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Hello and welcome to the movie blog of author John DeFrank - FilmZ and Guy Sobriquet Malone - Researcher

Echo in the Canyon -- Review


Echo in the Canyon -- Documentary review by Guy S. Malone, Researcher

Laurel Canyon is a peaceful wooded enclave separated from the bustle and concrete of Los Angeles by a steep hill.   In the late 1960s, an astounding collection of musical talent settled along its twisting roads.  Many became friends and collaborated on some of the most memorable music of that era.

In 2015, producer-director Andrew Slater and Jakob Dylan collected a group of contemporary artists to perform a tribute concert, and this documentary is Slater's and Dylan's way of sharing both with the world.  Dylan, as host, toggles between roundtable discussion with the concert performers (Fiona Apple, Beck, Jade Castrinos, Cat Power, Norah Jones, and others) and stars of that era (Michelle Phillips, Roger McGuinn, David Crosby, Stephen Stills, Graham Nash, and record producer Lou Adler, to name a few), and he ties them together with interviews of rock legends who both influenced and were influenced by the Canyon gang (Ringo Starr, Eric Clapton, Jackson Browne, and, most notably, Tom Petty, who acts as a co-narrator and to whom the film is dedicated).

We learn the inner dynamics of this society--why Crosby was bounced from the Byrds; how Stills got out of a drug bust, leaving Clapton, Nash, and Neil Young holding the bag; Phillips' embracing of the free-love spirit of the era.  But these gossipy items pale in comparison to meaty observations: the profound effect Brian Wilson and the Beach Boys album, Pet Sounds, had on Canyon artists.  Stills of Buffalo Springfield and Crosby, Stills & Nash adds that one group’s influences became another’s inspirations. There is agreement that it all started with The Beatles and the sounds George Harrison produced with his 12-string Rickenbacker guitar.  McGuinn, for example, used the sound to meld an “old folk song and souping it up with a Beatle beat.”  Regina Spektor provides one of the most interesting insights during a contemporary round table when she observes that the songs of that era have a more dreamlike quality than their predecessors, and she wonders if the Laurel Canyon musicians were getting in touch with their unconscious minds.  These are but a few insights among the many highlights of the film.

This is not to say it's perfect, though.  The presence of former Capitol Records CEO Slater, despite his obvious contributions and expertise, detracts from the doc.  Witness his hyperbolic (and wildly inaccurate) claim that The Byrds’ 1965 debut album was the first time “a song of poetic depth and grace had become a hit.” (We wonder what Capitol Records co-founder Johnny Mercer, who wrote Moon River and Days of Wine and Roses-- would say about that.)  There is also the head-scratching decision to use footage from Jacques Demy’s 1969 film Model Shop for historical atmosphere.  Rather we would have seen time devoted to Laurel Canyon neighbors Carole King, pictured but uncredited for her contributions and brilliance; Frank Zappa referenced not for his mad talent but only as a kind of mad street preacher.  But at least they show up, which is more that we can say for Joni Mitchell and Jim Morrison.  Oh well, Slater had his narrative--to tie his and Jakob Dylan's eponymous concert with the documentary.  We only wish Slater had absented himself and the French art film and added time to the trim 82-minute film and paid tribute to these other legends, as well.
7.5 out of 10 

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