Damon Castillo: Making Laurel Lane

Californian Frontman Sheds Light on Fourth Album’s Many Contributors

Jan 20, 2009

Damon Castillo talks about the influences of heavyweight collaborators, a much-loved studio, jazz / soul giants and guiding principles in this exclusive interview.

Damon Castillo Band’s latest album, Laurel Lane, is a difficult album to pigeon hole into any kind of genre. It’s a summery, hazy blend of rocking guitars, smooth sexy vocals, jazz undertones and a funk / soul vibe.

It’s a diverse offering from the likeable Californian independent purists. And what’s more it’s attracted a heavyweight roll call of collaborators, including Sheila E. (Prince's former protegee), Rami Jaffe (Wallflowers, Foo Fighters), Lee Thornburg (Tower of Power, Supertramp), Lon Price (Elvis Presley, Alan Toussaint, Ziggy Marley) and Sean Hurley (Alicia Keys, John Mayer), all under the production talents of Grammy-Award-winning Ross Hogarth.

Damon visited the fresh green virtual fields of Suite 101 recently, where he talked about the many influences and processes that have contributed to the album, not least the eponymous studio where it was born.

Suite 101: Laurel Lane has been described as an “emotional autobiography that contains a band’s long history” within the walls of its home from home. What’s the motivation behind the album?

Damon: I didn’t set out to write a concept or theme album. Laurel Lane isn’t that. But what I realized after we chose the tunes for the album was that it was a story of where we were and how we got there, the songs I wrote, and the lives we were living. In choosing the name for the album, I really wanted a concrete place to represent the idea. So the naming came afterwards. It’s funny, when we were cutting horns, Lee Thornburg who helped us on trumpet commented that the songs all seemed to be about either love or music. I thought, “What else is there?”

Unique Perspective on Identity

Suite 101: For those readers who haven’t encountered your music before, how would you describe the album? And why should they go buy it?

Damon: Being an identical twin, I have a unique perspective on identity. Mirrors lie. Photographs lie. Thoughts lie! But when you see your twin walking down the street, or chat up a girl, or eat a burrito, you immediately see how you truly appear. I don’t have that ability with my music, and being so close to it, I have no perspective on how it sounds to others. I did try to make an album with songs I really cared about, that felt like musicians playing together, that felt honest. As far as why someone should by my new album? Hmmm, as a musician I would say that if the music moves you to buy it, don’t fight it. As a man with a modest appetite for food and shelter, I feel strongly that everyone should buy multiple copies.

Inspirations and Influences

Damon: I really don’t know who my biggest influences are. I will leave that up to others, but I can cite my biggest inspirations. These are the people that move me to make music, but aren’t necessarily influences that you can point to directly in my writing or arrangements. I love the music of Prince, Stevie Wonder, Harry Connick Jr., Elvis Costello, The Beatles, Marvin Gaye, Tower of Power, Steely Dan, Frank Sinatra, Bob Marley, The Clash, James Brown, Sly and the Family Stone, and Dominic Castillo and the Rock Savants, Giantess and so many others.

Sheila E., Guest Percussion

Suite 101: You worked with some great collaborators putting the album together. How do you think their input influenced the album? Any stories you want to share about that experience?

Damon: They all contributed in wonderful ways to the album, but I will share a little bit about Sheila E.’s part. I met her a couple of years earlier when the band and I were playing a show in Shell Beach. I should say I almost met her. She was passing through our part of California with her manager and caught some of the show. She was on a schedule and had to leave, but left her card with my agent. I remember immediately thinking, “Damn, I should have played better!” Ha! Since then we’ve become friends. She worked a couple of my tunes into her tour and recorded one of them for her upcoming album. When it came time to cut the percussion on the album, I was bold enough to ask if she would play on it. Well, she was incredible in the studio! After one listen to “Surrender” and “Can You Fall In Love?” she went into the tracking room and recorded the most amazing congas and percussion. She is so quick when she works, and her musical impulses are so true.