Sights and sounds of canyon that fuelled musical revolution captured in new exhibition
LOS ANGELES — Laurel Canyon wasn’t much to look at — a few modest bungalows and log cabins crammed between an occasional faded mansion that had been left over from the days when it was a secluded, semi- rural retreat for Hollywood’s silent- movie stars.
And yet from the quiet of the densely wooded canyon came a music revolution that would change popular culture.
The likes of David Crosby and Graham Nash worked on their music —or in some cases created new genres like folk- rock and country- rock — pretty much in anonymity during the 1960s and 1970s, in a place where no one bothered to go in those days unless they lived there.
Now, the sights and sounds of the canyon have been captured and transported from its narrow serpentine streets to downtown LA’s Grammy Museum in an exhibition called California Dreamin’: The Sounds of Laurel Canyon 1965- 1977.
The exhibition, a senses- shaking assault of music, memorabilia and visuals hits as you enter a gallery that features everything from reminisces by Jackson Browne to hand- written lyrics by Frank Zappa and Gram Parsons.
There are brief video performances by the Turtles, music by the Eagles and the Doors, and scores of candid photos, like one of Joni Mitchell perched idyllically on a canyon hillside, playing a dulcimer.
But California Dreamin’ also seeks to document what its curator, Grammy Museum executive director Bob Santelli, believes is one of the most important and overlooked moments in pop music history.
While the media were documenting the folk music renaissance Bob Dylan helped launch in New York’s Greenwich Village in the early 1960s and the psychedelic scene that sprung from San Francisco’s Haight- Ashbury District a few years later, Santelli said, musicians who took up residence by the score in Laurel Canyon were actually doing much more.
They quickly launched several new music genres, Santelli said, including the laid- back, L. A.- centric singersongwriter movement that came to flower with the emergence of Browne, Mitchell, James Taylor and others.
Although the canyon’s dirty brown hills rise up above Hollywood’s Sunset Strip and the neighbourhood’s many music clubs and recording studios, many of the canyon’s streets were unpaved then, giving the place a rural, backwoods feel.
To this day the place only has one store and roads so narrow that on some of them two cars can’t pass unless one backs up.
Thus the Byrds were free to experiment pretty much uninterrupted, while nearby Jim Morrison was creating the ethereal sounds that would make the music of the Doors everlasting, and Zappa was putting together his neo- classical arrangements from a faded mansion.
In later years the canyon’s legacy brought in the wealthy, who priced out future generations of struggling musicians. “But Laurel Canyon was always more than just a scene,” Santelli said. “It was also a mindset.”
Until the end of November that mindset lives on the second floor of the Grammy Museum.