Shelby Community Band celebrates America’s musical heritage

The meticulously played melodies and rich, smooth, fluid, yet, rippling sounds of The Shelby Community Band filled the Strand Theatre Sunday afternoon in a well attended “mid-winter” concert.

“The community band is local group of volunteers who love music and love to perform and share,” said conductor Russ Smith.

The 40 -plus musicians, semi-circled on the historic stage, guided the crowd through a 14 song    journey of music written for movies to traditional marches and several, classic tunes from the Great American Songbook. Despite the band’s formal black and white attire the afternoon was a rather colorful parade of sound; full of spirit and rich, vibrant cadences, harmonies and melodies.

From the patriotic opening, a powerful rendition of “The Star Spangled Banner,” sang by guest vocalist Marilyn Branstetter through a rousing instrumental finale of “Stars and Stripes Forever,” it was an enjoyable, relaxing, yet, invigorating afternoon of musicianship.

In short, it was a concert filled to the brim with sounds as rich and shiny as the polished brass of the horns clustered on stage with the music intensely reflecting the talents, skills and passions of these volunteer musicians.

This passionate affection for musical heritage and its exquisite display during performance was highlighted by the bands take on “West Side Story.”  The tune is an epic, musical tour -de –force of American song, which combines jazz syncopation with traditional and classical themes.  As performed, by the Shelby Community Band, it showcased the finely melded, fluent sounds of instruments that mingle, merge and sing together in a diverse celebration of the roots of American music.

The showstopper, for most of the crowd, however, was Branstetter’s texturally, rich and well cadenced vocals on another Gershwin song (by George and Ira); “They Can’t Take That Away From Me.”

For me, however, the awe inspiring moment of the afternoon was The Shelby Community Band’s take on “Flight of the Piasa,” by Robert Sheldon. This musically challenging piece is a spiritually moving and varying melody that in its artistic essence soars, sails, glides and dives like a mythical bird in flight. It was an elegiac piece well played and finely phrased, musically. The band’s complex, yet, commanding performance literally made me want to close my eyes and fly away with the music.

Equally exhilarating, in another fashion, was the band’s play of a march lifted from the silver-screen of yore: “Colonial Bogey,” better known as the song from the movie “Bridge over the River Kwai.” A trilling march, played with the triumphant defiance of a song that celebrates the endurance of he human spirit.

Sunday’s concert, in fact, was an enjoyable, extended celebration which showcased the timeless, universal nature of the pleasures, sensations, moods and feel of music. It also emphasized the often unrecognized treasure that resides sometimes forgotten, but never silent, in our midst: the passionate, committed musicians of the Shelby Community Band.

American Indians enlighten, entertain crowd at Sunday service

In Native American culture artistic expression is often a form a spiritual communion and this religious, mystical experience was shared Sunday afternoon at the Stand Theatre by the members of the American Indian Center of Indianapolis.

For more than two-hours, audience members were educated, entertained and participated in a cultural forum sponsored by Shelby County Reads which focused on the traditions, history, lore , spiritual beliefs and artistic celebrations of the original caretakers of American soil.

“The drum is the heartbeat of Native Americans,” Doug Poe told the rapt audience gathered in the theater. “Drumming, dancing, singing and playing music are a form of prayer in our culture.”

This eye-opening, often haunting journey opened and closed with a rather fitting   bridge across cultures: a “Veterans Dance,” performed by several dancers in full, “traditional regalia” accompanied by the resonant drums and other-worldly vocals of Four Winds singers and musicians.

This “Veterans Dance” is a celebration and thanks-giving offering to all who served our land, community and country, added Poe, of the American Indian Council. The final performance of this more modern dance included quite a few veterans from the audience who danced on stage after being praised for their service. The crowd, in fact, joined the dancers several timers on stage during “inter-tribal” dances during the afternoon.

In a not so subtle irony, Native American’s dance was outlawed by the United States government in 1883 said Poe, during a Power- Point presentation that highlighted the historic litany of physical and cultural genocide against Indians in the country. This ban, which in effect outlawed a form of religion, was historically inspired by the “Ghost Dance” that swept the Great Plains in the aftermath of Gen. Custer’s disastrous defeat.

While a “Ghost Dance,’ was not performed Sunday, another traditional Plains Indian mystical dance was. The “Grass Dance is the oldest surviving dance of the Plains Indian cultures. It is a spinning dance designed, it seems to me, as a trance- inducing shamanistic communion with the creator.

Another clearly inspired mystical, mythic dance was the “Hoop Dance,” a crowd favorite Sunday afternoon. This “ medicine” dance is a metaphoric allegory of the world, an interwoven series of circles that symbolically come together to both describe and define the Native American vision of the world. It was and is replete with the symbolism of circles uniting and coming together to form into visually complex images and forms that also simultaneously merge to form the world as a series of circles.

Aside from these often spiritually infused dances, the evocative nature of native American  musical traditions was driven home to the crowd by the echoing of the drums and a rather poignant display of flute music by Jeff Roberts.

In American Indian culture the flute was traditionally the instrument of courtship, according to Poe. While it was used to serenade brides, the inspired flute play of Roberts evoked a more emotion laden and lamenting experience. His very haunting, willowy, textured tones of breadth and melodic breaths were again filled with longing and spirit.

In a rather significant ceremony, which highlighted the spirituality of the event several members of the American Indian Center blessed the theater prior to their performance in a ritual sage  burning ceremony.

Following the initial Flag and Veterans Dances which serve as traditional Native American national anthems the crowd rose to its feet. The ceremonies then reconvened with Carolyn Statler of Shelby County Reads addressing the awed crowd.

“Welcome to this wonderful, wonderful event,” she said, “and I would encourage everyone here to also attend our program featuring  James Alexander Thom, author of “Follow the River” and his wife Dark Rain Thom, who will speak Wednesday night at 7 in Breck Auditorium at Shelbyville High School.”

Overall, this American Indian Cultural Forum was a colorful, yet thought provoking journey that once again reminded one of the importance of creativity, celebration and art that spans, informs, influences all cultures across this globe that we call home.

In conclusion, anyone with an abiding interest in Native American culture was well served by the Sunday’s service at the Strand Theatre and should, could and can further educate themselves about this traditional culture at the Shelby County Library, the Grover Museum or by reading any of the books currently being promoted by Shelby County Reads, which can be purchased locally at Three Sisters Books and Gifts on the circle.

Submitted by:  Terrance Aldridge

This independent review does not express the opinion of the Strand Theatre.

Local bands Rock for Relief

A trio of local bands jammed out for charity and entertained an energetic all- ages crowd Friday night at the Strand Theatre during an exhilarating evening of eclectic music and inspired performances.

The benefit concert “Band Together for Haiti,” was organized by Sara Chappella and all proceeds from the show were donated to the American Red Cross.

“I decided to get this together after seeing the faces of those affected by the devastating earthquakes in January on television and seeing pictures on the internet,” Chapella said. “As human beings it is our duty to help out those in need, and it should give us hope that we will receive help when we, too, are in need.”

Each of the 15 musicians on stage during the benefit exuded passion in their performances and joyous revelry in their inspired, often extended jams.

“All three bands came out for a good cause and treated the audience to a wide variety of music from the blues to funk to punk,” said bassist Jim “Biscuit” Wisker, one of many local musicians in the audience during Friday‘s charity extravaganza.

The opening act “The Jugbusters,” is a self-styled “barn –band” whose opening song was filled with fluid intonations which recalled jamming out on the back porch on a lazy summer afternoon.

After this rather mellow intro, the band jumped full-fledged into blues, southern rock and rockabilly inspired music that had many small children jumping and dancing in the aisles. It is not everyday that one sees a band led by dual harmonicas accompanied by thumping bass and slow-hand style blues guitar work. This harmonica- infused music was only intensified as the band invited special guest, Carson Diersing, on stage for three songs.

In three songs this 12-year-old prodigy stole the stage and thunder first with a soaring harmonica and then on guitar in a rockabilly romp through Chuck Berry’s classic “Johnny B. Good.” Later in the night, Diersing joined the final act, “Sub* Mission,” to display his musical range in a punk take of Johnny Cash tune.

If “The Jugbusters” is, indeed, a “barn-band” then that is one rocking barn and surely all the animals would be grooving and dancing ecstatically, especially during this band’s raucous version of the blues classic: “Little Red Rooster.”

The second act of this eclectic night expanded the evening’s musical horizons in a high-energy, funkified set filled with popping guitars and the full, fat sounds of screaming and wailing horns.

The members of “Day Job Blues,” literally jumped, bounced and bounded with unbridled energy, especially trombonist and lead singer Eric Kendall, during an intense set that rang out with excitable, popping funk to the hard-core down and dirty grit of the blues.

The fat, full, brick wall of sound conjured up by this 5-piece band was driven by the inspired horn play, both saxophone and flute, of Cathy Hurt. This woman, in point of fact, is a one-person horn ensemble whose emotional range is exceptional.  From the trilling flute of “Jethro Tull” through saxophones of “The Average White Band” to “Michael Jackson” and James Brown tunes, her horns wailed, screamed and reigned supreme. The godfather of soul was a natural for this band’s funky, tremulous barrage of robust and ripping sounds.

After this ribald romp through the big sounds of 1970’s Motown, the evening’s final band, “Sub* Mission” launched into a raw, fast, avalanching cavalcade of old-school punk.

Led by Scot Schrader’s vocals and guitar work this band’s highly energetic and frenetic tour of alternative musical vistas hits one like a rush of adrenaline.

From drummer Dave Fannin’s  growling lyrics on “Thunderkiss 5000” to bassist Mark Dietrich’s  vigorous take on  “Plowed” by “Sponge ,” this hard-core  trio live up to  the amphetamine aesthetic of punk style.

I have seen “Sub*Mission” many many times and they are a band that continues to musically grow and expand their vision.  During Friday’s set, for example, of the first 12 songs the trio performed I had only heard one performed by this band before. Several musicians in the audience, in fact, ask me which punk band ever before covered either “Johnny Cash” or “The Everly Brothers” before. Thrash takes on Cash I have heard, never, however, do I recall anyone punking –up “The Everly Brothers.”

In retrospect, “Band Together for Haiti” was an exciting, energetic and exhilarating evening that proved to me once again that art fused with passion can and should make a difference in the world both abroad and at home. The evening, in fact, was best summed up best by another local musician enjoying the night from the comfort of the crowd.

“It was night of great music by fantastic musicians and all for a good cause,” said drummer Jim Whitaker.” A good time was had by all.”

Regional musicians celebrate Dylan’s legacy

An especially rich and talented ensemble of 22 singers, musicians and a poet gathered Friday night at the Strand Theatre to celebrate the eclectic genius of Bob Dylan.

It was a show that musically defined why Dylan is more than mere legend and how this maestro of Minnesota is still able to inspire new generations as he musically morphed from a folk singer to hipster to electronic hippie and then became a guru of grunge. All these styles, plus several more Dylanesque  incarnations , were on display Friday night at the Strand in “Hoosier Dylan,” a show conceived by Tim Grimm.

The show opened with the reflective harmonies and mellow, rapturous voice of Bobbie Lancaster singing alongside the rich throat of Jennie DeVoe. Nearly 50 songs and more than four hours later this entertaining, educational exploration of Dylan’s massive repertoire of musical styles ended as 20-some performers packed to the stage to sing “Like a Rolling Stone.” In between, the music ranged from bluegrass to folk, blues, children’s songs, classic hits and even a spoken word tribute to the beatnik bard by Indiana Poet Laureate Norbert Krapf.

Krapf’s spoken ode to Dylan, “the Voice,” was a proper, fitting tribute to the man who fused lyricism, social protest and music into a new genre. “I really push to reunite poetry and music and what a great format this is for that,” Krapf said .

Musically, Shelbyville was represented on stage Friday night by “the Complete Unknowns,” whose rousing, thumping, pounding electric folk rock songs of the early Dylan energized the audience.

It was, however, the women, DeVoe and Lancaster, accompanied by lead guitarist Gordon Bonham, who opened the eyes and ears of the crowd to Dylan’s stylistic gyrations. First, Lancaster of Bloomington, recalled Dylan’s early socially significant ballads with “Masters of War,” a song sung with a sweet voice of righteous anger that wiled angelic and indignant. DeVoe, for her part, concentrated on the blues tunes of Dylan, in her haunting, spellbinding version of “Man in a long Black Coat.”

While immensely enjoyable, these two rather expected styles of Dylan merely warmed up the audience for two eye-opening acts that displayed the wide ranging legacy and cross generational influence of Dylan’s musical evolutions.

The initial shock came from the “White Lightning Boys,” a band from Brown County who escorted the crowd into Dylan’s forays into country music, especially bluegrass. This band brought the gritty, down- home, earthy styles of Dylan with their controlled frenzy of fine picking, plucking, strumming and full -finger playing of traditional bluegrass.

The other often unexpected manifestation of Dylan as godfather of grunge music was highlighted a band of Columbus East High School students: “Joyous Garde.” This band played some later, heavier more electrified songs of Dylan, as well a s few classics that were written and recorded several generations before these musicians were born.

All- in- all, “Hoosier Dylan,” was a masterful musical retrospective and it is obvious that each band, musician or singer have mastered one or more styles of Dylan and his multitalented, perversely rebellious take on music and musicianship.

Friday night’s finale ,“Like a Rolling Stone” was literally a wall of sound vocally, visually and musically as this talented ensemble gathered on stage for a final romp through the eclectic tomes of Dylan in a show of truly epic proportions that ended with a standing ovation.

Submitted by:  Terrance Aldridge

This independent review does not express the opinion of the Strand Theatre.

Rockphoria wows the Strand Theatre

A rock ’n’ roll Christmas extravaganza graced the stage at the Strand Theatre as the musicians and singers of Rockphoria  jammed –out to and for packed houses twice this past weekend.

“This was the rock show to see in Shelbyville this year,” said Joey Gaudin, of Smashed Productions , after Friday’s performance. Strand volunteer Bob Schlick agreed, and if standing ovations are any indication then the crowds on each night concurred.

“This is the best Rockphoria show yet,” Schlick said, about this the third production of the concert series this year at the Strand by Smashed Productions. The twin weekend shows featured “one hit-wonders” from the past four decades performed by local musicians and singers ranging from 18 to 60 years of age playing to an all- ages audience; from infants to the elderly.

Indeed, the crowd during Saturday’s performance had to be getting tired after repeatedly rising up and sitting down so many times for standing ovations to honor the finely-tuned musicians and rhapsodic, spell-binding singers gracing the stage.

“This is an amazing group of musicians up here and it’s a privilege for us singers to perform with them,” said Glenn Yarwood, before one song.  Each of the nine singers vocally soared and shined individually, as well as in melodious harmonies throughout the shows.

From the opening lyrics by Scott Shrader, who nailed a challenging and intricately scaled song to the closing crescendo of the entire cast jamming and singing in unison, this was, indeed, a concert extravaganza for the ages. The twin shows were exciting, often exhilarating, evenings of music by an accomplished ensemble of seven instrumental maestros, several singing divas and a few richly-toned dudes crooning, screaming and wailing songs that tend to stick in your head.

Each of five divas on stage displayed a wide range of vocal skills, from the big, often sassy, yet sweet voice of Bryanna Justice through the sultry lullaby-like voice of Amanda O’Connor to the smooth, rich, velvet tones of Aimee Yarwood.  It was, however, the final two songs of the first set that hushed, stunned and flabbergasted the crowds. First, Tre Dillman’s version of “Total Eclipse of the Heart,” captivated audience members with her voice which floats, lilts and soars across songs  like a blues-filled butterfly. It was, however, Willandra Macklin’s rendition of “I Will Survive,” which stole the show. Her rich, silky-soul- filled voice defies description. It is just the pure singing of voice that becomes an instrument in itself, a voice that gladdens brain, body and booty.

As for the dudes, we’ve already noted the younger Shrader vocal skills and it should be noted that the lead guitar work of his older brother Gary also defies description; his is a finely- honed talent that needs to be heard to be appreciated: words alone can’t do justice to his passionate play. The same inspired instrumental skills, talents and passionate play were evident in every band member. Each individually and in unison rocked supreme across the catchy song lists of Rockphoria.  This extremely rich, instrumentally sound and fluid group is made up of rhythm  guitarist Laura Harmon,  bassists Jim “Biscuit” Wisker, keyboardist Dave Rasche,  drummer Jim Whitacre,  percussionist Don Williams and the aforementioned Shrader on lead guitar. This band even morphed bigger on stage and fatter in sound as Gaudin grabbed his guitar to join the musical celebration during a raucous Chuck Berry inspired finale.

As for the crooning dudes, Bobby Toon belted out two funky, blues inspired tunes that wowed the crowd, Larry Brandt sang with a throaty, intentionally jaded voice and Glenn Yarwood’s voice echoed each song he sang, be it raining g down softly or jumping like jazz across the stage. Even the MC, Andy Erickson, got in to the act as the entire ensemble gathered on stage during the final rousing set of songs performed crescendo-like that capped each night’s show.

In short, Rockphoria lived up to the hype and delivered on its promise to gather a hand-picked all- star cast of talent on one stage.  This concert series, conceived by Gaudin, should only continue to grow in strength, skill and style during its future incarnations. As a matter of fact, anyone who enjoys quality music and singing should see any and all these performers each and every time they perform in any musical guise. There be talent in town and it enjoys, revels in and is passionate about playing for and to you.

Submitted by:  Terrance Aldridge

This independent review does not express the opinion of the Strand Theatre.

Christmas cabaret celebrates music of the Season

“‘Tis the season” and to commemorate and musically celebrate the holidays, The Strand Theatre hosted a Christmas cabaret; “Stockings by the Fire” performed by Tim Spradlin and friends twice this weekend.

“This is an outstanding facility and I’m proud to be here,” Spradlin said opening Saturday night’s concert, which he promised would be like an old-school Christmas variety show.

Indeed, Spradlin kept his word during this evening of rousing vocals of the three distinctly talented singers and the inspired play of the lone musician on stage, Jeff Kunkel. This eclectic celebration of songs ran a harmonious gamut from cabaret music to blues, funk, and jazz-inspired tunes to two stunning operatic performances by local singer, Cindy Houpt,  that hushed the house.

I don’t generally like, nor listen to, Christmas songs or musical theatricals but Saturday night’s  show was a very entertaining and lively show that fulfilled Spradlin’s pledge to create a seasonal variety show.

Spradlin, who earlier this year performed a “Beatles Show” at the Strand, seemed a lot more at ease in the spotlight of cabaret music and within the format of stage musicals.  He was especially strong in songs building from soft refrains to rousing passions associated with Broadway productions. His vocal range and style of presentation seems suited to both belt out show-tunes and then to sing soft nostalgic laments of remembered love, gone wrong.

One thing that especially caught my mind’s eye Saturday night was the joy and enthusiasm of Spradlin’s willingness to share the spotlight with talents different and more diverse than his own.  His unpretentious stage manner was made obvious by the first guest singer he ushered into the limelight of the Strand Theatre:  Denise Sherman of Indianapolis.

This rather short woman with a deep- barrel of voice repeatedly channeled up spiritual reincarnations of Bessie Smith, Aretha Franklin and other female blues legends in the course of the evening.

However, for most people in the theatre and even for Spradlin the unexpected highlight and the spotlight of the weekend of performances by Houpt, a singer from Shelbyville.

“If you don’t already  know, after tonight you will know what a  treasure this community has in Cindy,” Spradlin said introducing her.

Houpt’s first song during the opening set was a sassy, semi-vampy version of “Santa Baby,’ that evoked the jazz-age   tone, style and persona of Helen Kane, better known as the voice of Betty Boop.

It was during the second set that Houpt stole the show, first with a sweet sonorous psalm- like version of “Oh Come all ye Faithful.” It was, however, her next song which hushed the crowd and sent chills up –and- down the collective spine of the crowd, according to audience members. In this extended operatic variant of “Ave Marie,” she displayed a divine voice to sing a divine song.

It was a mystical journey into the high art of an unbelievably sweet, rather angelic voice. A voice alone that reaches deep down inside you  and grabs your soul and transports it to another world… a bright, resonant world of pure, un-distilled artistry.

Spradlin, in fact, was so impressed by Houpt’s talent that he arranged, rehearsed and then performed a duet with her which brought the crowd to its feet for standing ovation.

Walking in to this seasonal concert I wondered how Spradlin could fuse the often bawdy style of cabaret music with traditional Christmas songs.  Later, as I walked out of the Strand Theatre, this didn’t seem to matter; even my inner Grinch was satiated and just happy to have witnessed and enjoyed an exceptional night of magic and music.

Submitted by:  Terrance Aldridge

This independent review does not express the opinion of the Strand Theatre.

Twice this weekend, the glaring spotlight of Indianapolis media shone down upon the city of Shelbyville, and each evening the focus was a poignant reminder of a community reaching out to support its soldiers overseas.

On consecutive nights (Friday and Saturday) family, friends and music lovers gathered at the Strand Theatre to enjoy a Christmas musical and thank, talk with and send holiday greetings to local members of the 38^th Combat Aviation Brigade serving in Iraq.

An especially moving moment came as Saturday night’s moderator Cindy Houpt and the crowd sang a heartfelt rendition of “Wishing you a Merry Christmas,” to the  local soldiers gathered in a desert across the globe.

“I felt blessed to play a part in connecting out hometown soldiers with a little bit of home,” said Houpt, a local, featured singer during the weekend’s Christmas Cabaret at the Strand.

This impromptu serenade was a decision made on stage during the live feed, she said. “I thought it would feel good for them to hear hometown voices sing to them.”

The 140 members of the 38^th Combat Aviation Brigade began their year-long deployment in August as part of Operation Iraqi Freedom. The unit is based out of the Shelbyville National Guard Armory and provides air-to –ground support such as “med-vac flights and battlefield circulation,” among other operations.

“I would like to thank all Hoosiers for their support, especially the people back home,” Staff Sgt. Jeff Lowery said, during Saturday’s live internet feed from the darkened, pre- dawn desert of Iraq to the Strand’s movie screen.

On this night, the magic moment of the evening arrived locally at 9:30 as six- soldiers sitting in a military base half-way across the world were about to begin another day in a combat zone, a long way from home.

The internet connection to the battlefield was provided by Comcast and enabled local soldiers like Spc. Scott Wells, to talk in real-time with family members sitting in the theatre.

“My most rewarding experience is probably getting the opportunity to fly around in the Blackhawk helicopters around Iraq,” he said in response to a question. “It’s quite a sight up there.”

As they sat huddled in the darkness each of the six local soldiers also spoke of missing simple pleasures like “real pizza, home-cooked food and family gatherings during the holidays.”

Friday night’s conversations connecting Shelbyville with Iraq was moderated by Emily Longnecker, a reporter from WTHR in Indianapolis.

These moving images of soldiers sitting in a combat zone and chatting with family and friends choked up the weekend’s featured performer Tim Spradlin, who presented the holiday musical “Stockings by the Fire.”

‘’I couldn’t be more honored to help these soldiers connect with their home,” Spradlin, a 20-year veteran of the stage, stammered as the live –feed concluded and the Christmas cabaret resumed.  In fact, Spradlin appeared both awe-struck and reflective on stage after the event which seemed to influence the mood and tone of his next two musical choices: “God Rest Ye Merry Gentlemen ,” and “Someday at Christmas.’

It was a difficult thing to follow up on the emotions of seeing soldiers in the field putting their lives on the line and spending often lonely holidays away from home, but Spradlin and company pulled it off in professional and poignant way.

As both a veteran and a rather unsentimental dude who spent many holidays abroad, I think it is safe to say that the six soldiers huddled in a cold, distant desert –at- dawn were probably very moved to hear hometown voices singing “Merry Christmas” to them. It was a damn nice touch to a rather emotion-filled weekend for the community and its soldiers, especially those who know first- hand the pain and hollow loneliness of duty-filled holidays spent away from friends and family.

Submitted by:  Terrance Aldridge

This independent review does not express the opinion of the Strand Theatre.

Push/Play Rocks the Strand

One could literally feel the music of Push/Play everywhere in the Strand Theatre during Saturday’s night’s two-set show. From the first song to the climactic conclusion, this band’s full sounds filled the historic theater and repeatedly thrilled the crowd.

In short,  Saturday’s musical extravaganza was like having a live band playing in your living room. Physically the rhythm and energy of Push/ Play’s passionate playing tingled up one’s spine and reverberated in your very bones. It was very cool sensation to walk around the building and feel the music pulsing in the walls, up through the floor and into and through the balcony. The Strand Theatre actually vibrated and trembled with music as Push/Play repeatedly built walls and waves of sound from slow swoons to sonic screams and wails.

Musically, this band is very flexible, fluid and subtly flashy in its melodic vocal harmonies and in the sheer technical skill, bravura joy and the impassioned playing. About midway through the first set, a historic romp through rock history from Rhythm and Blues to the Beatles and beyond, I felt that this band should quit their day jobs, record some original music and go pro. The second set was even more splendid and phantasmagoric especially the ridiculously impressive play of lead guitarist Gary Shrader.

In fact, Push/Play are six very talented musicians who have been in 28 separate bands during their long local careers and have been playing together for about a year. Yet, after hearing their music I think this band should change its name to Plush/Play because of the incredibly rich, plush and fat sounds they coax from their instruments and voices.

Another surprise for me was the amazing vocal range of lead singer Don Williams, a giant of a man, who hit some surprisingly high tones throughout the night as he shared lead vocals with the band and frequently joined in the instrumental rhapsodies evoked and conjured up by this rather magical ensemble of musicians.

Push/Play is practically an all-star ensemble of talent and each member’s skills and love of playing was showcased throughout the night as they repeatedly formed visual and aural walls of guitars across the stage. These nuanced, rich waves of inspired play echoed and ricocheted into the theatre via Shrader’s Claptonesque guitar work, the rhythm guitars of Steve Mathies and Williams, the thumping bass of Bobby Toon, through the haunting keyboard style of Dave Rasche and the smooth, rhythmic drumming of Jim Whitacre. Each musician made his instrument sing throughout the jam-filled evening.

Equally, impressive was the musically challenging array of tunes performed during the 36-songs Push/Play chose for their two-sets. These songs ranged from the heartland rock ballads of Bob Seger, John Mellencamp and Kid Rock to more funk -inspired tunes like “Superlove” and included complex instrumental works by Grand Funk Railroad and The Alan Parsons Project.

Musically, the band built to an impressive crescendo as the evening wore on, which reached an apex with Shrader’s extended solo in “Still Got the Blues.” I’ve seen Eric Clapton, Stevie Ray Vaughn, Albert Collins and other blues masters play live and Shrader can and does evoke just as much raw, primal energy and passion by bending strings. His animated, virtuoso solo was mentally orgasmic and ridiculously impressive and left the crowd standing and applauding in shock and awe.

The audience remained standing during the almost baroque final rush of songs and demanded an encore from this entertaining, emotionally satisfying and exceptionally talented group of inspired musicians. In conclusion, I shall repeat an earlier refrain: if these dudes aren’t professional musicians by choice, they damn well should be.

Submitted by:  Terrance Aldridge

This review does not express the opinion of the Strand Theatre.