| | Dave Weiner Shove The Sun Aside CD Dave Weiner Discography of CDs
 (1 Customer Review)
Originally Release '05. Debut Album from guitarist of Steve Vai's band , Instrumental rock album featuring his trademark of seven strings guitar.
Dave Weiner would like you to travel down this brief but memorable instrumental road that at times sounds like the soft, deliberate licks of Pink Floyd's David Gilmour on the leadoff "Andonova," which then evolves into something out of Mark Knopfler's soundtrack repertoire. From there, Weiner moves into the quasi-Primus category of hard rock, but with a thick slab of bass at times thanks to Philip Bynoe during "Long Run." Wide reaching and quite winding at times, the song settles briefly into a funky, light jazz-rock mold. Fans of Jeff Beck and Steve Vai would love this tune. "Monument Shine," meanwhile, is a tamer affair that slowly builds into a fine crunchy instrumental rock ditty with some soaring riffs for the wordless chorus. It tends to be a bit grandiose or regal, with the closing synthesizers giving it an ethereal, otherworldly feel. But it's still quite good. Fans of Creed would also enjoy the bombastic, hard-then-soft ebb and flow of "The Ghost of Denmark St." Weiner is an accomplished guitarist and his experience brings each of these songs to life, especially the folksy Celtic acoustic opening to "Tourmaline." The lone low point might be on the closing "Shove the Sun Aside," which has the guitars buried in the mix under a bland electro-rock or synthesized format. Weiner breaks out of the mire but it comes off as too little, too late. ~ Jason MacNeil
Personnel: Dave Weiner (acoustic guitar, 7-string guitar, keyboards, bass guitar, programming); Philip Bynoe, Graeme Rappaport (bass guitar); Virgil Donati, Steve Wilson (drums).
Shove The Sun Aside Music Dave Weiner Shove The Sun Aside Songs Shove The Sun Aside Music Review Purchase Shove The Sun Aside CD To buy, Click on price to add to cart | Owl City Ocean Eyes CD (2009)
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Any casual listener looking over this 132-track five-CD set would probably conclude that it was far more Bill Haley than they need bite off in one gulp -- and they'd be right, as casual listeners. For the serious rock & roll enthusiast, as well as the hardcore Bill Haley fan, however, there's a wealth of worthwhile material to be found here, some of which will amaze even those fans: a dozen great songs and 55 or so more that are good, and another 20 that are fascinating mistakes, and that's a good average for an artist who is generally thought of as having generated just a handful of important records. What Haley had most of all was a distinctive sound -- between the backbeat, the country boogie roots, and the R&B sources -- that pretty much defined white rock & roll for almost its first two years (until Elvis Presley and Carl Perkins emerged in the spring of 1956); the first two CDs here offer that sound in abundance. They offer Haley's complete recordings from April 12, 1954 (the session that yielded "Rock Around the Clock"), until July 15, 1957, capturing an urgent, creative, and exciting era in the music and the band's output, when they seemingly couldn't help but make good records. The first 40 songs in the box are a reminder of a time when Haley and company were still very much in the game, with Elvis Presley, Carl Perkins, and more in the front ranks of rock & roll (although, to be fair, the later sides on the second disc show them losing that game). Discs three and four's chronology cover the group's decline in 1958-1959, as they careened from one especially disastrous idea (the Rockin' Around the World album) through some good, thumping rock & roll that just happened to be out of date in 1958 (in the guise of "Skinny Minnie"), then into a movie-related musical liaison with Caterina Valente, and to their final sessions for Decca. That was a point where Haley and his band got back some of their vitality and creativity and cut some better-than-decent rock & roll, tagging on his good 1964 single "Green Door" and a pair of 1958 vintage demos. Disc five is a fascinating bonus, a 62-minute assembly of excerpts from two complete recording sessions in January 1959 working their way back to a body of musically ...
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Hanging out with the Leroy Smokes is like being an outsider watching a close-knit family interact. You might never suspect that infidelities, betrayal, separations and splits have occurred in the past and put the group through trials of stress and uncertainty. The men of the 'Smokes Family seem bonded by way of brotherly love and respect, overcoming obstacles, and a healthy dose of familial bickering and taunting.Front-men B Rukus and Buss One, totally different in form and race, seem to play off of each other like brothers. Each brings out the vocal style, delivery, and stories of the other. Keyboardist Friendly Fred is the clown and the flashy showman, doing anything he can for the love of entertaining. Trumpeter "Highstyle" Kyle is more subtle, but no less energetic in his ability to stir up a crowd and brass-up the music. Bespectacled Jesse Lee is a gem in the sea of local guitarists, bringing a surprising soul and bluesy voice to the 'Smokes sound. Darek "Hashbrown" Stephens? Don't let the aloof, detached persona fool you; his attention to the bass keeps the band firmly grounded in funkiness. And definitely not least, rookie Nic Woods happens to be the baby of the 'Smokes family, yet drums with the passion and skill that his years of experience have given him. In its tumultuous past, a constantly changing collection of musicians presented challenges for Leroy Smokes, but also helped to shape and define the band's sound and songwriting process. Established in the late '90s as a hip-hop/funk jam-band, the Leroy Smokes released two independent albums, each one different in style and band lineupTheir second and more prominent album, The Plot Thickens, was released in 2002. The band played local and regional shows to support it and became popular locally for ...
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