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Posts Tagged ‘The Beach Boys’

“ECHO IN THE CANYON”: Expecting to fly

Posted in Uncategorized, tagged , , , , , , , , , , , , on July 18, 2019| Leave a Comment »

Jakob Dylan and band (foreground) play a tune by the Byrds

“ECHO IN THE CANYON”  My rating: B 

82 minutes | MPAA rating: PG-13

Disclaimer: I may not be the ideal individual to review “Echo in the Canyon,”  Andrew Slater’s doc about the musicians who lived and created in L.A.’s Laurel Canyon from 1965 to ’67.

We’re largely talking about the  Byrds and Buffalo Springfield, two groups with which I’ve been semi-obsessed for more than 50 years. So, yes, I’m a fanboy and “Echo…” is like a dream come true.

That said, I don’t think you have to be of any particular age to appreciate this narrow but flavorful slice of pop music history. Divided almost equally between talking heads and musical performances, this doc is tuneful, insightful and, yeah, awesomely nostalgic.

Our guide is musician Jakob Dylan (yep…Bob’s son) who in 2015 produced a tribute LP of songs from the Laurel Canyon era and followed that up with a concert of the same material.

He interviews lots of folk — producer Lou Adler, musicians like Jackson Browne, Eric Clapton, John Sebastian, Ringo Starr, Graham Nash and Tom Petty — for their memories and impressions.

Among the artists who re-interpret the classic songs are Fiona Apple, Beck, Norah Jones, Cat Power and Regina Spektor.

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“LOVE and MERCY”: When I grow up to be a man

Posted in Uncategorized, tagged , , , , , , on June 4, 2015| Leave a Comment »

Paul Dano as the young Brian Wilson

Paul Dano as the young Brian Wilson

“LOVE & MERCY” My rating: B+

120 ninutes | MPAA rating: PG-13

Several pages in The Book of Great American Lives should be reserved for the Beach Boys’ Brian Wilson, whose 72 years have been packed with genius, celebrity, madness and redemption.

There’s more to the Wilson saga than could ever be wedged into just one movie, but Bill Pohlad’s “Love & Mercy” spectacularly chronicles one man’s rise-fall-rise in riveting human (and musical) terms.

Pohlad, a first-time feature director with an impressive list of producing credits (“12 Years a Slave,” “Into the Wild,” “Brokeback Mountain”) and screenwriters Oren Moverman and Michael A. Lerner have come up with a brilliant way of presenting Wilson’s story.

They’ve made two movies: one set in the 1960s starring Paul Dano as the young Brian, the other in the mid-’80s with John Cusack taking on the role. They so cannily entwine the two that just as the first, earlier story is spiraling into tragedy, the second tale, of the middle-aged Brian, is struggling toward recovery.

Let’s acknowledge up front that neither Dano nor Cusack looks much like the real Brian Wilson. Nor do they really resemble each other.

Doesn’t matter. Through some sort of cinematic alchemy, each actor nails the essence of Wilson at different stages of life. And far from triggering a disconnect, the casting of two performers in the same role enhances the story’s richness.

“Love & Mercy” opens with a montage of newsreel-like re-creations of the early Beach Boys in action — on the concert stage, posing for publicity photos on the beach (most of them were not actually surfers), playing for a “Shindig”-like TV show (go-go girls as a backdrop).

These are the heady days of innocence, fame and hit singles. We sense almost immediately, though, that the songwriter and arranger, Brian, stands apart from the group. He’s an odd duck, unnerved by live performances, crippled by panic attacks and driven to create music that he can hear in his head but must struggle to capture on tape.

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