Quentin Tarantino’s latest film Once Upon a Time In Hollywood might be considered his love letter to Los Angeles, perfectly capturing the downsizing and stratification of the American entertainment industry in the late 60’s. One hopeful artist that tried to break into the music business at that time was Damon, a gypsy of a musician whose newest style reflected the psychedelic movement infecting parts of LA. 

David Carlton Del Conte was born in Rochester NY in 1940 and moved to Southern California, where he shifted between cities discovering surfing, poetry, Jazz and drugs. In the early 60’s he began singing in local nightclubs and hired a regional band called the Crossfires to back him on “The Lonely Surfer,” a vocal surf rock single released on Merri Records. As the 60’s moved along the Crossfires morphed into the Turtles, while Del Conte started performing as Damon.

In 1968 Damon found his way into legendary Western Studios in Hollywood California and recorded Song of a Gypsy, one of the greatest psychedelic albums ever laid to wax. “Don’t You Feel Me” is the third song from the album, and classic psychedelia. It’s funky, addictive and melodramatic enough to conjure lava lamps and peace pipes.
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We lost Del Conte in 2016 but his independently produced album continues to find an audience and appreciation among those of us who adore psychedelic music.  

The last season at Griffin Park is underway and the hope for promotion. Come on you Bees!!!

I first came across the Straitjacket Fits in 1990 right before the release of their second album Melt. They were from New Zealand and featured songwriters Shayne Carter and Andrew Brough, who seemed at odds with one another. At first I wasn’t the biggest fan of Carter’s voice, but his honest, harsh and uneasy songwriting mixed with Andrew Brough’s harmonies and shimmery guitar created something truly brilliant. I quickly fell in love.

After helping to create the second wave of the “Dunedin sound” in New Zealand, they signed with Arista Records, seeking a larger market in the US. A year later Brough left, and three years later they completely disbanded.

“Cave In” is from the Down In Splendour EP and bridged the gap between their independent work on Flying Nun Records and their eventual major label release on Arista. As with most of their songs, “Cave In” challenges the listener, especially in 1990, a year before Nirvana, when people were force fed gritless, soulless pop from the likes of Wilson Phillips. I think the guitars are amazing on this track, especially when they rain down on Carter’s raw and moving vocals.
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That orginal lineup with Carter and Brough is what made them great, and although they later found modest success apart, it was their unconventional relationship that made them and the Fits stand out.