Young girls are coming to the canyon

“At first so strange to feel so friendly, to say ‘good morning’ and really mean it, to feel these changes happening in me, but not to notice ’til I feel it, young girls are coming to the canyon, and in the mornings, I can see them walking…”  “Twelve Thirty (Young Girls Are Coming to the Canyon),” The Mamas and The Papas, 1967

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When I moved to Los Angeles in August 2011, I got in my car and started exploring the streets, the beaches, the tourist attractions and the famous landmarks that are mentioned in so many songs I listened to as a kid growing up in far-away Ohio.

The Pacific Coast Highway.  Venice Beach.  Sunset Strip.  The Santa Monica Pier.  Topanga Canyon.  Hollywood Boulevard.  The Troubadour.

tMV6BuuOne afternoon, I found myself on Sunset Boulevard, heading toward one of the nation’s meccas for every music lover and album buyer, Amoeba Records.  Sitting at a light, I looked at the street sign and realized I was at the base of Laurel Canyon Boulevard.  Wow, I thought, Laurel Canyon.  So much rock history there!

The main thing I recall reading about Laurel Canyon was how Joni Mitchell lived in a rustic cottage there in 1969, and shared the place for a while with Graham Nash.  They wrote many of their wonderful early songs there, including Nash’s “Our House,” specifically about the idyllic home life they nurtured there as one of counterculture’s better-known couples.

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Stephen Stills and Peter Tork

I turned left and headed up the winding road in hopes of getting a taste for what the Laurel Canyon community was all about.  I pictured some sort of woodsy Shangri-La where hippie types strummed guitars on front porches, waving and welcoming passersby in for tea and a hit off the hash pipe.

How silly of me to expect that more than 40 years later.  That was then, this is now.

Laurel Canyon Boulevard today is a very busy, overtaxed roadway that brings way too much traffic up and down the canyon connecting the San Fernando Valley with West Hollywood.   Like other canyon roads that snake through the Santa Monica Mountain range and the Hollywood Hills, Laurel Canyon can be a peaceful exception to the hustle-bustle of the rest of “El Lay,” especially if you turn onto the dead-end side streets that delve even deeper into the lush greenery.  But on the main thoroughfare, the long slow line of cars driven by impatient residents and valley commuters have little patience for swivel-headed tourists who dawdle and gawk, wondering where the peace-and-love musicians have gone.

From the mid-’60s into the early ’70s, an inordinate number of game-changing musicians

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The Mamas and The Papas

whose songs represented “the California sound” called Laurel Canyon home, even if only briefly.  The Byrds (Roger McGuinn, Chris Hillman and David Crosby) ruled the roost for a spell, as did John & Michelle Phillips of The Mamas and The Papas.  John Densmore and Jim Morrison of The Doors lived there, as did Buffalo Springfield (Stephen Stills, Richie Furay and Neil Young).  Bands like Canned Heat and Love were residents, as were Peter Tok and Mickey Dolenz of The Monkees.  Even iconoclast Frank Zappa of The Mothers of Invention made his home in the Canyon for a while.

Carole King, who had first gained fame as a Brill Building songwriter in New York with husband/partner Gerry Goffin, moved to Laurel Canyon in 1970, where she wrote the songs that would end up on her exceptional “Tapestry” album, a defining record of the ’70s and, for a while, the best selling record in history.

John Mayall, pioneer of the British blues movement, moved to L.A. in 1968 in the wake of the breakup of his band The Bluesbreakers, and recorded and released “Blues From Blues-From-Laurel-CanyonLaurel Canyon” that year.  One track, a gentle blues number called “Laurel Canyon Home,” painted this simple picture: “Each and every morning, when the sun is high, I hunt around the canyon until I find a place to lie, it’s so beautiful to be alone, got the sun and trees and silence, I’m in my Laurel Canyon home/ Looking back a century, I look at where I stand, it must have looked the same as when Apaches roamed the land, it’s so beautiful to be alone, got the sun and trees and silence, I’m in my Laurel Canyon home…”

Perhaps most famous of the Laurel Canyon crowd was Mitchell, the Canadian singer-songwriter whose third LP, “Ladies of the Canyon,” was written there in 1969-1970.  The title song describes the innocent waifs and sturdy Earth mothers who inhabited the community at the time:  “Vine and leaf are filagree, and her coat’s a second-hand one, trimmed in antique luxury, she is a lady of the canyon…  For her home, she gathers flowers, and Estrella, dear companion, colors up the sunshine hours, pouring music down the canyon…”

The Doors’ 1968 tune “Love Street” (from their #1 LP “Waiting For the Sun”) is Morrison’s nickname for Laurel Canyon Boulevard.  He also references the Laurel Canyon Store, a images-46general-store hangout that still exists today:  “She lives on Love Street, lingers long on Love Street, she has a house and garden, I would like to see what happens…  I see you live on Love Street, there’s this store where the creatures meet, I wonder what they do in there…”

Long before this group of musicians descended on the area, Laurel Canyon had been an escapist place, a magical-forest part of Los Angeles where the noise and smog didn’t seem to penetrate.  Hollywood actors in the ’30s, ’40s and ’50s found privacy there, a safe haven in which to conduct private trysts and experiment with drugs, away from the prying eyes of the paparazzi’s cameras.

In “Canyon of Dreams:  The Magic and the Music of Laurel Canyon,” an exhaustive history and exploration published in 2009, author Harvey Kubernik offers this 51ZqLeLTBEL._SX378_BO1,204,203,200_description:  “It was the place where you ran away from your parents, hid from authorities, wrote music, books, screenplays, hung out with bands, chart-toppers and pretenders.  The music it gave birth to — before swollen egos and swollen nostrils brought a heavy rain down — somehow still informs the soundtrack of our lives.”

In the book’s foreword, Ray Manzarek, keyboardist of The Doors, said, “There was always some kind of magic afoot in that Canyon.  The light and the sun infused that zone with a sense of joy.  There was always something spiritual about that slice through the green earth, but never more so than in the ’60s.  We had become the new tribe, and it felt as if we were spreading the message of (dare I say it today) love to a new world.”

Danny Hutton of Three Dog Night arrived in Laurel Canyon back in 1964 and never left,  raising a family, tending a garden, and becoming a stalwart of the community.  Today, he boasts the unofficial title of ambassador of the canyon.  “Everyone has this thing about Laurel Canyon.  It’s a mythical place for most people.”

The Wallflowers’ Jakob Dylan, son of legendary tunesmith Bob Dylan, has always been intrigued by the aura of Laurel Canyon’s rock ‘n roll heyday.  In 2015, he staged a concert with Beck, Fiona Apple and other musicians to pay tribute to the music of that place and Echo-in-the-Canyon-movietime.  He then collaborated with producer Andrew Slater to conduct interviews with some of the key players of that era — David Crosby, Michelle Phillips, Brian Wilson, Stephen Stills, Jackson Browne, Roger McGuinn, Eric Clapton, Graham Nash, even Ringo Starr and producer Lou Adler.  He also spoke at length with Tom Petty (his final interview before his death) about how the songs and sounds born in Laurel Canyon had a profound influence on him and other contemporaries.

The result is a documentary of sorts called “Echo in the Canyon,” which is currently making a splash in cinema houses around the country.  It’s kind of disjointed, woefully incomplete and flawed, in my opinion, but for people of my generation, “Echo in the Canyon” is a fun and invigorating 82 minutes well spent.  For younger generations, or those who aren’t hip to the influences and inspirations of the Laurel Canyon story, it will no doubt be an eye-opening experience.

A side note:  I thought my readers might like to know there’s a 2002 film called “Laurel MV5BNWNiYzg1ZTktOTBmOC00YWIxLWJmNzUtZDRhYjEwZjA0YmIxXkEyXkFqcGdeQXVyNTc1NTQxODI@._V1_Canyon” starring Frances McDormand, Christian Bale and Kate Beckinsale that is well worth your time as well.  Said director Lisa Cholodenko:  “My film editor and I were listening to music one day, and had brought in that Joni Mitchell album, ‘Ladies of the Canyon.’  I used to love that record. We listened to it, and started talking about what the Laurel Canyon scene must have been like in the late ’60s-early ’70s.  I thought it would be fun to set a movie in that scene but changed to a modern context. And I just took it from there.”  It’s a quirky piece of fiction set in the Canyon that focuses on the evolving relationship between a hippie-type mother and her more conventional son and daughter-in-law as they explore sexual tensions and generational differences.

Photographer Henry Diltz, one of rock photography’s most respected figures, has captured hundreds of photos of Laurel Canyon and its most celebrated musical practitioners.  One such photo appears on the iconic album cover for the debut LP “Crosby, Stills and Nash,” which was taken in West Hollywood, only a stone’s throw from Laurel Canyon.  Another is the wonderful shot (below) of Joni Mitchell leaning out the D6949H_UIAA0ru6window of her Laurel Canyon cottage.  “I really admired these people and their amazing music, and I felt honored to photograph them in their milieu.  We are still close friends to this day.”

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The Spotify play list below includes songs referred to in this essay as well as recordings from the “Echo in the Canyon” film soundtrack.

 

 

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8 comments

  1. tmauthor · June 22

    Hi Bruce, nice article! Since you read my memoir, Making It: Music, Sex & Drugs in the Golden Age of Rock, you know I spent 15 years — the most creative part of my life — living and working in Laurel Canyon. I start one chapter with the last six words of the quote you begin with: “Young girls are coming to the canyon.” I had to pay Universal Music $100 for those words. Since your blog is not for profit and more in the nature of journalism, I believe you are exempt from such a fee. I wanted to call your readers’ attention to a 2010 documentary film called “Legends of the Canyon: The Origins of West Coast Rock,” which is narrated by Henry Diltz and which I think is a little better and more complete than “Echo in the Canyon” (although I did find the latter enjoyable). Even though I’ve lived in Santa Monica for 35 years, I will always think of Laurel Canyon as my true home. — Ted Myers

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  2. brucehhackett · June 22

    Thanks for writing in, Ted! I’ll look for that 2010 film you referenced. I might’ve seen it already…but I’ll be happy to watch it again!

    Liked by 1 person

  3. tmauthor · June 22

    Oh, slight correction to my previous comment: I did not preface one of my chapters with that quote; it was buried in the midst of the chapter where I discover Laurel Canyon for the first time.

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  4. tmauthor · June 22

    Reblogged this on Ted Myers and commented:
    This excellent blog post from Bruce Hackett brought back many fond memories for me, all of which are recalled in my memoir, Making It: Music, Sex & Drugs in the Golden Age of Rock.

    Like

  5. Gary Sikorski · June 22

    I thought for sure your focus was going to be on Laurel Canyon Ltd., and the infamous lawsuits brought on by Springsteen that rocked the music industry for decades and changed rock-n-roll forever! That would of been my angle on Laurel Canyon!
    Hmmm…your approach was interesting though….
    Gary

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  6. brucehhackett · June 22

    Gary, although I knew all about Springsteen’s legal wrangling with Mike Appel back in the ’70s, I never knew Appel’s company was called Laurel Canyon Ltd. Indeed, I wonder why Appel decided to name his company after the LA canyon community — wasn’t he always an East Coast guy?

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  7. Lynn Vail · July 2

    Hi Bruce, We saw Echos in Laurel Canyon and we really liked it. The only negative I felt was the performances by Dylan, Apple, Beck, Nora etc. The most extraordinary harmonies of these groups (Byrds, Mammas and Pappas, Beach Boys etc) were what I miss most in todays music. Of course the lyrics and melodies were phenomenal … but it was the harmonies that I fell in love with. And the snip its of covers had little or no harmonies and little depth or feeling which was frustrating for me.
    So we were grateful that we had most of that original music at home and enjoyed a weekend of oldies but goodies.

    The movie also shocked me into reality of the aging process. Yikes. I’m 63 and younger than most of the people interviewed but it was striking to me to see them young and now. (Michelle Phillips … David Crosby … Steven Stills) and so sad to see Tom Petty … I guess it all put a spot light on how we have all grown older in looks (accept for Jackson Brown and Ringo that don’t seem to age much) Hopefully we are all wiser and more at peace with ourselves.

    But that movie took us back and I really enjoyed the time we spent in an empty theater on a Monday afternoon!. reminiscing about our youth.

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    • brucehhackett · July 2

      As The Byrds sang in Dylan’s tune: “I was so much older then, I’m younger than that now.”

      Like

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