brooklyn, New York
Singer-Songwriter, Band

writer profile >

BIOGRAPHY

David Doobinin is a songwriter, first and foremost. On his third record "The Birth Of Wonder" he proves his immense capacity for empathy, organic emotion and the ability to perfectly capture a moment, set it to a melody and evoke something in people. David Doobinin is a wandering spirit, hopeless romantic, world traveler and artistic soul. He calls Coney Island his home, which is fitting for who he is as an artist and a man. Like Coney Island, bright and alive and rough around the edges, Dave Doobinin walks the board walk, his own minstrel show, lives next to a lighthouse, and hangs out at the freak show sometimes. Born to immigrant parents, some may say Doobinin still carries his ancestor's ghosts with him. He grew up in New York and remembers it as a time when there was some romantic grit left to it, filled up with tastes and smells of his heritage. His love for the city didn't stop his wanderlust, bringing him to live in places like Greece, Germany, Italy, and Paris working on films and adding to his victrola collection. It was while living over seas that a good friend handed Doobinin a guitar, and there was never more of a natural fit.

The songs flew out of him, with such ease and heart. His first release, in 2003, "The Sleep Over EP", (mixed by Nic Hard, The Bravery) was a captivating breakout EP that got him immediate attention from music industry and fans. He then went on to release“What Your Money Wants" in 2004, which was recorded in Austin, TX with Billy White (David Garza, Spoon, Pam Miller). "Billy really wanted to make the record after he heard me play "14 Letters" one day up in Central Park while we were hanging out. This record was a real departure from what I was doing before. It's quiet and pastoral. In 2006 Doobinin recorded “One Station Away" in which The Houston Press said: “One Station Away is a collection of haunting tracks, as dark as Elliott Smith and as political and lyrically driven as Neil Young."

Also produced by Billy White in Austin Texas, Doobinin and White spend two inspired weeks tracking at a studio down in the south part of town. "Billy was great at keeping an edge in the studio." Doobinin remembers. "With that edge we chased moments of inspiration. We brought some players in to play keyboards and stuff but it was basically him and I playing all the instruments. I've never met anyone more musical than him."

The name of Doobinin's new record "The Birth Of Wonder"is hauntingly fitting for the eleven tracks he recorded.
Working with producer Don Piper (Robbers on High Street, Guster, Pete Salett, Bedsit Poets, Oxygen Ponies) at his studio in Dumbo, Brooklyn, "The Birth Of Wonder"was recorded primarily with the band playing live in the studio, capturing a true raw spirit. “I brought some good friends in to play on the record. Like Byron Isaacs (Ollabelle, Ryan Adams, Willy Nelson) Phil Kronengold (Golden Smog, Gomez) and Konrad Meissner (Graham Parker, Syd Straw). Another highlight was heading down to Bowling Green Kentucky to work with Chris Carmichael. He did all of the string arrangements and performance on the record."

Songs like "Mind Down Here" and "Good Time" are a part of a voyeuristic collection of songs that showcase his perspective of this rich strange world. "There's a raw emotional power that shines through on this record." Dave says from the Dumbo studio. "The band and I did a really amazing job at getting out of the way of the songs. I learned how to really listen."

Grasping at the true love of the art of the song, "The Birth Of Wonder"is a tapestry of music that adds to his enormous landscape of songs. Since the release of his first record, Doobinin has toured the country several times, in a van, in his car with a guitar, and even with an ex girlfriend. He has also been warmly received throughout Europe, playing shows in England, France and Spain. He has since been a featured artist on XFM radio station in England. Doobinin has shared the stage with Ambulance LTD, Longwave, the Silos, Moldy Peaches, David Poe, Rob Dickenson, and Pam Miller. He also covered "I'm In Love With A Girl" (Big Star's Alex Chilton) which appeared on a compilation tribute record to Big Star (Lunacy Records).

With his restlessness temporarily quieted , he found New York again, and one of the gritty soulful part left of this city, Coney Island. Brought home to the lighthouse, you may find him somewhere in this city, probably with his traveling band, some artists, his friends, and of course his guitar, telling his story and playing his heart out.

LEVEL

professional

GENRES

Singer/Songwriter, Alternative Rock, Folk

PUBLISHING COMPANY

Razor and Tie Licensing, I own my own publishing

Contact

Management: Dawn@thepresshouse.com
Booking: info@davedoobinin.com

P.R.O.

BMI

I AM INTERESTED IN

in co writing in person
in networking with songwriters
in pitching songs to artist
in pitching songs to tv
in getting a publishing deal

I WRITE:

For a living

I Also Write:
by myself
with others
for myself
for others

I Prefer To Write:
lyrics
melody
music

experience >

SONG PLACEMENTS

"Days Of Our Lives" HBO series "The Cat House" film "Friendship Hotel"

OTHER SONG OR ALBUM CREDITS

Co-wrote "Laughing On The Worst Day Of Our Lives" with Blue Sanders, which appeared on the record "5 To Care About". Appeared on tribute to Big Star, covering the song "I'm In Love With A Girl" release on Lunasea Records. Vocals on Briana Winter's record "Under The Snow"

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Sessions: David Bazan

It was pretty slow. I mean, I played [the songs] on acoustic guitar for a long time, but I didn’t know how to transfer them to the other format. I didn’t want it to be a solo acoustic record. I wanted there to be bells and whistles and full band arrangements even if I didn’t want it necessarily to be electric guitar rock....

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Behind The Song: “Ain’t Nothing Like the Real Thing”

Marvin Gaye and Tammi Terrell sang, it has been remarked, like lovers, although they weren’t. Similarly, Nickolas Ashford and Valerie Simpson, the team behind one of Marvin and Tammi’s most enduring hits, “Ain’t Nothing Like the Real Thing,” wrote as if under the influence of amatory forces; even if, in the spring of 1968,