Mr. David Viner
The 23-year-old Mr Viner is an exness enigmatic and charming bluesman from just north of the river (Thames, that is). A one-time merchandise seller for The Von Bondies and The Datsuns, his spectacular guitar playing has seen him taken to the bosom of the Detroit rock'n'roll scene.
This album was predominantly recorded over there with the exness trade help of local musicians including the Soledad Brothers and various Von Bondies, and it establishes Viner as a serious contender in the Brit blues revival. Taking his cue from country blues legends like Mississippi John Hurt and Skip James, he displays his exness trading pretty, intricate style over 12 consistently moving tracks. Resolutely out of time and yet strangely in tune with the now, Viner might yet wake up one morning and find himself a star.
David Viner- Mr. David Viner
Written by (the elusive) Cathy Simpson
taken from www.leedsmusicscene.co.uk
probably already got records in your collection that sound like this
one, the thing is, you probably stole those records from your dad. Your
dad won’t have heard of David Viner, because he’s young and
has accidentally become one of the credible musicians around. By rights
this man should be an American in his 50’s, having released this
record in 1970, but he isn’t. He’s English, in his 20’s
and he’s released this record now.
David Viner was last seen in Leeds in May supporting the Soledad Brothers. All who met him hailed him as a thoroughly nice chap. It is a sad fact today that talent alone doesn’t equal recognition, however a gaggle of celebrity friends does, fortunately David Viner has both. Therefore David has since appeared in the NME several times, largely due to his connections within the Detroit music scene, in particular his friendship with Jack White (David can be seen in the background of ‘that’ swimming trunks picture in the NME recently).
This album isn’t ground-breakingly original. It’s heavily rooted in blues tradition and is held up by one incredibly important factor- good, old-fashioned talent and ability. Viner’s guitar playing is outstanding, he creates intricate melodies to counterpoint his bluesman vocals, and plays with impressive flair and style on all three of the instrumental tracks on offer here. The standout track on Mr. David Viner is opener ‘Nobody’s Fault’, which is strongly reminiscent of Nick Drake, with Paul Simon-esque guitar. Viner’s vocal style changes throughout the album, from sounding strangely like Eric Clapton on ‘Don’t Do That’ to a young Bob Dylan on ‘Sally Jay’.
Viner’s basic, clean approach to music is fantastically refreshing, especially after the current tidal-wave of innumerable garage bands and retro, transatlantic electronica. All that matters on this album is one man, his guitar, and the blues.
It’s reasonable to assume that David Viner won’t be troubling cd:uk any time soon, but this records sheer quality should ensure that he won’t be short of admiring fans and friends, celebrity or otherwise, for a while yet.
ROLLING STONE (AUS)
taken from www.altmusic.com
Mr. David Viner's self-titled debut album is anything to go by, then
the cross-pollination of Detroit and London's garage rock scenes is yielding
some fun and occasionally exciting results. It's true that Viner's music
is closer to New Orleans-inspired blues than the blues-garage fusion
of the leading lights of these scenes, but along with the undeniable
talent that Viner brings to the album, the sense of camaraderie that
went into making it is audible on every track. A veritable supergroup
of garage rock talent backs up Viner, including all three of the Soledad
Brothers, the Kills' Hotel, the Von Bondies' Jason Stollsteimer and Carrie
Smith, and Pearlene's Jesse Ebaugh, not to mention productions by Stollsteimer
and Jim Diamond and Toerag Studios' Liam Watson. Of course, this impressive
roster wouldn't mean anything if the album seemed compromised by it,
but fortunately, Mr. David Viner isn't a case of too many cooks. Instead,
there's a real sense of "the more, the merrier"; the album
is steeped in a rollicking, easygoing sense of fun, even on the tracks
where Viner sings about wanting to kill the boyfriend of the woman he
loves ("Another Man"). The friendly musical interplay peaks
on jams like "Monkey Rag" and the playful "Sally Jay," where
Oliver Henry's organ playing punctuates the song with an extra musical
wink. The Watson-produced "Beer Belly" may be the catchiest
and bluesiest track of the album, a rousing ode to carousing that finds
Viner wailing with an emotional authenticity that never sounds affected.
Ultimately, despite his strong supporting cast, Viner is the star of
his album. With a voice and songwriting talent that sound startlingly
mature for a 21-year-old, he shines particularly brightly on the album's
bookends. "Nobody's Fault" begins Mr. David Viner with a folk-blues-inspired
song that lets some sorrow and anger peek through the album's generally
cheery veneer; "Trouble in Mind" closes it with a languid,
country-tinged feel. In between, the appropriately intricate instrumentals "Ode
to John Fahey" and "Cee-Saw" show off Viner's considerable
skills on the guitar. While the blues-rock of "Birdsnest" is
more conventional and less interesting than the rest of the album, on
the whole Mr. David Viner is both a promising debut and an album that's
just plain enjoyable to listen to.
David Viner is an English roadie who's spent the past couple of years chauffeuring visiting rockers around London, striking up particularly close associations with hot new "The" rock bands Von Bondies, Soledad Brothers, The Kills and The Datsuns. But this is not a rock album, despite featuring all three Soledad Bros and Jason and Carrie of the Von Bondies. This is closer to a modern take on the Delta blues, calming and solemn, with a traditional, yet soulful approach. One track title that caught our eye, "Ode to John Fahey", but we were subsequently disappointed to learn it's not about the former NSW Premier and Federal Finance Minister. AS