They cover everything from Love, Byrd's, Doors, Nash, Stills and an amazing Crosby and of course Joni and Neil. Just wonderful to see this hive of creativity minutes from the city. We get to be flies on the wall during an epic period of popular music history. Can't wait for episode 2
24 Reviews
A trip into the past with a great soundtrack
bigtrain459 June 2020
In the years this documentary covers, I went from 15 to 25. I listened to these songs on the radio, bought the albums, and went to the concerts. It was a time of explosive creativity in pop music of all kinds, from England to Motown to Nashville to San Francisco and L. A., and Laurel Canyon was the epicenter of everything happening in L. A. As the documentary shows, the singer/songwriters and bands all found their way to a close knit community, where they fed each other's creative juices, and made a lot of memorable music. Clearly it was quite a project, as there are interviews from many years past with artists long dead. It was great to see one of my favorite bands, Love, get a fair amount of attention, but I don't see how the band Spirit got no mention at all. They did some of the most creative music of the time, and their guitarist, Randy California, invented various devices that are now incorporated into every electric guitar made. The band's chief composer, Jay Ferguson, is still doing tv and movie scores today.
Highly recommended, especially for those of you unaware of what went on in that place at that time.
California Dreamin'
asc8523 June 2020
This really is essential and must-see if you have any interest in the popular music that was created in the mid-60's - mid-70's in Southern California, specifically, the artists who lived in the Laurel Canyon area. I'm not an expert in this, but I am pretty knowledgeable about it, so it's always a treat when I learn about things for the first time that I didn't already know. A mild criticism of this movie was that it spent precious time on Little Feat, which was noted in the documentary itself that they were not a very popular or well-known group. The movie also reminded me of how great Linda Ronstadt was before she made the puzzling decision to start singing songs from the Big Band Era.
If you like this movie, I would also recommend 2008's, "The Wrecking Crew" about the unknown session musicians of that era who were responsible for helping to make many of the classic songs that came out of that time.
Finally, please note that this great documentary should not be confused with "Echo in the Canyon," Jakob Dylan's self-indulgent documentary that ostensibly was also about the Laurel Canyon era, but instead was mostly just him and his buddies doing covers of classic songs made famous by the original artists.
If you like this movie, I would also recommend 2008's, "The Wrecking Crew" about the unknown session musicians of that era who were responsible for helping to make many of the classic songs that came out of that time.
Finally, please note that this great documentary should not be confused with "Echo in the Canyon," Jakob Dylan's self-indulgent documentary that ostensibly was also about the Laurel Canyon era, but instead was mostly just him and his buddies doing covers of classic songs made famous by the original artists.
Beautiful trip to the nostalgic history of the time and place
kalibeans31 May 2020
I was very pleasantly surprised at the the amount of original footage and narration by the singers and songwriters themselves, thinking that there could not possibly be anything left that had not been shown elsewhere before. The show does a very creative job of joining that particular place - Laurel Canyon Road - with stories about the people and music that came out of that one location. Not to be missed if you love the music of that period in time. Thank you for a wonderful evening.
Musical magic in the hills near Hollywood - what a time and place!
Sasha_Lauren1 July 2020
"It was just about a time, the creative awakening." ~ Jackson Browne
Allison Ellwood directed this two-part docuseries that covers the time and place where many of the top musicians of the day lived and hung out in a magical, semi-communal style life in the hills of California's Laurel Canyon in the heyday of the 1960s and early 1970s. As a child, I was transplanted from the midwest to the base of this fertile canyon and into this creative aura that permeated my soul.
The film moves fast, but not too fast, in a sumptuous display of picture and video images that tumble forward in accompaniment to the tunes and tales of beloved Troubadours.
Photographers Henry Diltz and Nurit Wilde, whose photographic contributions are seminal to documenting this tremendous time, both explain how they began taking pictures of the talented, photogenic folks on the cutting edge of the music and social scene to capture the moments they were part of. Over time, their photographic passions unfolded into stunning historical archives of this special time in the canyon and the reach these musicans had on the world.
This pleasureful project wove together individual stories I'd heard over the years with bits and bobs that were new to me. No matter how much you already know or not, this film offers a satisfying overview of the scene: David Crosby produced Joni Mitchell's first album in Florida and brought her to California where they landed in the rural canyon that runs as an artery through urban Los Angeles. Many of the artists-in-residence were hosted by, (and introduced to each other via), the exquisite, magnanimous "Mama" Cass Elliot of The Mamas & The Papas.
Crosby, Still, and Nash, and ultimately Young, hook up and go through various ups-and-down stages of their musical partnership. Linda Ronstadt and JD Souther have a cute meet and move in together, leading to love and creative collaboration; those in the orbit of luminous song stylist extraordinare, Linda, found themselves incarnating as a supergroup, The Eagles.
Graham Nash narrates his sweet story of how he and Joni Mitchell, then deep in domestic bliss, ate at Art's Deli on Ventura Blvd. one morning, after which Joni bought a vase she fancied, they returned to their canyon home, Joni went home to pick flowers to fill her new pretty purchase, and while she was out, her piano was empty and Graham presided over it and out spilled "Our House."
There is precious video of Eric Clapton listening gape mouthed to a fresh Joni play her unique guitar chords at a house party; Nurit Wilde adored taking photos of the affable Peter Tork, who had a penchant for nudity, and hosted pool parties at his haven in the hills; and one of my favorite moments is when Jackson Browne, the new kid, (then a georgous, cherub-faced young man), played "Song for Adam," for an impressed David Crosby, who dubbed Jackson part of the new wave of canyon musicians.
Apolitical young singer-songwriters found their voice during this transformative time. A seminal moment occured for Stephen Stills in 1966 when he witnessed the Sunset Strip curfew riots with violent clashes between police and the youth; he went home and wrote, "For What It's Worth."
In 1969, the moon landing was followed and juxtiposed by the Manson Murders; one positively electrifying event so far away, yet glowed larger than life in every living room in the country, and the other, awful events, so close by and negatively charged that they cast a gorey gloom over the graceful goodness of the days.
Groups and singers that brought country music into the rock fold were covered, as was The Monterey Pop Festival, and the move from playng intimate clubs like the Troubadour (where the artists could meet up, collaborate, and soak in each other's songs) to being booked at huge arenas, where larger audiences could enjoy the shows, but the cozy creativity of the Laurel Canyonites was lost.
The list of talent in the canyon included: Joni Mitchell; Crosby, Still, Nash & Young; Buffalo Springfield; The Byrds; The Mamas & The Papas; The Doors; Alice Cooper;The Monkees; Love; The Turtles; Jackson Browne; Linda Ronstadt; Little Feat; and The Flying Burrito Brothers. Steve Martin too!
I highly recommend this movie.
Allison Ellwood directed this two-part docuseries that covers the time and place where many of the top musicians of the day lived and hung out in a magical, semi-communal style life in the hills of California's Laurel Canyon in the heyday of the 1960s and early 1970s. As a child, I was transplanted from the midwest to the base of this fertile canyon and into this creative aura that permeated my soul.
The film moves fast, but not too fast, in a sumptuous display of picture and video images that tumble forward in accompaniment to the tunes and tales of beloved Troubadours.
Photographers Henry Diltz and Nurit Wilde, whose photographic contributions are seminal to documenting this tremendous time, both explain how they began taking pictures of the talented, photogenic folks on the cutting edge of the music and social scene to capture the moments they were part of. Over time, their photographic passions unfolded into stunning historical archives of this special time in the canyon and the reach these musicans had on the world.
This pleasureful project wove together individual stories I'd heard over the years with bits and bobs that were new to me. No matter how much you already know or not, this film offers a satisfying overview of the scene: David Crosby produced Joni Mitchell's first album in Florida and brought her to California where they landed in the rural canyon that runs as an artery through urban Los Angeles. Many of the artists-in-residence were hosted by, (and introduced to each other via), the exquisite, magnanimous "Mama" Cass Elliot of The Mamas & The Papas.
Crosby, Still, and Nash, and ultimately Young, hook up and go through various ups-and-down stages of their musical partnership. Linda Ronstadt and JD Souther have a cute meet and move in together, leading to love and creative collaboration; those in the orbit of luminous song stylist extraordinare, Linda, found themselves incarnating as a supergroup, The Eagles.
Graham Nash narrates his sweet story of how he and Joni Mitchell, then deep in domestic bliss, ate at Art's Deli on Ventura Blvd. one morning, after which Joni bought a vase she fancied, they returned to their canyon home, Joni went home to pick flowers to fill her new pretty purchase, and while she was out, her piano was empty and Graham presided over it and out spilled "Our House."
There is precious video of Eric Clapton listening gape mouthed to a fresh Joni play her unique guitar chords at a house party; Nurit Wilde adored taking photos of the affable Peter Tork, who had a penchant for nudity, and hosted pool parties at his haven in the hills; and one of my favorite moments is when Jackson Browne, the new kid, (then a georgous, cherub-faced young man), played "Song for Adam," for an impressed David Crosby, who dubbed Jackson part of the new wave of canyon musicians.
Apolitical young singer-songwriters found their voice during this transformative time. A seminal moment occured for Stephen Stills in 1966 when he witnessed the Sunset Strip curfew riots with violent clashes between police and the youth; he went home and wrote, "For What It's Worth."
In 1969, the moon landing was followed and juxtiposed by the Manson Murders; one positively electrifying event so far away, yet glowed larger than life in every living room in the country, and the other, awful events, so close by and negatively charged that they cast a gorey gloom over the graceful goodness of the days.
Groups and singers that brought country music into the rock fold were covered, as was The Monterey Pop Festival, and the move from playng intimate clubs like the Troubadour (where the artists could meet up, collaborate, and soak in each other's songs) to being booked at huge arenas, where larger audiences could enjoy the shows, but the cozy creativity of the Laurel Canyonites was lost.
The list of talent in the canyon included: Joni Mitchell; Crosby, Still, Nash & Young; Buffalo Springfield; The Byrds; The Mamas & The Papas; The Doors; Alice Cooper;The Monkees; Love; The Turtles; Jackson Browne; Linda Ronstadt; Little Feat; and The Flying Burrito Brothers. Steve Martin too!
I highly recommend this movie.
10/10 The world seemed a better place back then!
dvh279 August 2020
Amazing doc, loved the way it flowed, loved the way the narration was done with audio as opposed to having someone In the interview chair which definitely made it more romantic in my opinion. Yes a lot we have heard before but we have never heard it before in such a wonderfully mystical way. Loved it.
A three hour tour of the Laurel Canyon music scene
gortx1 August 2020
This three hour epix Documentary does a pretty solid job of covering the story of the famed Hollywood Hills enclave's music scene from the mid-60s to the mid-70s. The California Sound as it later became known as.
In this Doc's telling the beginnings of the Laurel Canyon scene flowed through The Byrds and The Buffalo Springfield into the super-group Crosby, Stills, Nash & Young. The tribal leader seemed to be David Crosby, who not only was a member of all three bands, but, also helped nurture singer-songwriters like Joni Mitchell and Jackson Browne (the sad irony being, as Crosby says in the Doc about him, REMEMBER MY NAME, is that none of the artists he ever played with will even speak to him now). As the scene grew, so did the number of musicians who drifted through including The Doors, Love and The Eagles.
Still photographers Henry Diltz and Nurit Wilde are here to share their vast vaults of pictures they snapped along with the stories that went with them. Director Alison Ellwood and her team also cobbled together a good array of film clips to illustrate, along with healthy doses of the actual music (licensing rights permitting, I assume). I'll leave it to those with a more encyclopedic knowledge to argue over which artists got enough/not enough coverage here or over which bands and singers were overlooked. My only quibble is that Ellwood occasionally lets her interviewees dictate where her focus goes. It's not important to archive each and every band member's comings and goings, and others who never even lived in the Canyon seem to have just attended a party or two. It's all interesting stuff, but, unless you are doing a Ken Burns style 15 hour series, the focus should have stayed on the scene proper. Still, overall, LAUREL CANYON is quite good (and a heck of an improvement over last year's cliquish ECHO IN THE CANYON).
In this Doc's telling the beginnings of the Laurel Canyon scene flowed through The Byrds and The Buffalo Springfield into the super-group Crosby, Stills, Nash & Young. The tribal leader seemed to be David Crosby, who not only was a member of all three bands, but, also helped nurture singer-songwriters like Joni Mitchell and Jackson Browne (the sad irony being, as Crosby says in the Doc about him, REMEMBER MY NAME, is that none of the artists he ever played with will even speak to him now). As the scene grew, so did the number of musicians who drifted through including The Doors, Love and The Eagles.
Still photographers Henry Diltz and Nurit Wilde are here to share their vast vaults of pictures they snapped along with the stories that went with them. Director Alison Ellwood and her team also cobbled together a good array of film clips to illustrate, along with healthy doses of the actual music (licensing rights permitting, I assume). I'll leave it to those with a more encyclopedic knowledge to argue over which artists got enough/not enough coverage here or over which bands and singers were overlooked. My only quibble is that Ellwood occasionally lets her interviewees dictate where her focus goes. It's not important to archive each and every band member's comings and goings, and others who never even lived in the Canyon seem to have just attended a party or two. It's all interesting stuff, but, unless you are doing a Ken Burns style 15 hour series, the focus should have stayed on the scene proper. Still, overall, LAUREL CANYON is quite good (and a heck of an improvement over last year's cliquish ECHO IN THE CANYON).
A fantastic view of a remarkable time in music
malcolmjohnston30 July 2020
If you're a fan of music from the mid 60's to the early 70's this 2 part documentary is a fantastic insight from people who witnessed how a small community of hopeful musicians became world renowned from the first wave of The Byrds finding success by Bob Dylan's backing vocals singing out of tune to the second wave and the likes of the Eagles dominating the radio airwaves across the world.
I really wish this time capsule could of been made longer but as a fan seeing and hearing how the connection's between young hopefuls spark into some of the greatest music ever written and recorded.
A truly magical time shown it great detail , which leaves you thinking just how much the world could do with a repeat of the 'Laurel Canyon' vibe springing up some in today's music machine
Making music for musics sake not just to make money for the suits in an office
Going to Watch it Tomorrow
kcop-284233 February 2022
But to the few people here have have call the band Love insignificant you don't have a clue what you're talking about. Love was the most popular band in the LA club scene from 1965 through 1967. If you had to pinpoint one band who was most influential in creating and perfecting the LA music style of the mid 60's it would be Love and the songs written by Arthur Lee and Bryan Maclean. The Byrds were big as well but Love really defined the sound. Don't believe me? Go experience their first album Love and their 3rd album Forever Changes. Do it now.
10 out of 10. As good as it gets.
dtrobb2 July 2020
Extended, but lesser version of Under The Covers with Henry Diltz
mcshack28 June 2020
Extended version of Under The Covers with Henry Diltz which I highly recommend if you like Laurel Canyon at all. Henry was the photographer with the huge collection of photos in LC, many of which were used in the filming of both documentaries. Some of the same footage was reused in Laurel Canyon from Under The Covers but it made LC better in my opinion.
One of the other reviewers was probably correct about copyright issues for some of the music, record companies or performers. I'm sure some like Neil Young were not easy to deal with in getting permissions but what do I know, this story took place from when I was about 10 and just getting into music and ended when I was about 20 and was really heavy into music at college.
I really think they missed an opportunity to make the greatest Laurel Canyon documentary made with too much time spent on some lesser known artists and not enough spent on some artists like Carol King and Frank Zappa like another reviewer mentioned. Some more fresh interviews and interviews could have made this so much better. I gave it 7 out of 10 which might have been a little harsh, but it was not deserving of 9 or 10 out of 10 by any stretch.
Don't pay to see it unless you really, really love Moma Cass and Joni M., but don't care if you only get to hear a few seconds of only a few songs. In that case you should go out and buy this right away. For me it was a watch once for free and done, but I thoroughly enjoyed almost every minute of it and found myself wanting more, so much more.
One of the other reviewers was probably correct about copyright issues for some of the music, record companies or performers. I'm sure some like Neil Young were not easy to deal with in getting permissions but what do I know, this story took place from when I was about 10 and just getting into music and ended when I was about 20 and was really heavy into music at college.
I really think they missed an opportunity to make the greatest Laurel Canyon documentary made with too much time spent on some lesser known artists and not enough spent on some artists like Carol King and Frank Zappa like another reviewer mentioned. Some more fresh interviews and interviews could have made this so much better. I gave it 7 out of 10 which might have been a little harsh, but it was not deserving of 9 or 10 out of 10 by any stretch.
Don't pay to see it unless you really, really love Moma Cass and Joni M., but don't care if you only get to hear a few seconds of only a few songs. In that case you should go out and buy this right away. For me it was a watch once for free and done, but I thoroughly enjoyed almost every minute of it and found myself wanting more, so much more.
Fun To Hear Some of The Backstories...
bigdave-610-7538627 June 2020
But the incredible, over the top, pop-psychoanalysis of themselves and the rest of us is a little off-putting. For a bunch of music players, they make themselves sound like they were the most important thing in the world instead of music players that people wanted to dance and get laid to.
Could Have Been Better
canterburybella-68010 June 2020
Great potential but a missed opportunity in many ways for music buffs of that era and the music that came out of Laurel Canyon. For example no mention of The Stone Poneys hit Different Drum written by Mike Nesmith, which launched Linda Ronstadt's career and also would have tied the story back to The Monkees who are featured briefly in part 1. A lot about Crosby Stills Nash, but no mention of Neil Young joining them to become CSNY and their ground breaking famous album Deja Vu. How could Alison Eastwood miss this!? Also no mention of Carole King who was living in the Canyon when she made one of the most iconic albums of the singer song writer era, Tapestry. Alison Eastwood bores us with too much time spent on insignificant and unsuccessful acts of the Canyon like Love, Bonnie Rait, and Little Feat.
Beautiful scenery and aerial photography of Laurel Canyon, which is not seen in other documentaries, so this was a bonus to get a feel for the landscape.
Also mentioning the Manson Family murder spree and the 4 deaths at Altamont was irrelevant in terms of the Laurel Canyon context and music that came from there.
I was happy to see the Mamas and Papas finally featured in a Laurel Canyon documentary, as they are usually missed, and only Cass Elliot gets attention.
If you know nothing about Laurel Canyon, you'll enjoy it, if you know a lot, you'll wonder at some of the omissions and inclusions.
Why wasn't I there.....
glynis-486702 July 2022
Spectacular
petergoodman-157-55304429 April 2022
Music with context. A must see.
steelerbob2 August 2022
With a majority of today's pop\rock music either created inside a game show, or lost in streaming obscurity Laural Canyon shines a light on what could be possible again. Obviously the record business is not the same, and the modality of sharing new music has radically changed. However, LC teaches us the music that changed us came from a group of people who were first and foremost community minded. The concept of a ' music scene' cannot be lost on the viewer. What that music offers the listener, the enthusiast is an energy. It seems to me it's difficult if not impossible for a lasting music scene filled with energy and life to exist inside one's and zero's alone. If you love music and want to share how it was created out of thin air (and how it could happen again), show this to your teenager. Before it fades away into the dust of 'old stuff'.
Fan dam tastic!
jimsparky9 June 2020
Excellent saga of how rock developed....but
freonicusmaximus30 October 2020
It leaves out the CIA's involvement to harness and corrupt the minds of the youth, which is what I thought this would be about, but alas.... Let us not forget about John Todd and his witness of David Crosby affirming "Yes we still take all the albums into the temple prior to release to incant demonic forces into it". The CIA bought an old afb in Laurel Canyon to mix all these records, which i presumably where the photographer in the film is working from still to this day, which has since been bought by Jared Leto the actor and is still used for seances and who knows what else. So yeah for music history, but the whole truth is not presented here.
A moment in time, with magical power
MEMangan17 July 2022
This is a very compelling look at a place and time that was remarkably influential. It has the nostalgia of being the soundtrack that I grew up with, listening on the OTA radio. But I never knew about the fascinating collection of people all living in this one small area because celebrity culture at the time wasn't all on Insta all day long.
It really seems like it must have been a special Brigadoonish place, that can't be replicated and must emerge on its own, rarely. And the right people need to find it.
That said, it's almost an entirely white male story, and certainly wasn't the only thing going on in the world. But it was an interesting capture of the lightning in a bottle of the late 60s with great photos, sounds, and film. Very worthwhile.
It really seems like it must have been a special Brigadoonish place, that can't be replicated and must emerge on its own, rarely. And the right people need to find it.
That said, it's almost an entirely white male story, and certainly wasn't the only thing going on in the world. But it was an interesting capture of the lightning in a bottle of the late 60s with great photos, sounds, and film. Very worthwhile.
Songs of my youth - a journey back
sq8188-162-45805930 November 2020
This is a nostalgic documentary of an era in Rock n Roll that could never be recreated. The comaraderie and synergy during that time in our history and at the magical place lifted pop music to great heights, probably aided by LCD but what the heck. Most of the important pioneers were covered and abetted with interesting personal stories. Crosby,Still,Nash & Young got a lot of attention, as they should be. On the other hand, The Byrds got entirely too much attention, especially in the beginning; this band's influence on Rock of the 60s and 70s can not be compared to CSNY or The Mamas and Poppas earlier. Also not enough time was dedicated to Joni Mitchell who was one of the titans of her time transcending rock and folk music. Joni's popularity dropped off significantly after she tragically turned her focus toward jazz. As her fan I felt forsaken - but that was beside the point. Mitchell's "Ladies of the Canyon" should have been included as it depicts the canyon life marvelously.
Content dictated by music licensing?
lowell13 June 2020
I had the feeling that the choice of which bands were featured was constrained by whether the music could be licensed for the film. How else to explain so much time devoted to minor acts like Little Feat, while ignoring Zappa (who lived in Laurel Canyon until his death), Carole King, etc. and minimizing Neil Young, who apparently would not cooperate with the filmmakers. Sweetheart of the Rodeo is mentioned as a huge breakthrough in country rock but some generic music is heard rather than a cut from the album.
Part 1 is far superior to Part 2. As someone in the film remarks, Part 1 is "the pioneers" and Part 2 is "the settlers." Both are worth watching for the wealth of home movies and other period footage. But the soundtrack presents a very skewed and watered-down version of the musical history.
Part 1 is far superior to Part 2. As someone in the film remarks, Part 1 is "the pioneers" and Part 2 is "the settlers." Both are worth watching for the wealth of home movies and other period footage. But the soundtrack presents a very skewed and watered-down version of the musical history.
Copyright issues?
marior-2714825 June 2020
Could have been so much better. Either theres selective artistic licence going on or the production only had rights to limited catalog of songs and artists.
First episode was passable except for all the time spent covering a band called Love. 2nd episode jumps right into the bizarre spending so much time on Little Feat, Bonnie Raitt (absolutely unheard of at the time) and propping up the likes of Flying Burrito Brothers and Gram Parsons as if they were music gods. The flat out of ideas Byrds got more airplay than their seminal first albums did. A travesty. 8 Miles high nowhere in the mix.
One gets the feeling the producers virtually hated Neil Young. Or have no access to his vast catalog. Again to spend so much time on the Burrito Bros and none on the solo Neil Young. Absolutely absurd. Neil Young doesn't exist in this documentary save for some pictures and being with CSN and Buffalo Springfield. Stills not put in a good light either.
Could do without the Steve Martin seques or Charles Manson either. Documentary spent more time than required on that and the connections have been covered duly in other books, productions.It was enough to just mention the zeitgeist of the time being so interrupted and changing the free feeling of the era.
AS others have mentioned Carol King or Frank Zappa could have got some consideration. They were actually listened to at the time.
On a positive note Joni Mitchell was captured very well, and deservedly so. At least she got the recognition. A nice part about her and Nash and the inspiration for "Our House". Mitchell indeed captured the era, the time, as well as anyone and her peace shone through more than most.
This is worth a watch, but not worth seeing again. 2nd episode was mostly a waste of time. Its hard to get this material so wrong. There so much that was happening, so much that defined it, artists that made it, most of their best contributions are completely missing from the documentary.
First episode was passable except for all the time spent covering a band called Love. 2nd episode jumps right into the bizarre spending so much time on Little Feat, Bonnie Raitt (absolutely unheard of at the time) and propping up the likes of Flying Burrito Brothers and Gram Parsons as if they were music gods. The flat out of ideas Byrds got more airplay than their seminal first albums did. A travesty. 8 Miles high nowhere in the mix.
One gets the feeling the producers virtually hated Neil Young. Or have no access to his vast catalog. Again to spend so much time on the Burrito Bros and none on the solo Neil Young. Absolutely absurd. Neil Young doesn't exist in this documentary save for some pictures and being with CSN and Buffalo Springfield. Stills not put in a good light either.
Could do without the Steve Martin seques or Charles Manson either. Documentary spent more time than required on that and the connections have been covered duly in other books, productions.It was enough to just mention the zeitgeist of the time being so interrupted and changing the free feeling of the era.
AS others have mentioned Carol King or Frank Zappa could have got some consideration. They were actually listened to at the time.
On a positive note Joni Mitchell was captured very well, and deservedly so. At least she got the recognition. A nice part about her and Nash and the inspiration for "Our House". Mitchell indeed captured the era, the time, as well as anyone and her peace shone through more than most.
This is worth a watch, but not worth seeing again. 2nd episode was mostly a waste of time. Its hard to get this material so wrong. There so much that was happening, so much that defined it, artists that made it, most of their best contributions are completely missing from the documentary.
Disappointed
klasikvhs8 July 2020
You mean you can't find 3 hours of stories about Laurel Canyon so you have to retell how bands met and how songs became songs???
SEEN IT ALL BEFORE.
It promised insight as to what it was like to live in that neighborhood. But it's merely another documentary about music... snooooooooozefest.
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