Shredding Erie, One Lick at a Time
By Jenna Croyle

So many people have wanted to play an instrument such as a guitar, but ended up giving up playing altogether because they could never get the guitar to sound right, or play well. It can be quite discouraging to be playing the right notes, but get that awful buzzzz, sound out of tune, or find it just too hard to play because there is so much daylight under the strings.
 

Unlike many musicians, Phillips is not only a master acoustic and electric guitar, but also has the versatility to bang the beats on a bass guitar and blow the funk out of a sax.

Phillips also commands the stage as a lead singer in bands like Hello Kitty Death Squad and has an astonishing wealth of material that includes hundreds of covers for his acoustic act that span the decades of great Rock including tunes by Frank Zappa and The Allman Brothers and many, many more.

The soulful, funky and even sometimes raspy voice of Phillips is almost too good to be true. After you have heard Phillips sing, you have to let what you heard sink in because he is that good, he is the real deal, and so tremendously talented. One of the first things you notice when hearing Phillips sing is that he does not sound synthetic and he is not emulating anyone.

Phillips is a sincere and authentic person who brings a soulful and passionate voice to every show, drawing the audience in with every note preformed. If his voice does not get you, his hard-hitting guitar licks will.

As a natural guitar player, making it seem almost effortless, Phillips offers a never-ending string of scintillating guitar riffs with a never ending and stunning and always enchanting precision and feel that makes Phillips an extraordinary guitar slinger.

With an impressive persona, stage presence and excellent guitar work and soulful singing, along with a real heart and passion for music that sizzles, Phillips when called upon can even get growly and gritty with not only his voice, but his music as well, doing so with a vengeance.

With killer licks that never fail to impress along with trademarked vocals to match, certainly puts Phillips in the upper ranks of great players as one of the hottest musicians that has ever played an Erie stage.

For more information on Doug Phillips, his show dates or new projects, please visit his Facebook Page.

'80s Pop Star Martika Is 'Officially Coming Back'
By Caryn Ganz

Pop stars rarely herald comebacks with acknowledgements that they've been gone long enough to warrant a comeback, but '80s pop star Martika has been out of the spotlight for so many years, she kind of had to say it. "I'm officially coming back with new material," she announced in a new video blog posted on Perez Hiton's site today, mentioning an album is in the works along with a 2012 tour. She did make one tactical error -- she asked fans to join her "Toy Soldier Army," evidently what she's decided to name her fans. Too soon, Martika. And that branch of the pop military doesn't sound like much of a match for the Rihanna Navy.

But, hey, Martika is coming back! If you don't remember her 1989 Number One hit "Toy Soldiers," you did not exchange any friendship bracelets for mixtapes with your camp buddies that year. Eminem sampled the track on 2004's "Like Toy Soldiers," too. Also important to know: Martika was on Kids Incorporated with Fergie.

Why come back now? Why not -- a quick glance at the list of Number One songs from 1989 reveals a ridiculously large number of artists that are still active today, including Poison, the Bangles, Madonna, Bon Jovi, New Kids on the Block, Gloria Estefan, and Janet Jackson.

Alice Cooper Signed Guitar Giveaway
By Carlos Ramirez

Earlier this month, Alice Cooper released 'Welcome 2 My Nightmare,' the long-awaited sequal to 'Welcome to My Nightmare,' his multi-platinum classic album from 1975.

The album was helmed by Bob Ezrin (KISS, 30 Seconds to Mars), the legendary producer of the original album and a long-time collaborator of Cooper's. From the opener, 'I Am Made of You,' through the already established live favorite to first single and video 'I'll Bite Your Face Off,' the new record has the sleazy spirit of '70s Alice with a reinvigorated sense of urgency.

To help celebrate his return and 'Welcome 2 My Nightmare,' Noisecreep has partnered with the "King of Shock Rock" to give one of our lucky readers a signed Fender Telecaster by Alice himself. All you have to do to enter is click this link from today, Oct. 4th to Friday, Oct. 28th. So don't just stand there... enter today!

There is an array of collaborators on the new album, including original Alice Cooper members Denis Dunaway, Michael Bruce and Neal Smith reunited on 3 tracks; global pop superstar Ke$ha, who affectionately calls Alice "dad"; and legendary Alice and Lou Reed guitarist Steve Hunter, who is part of Alice's current touring band and featured prominently on the first Nightmare album.

Alice Cooper's 'Welcome 2 My Nightmare' is available now via UMe. Pick it up at this link.

Feist Breaks the Silence, Shows Her 'Metals' at Intimate Village Studios Gig
By Lyndsey Parker

"Someone gave me a microphone--I don't know what they were thinking," Canadian songstress Leslie Feist joked dryly while playing a rare private show at L.A.'s Village Recording Studios on September 1. But Feist, as she is more commonly known, was wrong: The folks at Yahoo! and Starbucks knew exactly what they were doing when they handed her a mic and had her debut five new songs, with her new backing band, for 40 or so very lucky fans.

The performance, which will appear on the Starbucks Digital Network in partnership with Yahoo! on September 19, and on Yahoo! Music October 4, was quite a departure from Feist's more recent L.A. shows, which had taken place at decidedly more cavernous venues like the 18,000-capacity Hollywood Bowl. So it was understandable that she felt little awkward at first in the almost claustrophobically intimate setting, which was so eerily pindrop-silent between songs, she kept encouraging the tiny crowd to behave more like the arena and amphitheater audiences to which she's become accustomed.

"This is a moment in the room and a lifetime on the Internet--otherwise known as 'the awkward archives,'" she laughed. "I beg of you to please be louder. Like, sound like 800 people. Just try! Woooo! Come on, let's have chatter chatter, clinking glasses, like a vaudeville show!" The audience whooped it up for an instant, as if on cue, but then almost involuntarily fell back into awed silence, again staring slack-jawed at Feist as she tuned her guitar or hashed out new tunes with her newly recruited band. "And then it's hushed again," she sighed, smirking a little at the stillness.

Feist's audience couldn't be faulted for their silent treatment. There was something about that almost sacred space at the Village, with its wood-paneled walls and warm autumnal tones and soft mood lighting and tastefully tossed-around Persian rugs, that just encouraged a sort of hushed, churchy reverence. It also might have been a sign of respect: In a space so small that spectators were practically sitting on the stage, hooting and hollering like drunken revelers at a Kiss concert just didn't seem appropriate. (Yes, delicious "Yahootinis," which sadly are not currently available on the Starbucks menu, were served at the pre-show cocktail party...but apparently partygoers imbibed responsibly.)

Or maybe the fans were simply stunned into silence by the remarkable fact that they were the first people to hear live performances off Feist's much-awaited Metals, her first album in four years, a whole month before its official release.

It was when Feist turned up her guitar and grooved with her band that she got the noise she so clearly craved. That's when the room got loud. Some fans, mostly familiar with Feist's more lilting material like "I Feel It All" and the breakthrough iPod theme "1 2 3 4," were possibly startled (though probably in a good way) by her opener, the aptly titled "A Commotion," with its slashing, attacking guitars and angry group chants, or when the whisper-to-a-scream number "Undiscovered First" morphed midway from a soft lullaby to stormy, howling crescendo. Both songs were representative of Metals' harder, grittier sound. ("We are pumping iron up here!" Feist declared, as she and her band underwent quite a workout.) But the spare alt-county ballad "Comfort Me" and sweet singalong "How Come You Never Go There" provided quiet comfort to fans of the kinder, gentler Feist. And these simpler songs made just as intense an impact, truly benefitting from the intimacy of the small space.

And it was during all five songs that Feist--who'd clearly rather be rocking out onstage than bantering--truly came alive, as she really seemed to relish finally getting to play with her band for an audience of any size. "This is the first time this band has heard applause," she gushed, after "A Commotion" concluded and the audience members broke their silence for the first of many enthusiastic ovations. And after the five-piece band launched into an impromptu oom-pa oom-pa jam while Feist tuned her guitar, her keyboardist observed, "That was our first joke onstage!" Aw. And all the while, Feist's supercool androgynous girl backup singers--adorable whether wearing contrasting double-denim or Stevie Nicks-worthy medieval capes adorned with little chiming Christmas bells--stood onstage hugging each other, looking delighted to be there. Cute moments like that would have gone unnoticed in a less intimate concert venue. (Feist should totally sell those jingle-capes at the merch booth on her next tour, by the way.)

The show ended on an especially resonant loud note, as an obviously pleased Feist triumphantly tooted on a Lord Of The Flies-style conch-shell horn (see it sitting atop the piano in the photo above) before leaving the stage. Whether we'll hear any conch shells on Metals remains unknown, but based on this show, the album going to sound amazing, in any setting.

Filmmakers Looking to Cast an Unknown as Elvis Presley
By Andy Greene

Filmmaker John Scheinfeld made his name directing documentaries about John Lennon and Harry Nilsson, but he's the first to admit that it's hard to pull off a great feature film about a famous rock star. "A lot of those movies try to do too much," he tells Rolling Stone. "They go cradle to grave and they're racing through scenes and they don't give dramatic moments their due. They also feel obligated to show the artist on stage, so you're seeing concert performances with an actor. As good as they are, they aren't the artist. We have an image of these people in our mind, and an actor just won't match up."

With all that in mind, Scheinfeld has a big challenge in front of him: he's been hired to write and direct Fame & Fortune, which tells the story of Elvis Presley through the eyes of his best friend Sonny West. "I want to do an intimate drama and one of the guys happens to be Elvis," he says. "We're not doing his full life. We're not doing everything that ever happened to him. We're taking the audience on a journey of this friendship and everything that it went through over 17 years."

Scheinfeld feels that casting the right Elvis will be his biggest challenge. "My feeling is that we need to cast an unknown," he says. "If you cast a known actor, then it's 'there's so-and-so playing Elvis.' I want to find an actor who can really inhabit Elvis. So, I have in mind that we'd have to do a worldwide sort-of Scarlett O'Hara search to find the best guy for this. Then, because it's an indie film and there are commercial considerations, I think we're going to be looking to cast known faces in most of the other parts."

The script isn't finished yet, and Scheinfeld doesn't know whether or not they'll be able to acquire the rights to Elvis' master recordings. "It's a little too early to say," he says. "We'll do our best though. We have spoken to the Jordanaires, who backed up Elvis on many of his recordings from 1959 to 1969, and they are really excited about singing on some new tracks on the film. We are also going to reach out to the TCB Band, who was his hot Vegas band from 1969 to 1970, and see if they'll play on some tracks as well."

The movie will be based on the book Elvis: Still Taking Care of Business, a 2007 book written by West. "This is a great way to tell an extraordinary story," says Scheinfeld. "It's someone who was there, but off to the side, sort of watching it all, as opposed to the straight Elvis story that's been told many times on TV movies and other specials. The press tends to focus on his last few years. They forget what an extraordinary artist he was and how influential he was. What I would like to do is take him out of the tabloid world, where he has been for far too long, and replace the caricature with a fully realized, 3D human being."

A key scene in the movie will be Elvis' 1965 meeting with the Beatles. "It's the end of the first act of the movie," says Scheinfeld. "It's the past meeting the future head on. When the Beatles speed off after that four- hour meeting, he knows that the future is driving away without him."

Fame & Fortune has no release date at the moment. "Once I finish the rewrite I'm working on we'll budget this version of the script," says Scheinfeld. "Then we'll hire a casting director and get started. Much of the schedule will depend on the availability of actors. Particularly, we won't get started until we find our Elvis."

There have been announcements over the years of movies about Keith Moon, Janis Joplin, Brian Wilson and other rock icons - but the films never seem to actually get made. "A lot of the time it's script issues," says Scheinfeld. "Or somebody feels like nobody will come to the movie. By treating this like a buddy story, we're putting in a different place. But also, it's Elvis, the king of rock & roll. Not to pick on Keith Moon, but he didn't sing or write songs. He was a crazy rock & roller. My fear about a story like that is that there would be a sameness to the scenes. With this Elvis movie, I think we have a very rich and textured story."

Is Apple Killing the Beloved iPod Classic?
By Daniel Kreps

At 12:59 p.m. EST, a minute before Apple's "Let's Talk iPhone" conference began, the company's stock price was $381 a share. At press time, the going rate was $363, a $18 decrease in under two hours. Many analysts will say stockholders were disappointed Apple didn't unveil an iPhone 5 or confirm a rumored (ultimately untrue) exclusive deal with Sprint. The Amp, however, blames the fall entirely on the questionable future of the iPod classic and its circle wheel technology. New CEO Tim Cook didn't discuss rumors about Apple discontinuing the iPod Classic at year's end, but considering only the iPod Nano and Touch were mentioned at the event, the writing's on the wall. The iPod Classic has not received an update for more than two years (last upgrade: September 2009), and its games have been deleted from the iTunes store. Once they run out of Classic stock, that's probably it.

Apple did confirm some good advancements on the iPod front: The Nano's Nike+ "fitness experience" has been improved, which is excellent if you take it to the gym, and the device now features 16 different clock faces for those who wear their Nanos like a watch. Meanwhile, the iPod Touch will come equipped with the iOS 5 operating system, plus HD video capabilities, faster gameplay, a better camera, and iMessage for texting. The Touch models boast a capacity of 8GB, 32GB, or 64GB, which is where the problem lies.

By contrast, the $249 iPod Classic comes with a capacity of 160GB, more than enough room to store an entire music collection. The $399 iPod Touch maxes out at 64GB. (It's also the same price of a new 64GB iPhone 4S; why would anyone just buy the iPod model when a phone costs the same price?) By limiting the amount of gigabytes on their portable devices, Apple is essentially forcing hardcore music fans to sign up for the previously announced iCloud, which allows users to access all their music in a digital storage locker. That's an additional annual fee without even counting how much it will cost to transfer your personal music library to the cloud service. Hopefully our own 160GB models survive for at least another three years.

Apple also announced their new iPhone 4S, complete with a new voice recognition system called "Siri" that essentially turns phones into Knight Rider: If you speak to "Siri" while texting, the program will turn your words into a text message and send it. This should prevent around 300 car accidents every month.

Despite the (probably temporarily) plummeting stock price, Apple's stranglehold on the digital-music marketplace is unshakable. Cook said that since 2001, over 300 million iPods have been sold, whereas it took Sony 30 years to sell 235,000 Walkmans. For more from the Apple conference, check out Gizmodo's coverage.

Macca On George: "He Had An Eye Out For The Fakes"
By Michael Simmons

For our George Harrison commemorative issue, MOJO's Michael Simmons spoke to Harrison's former bandmate Paul McCartney about their musical life together. While quotes from it form part of the enormo George profile in the MOJO magazine that hits US stores shortly, this is the director's cut of their interview.

MOJO: Louise Harrison [George's sister] told me that their parents taught them to be trusting and that when George was young, he was a very trusting person. She implied that it made him vulnerable. Does that ring true?

PAUL McCARTNEY: I would think of it more like loyal. Trusting? Mmm, I don't know. His elder sister would see him differently than his contemporary mates on the street would. So it depends what you're talking about. If it was charlatans, he would definitely not be trusting and he was quick to spot them. But he was a very loyal guy; anybody he liked he was very loyal to. [laughs] But there were a lot of things he didn't trust. He was super-canny. He had an eye out for the fakes.

MOJO: Years ago, John [Lennon] was quoted as saying that George was ‘the kid' when the Beatles began and that John treated George as such. How long did that last?

PAUL: It probably lasted a couple of years. Just because of his age, in a group of men who've grown up together, particularly round about their teenage years - age matters. In John's case, who was three years older than George - that meant a lot. John was probably a bit embarrassed at having sort of ‘a young kid' around, just ‘cos that happens in a bunch of guys. It lasted for a little while. It was particularly noticeable when George got deported from Hamburg [in November 1960] for being underage. Otherwise, when he first joined the group, he was a very fresh-faced looking kid. I remember introducing him to John and thinking, Wow, there's a little bit of an age difference. It wasn't so much for me ‘cos I was kind of in the middle. But as we grew up it ceased to make a difference. And those kind of differences iron themselves out.

MOJO: I'm curious about George's process in the studio. Do you recall any stand-out moments where George brought something in or made a song click?

PAUL: Oh yeah, sure. There were quite a few. I would think immediately of my song 'And I Love Her' which I brought in pretty much as a finished song. But George put on do-do-do-do [sings the signature riff] which is very much a part of the song. Y'know, the opening riff. That, to me, made a stunning difference to the song and whenever I play the song now, I remember the moment George came up with it. That song would not be the same without it.

I think a lot of his solos were very distinctive and made the records. He didn't sound like any other guitarist. The very early days we were really kids and we didn't think at all professionally. We were just kids being led through this amazing wonderland of the music business. We didn't know how it went at all - a fact that I'm kind of glad of ‘cos I think it meant that we made it up. So we ended up making things up that people then would later emulate rather than us emulating stuff that we'd been told.

In the very early days, it was pretty exciting. I remember going to auditions at Decca and each of us did pretty well, y'know. We were in a pub afterwards having a drink and kind of debriefing and coming down off the excitement, but we were still pretty high off it all. And I remember sitting at the bar with George and it became kind of a fun thing for us for years later. I would say, [adopts awed voice] When you sang [Goffin & King's] 'Take Good Care Of My Baby,' it was amazin' man!' I'm not sure we said ‘man' or even ‘amazing' in those days, but... That was a special little moment and it just became a thing between me and him: [awed voice again] ‘When you sang Take Good Care Of My Baby...'

MOJO: George played a classical nylon-string guitar on And I Love Her. I recall George getting into Andrés Segovia for a bit. Does that ring a bell?

PAUL: I think ‘for a bit' is the operative phase. We fell in love with the guitar and we didn't discriminate. It could be a Spanish guitar, a classical guitar. It could be a Gretsch, a Fender, a Gibson. We kind of loved them all. It was like a dream, it was like walking through Santa's grotto. There was a great sense of wonder for us. I remember so clearly being at Pete Best's mother's club - the Casbah in West Derby in Liverpool - and George came in and he opened up this long, rectangular box. It turned out to be a guitar case. We wouldn't have guessed there was a guitar in there ‘cos till then you hadn't seen these long rectangular cases which are now perfectly normal; we'd seen guitar-shaped cases. And he opened up this long box and in there was... I'm not sure if it was a Fender. I think it might have been a look-alike, a cheaper copy. But man, it looked good. It looked so glorious. Moments like that were very special. We were in love with *guitar, of any kind.

George and I used to do this little thing, which is the J.S. Bach thing. I think it's called 'Fugue' or something. [sings Bach's 'Bourrée in E-Minor'] We didn't know it all but we learned the first little bit. We made the end up. What we liked about it was that it was harder than some of the stuff we were playing, it was part of our development, ‘cos it was two lines working against each other. You've got the melody [sings] and then you get a sort of [sings] bass line working against it. I tell audiences now that that was what gave me the start of 'Blackbird.' It's not the same notes but I took the style of there being a bass melody and a treble melody in the same guitar piece and made up the song 'Blackbird' from that. I clearly remember George and I used to sit around doing our own version of this Bach thing. It was like a little party piece: it was a little something to show that we weren't just [adopts pompous voice] one-dimensional. It was a little show-off thing. The point I'm coming back to is that, Yeah, we were aware of classical guitar players. I was a big fan of Julian Bream - who was a British classical guitarist - and I think George was too.

We used anything we could get our hands on for ideas. The other very influential piece was a piece by Chet Atkins that we tried to learn called 'Trambone.' That is a nice little bit of country picking. And that's the same thing - there's two things going on. You got a bass line and the treble line. None of us quite mastered that except a guy called Colin [Manley] out of [Merseybeat contemporaries] the Remo Four. For us that was the high spot of their act when Colin just did this instrumental. But the point I'm making is that all these lovely little things were little turn-ons and we assimilated them all into our music. So we definitely weren't snobs.

MOJO: There's something I've been curious about for 45 years. On 'And Your Bird Can Sing,' is that you or George playing the guitar riff?

PAUL: I think it's me and George playing in harmony. That was one of the things we used to do. It's a harmony riff. I remember talking to Rusty [Anderson], my guitar player. He'd go, Ahhh, that's how you do it! George and I would work out a melody line, then I would work out the harmony to it. So we'd do it as a piece. 'And Your Bird Can Sing' - that's what that is. That's me and George both playing electric guitars. It's just the two of us, live. It's a lot easier to do with two people, believe me. It's another one of our little tricks!

MOJO: Any other moments where George really brought something to the song?

PAUL: I think George always brought something to all the songs. Me, George and John originally had a little set-up with just the three of us on three guitars. That was our first kinda little incarnation. And we would go to talent shows and lose them with that line-up. [chuckles] So what I mean is, any of us could take the guitar parts. So, for instance, 'I Feel Fine' was John's riff and started off by him leaning the guitar inadvertently against an amp and it fed back so we used that into the... [sings the opening riff]. But often opening riffs - certainly solos - would be George. I could go through ‘em all and just say, That's George, that's George, that's George. 'Cos I was there, you know. [chuckles]

MOJO: Of George's compositions, which was the first one that knocked you out?

PAUL: He never brought anything to the studio until 'Don't Bother Me' and we thought, Wow, that's really good. Later when he brought 'If I Needed Something...'

MOJO: 'If I Needed Someone?'

PAUL: 'If I Needed Someone.' Yeah, Something's another one. I've melded ‘em. [laughs] I thought that was a landmark. I think then 'Something' and 'Here Comes The Sun' - he'd gone right up there and was now a top standard writer.

MOJO: Did George's increasing songwriting output by The White Album contribute to his unhappiness with the Beatles.

PAUL: Yeah, possibly. I remember him talking about All Things Must Pass as diarrhea. That was his own affectionate way of describing that he'd had a lot of stuff stored up and it had to come out. I mean, I don't think I'd describe it like that. [laughs] But I know what he meant. He now was writing furiously - great things - like 'Isn't It A Pity.' Some of them made it with us. 'Within You Without You' is, like, completely landmark, I would say, in Western recording. 'Norwegian Wood' - the sitar on that. They were definitely huge influences in Western music. 'Inner Light' is a beautiful song.

It probably did make George feel left out. But there was only so much room on an album. You gotta remember we made albums that were only 40 minutes long. And John and I were writin' some... [pauses]... good stuff. And Ringo had to have a track. So it didn't leave as much room for George as perhaps he would've liked. But you know, you can't have everything. It was the Beatles career and for each of us to have been in the Beatles was pretty amazing and pretty cool. If it didn't work out how each individual would've wanted it to, then it's... [pauses] ...it's just too bad really because what happened was so good. I think what George did within the Beatles was phenomenal, so I think you kinda have to leave it there.

MOJO: The bickering doesn't matter at the end of the day, does it?

PAUL: No. You know, I remember having an argument with a member of my family, one of my kids once, in front of someone. And it was a bit, Oh my God, what's going on here? It was embarrassing but we both had a fairly strong point of view about something. And I was brought down by it - we both were. A friend of mine said, ‘Y'know what Paul, it proves you're a family.' It proves you're a real family. And that's the truth about the Beatles, y'know. You have to look at it like that. We each had very strong opinions. If you look at us individually, I mean y'know, c'mon - give it up. John Lennon. Paul McCartney. George Harrison, Ringo Starr. You look at us all individually - that's a bunch of talent in a room. And a bunch of egos. So they're not just gonna get on like apple pie. There is going to be the odd argument - and there were. Sometimes they were minor about, ya know, turning up guitars. [laughs] George and John were very cute because they both had their amps side by side and you'd see George just sort of sneak over to the amplifiers, just add one degree and then you'd see him walk back like nothing had happened. And then you'd see John had noticed and John would casually walk over and put his up two degrees. [laughs] ‘You've fucking turned up man!' ‘Wot, I never did!' ‘Yeah you fucking did!' So there's all that and then there was more serious things towards the end which were basically business things, y'know. And of course I had the ultimate bad role of having to save everyone from the wolf. That led to all sorts of unpleasant arguments and things.

MOJO: I'm assuming that's Allen Klein.

PAUL: Yeah, yeah. He's not with us anymore so I try not to walk on the dead man's grave. But it was the truth and everyone knows it. We had to be saved and unfortunately it fell to me. But I think it was the right thing. I think the current success of the Beatles has proved that. We wouldn't have anywhere near the amount of control we have now. Rather like the Rolling Stones don't. On Hot Rocks. Which they don't own. [laughs] We were headed that way. So that caused a lot of unpleasantness. But as I say, in the end it proved we were a family.

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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.

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***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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