Echo in the Canyon

This is a story of what happened in Laurel Canyon in the 60's and it is a must for any lovers of the music coming out of the west coast that fits in well with the documentary about the Wrecking Crew. But in order to hear the amazing stories about the cross pollination, you have to put up with Jakob Dylan, who not only seems to have no chemistry with the people he is interviewing, to the point where you get the idea that the questions were coming from offscreen, but seems to think we need to hear his take on the songs. I thought it was amazingly self indulgent. I don't know if this was done because the producers couldn't get the original songs, did not have enough original interview material or if Jakob thinks he is better than them, but I'm not interested in his music making process. I want the stories not recreations.

I was excited to watch this as the subject is near and dear to my heart, but I was very disappointed... I thought it was going to be all about Laurel Canyon and the legendary music / musicians and it ended up being 50% Jakob Dylan soundtrack promotion. I wanted more from Tom Petty's last interview and I wanted more from a rare glimpse at Brian Wilson .... i wanted way more in regard to archival footage and photos that exist... I did not need to see Bob Dylan's son in every scene of a movie that has nothing to do with him. Not to mention all of the artists that were there that they didn't even mention like Joni Mitchell and The Doors. Well done otherwise, star power was amazing, cinematography was amazing I'd give it a 7/10 although it could have been a 10/10. I wanted to be immersed in the stories and music of that time and instead they kept pulling the viewer into crappy Jakob Dylan rehearsals and cover band concert footage so we only ended up skimming the surface on a subject that has a lot lot lot more to offer which I felt was a shame.

Greetings again from the darkness. "Go Where You Wanna Go", a catchy pop song by The Mamas and the Papas, always seemed a quintessential 1960's song, but now, thanks to an insightful interview with singer Michelle Phillips in this new documentary, it's a reminder that even the era's free love carried a price. Director Andrew Slater, the former President of Capital Records, combines the nostalgia associated with the California Sound with the contemporary staying power of the songs and the musicians.

Jakob Dylan of The Wallflowers (and Bob's son) is really the face of the film. Not only does he conduct most of the (many) interviews, he's also the driving force behind the 2015 concert at the Orpheum Theatre celebrating the 50th anniversary of The Byrds debut album ... an album we are told kicked off the fusion of folk and rock. Dylan's first interview is with the legendary Tom Petty (in one of his final interviews before suddenly passing away in 2017). The two are sitting in a guitar shop with Petty regaling the brilliance of a Rickenback, and how the music of 1965-67 influenced him as a songwriter and musician.

An aerial view of Laurel Canyon accompanies its description as the antithesis of the plastic TV world of the 1960's. It was an area that attracted bohemians - musicians, artists, and actors - and collaboration and community were the calling. Jackson Browne and Tom Petty both mention "cross-pollination" ... the "borrowing" of ideas from each other, as it's contrasted with outright theft. The concert at the Orpheum acts a bit as a framing device, and Jakob Dylan takes the lead and performs with other modern day acts such as Regina Spektor, Beck, Jade, Fiona Apple, Cat Power and Norah Jones. We cut to modern versions of the 60's classics after an interview with the original artist or clip of the original band is played. It's a way to connect the dots and show how the music still stands today.

Those interviewed include: Jackson Browne, music producer Lou Adler, David Crosby, Roger McGuinn, Michelle Phillips, Eric Clapton, Graham Nash, Stephen Stills, John Sebastian, and Ringo Starr. Each of these musical luminaries serves up a story or two, and takes a stab at defining the era and its influence. Roger McGuinn tells us how The Beatles influenced The Byrds, how The Beach Boys "Pet Sounds" influenced "Sgt Pepper", and how so many songs and bands are interlinked. Brian Wilson is compared to both Mozart and Bach, and Eric Clapton admits to taking a bit from Buffalo Springfield.

We see and hear Brian in the studio with Jakob, as well as Clapton riffing with Stills. It's fascinating to listen as Brian explains 4 different local studios were used to cut "Good Vibrations" because of the various sounds needed. A bit of artistic lunacy? Perhaps. But it makes for a great tale. It's a bit odd to have clips of Jacques Demy's MODEL SHOP, starring Gary Lockwood and Anouk Aimee, interspersed throughout, but Dylan explains how the film inspired the concert and film. Lastly, we can't help but chuckle since even Jakob couldn't coax his notoriously reclusive father into providing even a touch of recollection for the project. "Expecting to Fly" is offered as the end of the era.

I saw this film yesterday in Santa Barbara. After telling some guy to turn off his cellphone. Never saw the little theater so crowded. The film was a spoonful of Laurel Canyon music honey when there is so much more to tell. Music is personal. Yesterday I finished writing a song out in the trees and hills of Gaviota on my 12 string guitar. The song is called "Tom Petty's Gone." A friend picked me up and we had a picnic on the road to where Jackson Browne lives. We were then headed into town to see "Echo In the Canyon." A film reveals the intent of the story, the viewer then likes it or not. Crosby, Stills, Nash. Brian Wilson. Roger McGuinn and others were sharing stories. Absent were Neil Young, Joni Mitchell and other untold tales. This morning I woke up feeling what the film drove home for me. What happened to us ? Many of us were open and the music was the reflection of that beautiful spirit. People today are what happened to them. Peace and love was not a game for me. Miracles happen when we listen and talk to one another. So at the end of the film, it was dedicated to Tom Petty. While I was finishing my song yesterday, I wondered what Mike Campbell would do with the lead guitar part. He's a beautiful person, very kind. But, I can't make that phone call since I am not connected. I laughed thinking if I went to David Crosby's house and asked him to listen to the song, would he invite me in? Joan Baez's father picked me up hitchhiking once and asked me to play my guitar. I said no. He drops me off by Stanford University and says, "Young man, until you learn to appreciate the art for the art itself, it doesn't matter if two people, or two thousand people clap for you." True wisdom, but I wish you could hear my song. I felt like I lost a brother when Tom died. Keep on keepin on.

I saw the film this past Saturday night and thought it was outstanding. It put many songs from the 60s into their proper context in terms of development, highlighting the cross-collaborative efforts between bands that were in the canyon scene during that time, as well as further afield, primarily in the UK, to which I wasn't fully aware of the extent.

The film also shows the impact and influence that this particular music scene has had on contemporary musical artists, illustrated by renditions of many of the songs from that window in time by a particular stable of modern-day musicians at a show at Downtown LA's Orpheum Theatre in October of 2015. While I enjoyed seeing the highlights of that show in the film, it felt like they focused on that concert a little too much during the film's 90-minute runtime. There's also the not so subtle implication that these artists are the direct descendants of that culture and should be revered accordingly. While I like many of the artists depicted on-screen, the impact of the music made in, or inspired by, the late-1960s Laurel Canyon scene goes far beyond the indie/alt rock/pop genres. It would have been nice to have seen that acknowledged. That's my only real complaint with the film, and a relatively minor one at that.

All-in-all, I'm pleased that the filmmakers made the efforts that they did, interviewing many of the artists from that era that are still alive today, and visiting several of the recording studios that will likely be consumed in full by L.A.'s cutthroat real estate market in favor of redevelopment. When those days inevitably arrive, I'm hoping that some rich music lover(s) will have the foresight to purchase and digitally preserve them, even if they have to be relocated, or ultimately replicated, to another location...perhaps in the form of a "Music Studio Museum" in the Capitol Records Building, or in/with some other venue/institution of a similar stature, such as the Grammy Museum.

I enjoyed the film immensely and highly recommend it.