A Quote by Kat Edmonson
When I tend to belt, it kind of reminds me of like a more '60s girl doo-wop kind of belting.
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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.
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.
'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.
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 was making all my own beats, and I really liked sampling stuff, like old '50s and '60s pop and soul and doo-wop records. I was chopping those up and putting loops and drums on them and just rapping over them.
When I first got into the music scene, I was inspired by different songwriters. I like to dress from the '50s and '60s. I like to paint a picture of that era through my music and clothes. I am inspired by a whole a lot of things, from doo-wop to gospel and soul music.
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.
Doo-wop was full of blues for me.
The gospel music and doo-wop is what has informed me personally.
As I get older, I'm more willing to take on more, I guess. I feel more comfortable kind of being different characters and kind of stretching it a little more. Like with The Visitation. At least for me, being an actor, I have to draw from human experiences, so it was kind of a stretch playing that role. Kind of supernatural... kind of like what I did in The Crow actually.
I've always loved soul, R&B, doo-wop and blues, and I've wanted to make a record like that for years.
Doo-wop is special music to me because it's so straightforward and melody-driven and captures emotions.
My kids are fanatical about 'Scooby-Doo', and I think that the creators of 'Scooby-Doo' somehow tripped across some kind of magical hypnotic formula that lures children. It's far more fascinating to them than anything else on the air.
My kids are fanatical about 'Scooby-Doo,' and I think that the creators of 'Scooby-Doo' somehow tripped across some kind of magical hypnotic formula that lures children. It's far more fascinating to them than anything else on the air.
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