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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.

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'm a fan of all these genres of music, everything from Mumford & Sons to Beach Boys to doo-wop music to reggae.

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.

The gospel music and doo-wop is what has informed me personally.

Maybe 'Doonby' will haunt people for awhile and make them wonder, 'What was that really about?' And that excites me as an artist.

If you listen to a Deadmau5 record or a Skrillex record, I really enjoy that stuff because, as aggressive sounding as the Skrillex records are, they're still musical, and that's why they have such a broad appeal.

I have a very eclectic taste when it comes to music.

I've always loved soul, R&B, doo-wop and blues, and I've wanted to make a record like that for years.

I've always been a fan of melody and emotional melancholy, whether it was Rites of Spring or Tears for Fears or Neil Young. If I hear a song that has a sweet melody, I'm a sucker for it, whether it's Linkin Park or Little Richard.