Pure Multi-Layered Music
By Jenna Croyle

What do you get when you mix decades of musical talent from around the world, a musical repertoire ranging from reggae and soul, to funk, hip-hop, jazz, salsa and Latin beats, along with a show-stopping high-energy stage dazzle that offers an eclectic, all-inclusive infused sound?
 

The answer could only be, Erie’s most unique and popular band, North America's premier World Music Group and this week’s featured band, One World Tribe. Founded in 1994 by Kennedy Thompson, One World Tribe is an effervescent and refreshing blend of World and Latin music, R&B and funk with an authentic style that can only be described as truly astonishing. The band’s members are from the United States, Africa, Jamaica and Puerto-Rico and primarily include Preach Freedom on Vocals and Percussion, Kennedy Thompson on Vocals, Keyboards and Percussion, Mike Chin on Bass, Kenny Hollis on Guitar and Vocals, Frank Singer on Keyboards, Guitar,

Guitar/Synthesizer, Vocals, along with Mark Colicchia on Drums, M'Baye Rama Diagne on Percussion and Vocals, Lauren Hughes on Percussion and Vocals, Baba Raymond Sylla on African Drums and Percussion, Ringo Brill on Percussions, Kennedy Lorya on Vocals and Keyboard and John Norton III on Percussion and Vocals.

Also with the band on stage you might see Matty Walker, Elizabeth Crews, Enrique Lozada, Brad Amidon, Sean Clemments, Mark Marchant and Barnetta DeBoe.

Just as diverse as the talents, style and geographical origins of its band members, One World Tribe’s musical influences cover a very wide spectrum of musical genres that include everything from Bob Marley to the Grateful Dead, from Santana, Earth Wind & Fire to Marvin Gaye and from Prince, Bob Dylan and Miles Davis, to Neil Young, The Beatles and 2Pac to The Meters, Burning Spear and Eddie Palmeri along with many more.

The outstanding music and style, and the ethnic and geographical composure of the band, meshed together with the truly global collective mindset of One World Tribe, attracts fans of every age, race and religion as the Tribe breaks the boundaries and blurs the lines of social and racial differences through the purity of music at its finest.

One World Tribe offers the capacity crowds at every one of their shows an experience that is exceptional and truly one-of-a-kind, full of soul, vitality and many facets of amazing effects that seem to all come together into a melting pot of musical enlightenment that urges unity and tolerance and respect of people's differences through unmatched musical perfection.

The multi-layered vocal harmonies, rhythmic Percussion drives, funky feel and perfect instrumental accord along with the overwhelming intensity of the music and spectacular original tunes of One World Tribe creates something much more that a musical experience, something so wonderful and inspiring that words simply can’t describe.

One World Tribe is much more than a band, they are a collection of individual superstars with a rhythmic intensity that always keeps the energy level on overdrive as they connect perfectly with every audience member in a way no other band can.

One World Tribe, a musical revelation…

For more information on One World Tribe, band members and show dates, please visit www.oneworldtribe.com

Elvis Costello Urges Fans to Avoid His New $200 Box Set
By Joseph Brannigan Lynch

His aim remains true, even if his own pocketbook becomes a target: Elvis Costello is throwing barbs at the record label releasing his upcoming live box set because of the inordinately hefty price tag it carries.

A post on Costello's website appropriately entitled "Steal This Album" (perhaps he's also a System of a Down fan) advises fans to steer clear of a 3-disc, 1 DVD, 1 vinyl record collection of a live concert in L.A. from April 2011.

Although he describes 'The Return Of The Spectacular Spinning Songbook' as a "beautifully designed compendium" that finds his backing band "the Imposters in rare form," Costello and Co. object to the $202.64 retail price.

"Unfortunately, we at www.elviscostello.com find ourselves unable to recommend this lovely item to you as the price appears to be either a misprint or a satire," the biting post declares, also opining that the price tag must be an "elaborate hoax."
"All our attempts to have this number revised have been fruitless," his site continues, but it promises Costello completists that these "items will be available separately at a more affordable price in the New Year, assuming that you have not already obtained them by more unconventional means."

Artist-label beefs have been going on for years (see The Clash's "Complete Control" for a vicious critique of the hand that feeds) but oftentimes the offended musician has something other than the fans' wallets on their mind.

In 2009 Morrissey asked devotees not to purchase reissues of solo and Smiths recordings, but that was partly because he wasn't going to see a dime from them. To Declan MacManus' credit, he seems to be urging people to ignore a release he would make a profit on. (Of course, more money is probably not a necessity at this point in his life.)

Helpfully and selflessly, Costello is directing holiday-purchasers (presumably lost and confused without a Costello-related product to put under the Christmas tree) toward one of the greatest collections of American music available.

No, not Justin Bieber's holiday album: Elvis recommends gifting the massive Louis Armstrong collection entitled 'Ambassador of Jazz' available for a relatively thrifty $149.99 (with only two left in stock, fans are apparently taking this advice to heart). Reminding us that Satchmo was "one of the most beautiful and loving revolutionaries who ever lived," elviscostello.com also admits that the jazz great still outclasses one of rock's most literate voices: "Frankly, the music is vastly superior."

Thanks for the tips, Elvis! You truly are this year's model citizen.

George Harrison's Sister Pens Tell-All Book

George Harrison's sister, Louise, is to break her silence for the first time by releasing a tell-all book about life with the Beatles legend.

The late guitarist, who died 10 years ago on Tuesday, was one of four siblings, and for years Louise has been urged to pen a book detailing her experiences growing up with the star.

Now she has finally relented and put together a book featuring her memories of the rocker, letters and never before seen photographs from her family album. And she's adamant that her work, due for release in 2012 or 2013, will go some way toward dispelling the "myths and fantasies" surrounding the story of the Fab Four.

Louise, who lives in Branson, Mo., tells the Sarasota Herald-Tribune, "So much garbage has been written about George and the Beatles. Half of the stuff has been written by people who spent maybe an hour on a plane with the Beatles. Now I think it's my duty to get the truth out.

"There's been all kinds of myths and fantasies written about them. At least I have some facts to go on, because I was there -- from even before they were the Beatles."

How the Universal-EMI Deal Will Change the Music Industry

A little more than a decade ago, there were six powerful major labels. Now, with the sale of EMI's recorded-music division – home to the Beatles, Pink Floyd, Coldplay and Katy Perry – to Universal Music Group for $1.9 billion, the record industry will be reduced to just three. The deal is pending regulatory approval from both U.S. and European agencies – but if it is approved, just one label, Universal, would control more than a third of overall sales, leaving many in the industry nervous about its clout. "It's going to be damaging in the end," says a veteran major-label executive. "There's going to be another whack-down of artist rosters. It happens again and again. How can artists and their managers fight for priority attention? It's tough."

EMI is the latest victim of a decade of severe record-industry contraction. Labels peaked in 2000, selling more than 785 million albums, but Internet piracy and the shift from high-profit CDs to low-profit digital singles have forced thousands of label layoffs and drastic artist-roster cuts. At the same time, new power centers have emerged in the music business, including Live Nation, the concert behemoth that merged with Ticketmaster last year; Apple, which has grown into the biggest music retailer; and a new generation of do-it-yourself artists, from Radiohead to Wilco, who have left the majors behind.

The purchase by Universal, the group that controls labels including Interscope and Def Jam, will make the planet's largest label more dominant than ever. The company's market share is set to expand from roughly 27 percent of worldwide music sales to 36 percent, compared to Sony's 23 percent and Warner's 15 percent. Proponents argue that Universal's powerful distribution network will give EMI artists greater international reach, while EMI's Nashville label, whose artists include Keith Urban and Brad Paisley, will help Universal address its weakness in country music. "It'll give artists signed to EMI an opportunity for growth while at the same time allowing Universal to put out more music than ever before," says a source with knowledge of the sale.

"It's a big deal," adds former Sony and Warner executive Steve Greenberg, now chief executive of independent label S-Curve Records. "If fewer players have the ability to be strong companies, that just may be the only system that's viable for the time being."

Sony has been making aggressive moves as well. Doug Morris, who grew Universal into the top major, took over the label in July after 15 years at Universal. Notoriously competitive, Morris recently signed producer Dr. Luke to run a new imprint, Kemosabe. In addition to locking up Luke's hitmaking talents, the deal prevents him from working with non-Sony artists (including his main collaborator, EMI's Katy Perry). Sony has also offered $2.2 billion to buy EMI's publishing division, which owns the copyrights to 1.3 million songs, by Rihanna, the White Stripes, Sting and others – and may end up being more lucrative than the labels Universal bought. "He's taking out his proven playbook and going at it again with a real fervor," a source says of Morris' deals. "It's classic Doug Morris."

Despite competitors' fears, the deal at least gives EMI a future, which had been uncertain for a decade. Private equity firm Terra Firma Capital Partners bought it in 2007, but when it defaulted on a $5.4 billion loan, Citigroup took over the company earlier this year. "How effective was EMI in signing new artists the last few years?" says the source with knowledge of the sale. "They said in their own statements they've slashed A&R."

Both the label and publishing sales are expected to be approved in eight to 10 months. In the meantime, EMI executives have said they plan no short-term layoffs – although eventual staff cuts are all but inevitable, as the combined companies eliminate redundancies. "We've been assured that the commitment and investment will remain," says Caroline Prothero, manager of EMI dance-music star David Guetta. "I want this situation to allow new artists to come through, and I want the people that have worked with us to keep their jobs."

The Beatles will sell millions no matter which label owns their catalog, and Perry and Coldplay have nothing to worry about. The fate of smaller artists is more uncertain – several managers of well-known EMI artists tell Rolling Stone they are concerned about what will happen to their clients' upcoming records. "There's going to be nothing left of EMI," says one music-business source. "Which means smaller rosters, less artist development."

But given the reduced power of the majors, many in the business are surprisingly unfazed. "It's just another merger," says Bob McLynn, who manages acts from Train to Hole. "You have to work with your artist and soldier on and not worry about the surroundings."

Kid Rock Club Tour Raises $375,000 for Local Charities
By Cory Stromblad

Country-rock rebel Kid Rock has raised more than $375,000 for various causes, with a few concerts left for his 12-date club tour in support of local charities. The goodwill outing was inspired by 'Care,' the fifth single from Kid's most recent album, 'Born Free.'

"The song says 'the least that I can do is care' -- and I want to put my money where my mouth is," Kid tells Billboard. "Everyone knows that Detroit is hurting. But I want to show that even though we don't have a lot on our own plate, it doesn't mean the people of my hometown don't have compassion to share with others all over the country. At the end of the day we're all Detroit, we're one country, one family."

Kid Rock is scheduled to appear on 'CNN Heroes: An All-Star Tribute,' performing a special version of 'Care' for the live broadcast. Hosted by Anderson Cooper, the star-studded telecast will spotlight the accomplishments of the Top 10 CNN Heroes, with each humanitarian receiving $50,000 in recognition of their achievements. The show will announce the winner of the public-voted CNN Hero of the Year, which is accompanied by a grand prize of $250,000. Click here to vote.

Tune in Dec. 11 at 8:00 PM ET on CNN to catch Kid Rock's live performance.

Kid Rock Charity Tour Dates:

Dec. 1 - Fillmore Auditorium - Denver, Colo.
Dec. 3 - The Great Saltair - Magna, Utah
Dec. 4 - Knitting Factory - Boise, Idaho

Luke Bryan, 'Country Girl (Shake It for Me)' -- Story Behind the Lyrics
By Gayle Thompson

Luke Bryan is soaring up the charts with his latest single, 'Country Girl (Shake It for Me).' The tune, admittedly a sharp deviation from his previous hits, including 'Rain Is a Good Thing' and 'Someone Else Calling You Baby,' is not only a strong contender to be the Georgia native's third No. 1 in a row, but has also garnered him an entirely new fan base, thanks to its infusion of rock and rap -- and a sexy performance on the CMT Awards that made him the most-searched term on Google following the awards ceremony. Luke sat down with The Boot to explain the inspiration behind this career-changing song.

Me and my co-writer, Dallas Davidson, often times we'll sit in a songwriting room and we'll pull up fun rap and dance songs. I've been in so many honky tonks where right when I get off stage, they put on rap music and the dance floor fills up. I'll never forget, I played a private party one time, and it was a pool party for some young kids who had some money. Their parents wanted Luke Bryan to surprise them, and the time I got done playing, they put on dance music and rap and the pool party was just rocking! I was like, "I've gotta try to write some music that maybe some kids like that will want to rock at their pool party or play at a honky tonk." I told that to Dallas, and we went on that. We didn't have a title. If you had told us the title, 'Country Girl Shake it For Me,' we'd have said that's too cheesy.

I'm not naive. I get the song. It's just a simple, fun little song. But I will always stand behind how cool the verses are on the song ... all that stuff is really fresh. Dallas and I were really excited about what we had. We did the chorus (hums a bit of the chorus), I was like, "Dallas, is it just this? It just seems kind of cheesy and not right." We wrote it, and I still wasn't sold on it, but Dallas was like, "It's it." After going home and humming and singing, "Country girl, shake it for me,' I knew it was it.

I've been out with [Tim] McGraw all summer, and I watch him do 'Please Remember Me,' and songs like 'Angry All the Time,' that are just masterpieces, and then I watch him do 'I Like It, I Love It' and 'Indian Outlaw.' So this is my chance when I can do a simple fun song that lets people have a good time, and then I'll have my day when hopefully I'll have a Song of the Year, 'House That Built Me,' type song. That's what's fun in country. You can have all those and put them in a show and take your audience on a fun ride.

Shopping Songs
By Robert of the Radish

We've just come through the biggest shopping weekend of the year, which started a day early as many retailers decided to open on Thanksgiving night instead of Black Friday morning. Black Friday is always the Friday after Thanksgiving, a time when stores hold tempting sales to lure in customers who've started to think in earnest about Christmas.

I have conflicting opinions about it. On one hand, Black Friday represents the pinnacle of a consumerist culture, and brings out the worst in people. This year there were reports of pepper spraying, violence and even murder as people fought to get deals on material things made in China. However, on the other hand most people were not violent, and most are buying for others, not themselves. In our current economy, which is driven mostly by the consumer, we should all be hoping for a blockbuster holiday shopping season.

It looks like we may have gotten it. Over the four days from Thanksgiving until Sunday, American consumers spent $52,5 billion, that's up 16% from last year. And the stock market reacted quite favorably to the news yesterday. And this is before adding in online sales from Cyber Monday, which also seems to have been a blowout. Only time will tell is the spending will keep up until Christmas, but if it does, it will be good news for our economy at large.

In honor of all those who braved the crowds to help stimulate the economy, I've built this 18 song shopping-inspired playlist.

What would you add?

Shopping Songs
1. Shop Til Ya Drop - Hustle
2. Shopping Bags (She Got from You) - De La Soul
3. Come Shop Wit Me - Young Jeezy
4. Shopping - Barenaked Ladies
5. Shopping For Blood - Franz Ferdinand
6. Shopping Bag - Clinic
7. Go Shopping - The Mendoza Line
8. Shopping - Pet Shop Boys
9. Shopping Trolley - Beth Orton
10. Shopping For Dresses - Merle Haggard
11. Window Shopping - Hank Williams
12. Baby's Gone Shopping - Jimmy Buffett
13. Shopping For Girls - Tin Machine
14. Shopping All Day - Super XX Man
15. Strength Thru Shopping - Jello Biafra and the Guantanamo School of Medicine
16. Shop 'til You Drop Dead - The Dangers
17. Shopping - Eek-A-Mouse
18. Shopping On Christmas Eve - Keb' Mo'

Censored Songs: Country Music's Dirty Mouths Come Clean
By Cory Stromblad

Country stars have long been known to speak their minds through their lyrics, but usually not using four letter words. While it's common in other genres to have two different versions of a song -- one clean and one explicit -- it's quite the rarity in country music. But we've found a few over the years who dare to swear ... and then have to go back into the studio to make a family-friendly version of the same song for country radio airplay. The alternative? Just accept the fact that radio might throw a big fat bleep in the middle of their song. The Boot counts down our picks for the top 10 censored songs in country music.

10. 'Baggage Claim,' Miranda Lambert (2011)

Original Line: "Come and get your s---!"

Squeaky Clean Alternative: "Come and get it"

Never one to avoid speaking her mind, Miranda said exactly what she wanted to say on the album version of her latest song. She also released a clean version to radio to ensure the first single from her upcoming album, 'Four the Record,' keeps flying up the charts.

9. 'Stronger Woman,' Jewel (2008)

Original Line: "Just till he's hungry or h---- or needs something clean"

Squeaky Clean Alternative: "Just 'til he's hungry or frisky or needs something cleaned"

The pop star turned country songbird played it safe on her debut country single, replacing "h-----" (rhymes with corny ... if you're not in the mood to play Hangman!) with the word "frisky" to avoid any controversy at country radio.

8. 'Lookin' for a Good Time,' Lady Antebellum (2008)

Original Line: "Would you get the wrong impression if I called us a cab right now?"

Squeaky Clean Alternative: "Would you get the wrong impression if I asked you to dance right now?"

Some may have gotten the wrong impression from Hillary Scott's playful suggestion, but we got the notion she was merely suggesting the responsible use of a designated driver, rather than anything of a mischievous nature.

7. 'Toes,' Zac Brown Band (2009)

Original Line: "I got my toes in the water, ass in the sand"

Squeaky Clean Alternative: "I got my toes in the water, toes in the sand"

The guys of the Zac Brown Band were "knee deep" in radio edits for this 2009 No. 1 single. The word "ass" was replaced with "toes" in the chorus, while "roll a fat one" was bleeped out completely by some stations.

6. 'Friends in Low Places,' Garth Brooks (1990)

Third Verse Edition: "Just wait til I finish this glass. Then sweet little lady, I'll head back to the bar ... And you can kiss my ass"

The radio single for Garth's four-week No. 1 song only contained two verses, but the country entertainer revamped the classic drinking song, writing a third verse for his live performances. The new version never caught on for recurrent radio airplay of the song, but remained a fan favorite of the superstar's spectacular live shows.

5. 'Picture,' Kid Rock & Sheryl Crow (2002)

Original Line: "I've been fueling up on cocaine and whiskey"

Squeaky Clean Alternative: "Ive been fueling up on (bleep) and whiskey"

What happens when two rock stars join forces on a heartbreak ballad? Song lyrics too controversial for country radio. But the song gave Sheryl and Kid two firsts: a song in the Top 25 on the country charts and a CMA award nomination for Vocal Event of the Year.

4. 'A Boy Named Sue,' Johnny Cash (1969)

Original Line: "I'm the son-of-a-b---- that named you Sue!"

Squeaky Clean Alternative: "I'm the son-of-a (bleep) that named you Sue!"
We certainly understand his frustration with the choice of name, but Sue didn't receive the same sympathy from country radio in 1969. Despite the graphic nature of the entire song, radio only felt it was necessary to bleep "b----" from the original edit, removing the only blatant curse word.

3. 'Courtesy of the Red, White and Blue (The Angry American),' Toby Keith (2002)

Original Line: "We'll put a boot in your ass, it's the American way!"

Squeaky Clean Alternative: "We'll put a boot in your (bleep), it's the American way!"

At the height of patriotism following the events of 9/11, Toby retaliated against our nation's enemies with the brazen tune, featuring the famous (or infamous to some) "boot" lyric. Although Toby serviced an uncensored version to country radio, some programmers opted to play a PG version, which infuriated a few steadfastly patriotic country listeners.

2. 'Picture to Burn,' Taylor Swift (2008)

Original Line: "I'll tell mine you're gay"

Squeaky Clean Alternative: "You won't mind if I say"

The queen of squeaky clean tailored her tune, 'Picture to Burn,' for a radio edit, removing a line about spreading gay rumors from the vengeful lyrics to provide a more politically correct version to her legion of young, adoring fans. She also removed "damn" from 'Teardrops on My Guitar,' erasing any trace of controversy from her multi-platinum, self-titled debut album.

1. 'The Devil Went Down To Georgia,' Charlie Daniels (1979)

Original Line: "I done told you once you son-of-a-b----, I'm the best there's ever been"

Squeaky Clean Alternative: "I done told you once you son-of-a-gun, I'm the best there's ever been"

Respectable language is always a must, even when dealing with the devil himself. Charlie cleaned up the lyrics to the 1979 classic hit, his only single to reach No. 1 on the country charts. Charlie's 'Devil' kicks some serious a-- as one of the most iconic censors in music history.

Doris Day Sings Out for First Time in 17 Years

Doris Day, America's pert, honey-voiced sweetheart of the 1950s and 1960s, beguiled audiences with her on-screen romances opposite top Hollywood leading men Cary Grant, Rock Hudson and Jack Lemmon.

She adored and misses them all, says the 88-year-old Day. But her deepest yearning is reserved for her late son Terry Melcher, a record producer whose touch and voice are part of Day's first album in nearly two decades.

"Oh, I wish he could be here and be a part of it. I would just love that. But it didn't work out that way," Day said, her voice subdued. It's a voice rarely heard since she withdrew from Hollywood in the early 1980s to the haven she made for herself in the Northern California town of Carmel, where Clint Eastwood was once mayor.

"My Heart," set for a Dec. 2 U.S. release, has induced Day to edge back to public attention. The CD includes 13 previously unreleased tracks recorded over a 40-year span, including covers of Joe Cocker's "You Are So Beautiful," the Lovin' Spoonful's "Daydream" and a handful of standards. All proceeds go to Day's longtime cause, animal welfare.

A condensed version of the album was released in Britain earlier this fall and landed on the top 10 chart.

Melcher, who worked with the Byrds, the Beach Boys and other bands, produced most of the songs and sang on two. He died of melanoma in 2004 at age 62, leaving a void that draws tears from Day when she speaks of him.

"I loved doing it and having Terry with me. That was important, just for me," she said in an interview from Carmel. "I wouldn't think it would be what it is. ... I just love that he is on it. And I miss him terribly, but I have that."

The album's release coincides with new recognition for the actress and singer.

It was announced this week that her recording of "Que Sera, Sera (Whatever Will Be, Will Be)," featured in Alfred Hitchcock's 1956 thriller "The Man Who Knew Too Much" starring Day and Jimmy Stewart, will be included in the Grammy Hall of Fame. In January, Day is to be honored with the Los Angeles Film Critics Association's career achievement award.

And that career was storied. She once ruled the box office in a string of fluffy comedies, including "Pillow Talk" with Hudson (which earned her a Best Actress nomination) and "That Touch of Mink" opposite Grant, movies that showcased her verve and fresh-faced sexiness. Her sweet vocals helped make hits of pop tunes, including "Sentimental Journey" and Oscar winners "Que Sera, Sera" and "Secret Love."

On the screen, Day often played the determined single career girl who could be swept off her feet (but never into premarital sex) by such irresistible suitors as Grant or three-time co-star Hudson. She was also the loving wife and mother in such movies as "Please Don't Eat the Daisies" (1960), with David Niven.

Day came off as a straight-shooter who didn't let her beauty go to her head; she was no "Mad Men" toy. Granted, she was too ladylike to fit the definition of a dame, in the parlance of her early career. But she could hold her ground without fraying the hem of her tone-perfect cinematic femininity, or her co-star's masculinity.

She ventured into exceptions to her signature romantic comedies, most notably the Hitchcock thriller and "Love Me or Leave Me" from 1955, in which Day played jazz singer Ruth Etting in the story of Etting's career and tempestuous marriage.

Day said she had no quarrel with the studio system under which she worked, one in which her films were largely dictated. She had stumbled into the craft, after all, pushed from band and club singer to actress by her agent. Day got the first role she tested for, in 1948's "Romance on the High Seas," and sailed on from there.

"I was just put there, put there, put there. And I've never gotten over that. How could life be so good for me and I was never looking? I was never looking for it," she said.

As for her personal life, she said, "There are always things that you go through that aren't perfect." For Day, that included three divorces and widowhood. When her third husband died, she learned that he and a business partner had lost her multimillion-dollar fortune. (She righted herself to some extent with the 1968-73 sitcom "The Doris Day Show" and a lawsuit.)

Her decision to leave Los Angeles and the industry behind was an impromptu one, Day said. She had regularly visited Carmel-by-the-Sea, decided it suited her and made the move up the California coast and away.

"I just loved what I was doing. But then, when I came up here, I thought, well, I had my turn, and that's just fine. And the other people are coming up and starring and it was their turn. I didn't think a thing about not working," she said.

Instead, she devoted herself to promoting the well-being of animals with the Doris Day Animal Foundation, which she created in 1978 and which is the new album's beneficiary. Her own pets, including some half-dozen cats, have it good: She built a glass-ceiling extension off her house so the felines can enjoy the view without the risks of going outside.

Why the attention to animals? "They're the most perfect things on Earth," Day replied. "They're loyal. They love you. And they'll never forget you. ... I think they're put here for us to learn what love is all about."

They're also steadfast companions as her circle of family and friends has been narrowed by death. She's still in regular touch with two-time co-star James Garner — who shares anecdotes about their working relationship in his newly published autobiography, "The Garner Files" — but she notes sadly how many other colleagues have passed away.

Although dampened by loss, the buoyancy that infused her work in movies and music remains part of Day. In her ninth decade of life, however, the pace has changed.

"Life Is Just a Bowl of Cherries" ("Life is just a bowl of cherries. So live and laugh at it all"), a snappy tune and a favorite since she danced to it as a 5-year-old in Cincinnati, is on her new album. But the arrangement has turned it into "beautiful ballad," Day said.

"When I sang it slowly, it became a super song," she said.

The same can be said of Day, in any tempo.

Dylan Producer Don DeVito Dies At 72

Don DeVito, who worked as a producer and A&R executive at Columbia for forty years, died of prostate cancer on November 25th. He was 72. DeVito worked with Bruce Springsteen, Billy Joel, the Byrds, Aerosmith and countless other Columbia acts, but he's perhaps best remembered for producing Bob Dylan's 1976 LP Desire and its follow-up, 1978's Street Legal. (Contrary to multiple reports, DeVito did not produce Blood on the Tracks.)

DeVito began his tenure at CBS when he joined the Executive Training Program in 1967. He was placed in the sports division but soon transferred to CBS Records, where he worked as the Local Promotion and Artist Relations representative in Miami. In 1971 – soon after CBS became Columbia Records – DeVito moved to New York to work in the marketing department. He was instrumental in bringing Dylan back to the label in 1974 after the singer worked briefly with Geffen. DeVito later went into the studio with Dylan to record Desire.

The album, featuring classics including "Hurricane," "Isis" and "Romance in Durango," was a huge success with fans and critics. They were less kind to Street Legal, which was hobbled by an extremely muddy mix. In 1999, DeVito remixed and remastered the disc, bringing out much of the richness and depth of the original recordings. The album has become a cult favorite among Dylan fanatics.

DeVito won a Best Traditional Folk Recording Grammy in 1989 for the tribute disc Folkways – A Vision Shared: A Tribute To Woody Guthrie & Leadbelly. In 2001, he played a key role in organizing The Concert For New York City 9/11 tribute at Madison Square Garden. DeVito retired from Sony Music in 2007.

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Band Hungers for Guitarist

Requiem For Oblivion is still seeking a guitarist. If you have the madness or know someone who does send them to these animals to feast upon. We must bring Requiem For Oblivion back to life with the blood of a young virgin & bow down at their feet as they hypnotize us with their lyrics.

Steve-814-392-2321

***Passing on Message From  E Lisa Froncillo-Bower ~ Please Contact Her if Interested**

I have openings in October and November for radio interviews on COOL 101.7 fm. Thursday mornings. You would need to be in studio (Meadville) by 7:45 am, out by 8:30 am. (Catching the driving to work listeners and businesses) It's a great chance to promote your upcoming gigs, cds and more. Family friendly, we need to keep within the studio's programming guidelines. Cover bands/artists welcomed as well as original. Metal bands must be not too heavy... no gutterals, etc. Rock/classic is fine. One band member can come with a CD, or bring everyone and do something live. COOL 101.7 supports local music and reaches from Erie to Slippery Rock (and below on a good day) west into Ohio, and also includes a new Cory station, and more. Good exposure. PLUS you can listen live via your computer anywhere!

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of the Week

Dekan

Ron Yarozs & the Vehicle

Diesel Houdini

Smoke & Mirrors

60 Inch Slick

Drunk in Memphis

Rick & the Roadhouse Rockers

Thirst 'n Howl

M-80s

Chrome

Eric Brewer & Friends

Kristen & the Cosmonauts

Pick Up Band

Ray Lanich

Shag Nazty

Open Island

Scarwork

Sudden Impulse

The Faded Fallen

Hello Kitty Death Squad

Doug Phillips

Waiting for Never

Duke Sherman Band

X7

Otis

Rodger Montgomery Blues Band

Matt Texter

Rock and Roll Hall of Fame 2012 Nominees

The Rock and Roll Hall of Fame announced the nominees for its 2012 induction class on Tuesday, Sept. 27. Leading the way this time around are such worthy first-time nominees as Joan Jett and the Blackhearts, Heart, the Cure and Guns N' Roses. Other artists appearing on the ballot for the first time include Rufus with Chaka Khan, British rockers the Faces (aka the Small Faces) featuring Rod Stewart, '60s R&B group the Spinners, bluesman Freddie King and hip-hop duo Eric B. and Rakim. The ballot also includes several artists who have been previously nominated but never inducted: the Beastie Boys, Red Hot Chili Peppers, War, Donovan, Donna Summer and Laura Nyro.

To vote on who you think should be inducted from this year's class, visit the Rock and Roll Hall of Fame website.

'Tommy' Director Ken Russell Dead at 84

British filmmaker Ken Russell, who directed the film version of the Who's Tommy, has died after a series of strokes. He was 84.

Russell's long, provocative career featured recurrent themes including sexuality, the Catholic church and the flamboyant lives of classical composers (such as Lisztomania, which starred the Who's Roger Daltrey). In 1969 he was nominated for an Academy Award for Women in Love, his racy adaptation of the D.H. Lawrence novel.

Tommy, released in 1975, featured an all-star cast including Daltrey, Elton John, Tina Turner and Jack Nicholson. Based on the Who's 1969 rock opera of the same name, the film earned Pete Townshend an Oscar nomination for its score.

Don McLean Clears up 'American Pie' Origins

Don McLean says "American Pie" was written in Philadelphia, not the upstate New York bar that has long laid claim to it.

The Post-Star of Glens Falls says the 66-year-old singer and songwriter tells the newspaper that contrary to local lore, he didn't write the song on cocktail napkins at the Tin and Lint in Saratoga Springs. He also says the first time he performed the song wasn't at Caffe Lena, a famous coffeehouse around the corner from the bar.

McLean says he wrote "American Pie" in Philadelphia and performed it for the first time at Temple University.

"American Pie" hit No. 1 in the Billboard charts in late 1971.