IMDb RATING
7.0/10
4.1K
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A look at the roots of the historic music scene in L.A.'s Laurel Canyon featuring the music of iconic groups such as The Byrds, The Beach Boys, Buffalo Springfield, and The Mamas and the Pap... Read allA look at the roots of the historic music scene in L.A.'s Laurel Canyon featuring the music of iconic groups such as The Byrds, The Beach Boys, Buffalo Springfield, and The Mamas and the Papas.A look at the roots of the historic music scene in L.A.'s Laurel Canyon featuring the music of iconic groups such as The Byrds, The Beach Boys, Buffalo Springfield, and The Mamas and the Papas.
- Awards
- 2 wins & 3 nominations
The Beach Boys
- Self
- (archive footage)
Buffalo Springfield
- Self
- (archive footage)
The Association
- Self
- (archive footage)
The Mamas and the Papas
- Self
- (archive footage)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaA segment of Buffalo Springfield performing a medley of "For What Its Worth" and "Mr Soul" is shown. Neil Young is shown playing to the bassist, who is sitting just barely inside the range of camera and with his back to the camera. Buffalo Springfield's bassist Bruce Palmer had recently been deported to Canada on drug charges and one of the roadies had to stand in for him at the last moment. Although they were lip syncing to the song, they didn't want to reveal that the roadie couldn't play the bass; thus, he was seated with his back to the camera.
- GoofsDespite The Beach Boys' inclusion in the film, none of them lived in Laurel Canyon. Brian Wilson's address was Laurel Way, which is in Beverly Hills, several miles away from Laurel Canyon.
- Crazy creditsDedicated to the memory of Tom Petty
- ConnectionsFeatures The Hollywood Palace (1964)
Featured review
The Kind of World Where We Belong
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.
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.
- How long is Echo in the Canyon?Powered by Alexa
Details
Box office
- Gross US & Canada
- $3,355,324
- Opening weekend US & Canada
- $117,651
- May 26, 2019
- Gross worldwide
- $3,355,324
- Runtime1 hour 22 minutes
- Color
- Aspect ratio
- 1.85 : 1
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