Artist description One of the most entertaining improv acts on the underground scene.Their non-stop 3+ hour shows are a delightful blend of unique original tunes and obscure covers woven together by fascinating improvisational vamps and topped off by outrageous on-stage antics. This Dynamic trio places no limitations on their music, drawing inspiration from J.S. Bach and Miles Davis to Van Morrison and Willie Nelson, and nearly evrything in between. Their compositions fuse catchy hooks and abstract lyrics with technical licks and complex song structures to form a disorienting yet groovalicious style that is truly thier own.

Music Style Groove Rock/Jam Rock

Musical Influences Dave Matthews Band, Rush, Phish, Steely Dan, Willie Nelson, Van Morrison, Tim Buckley, Grateful Dead

Similar Artists Dave Matthews Band, Spin Doctors, Grateful Dead, String Cheese Incident, Bela Fleck and the Flecktones

Artist History Over the past 9 years the psychedelic groove-rock trio Thinking Plyers has been electrifying audiences throughout the South with their dynamic live performances. A power trio known best for their extended jams and captivating stage presence, these seasoned performers fly through an impressive repertoire of original material and obscure covers with grace, passion, and humor. Though the Plyers are dedicated to preserving the high-energy, good-time-rock ‘n’ roll experience carried out by acts like The Grateful Dead, Jimi Hendrix, and The Dave Matthews Band, the scope of their music stretches far beyond the limits of traditional Rock music. With Classical and Americana music providing much of the inspiration for their songs, and their improvisational dialect taken more from Jazz and Eastern Indian music than from other jam bands, the Plyers offer a refreshing new sound that is both raw and soothing – think Miles Davis and Ravi Shankar ladled over a funky bed of Rush, with a side of Pink Floyd and a dash of Van Morrison, if you will. Thinking Plyers formed in 1993 when the Westbrook twins invited Allured, a new student, to join their school’s jazz band. The jazz band lasted only a few months, but the rythym section played on. The trio rehearsed after school and on weekends, all but ignoring the trends of the alternative and grunge rock scenes that thrived at that time. They learned and rehearsed songs by Hendrix, CCR, and SteppenWolf, but quickly realized their true potential lay in original music. What began as youthful experimentation has since become a way of life. Though the true essence of Thinking Plyers is best captured in a live setting, their two independently released albums chronicle the bands early compositions and offer a view of the creativity and diversity that have been a trademark of Thinking Plyers’ sound since day one. The first album, self-titled, was released locally in March 1999, followed a year later by their sophomore effort, Cosmic Romance, which received air-play across the Gulf South and East Coast, including Hartford, Connecticut’s WSAM where they were featured as one of The Nation’s top up-and-coming independent bands. Both releases are currently available online from the band’s website and most major on-line music retailers. Thinking Plyers are currently recording their newest creative endeavor with Wooten Brothers Bassist John Billings in their new hometown of Nashville, TN. The album titled Fourteen Real Dreams, is the most comprehensive musical and psychedelic experience the Plyers have offered on a tangible medium thus far. The new album, set for release in early 2003, is sure to keep the Plyers on the road for most of the coming year and beyond. Nearly a decade of experience as a creative unit combined with an intense do-it-yourself attitude and grassroots approach to touring make Thinking Plyers an undeniable musical force. Visit www.thinkingplyers.com for current tour dates and additional information.

Group Members Colin Allured--Guitar/Vocals/Electric Sitar Paul Westbrook--Bass Ryan Westbrook--Drums

Instruments Guitar, Bass, Drums, Vocals, electric Sitar

Albums Thinking Plyers, Cosmic Romance

Press Reviews Thinking Plyers, a rock trio originally from Lake Charles, LA, make their debut at Chelsea’s Caf� on September 12, the night following the horrendous terrorist attacks on the US. Anxiety and fear have overtaken most of America, leading one to question if it is even appropriate to be out after such a devastating incident. The opening number, a morosely inviting tune titled “El Dorado,” sinks into the depths of the disheartened morale that is unmistakably present tonight in the minds of so many. It has a pensive verse with lyrics by Edgar Allan Poe and a straight 4/4 feel that slowly drifts into an uplifting jam. The soothing tone radiating from the stage can be attributed to frontman and guitarist, Colin Allured, as his fingers dance over the frets of a Studio Model Les Paul. The fearful anxiety caused by the attacks on the nation begins to quietly subside. Perhaps, this is exactly where everyone should be tonight. While maintaining a folksy flow in the style of Van Morrison and the late Tim Buckley, the Plyers’ jam-style improvisation is reminiscent of such eccentrics as Phish and Hendrix. Aside from Van Morrison’s “It’s Alright” and “Domino,” they drift in and out of Grateful Dead songs too. Like many Dead tunes often accomplish, performances of “Friend of the Devil” and “Truckin” establish a communal bond between the audience and the band, something all music lovers should appreciate. A rendition of “Rocky Top” also joins the list of covers. The Plyers’ best asset may be their respect for the intrinsic worth of yersteryear’s inventive artists and their application of these fundamentals into their own style. An original tune, titled “I Saw You Dancing,” proves to be one of the show’s highlights. A funk-derived vamp slowly taunts the audience’s expectations, as the band takes their time breaking into the song that eventually bursts forth with a mad rush of collective energy. Drummer Ryan Westbrook lets loose teasing bassist, Paul Westbrook, to technical challenges in the jam that develops mid-song. Free of wordy lyrics, the tune instead tends to highlight the musical competence and varying talent of the three young musicians. The song’s length exceeds the 10-minute-mark. Judging by the encouragements shouted during the diminuendos, the crowd surprisingly still hangs on. This is impressive for any band to accomplish. While consistently maintaining solid rhythms and catchy refrains, their music contrasts straightforward tunes with others of more complex structure. “Besides Him,” an acoustic composition, again of few spoken lines, has a beautiful melody and is a fine piece of music. Its soft swing entices a slow dance, if you are so lucky to be accompanied by someone. “Cord’s Cold Bus” and “Snowman Blues” are explosive rock songs with groove inducing tempos and invigorating highs and lows, a signature trait of these boys. The crowd goes wild when they interweave lines from “Brickhouse” throughout their original, “Funk Song.” In between these head-spinning tunes, some of their slower paced songs resemble the progressive country side of mainstream rock that has recently emerged onto the music scene. The Plyers’ dedication to exploring music’s possibilities becomes obvious in the second set, as they perform an Indian-inspired piece, titled “Rhagupathy.” Allured dons a sitar, and all three musicians take the mic singing in a chant-like mode. It is interesting and emotionally moving to say the least. If anything represents this band’s unorthodox ways, this is it. The ethnic exhibition is reminiscent of the Beatles’ late 60’s exploration of Indian music, as they dispersed these divergent themes throughout rock LP’s like Sgt. Pepper and the White Album. Ryan Westbrook’s rousing rhythms and jazz licks keep next to perfect time. Paul Westbrook’s skills on bass are best demonstrated during solos, where his bass lines show off not only proficiency, but also a distinguishable, unique style. Allured’s wailing voice occasionally hits unusually high notes without warning, and at other times hangs on low almost bellowing tones. There is a mysterious consistency present throughout their show that is difficult to define, but very appealing nonetheless. “They are awesome. I really hope they come back,” said Chelsea’s bartender Jessica Ketcham. “I’ve seen the Plyers play about seven times now, and I think they kicked ass tonight! They are more talented than a lot of underground/indie kids can handle,” said Phillip Miller, an LSU student. Improvisation, scant lyrics, and intense jams often reaching 10-12 minute durations in well-structured sets are their style. The sensitive or selective listener can be lured into their aura of improvisational rock just as easily as the casual listener. With influences rooted in the most innovative of classic rockers, they incorporate enough covers from yesteryear’s greats to keep energy flowing and spirits raised. A wide-ranged repertoire and growing local fan base duly classify them as a promising indie band on the rise. You never know what this band will do next. They keep you guessing and warmly invite you on their journey into music’s depth and possibilities. Make haste to see these guys play at their next stop in Baton Rouge. -Shannon Lynn McCombs Rhythm City Baton Rouge, LA October 2001

Location Lake Charles, LA - USA

Copyright notice. All material on MP3.com is protected by copyright law and by international treaties. You may download this material and make reasonable number of copies of this material only for your own personal use. You may not otherwise reproduce, distribute, publicly perform, publicly display, or create derivative works of this material, unless authorized by the appropriate copyright owner(s).