Quotes About Doo-wop

In my vocal, I think you can hear something of my earlier times when I'd sing in subway halls for the echo and perform doo-wop on street corners. But I had a lot of influences, too - singers like Sam Cooke, Brook Benton and Roy Hamilton.

I came up in Brooklyn singing doo-wop music from the time I was 13 to the time I was 20. That music served a purpose of keeping a lot of people out of trouble, and also it was a passport from one neighborhood to another.

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.

My dad was into the 1950s doo-wop era. If you look at those groups, or at James Brown, Jackie Wilson and the Temptations in the 1960s, you'll see you had to be sharp onstage.

My brother Art was a doo-wopper. He had a group that sat out on a park bench in New Orleans and sang harmonies at night, and they'd go around and win all the talent shows and get all the girls, you know.

The doo-wop stalker love song on a Cincinnati oldies station--you broke up with me because I was an obnoxious jerk and now you're dating him, so I drive by your house and stare in your window every night, thereby proving that I'm an even bigger creep than you thought

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.

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.

Everyone who knows me knows that I'm a hopeless romantic who listens to love ballads and doo-wop songs all the time.

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 could sing you a thousand and one doo-wop songs. I love the simplicity in that music. It's not super-poetic, it's just from the heart.

I always liked jazz. And my people liked the old blues, race records and the doo-wop and all that.

My grandfather was actually a doo-wop singer in Panama. They were called The Dominos. He was the high soprano voice.

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.

It can be argued that doo-wop is a great, unequivocal uniter of white men of a certain age and temperament.

I love the story of how my parents met because it seems very 1950s Brooklyn. They met on a brownstone stoop as my father was singing a little doo-wop.

Doo-wop is special music to me because it's so straightforward and melody-driven and captures emotions.

Everyone who knows me knows that I'm a hopeless romantic who listens to love ballads and doo-wop songs all the time.