Starship in Worpswede/Germany

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I also attended this gig, and haven't seen any incarnation of Ash for around 20 years. I was lucky enough to see the band with the original lineup which was great. This time around only Martin Turner from the orignal lineup was in attendance (and yes, I know that this isn't Ash but that's only because MT can't use the name anymore, instead having to be billed as "Martin Turner - Ex Wishbone Ash".

I found Danny Willson to be a good guitar player and his vocals fit snugly against Martin's. The other guitarist on the band is Misha Nikolic who was also pretty good but didn't appear as good as DW. Of course, this could have been because he wasn't given as much to do! Last but not least was Tim Brown on drums. He was good using a very small kit.

Finally a word about Martin's performance. It was good, nay great .... but for a man his age. He is now in his seventh decade and it is (unsurprisingly) starting to show in his vocal performance. He can't get the higher notes of old and his sustain has blown but hey, still very much worth watching and a good gig.

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Andy Powell apparently owns the rights to the name Wishbone Ash and Martin Turner can't use it other than ex Wishbone Ash. Martin Turner and drummer Steve Upton recruited Andy Powell and Ted Turner to he band in 1969. Andy Powell's version of Wishbone Ash are musically very good, but the singing lets them down as does most of the material written after Martin Turner and the excellent Laurie Wisefield left the band. Martin Turner's sets are always mainly Wishbone Ash material. Andy Powell's sets include quite of lot of his later material which I find to be nowhere near as good as the Wishbone Ash stuff. Martin Turner's band are more in tune with Wishbone Ash fans like myself, having seen the various line-ups 28 times since about 1972

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On the first day of our holidays in Biarritz/Bayonne my wife and me saw a poster in town advertising tonights concert. Amazing holiday start. The open air arena in Bayonne was otherwise used as a bullfight arena. There is a perfect sight from every seat here.
The concert was brilliant. I was expecting David Lindley playing guitar and was dissappointed at first that he was not in the band. But new guitarist Rick Vito was great also, made a big impression on me. Actually the whole band played an awesome set.
Anyway ... can't say much about the setlist but Jackson sang all his at the time well known songs, everything the fans expected.
A perfect night under the sky in the south of France.

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A fun day out.

Great to see Ten Benson play for the first time in years delivering a bit of a greatest (should have been) hits set with original drummer Karl back in the fold too.

Almost as good was the Rock 'N' Roll Dog Show featuring rounds like 'Waggiest Tail'

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Review of the gig here: Lucinda at the Fabrik
Actual setlist here: Setlist played

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Review (in german language) and some images here: G3 im Stadtpark

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Review (in german lanuage) and a photo here: Dickey Betts at the Blues Garage

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Review (in german language) and some images here: Mule at the Blues Garage

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- review in german Paper: Tom Petty in Hamburg
- another review in german Paper: Tom Petty in Hamburg

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Hell of a gig. Great opening set from BDM (one of the best Hull bands around at the moment) and then a superb set from the Mary Chain, over an hour and a half, two encores taking in six more tracks, and tonnes of classics... April Skies, Blues From A Gun, Some Candy Talking, Taste Of Honey, Far Gone And Out, Reverence... my ears are ringing today, mind. Top notch.

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Hi Albert

Just read your review. Cant believe whats happened there. Coffee bar?! Strewth. Played here in the 80's . In a band called Bad Tune Men. Remember the Half Man gig. It was really busy and I couldn't get to the bar! Happy days

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Of course I was there! I was the guitarist for the BTM's.

What a band we were. Pushed a lot of frontiers. Either you loved us or hated us.

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- review in german language and some nice images from the gig here: Warren Haynes in Hamburg

- line-up: Warren Haynes (gtr/voc) - Ron Johnson (bs) - Nigel Hall (key) - Terence Higgins (dr) - Ron Holloway (sax) - Alicia Chakur (bvoc)


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review and some nice images from the gig here: B.B. King & Ana Popovic in Bonn, Germany (in english)

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- review and some nice images from the gig here: Gregg Allman Band concert review
- another one here: Gregg Allman Band in Bonn
- and some more: in Bonn

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review in german language and some nice images from the gig here: Josh Smith concert review

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