A Quote by Dion DiMucci
Doo-wop was full of blues for me.
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'Doo-wop' is a very special word for me. Because I grew up listening to my dad who, as a Fifties rock & roll head, loved doo-wop music.
I was singing doo-wop on the corner under the streetlight with four other guys when it wasn't called doo-wop. We just got together and sang, so that music is inside of me. It's a lot of stuff that has been rolling around in here and becoming this compost and has made me who I am as a singer.
Doo-wop is the true music to me, man. Doo-wop was what nurtured me and grew me into who I am, and I guess even when I was in school, the teacher probably thought I had ADD or something every day, because I'd be beating on the desks, singing like the Flamingos or the Spaniels or Clyde McPhatter or somebody.
The first time I recorded without Allen Toussaint, I wanted to do doo-wop. Everything I've done since then has got some kind of doo-wop essence in it.
I've been into every doo-wop there is. I think I went to the university of doo-wop-ology.
I did have my beginnings in doo-wop music; I had a group called the Tokens in Brooklyn. They went on, of course, to do 'The Lion Sleeps Tonight' and a lot of other great things. I went on as a soloist. But I still love doo-wop music.
I've always loved soul, R&B, doo-wop and blues, and I've wanted to make a record like that for years.
My roots are in everything from doo-wop and blues to the Four Freshman and the Beach Boys and jazz and electronica. But it was put together in a deceptively simple package.
I always liked jazz. And my people liked the old blues, race records and the doo-wop and all that.
I used to listen to so much doo-wop, and I've talked a lot about gospel music, but I realised a lot of that language came from doo-wop music. You know, "I Asked the Lord Above," "Heaven Sent Me an Angel." That's rock-'n-roll, and that's where a lot of this language is coming from. Also, I've said before that as soon as you start having a conversation with Jesus in a song you know you're dealing with issues of morality and how fragile it is to be human. It's a shortcut to putting those ideas across.
'Soulfire' is a collection of stuff I've done in the past. Each song is an element of who I am: There's a doo-wop song on the album; a blues song, R&B and some jazz. For people who are going to be hearing me for the first time, it's an introduction to who I am.
The gospel music and doo-wop is what has informed me personally.
Doo-wop is special music to me because it's so straightforward and melody-driven and captures emotions.
I was at the Apollo Theater all the time, skipping school, and I worked in a barbershop. That's how I started with doo-wop. Now I've come full circle. I did all kinds of music. I used to work on Broadway and Tin Pan Alley.
Did you come of age in those sweet summers of the early nineteen-sixties, when the airwaves were full of rock and roll's doo-wop promise of joy and the nation was full of J.F.K.'s eloquent promise of a New Frontier? I did. Life seemed to be laid out before us like a banquet; everything was for the taking, especially hearts.
I never left doo wop.
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