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The soundtrack to the new movie Echo in the Canyon includes several of the classic songs discussed in the documentary covered by artists ranging from Neil Young to Beck to Queen of the Stone Age’s Josh Homme.
The film centers on the start of the Laurel Canyon music scene in California from 1965-67, when artists like the Byrds, the Mamas and the Papas and others developed a camaraderie based around their shared love of folk-based singer-songwriters and pop music.
The documentary includes interviews with many of the artists who were there at the time, including Jackson Browne, David Crosby, Stephen Stills and Brian Wilson. Echo in the Canyon also includes one of the last interviews with Tom Petty before his death in 2017. Jakob Dylan serves as a guide of sorts, talking with newer artists who were influenced by the sound.
The soundtrack, which comes out on May 24, features Homme covering the Monkees’ “She,” Fiona Apple doing the Beach Boys’ “In My Room,” Young covering another Beach Boys song, “I Just Wasn’t Made For These Times,” and Regina Spektor taking on Young’s Buffalo Springfield song “Expecting to Fly.”
You can see the track listing below.
The first single from the album is a cover of the Mamas and the Papas’ “Go Where You Wanna Go” by Dylan and Jade Castrinos. You can listen to it below.
For a brief moment in music history, Laurel Canyon was the epicenter of the folk-rock sensibility. Despite being located inside one of America’s largest cities, the Canyon boasts exquisite surroundings captured onscreen with splendid cinematography, picturesque environs that appealed to countercultural residents with their return-to-nature vibe. As record producer Lou Adler relates: “To be that close to the Sunset Strip and yet you had a feeling of being in the country. It was beautiful.”
Echo in the Canyon features performances (glimpsed in glorious, vintage footage) by and interviews with different generations of musicians.
Among the original artists of the Laurel Canyon phenomenon appearing onscreen are: Michelle Phillips and the Mamas and the Papas; Brian Wilson and the Beach Boys; Roger McGuinn, David Crosby and The Byrds; Stephen Stills, Neil Young and Buffalo Springfield.
Graham Nash, Ringo Starr, Eric Clapton and Jackson Browne, as well as the 85-ish Adler, sharing their recollections of the place and era in what seem to be interviews conducted specifically for this documentary.
Some of the musicians’ memories have a tell-all nature, with back stories revealing what inspired various songs. For instance, Michelle Phillips’ infidelity to her then husband John Phillips led to his composing the Mamas and the Papas’ hit “Go Where You Wanna Go”. In a similar vein, it’s disclosed that Crosby’s 1967 song “Triad”, written for the Byrds, is about a ménage à trois,
The “Echo” of the film’s title references how the initial generation influenced succeeding waves of musical talents. The originators’ sound is reinterpreted in concert and studio recording sessions (apparently shot for Echo in the Canyon) by more contemporary musicians, including Norah Jones, Beck, Fiona Apple, Cat Power and Regina Spektor.
The late Tom Petty appears in his last film interview – Echo in the Canyon is dedicated to the memory of the Heartbreakers’ late lead singer. Quite cleverly, Jakob Dylan — son of an immortal member of the sixties’ musical vanguard and a talent in his own right — stars in Echo, performing onstage, appearing at interviews, et al, in this documentary which Jakob also executive produced.
Andrew Slater has long been associated with the younger Dylan, having produced the Wallflowers’ debut single in 1992 and their 2000 album, Breach. The 62-year-old Slater worked in music management for artists such as Beastie Boys, Don Henley, Lenny Kravitz and Jane’s Addiction and then as a record producer for Bob Dylan, Neil Young, Jerry Garcia, Fiona Apple, Macy Gray, etc.
From 2001 to 2007, Slater was the President and CEO of Capitol Records. Previously, Slater was a music journalist for outlets such as Rolling Stone, and he brought his music industry background to bear in creating his highly enjoyable, impressive first film. Slater discusses all this and more in the following candid conversation.
Andrew Slater: I was born and raised in New York. Spent a lot of time listening to WABC and WMCA [laughs], where I heard most of these records in the sixties. I left New York in 1975 to go to Emory University [in Atlanta]. I was there for four years, then became a not-so-good journalist.
Andrew Slater: My first experience with this music and the music that I loved was not in a concert hall. My parents wouldn’t let me go to see The Who or to the Fillmore or even go with my cousins to see the Beatles at Shea Stadium. My first experience with this was in a movie theater. So when I saw [D.A. Pennebaker’s 1967] Don’t Look Back, Help, A Hard Day’s Night, Woodstock, Gimme Shelter and Monterey Pop, that’s the moment my DNA changed forever. And I knew I wanted to pursue absorbing as much of this as I could.
Rock Cellar: When did you become aware of the role Laurel Canyon was playing in the rock scene? Probably like most people, when I found the path to discovering the third period — as I want to call it — of Laurel Canyon, which is the search for the individual and the singer/ songwriter era.
When reading about what was happening with Joni Mitchell and Crosby, Stills and Nash, that was the first time I heard about Laurel Canyon. But what I later learned was that in the beginning, all of these bands that came here did so pursuing the dream they saw in A Hard Day’s Night.
Which was to be in a band like the Beatles — it looked like fun, they were all playing music. So these collections of musicians, of multiple singers and songwriters, saw that the Byrds had a hit and they all came here chasing that dream.
For me, I wanted to explore the age of innocence of that period where they all come here. In the film, what we learn is that it didn’t last, for one reason or another. Michelle [Phillips] tells you her lifestyle and relationship with John [Phillips] fractured that band [the Mamas and the Papas].
And David Crosby tells you his behavior fractured that band [Buffalo Springfield]. And Stephen Stills tells you the multiple singers and songwriters created divergent directions. So ultimately it all kind of ends, and it’s on to the era of the individual. Which is why it’s called Buffalo Springfield and then a version of it is later called Crosby, Stills, Nash and Young.