'Laurel Canyon,' the new two-part documentary on Epix premiering Sunday, is the most comprehensive and musically satisfying document of a notably insular scene
How to keep Coronavirus stress at bay: Listen, really listen, to your favorite albums, front to back, without distraction.For those reasons and more, Ellwood, whose feature film directing credits also include “American Jihad,” “Spring Broke” and “Magic Trip: Ken Kesey’s Search for a Kool Place,” had been wanting to focus on the Laurel Canyon music scene for 20 years. A lifelong Doors fan, she was drawn to the neighborhood when researching a documentary on the band that never happened.
“She struggles with that for 35 seconds, and we let that run for that long,” Ellwood says. “To me, that’s who Joni Mitchell is. She always goes to the deepest possible place.”The team’s goal was similarly intentioned, to create what the director calls “something immersive and experiential that included a lot of artists. [But] I didn’t want it to feel like an anthology.
“Laurel Canyon” lays it all out, combining narrative through-lines that in one way or another entangle Mitchell, Crosby, Stills, Nash, Gram Parsons, Ronstadt, David Geffen and his business partner Elliot Roberts, , John Phillips, Denny Doherty, Michelle Phillips and Elliot of the Mamas & the Papas, Gene Clark and various other members of the Byrds.
Linda Ronstadt, an early signing of David Geffen and Elliot Roberts’ Canyon-centered label Asylum Records.That shift was driven as much by the perils of, and drive for, success, as it was by Manson or Hells Angels. Even without those two oft-employed end-of-era touchstones, the scene was pricing, and drugging, itself out of the canyon. The union of neighbors Crosby, Stills and Nash begat a harmony trio that, after Woodstock, made them millionaires.
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