Dion Dimucci Quotes

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I grew up with my parents screaming and yelling at each other for the rent in Bronx, New York City at the time. It was $36. So my mind hadn't stretched out to that place where I could spend a...

I tell you, gospel music is very uplifting. It's great. It's just a lot of fun to write, and it's wonderful for the heart, soul, mind, and spirit. It's just great.

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I've got these die-hard fans on Facebook, and you'd swear they haven't heard anything I've done since 1962, 1963.

I don't sing white; I don't sing black - I sing Bronx. When I sing 'Ruby Baby,' I'm rolling like Jimmy Reed. I wanted to communicate like Hank Williams and groove like Jimmy Reed.

I feel really relevant and creative, and I don't think I would've made an album if I didn't feel relevant. I wouldn't have said a word.

If I could sing and play like Lightnin' Hopkins, I would.

I come from this macho Italian neighborhood. When I was thirteen, during those real vulnerable, impressionable years, and a boy starts becoming a man, to make that transition, and you start making decisions, and you start developing virtue and principles...

People were watching the TV set, and they said three rock-and-rollers died - Buddy Holly, Richie Valens, The Big Bopper, including the pilot. I walked out of the hotel. I got on the bus alone. Their clothes were hanging on...

I got a little advice for everybody: marry the girl who's going to get you to heaven.

I have a great band from Jersey and New York. I say that because they got great attitude, and we have a great time on stage.

I got one of the best sax players in the business - Arno Hecht. He plays with the Uptown Horns and all the great blues bands. He expresses the heart of the Apollo Theatre, let me tell you.

I just love to do the songs, and that's what I'm still about - taking people on a trip. A good trip.

Music is an expression. It's almost like a diary in my life, you know. You express your perceptions and your view on life - your world view.

There were a lot of bad relationships that got very convoluted up at Columbia with me, what they expected from me.

I left Columbia in the mid-'60s. I had a guaranteed contract for, like, $100,000 a year. And I just let it go. And I wasn't a rich man. There were a lot of bad vibes around the whole thing.

It's hard to explain music when it goes in your gut and makes left and right and turns and moves you and resonates with you.

There's a lot of unreleased blues stuff I did with the Apollo Theater musicians, and there was of experimenting going on for me in the mid-'60s in that studio, which I think frustrated Columbia.

A lot of my friends, they think I grew up to rock and roll, but I didn't. I grew up to Hank Williams, Jimmy Reid, Howlin' Wolf, listening to a race record, blues.

My definition of the blues is the naked cry of the human heart longing to be in union with God.

The form of the blues helps us express our joys, our fears, our - anything you want to express. And it helps you get it out instead of it spiraling inward, and you're getting twisted up and exploding. So it's...

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