biographical info
Smashing out a beat with a rusty chain on a dirty old broiler pan and
a suitcase kick drum, this one man show can upstage a full band,
without a microphone. A busker on the street-corners and markets of
Montréal, you’ll hear him blocks before you see him – whether acoustic
guitar or accordion, the intensity and emotion of the voice and songs
are as authentic as they come: earned and undeniably strong. Call it
folk, blues, soul – it’s even sometimes catchy-as-pop — there’s
something for everyone in this music – and it gets better the more times
you hear it.
There’s an idea behind this guy’s music, an old idea: a social
purposefulness underlies Dunbar’s mission in music. Some stories need
to be told, beauties need to be protected, social issues need discussing
– exuberant joy and righteous anger must be released, and Dunbar is not
afraid or ashamed to bring it to our attention. His performances are
all about creating a bridge between people to have a good time while
gathering around important issues.
Since hitting the road hitchhiking three years ago holding a sign
reading “A FOLKSINGER’S GOTTA SEE THE COUNTRY,” Dunbar has fast earned a
fearsome reputation as a fan favorite at festivals and gigs all over.
He himself recorded and produced two full length albums (2008′s An Awful
Racket, 2009′s GET ANGRY ABOUT IT) of which he’s sold into the
thousands of copies at gigs and on the street. It’s an ethical AND a
family operation – the CD sleeves are handmade from recycled cloth by
his mom. Youtube clips of his streetcorner performances, uploaded by
passers-by (most notably a cover of Michael Jackson’s “Billie Jean” and
his own “Tinfoil Hat”) have topped over a million hits since they first
appeared in spring ’09.
This, his third album – TWO YEARS TO LIVE, an appropriately ambitious
24-track, double CD odyssey was recorded in one week with BC luminary,
Corwin Fox. The songs range from the intimate and personal “Tuning
Fork” and “My Feathers” to enraged and political (“Ain’t Mama,” “Bullet
Fee”) to bitingly ironic (“I’m Dick Cheney”).
From the whimsical sweet romance of a bicycle ride (“Bicycles”) to
the somber contemplative depths of “Fine,” Dunbar covers a lot of
ground, and deserves a spot in any true chronicle of modern music. This
album was designed as Dunbar’s proper big introduction to the world,
and it seems he knows a thing or two about making a grand entrance.
Just go ahead and try to dismiss it; this songwriter-performer is still
just getting started…