Editing Van Dyke Parks

{{short description|American musician, songwriter, arranger, and record producer (born 1943)}}
{{Use mdy dates|date=July 2014}}
{{Infobox musical artist
| name            = Van Dyke Parks
| image           = Clare And The Reasons + Van Dyke Parks (4660964869) (cropped).jpg
| landscape    = yes
| caption         = Parks performing at [[Primavera Sound]] 2010
| birth_date      = {{Birth date and age|1943|1|3}}
| birth_place     = [[Hattiesburg, Mississippi]], U.S.
| origin          = [[Los Angeles]], California, U.S.
| genre           = {{hlist|[[Pop music|Pop]]|[[orchestral pop]]||[[art pop]]|[[experimental music|experimental]]|[[Americana (music)|Americana]]|[[rock music|rock]]}}
| occupation      = {{hlist|Composer|songwriter|arranger|performer|record producer|actor}}
| instrument      = {{hlist|Keyboards|[[accordion]]|[[clarinet]]|vocals}}
| years_active        = 1953–present
| label                = {{hlist|[[MGM Records|MGM]]|[[Warner Bros. Records|Warner Bros.]]|Bananastan|[[Bella Union]]}}
| past_member_of = {{hlist|The Brandywine Singers|[[The Easy Riders]]|The Greenwood County Singers|[[The Mothers of Invention]]|The Steel Town Three}}
| website              = 
}}

'''Van Dyke Parks''' (born January 3, 1943) is an American multi-instrumentalist, songwriter, arranger, record producer, singer, and former [[Warner Bros. Records]] executive whose work encompasses [[orchestral pop]], elaborate [[recording studio as an instrument|recording experiments]], [[Americana (culture)|Americana]] iconography, free-associative lyrics, and [[Caribbean music|Caribbean]] sounds. He is best known for his 1967 album ''[[Song Cycle (album)|Song Cycle]]'' and his collaborative work with acts such as [[the Beach Boys]], [[Lowell George]], and [[Harry Nilsson]], as well as various film and television scores.

Born in [[Hattiesburg, Mississippi]], Parks studied voice and piano at the [[American Boychoir School]] in [[Princeton, New Jersey]], touring nationally with the choir during his youth. He concurrently pursued child acting roles in television and theater productions. After relocating to California in 1963, he performed [[folk music]] with his brother [[Carson Parks|Carson]] along the West Coast and contributed arrangements to [[The Walt Disney Company|Disney]] film soundtracks, including "[[The Bare Necessities]]" for ''[[The Jungle Book (1967 film)|The Jungle Book]]'' (1967). Following two singles issued on [[MGM Records]]—"[[Come to the Sunshine]]" (1966) and a [[folk rock]] adaptation of [[Beethoven]]'s [[Symphony No. 9 (Beethoven)|Ninth Symphony]]—he became an active session musician in [[Laurel Canyon]], working with artists such as [[Tim Buckley]], [[Judy Collins]], and [[the Byrds]] before collaborating with [[Brian Wilson]] on the Beach Boys' ''[[Smile (The Beach Boys album)|Smile]]'', later completed in 2004 as [[Brian Wilson Presents Smile|Wilson's solo album]].

In 1966, Parks joined Warner Bros. through producer [[Lenny Waronker]], with whom he collaborated on numerous albums—including those by [[Harpers Bizarre]], [[Randy Newman]], [[Arlo Guthrie]], and [[Ry Cooder]]—and formed part of a creative circle at the label. One of the most expensive LPs ever produced at the time, ''Song Cycle'' achieved critical acclaim and influenced the 1970s [[singer-songwriter]] movement despite poor sales. He transitioned to an executive role at Warner Bros., where he facilitated label signings—including the Beach Boys, [[Little Feat]], [[Peter Ivers]], and [[Beaver & Krause]]—and spearheaded the first ever label division centered on promotional films for artists; his concepts later became foundational to [[MTV]].

Influenced by the [[1969 Santa Barbara oil spill]], Parks deepened his engagement with Caribbean musical traditions, promoting Trinidadian [[calypso (music)|calypso]] and [[steel pan]] music through projects such as his album ''[[Discover America]]'' (1971), productions for [[Mighty Sparrow]] and the [[Esso Trinidad Steel Band]], and Nilsson's mid-1970s recordings. After the late 1970s, Parks focused on composing for film and television, contributing to works including ''[[Popeye (film)|Popeye]]'' (with Nilsson, 1980), ''[[Sesame Street Presents: Follow That Bird|Follow That Bird]]'' (1985), and ''[[The Brave Little Toaster]]'' (1987). He authored a trilogy of children's books based on his 1984 album ''[[Jump! (album)|Jump!]]'', a musical adaptation of [[Br'er Rabbit]] folktales. He has remained active as a collaborator and arranger, working with artists such as [[Haruomi Hosono]], [[Rufus Wainwright]], [[Silverchair]], and [[Joanna Newsom]], while releasing three additional studio albums: ''[[Tokyo Rose]]'' (1989), ''[[Orange Crate Art]]'' (with Wilson, 1995), and ''[[Songs Cycled]]'' (2013).

==Background and child acting roles==
Van Dyke Parks was born on January 3, 1943{{sfn|Badman|2004|p=114}} in [[Hattiesburg, Mississippi]], briefly residing in [[Lake Charles, Louisiana]].{{sfn|Henderson|2010|p=32}} He is the youngest of four musically inclined brothers, all of whom played brass instruments.{{sfn|Henderson|2010|p=32}} His father, Richard Parks, a neurologist and psychiatrist mentored by [[Karl Menninger]], was one of the first to integrate African-American patients into a segregated Southern hospital.{{sfn|Henderson|2010|pp=32–33}} Richard had played in [[John Philip Sousa]]'s Sixty Silver Trumpets and financed his medical education by leading the dance band Dick Parks and the White Swan Serenaders.{{sfn|Henderson|2010|pp=33–34}} Van Dyke's mother was a [[Hebraic]] scholar.{{sfn|Henderson|2010|p=33}}  Parks began playing [[clarinet]] at age four and demonstrated early proficiency on the family piano, which later accommodated eight-handed performances with his brothers.{{sfn|Henderson|2010|p=34}} 

[[File:Toscanini portrait circa 1950.jpg|thumb|upright=0.6|Parks sang under conductors such as [[Arturo Toscanini]] (pictured) while touring nationally with the [[American Boychoir School]] ]]

In the early 1950s, Parks attended the [[American Boychoir School]] in Princeton, New Jersey, as a boarding student. There, he studied voice and piano, serving as a [[coloratura]] vocalist.{{sfn|Henderson|2010|p=33}} The choir performed nationwide, and Parks sang under conductors [[Arturo Toscanini]], [[Thomas Beecham]], and [[Eugene Ormandy]].{{sfn|Henderson|2010|pp=32–33}}  He also portrayed the title role in [[Gian Carlo Menotti]]’s opera ''[[Amahl and the Night Visitors]]'' with the New York City and Philadelphia Opera companies.{{sfn|Henderson|2010|p=33}}

Parks concurrently pursued child acting to fund his education. He appeared in the 1953 [[NBC]] series ''[[Bonino]]'' as the son of opera baritone [[Ezio Pinza]]'s character and had a recurring role on ''[[The Honeymooners]]'' as Little Tommy Manacotti. His film credits include ''[[The Swan (1956 film)|The Swan]]'' (1956), starring [[Grace Kelly]], and a Broadway performance in [[S. N. Behrman]]'s ''The Cold Wind'' alongside [[Eli Wallach]] and [[Maureen Stapleton]]. Parks later stated, "I paid my tuition doing it, but I was only interested in music".{{sfn|Henderson|2010|p=33}}

==Early career (1963–1966)==
===Folk groups and Disney gigs===

In 1960, Parks enrolled at the [[Carnegie Mellon University|Carnegie Institute]], majoring in composition and performance,{{sfn|Henderson|2010|p=35}} and studying under [[Aaron Copland]].{{sfn|Priore|2005|p=94}} In 1963, he shifted focus to the ''[[requinto]]'' guitar and relocated to California to form the folk duo the Steel Town Two with his brother [[Carson Parks|Carson]].{{sfn|Henderson|2010|p=35}} The pair performed along the California coast, from San Diego to Santa Barbara, initially earning $7.50 per night{{sfn|Henderson|2010|p=36}} at venues such as [[Hermosa Beach]]’s Insomniac Café, where they appeared alongside acts including the Andrew de la Bastide Steel Band, [[Bessie Griffin|Bessie Griffin and the Gospel Pearls]], and [[the Chambers Brothers]].{{sfn|Priore|2005|p=35}} [[David Crosby]] attended a Santa Barbara performance, remarking to associate [[David Lindley (musician)|David Lindley]], "If they can get away with it, so can we."<ref name="Prism Films">{{cite web|title=Van Dyke Parks interview|url=https://www.youtube.com/watch?v=n6U0hwQ75QU|work=Prism Films|publisher=prismfilms.co.uk|url-status=live|archive-url=https://web.archive.org/web/20170407104617/https://www.youtube.com/watch?v=n6U0hwQ75QU|archive-date=April 7, 2017|df=mdy-all}}</ref><ref name="Seldom Seen Kid">{{cite magazine|title=The Seldom Seen Kid|magazine=Mojo|date=August 12, 2012|pages=55–57|url=http://www.bananastan.com/clippings.html|url-status=dead|archive-url=https://web.archive.org/web/20130817193223/http://bananastan.com/clippings.html|archive-date=August 17, 2013|df=mdy-all}}</ref> Parks also performed acoustic folk music at the Prison of Socrates coffeehouse on [[Balboa Peninsula, Newport Beach|Balboa Peninsula]] while [[the Beach Boys]] played simultaneously at the nearby [[Rendezvous Ballroom]].{{sfn|Priore|2005|p=19}}{{sfn|Kubernik|2009|p=41}} Though Parks had not actively followed the band's music, he was familiar with their radio hits, later recalling their performances and the enthusiastic crowds they drew as an "eye-opening" experience that "changed [his] life".{{sfn|Priore|2005|p=19}} 

[[File:Buffalo Springfield in 1966.png|thumb|upright|Parks briefly formed a guitar trio with [[Stephen Stills]] (left) and [[Steve Young (musician)|Steve Young]] (not present) in 1966. Stills' later band [[Buffalo Springfield]] (pictured) was named by Parks, inspired by a bulldozer logo.{{sfn|Hoskyns|2006|p=11}}{{sfn|Henderson|2010|p=38}}  ]]

Immersing himself in Southern California's folk scene, Parks forged significant professional relationships during these years, including with guitarist [[Stephen Stills]] and singer-songwriter [[Steve Young (musician)|Steve Young]].{{sfn|Henderson|2010|pp=36–38}} He also toured New England as a member of the Brandywine Singers{{sfn|White|1996|p=266}} and was a member of the Greenwood County Singers, participating on their first two [[Kapp Records]] albums,{{sfn|Priore|2005|p=35}} as well as songwriter [[Terry Gilkyson]]'s group [[the Easy Riders]].{{sfn|White|1996|p=266}}{{refn|group=nb|Gilkyson's "[[Memories are Made of This]]" was a particular favorite of Parks as a child.{{sfn|Kubernik|2009|p=41}}}} After recruiting a standup bass player, the renamed Steel Town Three secured a residency at West Hollywood’s [[Troubadour (West Hollywood, California)|Troubadour]] nightclub, earning $750 weekly (equivalent to ${{formatnum:{{Inflation|US|750|1963|r=-1|end_year={{Inflation-year|US}}}}}} in {{Inflation-year|US}}).{{sfn|Henderson|2010|p=36}} 

In 1963, Parks' brother Benjamin Riley Parks, a French horn player and the youngest [[United States Department of State|State Department]] employee at the time, died in a car accident in Frankfurt, Germany. The circumstances surrounding the incident raised speculation of [[Cold War]] connections due to Benjamin's interest in Russian culture.{{sfn|Henderson|2010|p=37}}{{refn|group=nb|Parks channeled this subject in his later song "By the People".{{sfn|Henderson|2010|pp=91–92}}}} Shortly afterward, Gilkyson commissioned Parks to arrange "[[The Bare Necessities]]" for [[Disney]]'s ''[[The Jungle Book]]'' (1967), providing funds that enabled Parks and Carson to attend Benjamin’s funeral.”{{sfn|Kubernik|2009|p=41}}{{sfn|Henderson|2010|p=37}} This session at Los Angeles' [[Sunset Sound Recorders]] was Parks' first paid recording work.{{sfn|Kubernik|2009|p=41}} He subsequently played and arranged on other Disney soundtracks, including ''[[Savage Sam (film)|Savage Sam]]'' (1963) and ''[[The Moon-Spinners]]'' (1964),{{sfn|White|1996|p=266}} while Sunset Sound hosted much of his recordings through the 2000s.{{sfn|Kubernik|2009|p=41}}

==="High Coin", MGM singles, and Laurel Canyon scene===
[[File:The Byrds 1965.png|thumb|left|upright|Parks jammed with members of [[the Byrds]] (pictured in 1965) before contributing keyboards to their studio albums]]

By the mid-1960s, Parks had become a fixture in Hollywood’s bohemian music scene, hosting gatherings at his Melrose Avenue apartment above a hardware store owned by the parents of Sunset Sound staff engineers [[Bruce Botnick|Bruce]] and Doug Botnick.{{sfn|Henderson|2010|pp=39, 41}} He frequently played piano at the Troubadour alongside musicians such as [[Danny Hutton]], then a talent scout for Hanna-Barbera Music, and future [[Byrds]] bandleader [[Roger McGuinn]].{{sfn|Carter|2021|p=21}} Hutton recalled first encountering Parks at a Troubadour-related party around 1963,{{sfn|Kubernik|2009|p=42}} describing him as appearing boyish and holding forth intellectually to attendees.{{sfn|Kubernik|2009|p=42}}{{sfn|Henderson|2010|p=39}}  Parks later named Hutton’s band [[Three Dog Night]].{{sfn|Hoskyns|1996|p=222}}

After 1964, Parks observed an influx of aspiring musicians into [[Laurel Canyon]], inspired by the commercial breakthroughs of local acts.{{sfn|Kubernik|2009|p=41}} [[The Beatles]]' [[Hollywood Bowl]] appearance that year and [[the Rolling Stones]]’ American release ''[[12 × 5|12&nbsp;×&nbsp;5]]'' convinced him that major labels were poised to commodify [[blues music]].{{sfn|Kubernik|2009|p=41}} He later recalled the transformative influence of ''12&nbsp;×&nbsp;5'' together with [[Bob Dylan]]'s [[Bob Dylan (album)|1962 self-titled debut album]]: "That had great impact on anybody who was thinking about a future in music, as I was. It wasn't serious music, but it carried a message, and we all joined the message."{{sfn|Priore|2005|pp=25–26}} Parks subsequently pursued songwriting more actively.<ref name=sodajerker>{{cite web|title=Episode 51 – Van Dyke Parks|url=http://www.sodajerker.com/episode-51-van-dyke-parks/|work=Sodajerker|access-date=January 1, 2014|date=January 1, 2014|url-status=live|archive-url=https://web.archive.org/web/20140102195817/http://www.sodajerker.com/episode-51-van-dyke-parks/|archive-date=January 2, 2014|df=mdy-all}}</ref>  For Parks, the success of the Byrds under producer [[Terry Melcher]] had signaled that talented outsiders could achieve similar rewards, a moment he later likened to "the genie out of the bottle."{{sfn|Kubernik|2009|p=41}} He penned the song "High Coin", first recorded by Rick Jarrard and released as Jarrard's debut record in late 1965,{{cn|date=April 2025}} with subsequent recordings by [[Bobby Vee]], [[the West Coast Pop Art Experimental Band]], [[Jackie DeShannon]], and [[The Charlatans (American band)|the Charlatans]].{{sfn|Henderson|2010|p=41}}

{{Quote box
|align=
|quote=Some people got paid a lot of money to bottle the rebellion of the 60s, and that's when [rock music] started to mean zero to me. But I was still with the music, and the biggest event of that era for me was the singular person [[Brian Wilson]]. He was the force.
|source=—Van Dyke Parks, 2011<ref name="five"/>
|width = 25%
}}

In 1965, Parks made regular appearances on the [[American Broadcasting Company|ABC]] talk show ''[[The Les Crane Show]]'',{{sfn|Kubernik|2009|p=42}} engaging in discussions that included a segment with computer programmers.<ref name="Hopkins68"/>{{refn|group=nb|[[Les Crane]] described Parks as the "only man I know who speaks in stream-of-consciousness."<ref name="Hopkins68">{{cite magazine |title=Van Dyke Parks: Little Demand for Genius|last=Hopkins|first=Jerry|date=October 12, 1968 |url=https://www.rollingstone.com/music/music-news/van-dyke-parks-76519/ |magazine=Rolling Stone |access-date=April 20, 2025}}</ref>}} That December, Hutton facilitated a meeting between [[MGM Records]] talent scout [[David Anderle]] and Parks, leading Anderle to manage Parks and secure a contract with MGM.{{sfn|Carter|2021|p=23}} Parks subsequently became part of a small circle of musicians and creatives who helped forge the emerging rock milieu of Laurel Canyon, later suggesting that their gatherings—alongside figures such as Hutton and Anderle—had created "a social nexus" that drew other artists to the area.{{sfn|Kubernik|2009|p=41}} In the same month, Crosby invited Parks to Beach Boys leader [[Brian Wilson]]'s home in Beverly Hills, marking their first meeting.{{sfn|Carter|2021|p=23}} Parks later recalled that Wilson was working on ''[[Pet Sounds]]'' (1966) and previewed the track "[[Sloop John B]]" for him: "I don’t even think he had the voices on yet, but I heard that long rotational breathing, that long flute [[ostinato]] at the beginning… I knew that this man was a great musician."{{sfn|Priore|2005|pp=34–35}} Parks later cited ''Pet Sounds'' as the only "striking [work] coming out of the United States" at the time.<ref name="tim">{{cite magazine|last=White|first=Timothy|authorlink=Timothy White (writer)|magazine=Musician|title=Van Dyke Parks|date=February 1985}}</ref> Dismayed by the [[British Invasion]], he later stated: "There was such an antipathy toward all things American. And I thought it would be really [[square (slang)|squaresville]] to investigate [...] America."<ref name="cohen2013"/> 

In 1966, Parks briefly signed with MGM under A&R executive [[Tom Wilson (producer)|Tom Wilson]].{{sfn|Henderson|2010|p=38}} The label issued two singles by Parks: "[[Come to the Sunshine]]", referencing his father's dance band, and "Number Nine", a [[folk-rock]] adaptation of [[Beethoven]]'s "[[Ode to Joy]]" credited to "the Van Dyke Parks".{{sfn|Henderson|2010|pp=38–39}} ''[[Los Angeles Free Press]]'' journalist [[Paul Jay Robbins]] translated the original German text into English for "Number Nine",{{sfn|Carter|2021|p=23}} while the lyrics of the B-side "Do What You Wanta" were written by Hutton.{{sfn|Henderson|2010|p=38}} The singles received little attention, though music historian Richard Henderson writes that their "lyric sleight-of-hand, vivacious melodies, and pell-mell arrangements" cemented the template for Parks' subsequent work.{{sfn|Henderson|2010|pp=38–39}}
[[File:The Mothers of Invention (1968).jpg|thumb|upright|Parks (not present) was briefly a member of [[the Mothers of Invention]] in 1966]]
"Come to the Sunshine" reached number 16 on regional charts in Phoenix, Arizona, prompting Parks to perform there as an opening act for [[the Lovin' Spoonful]] under the name "the Van Dyke Parks".{{sfn|Priore|2005|p=36}} He was joined by Stills and Steve Young, all three playing guitar, though the band immediately dissolved.{{sfn|Henderson|2010|p=38}} Parks was also briefly a member of [[Frank Zappa]]'s [[Mothers of Invention]] prior to the recording of their album ''[[Freak Out!]]'' (1966),{{sfn|Henderson|2010|p=38}} contributing three arrangements{{sfn|Kubernik|2009|p=48}} before leaving due to disinterest in performing before raucous audiences<ref name="dorian">{{cite web|last=Lynskey|first=Dorian|title=Van Dyke Parks: 'I was victimized by Brian Wilson's buffoonery'|url=https://www.theguardian.com/music/2013/may/09/van-dyke-parks-victimised-brian-wilson-buffoonery|work=The Guardian|publisher=guardian.co.uk|date=May 19, 2013|url-status=live|archive-url=https://web.archive.org/web/20161009063928/https://www.theguardian.com/music/2013/may/09/van-dyke-parks-victimised-brian-wilson-buffoonery|archive-date=October 9, 2016|df=mdy-all}}</ref> and disagreements with Zappa.<ref name="Deming2023">{{Cite web|first=Mark|last=Deming|title=Van Dyke Parks: Biography|url=https://www.allmusic.com/artist/van-dyke-parks-mn0000838241#biography| website=[[AllMusic]]|date=n.d.|access-date=April 28, 2025}}</ref>{{refn|group=nb|He later stated that these arrangements, alongside "a canceled check", amounted to the only remaining evidence he had played alongside bandmates [[Elliot Ingber]], [[Jimmy Carl Black]], and [[Roy Estrada]]. According to Parks, "Frank had a nickname for everybody. I was called 'Pinocchio.'"{{sfn|Kubernik|2009|p=48}}}}

===Studio session work and ''Smile''===
{{Main|Smile (The Beach Boys album)}}
Parks established himself as a versatile keyboardist at studio session dates, playing alongside artists ranging from folk singers [[Judy Collins]] and [[Tim Buckley]] to the Melcher-produced Byrds and [[Paul Revere and the Raiders]].{{sfn|Henderson|2010|p=42}} [[Ry Cooder]] joined Parks on these studio dates.{{sfn|Henderson|2010|p=43}}{{sfn|Hoskyns|1996|p=88}} On the Byrds' single "[[5D (Fifth Dimension)]]", the title song of [[Fifth Dimension (album)|their 1966 album]], Parks contributed [[Hammond organ]].{{sfn|Henderson|2010|pp=43–44}}{{sfn|Hoskyns|1996|p=114}} He also appeared on [[Gene Clark]]'s solo debut, ''[[Gene Clark with the Gosdin Brothers]]'' (1967).{{sfn|Hoskyns|2006|p=63}}
[[File:Heroes and Villains Cashbox Ad - July 1967.jpg|thumb|upright|left|1967 advertisement for the Beach Boys' single "[[Heroes and Villains]]", written by Parks and Brian Wilson]]

Through Melcher, Parks reconnected with Brian Wilson several months after their first meeting.{{sfn|Henderson|2010|p=44}}{{sfn|Carter|2021|p=23}}{{refn|group=nb| Biographer [[Peter Ames Carlin]] states that Parks had previously encountered Wilson on several more occasions through mutual acquaintance [[Loren Schwartz]].{{sfn|Carlin|2006|p=91}} Parks recalled, "Brian sought me out because he had heard about me from some mutual friends, a neighborly couple who later fell into disrepute with the Wilson clan because they were experimenting with psychedelics. People who experimented with psychedelics—no matter who they were—were viewed as ‘enlightened people,’ and Brian sought out the enlightened people."{{sfn|White|1996|p=267}}}} Impressed by his articulate manner, Wilson, seeking a new lyricist, later offered him a collaboration on the Beach Boys' next album, soon titled ''[[Smile (The Beach Boys album)|Smile]]''.{{sfn|Hoskyns|1996|pp=126–127}} Parks had attended some "[[Good Vibrations]]" recording sessions, and believed that his suggestions regarding the song's [[cello]], initially recorded in June 1966,{{sfn|Badman|2004|p=137}} convinced Wilson of their shared creative sensibilities.{{sfn|Priore|2005|pp=10, 42}} He declined Wilson’s proposal to complete unfinished lyrics for "Good Vibrations", preferring a joint creative effort.{{sfn|Carlin|2006|p=92}} Writing together at Wilson's home, their collaboration terms included Wilson purchasing Parks a $5,000 [[Volvo]] to address his transportation needs (equivalent to ${{formatnum:{{Inflation|US|5000|1966|r=-3}}}} in {{Inflation-year|US}}).{{sfn|Carlin|2006|p=93}}{{refn|group=nb|Financial constraints at the time had left Parks and his wife residing in a garage apartment lacking private bathroom facilities.{{sfn|Carlin|2006|p=92}} }}

Parks was granted significant creative autonomy on the project's thematic direction, drawing inspiration from the [[Beat Generation]] and contemporary folk revival, while his role extended beyond lyricism to active participation in studio arrangements.{{sfn|Carter|2021|p=28}} Aiming to provide further support, he introduced Wilson to Anderle, who helped develop the band's [[Brother Records]] imprint, and [[Derek Taylor]] who became the band's publicist.{{sfn|Priore|2005|p=52}} [[Frank J. Holmes|Frank Holmes]], who illustrated the album's planned cover artwork and sleeve booklet, was additionally recruited through Parks, who later identified Holmes as "a third part of the equation", describing Holmes' contributions as integral to realizing the album's "musical cartoon" aesthetic.{{sfn|Priore|2005|pp=100–102}}{{refn|group=nb|Parks also introduced Wilson to Robbins and magazine reporter [[Michael Vosse]], the latter briefly serving as Wilson's professional assistant.{{sfn|Carter|2021|pp=22–24}}}} Parks additionally contributed piano to many of the recording sessions, as well as [[marimba]] (on "[[Wind Chimes (song)|Wind Chimes]]").<ref>{{cite AV media notes| title = The Smile Sessions | others= [[The Beach Boys]]| year = 2011|publisher=[[Capitol Records]]|type=deluxe box set booklet}}</ref>

''Smile'' was never finished by the Beach Boys. Parks withdrew from the project, in his words, "as soon as I realized [the situation] was causing friction between Brian and the group".{{sfn|Hoskyns|1996|p=88}} The band substituted its release with ''[[Smiley Smile]]'' in September 1967, an album that had no involvement from Parks beyond his preliminary work on the original ''Smile'' material.{{sfn|Priore|2005|p=148}} Two ''Smiley Smile'' tracks—"[[Wonderful (The Beach Boys song)|Wonderful]]" and "Wind Chimes"—were not officially recognized as his co-written songs{{sfn|Priore|2005|pp=148, 170}} until 2004.{{sfn|Carlin|2006|p=303}}{{refn|group=nb|Parks had reported no publishing royalties received from his co-written songs for the Beach Boys by the early 1980s.<ref name="Ruhlmann2014">{{cite web|last=Ruhlmann|first=William|title=Van Dyke Parks biography|url=http://www.allmusic.com/artist/van-dyke-parks-mn0000838241/biography|work=Allmusic|access-date=July 17, 2013|url-status=live|archive-url=https://web.archive.org/web/20140720152053/http://www.allmusic.com/artist/van-dyke-parks-mn0000838241/biography|archive-date=July 20, 2014|df=mdy-all}}</ref>}}

==Initial Warner Bros. period (1966–1971)==
===Waronker collaborations and ''Song Cycle''===

[[File:Harpers Bizarre.png|thumb|upright|Parks rechristened the Tikis as [[Harpers Bizarre]] (pictured 1967)]]

Coinciding with a transformative period for the label, Parks joined [[Warner Bros. Records]] through producer [[Lenny Waronker]], a young A&R executive mentored by [[Reprise Records]] president [[Mo Ostin]].{{sfn|Henderson|2010|pp=55–60}} After [[Seven Arts Productions]] had acquired Warner Bros. in 1966, the record division rebranded as Warner Bros.-Seven Arts under president [[Joe Smith (music industry executive)|Joe Smith]], who prioritized broadening the label's artistic scope.{{sfn|Henderson|2010|pp=59–60}} Waronker, whose father co-founded [[Liberty Records]], was tasked with overseeing artists acquired during Warner Bros.' 1966 purchase of [[Autumn Records]], including [[the Mojo Men]], [[the Beau Brummels]], and the Tikis.{{sfn|Henderson|2010|pp=55–57}} He assembled a team featuring Parks, songwriter [[Randy Newman]], and keyboardist [[Leon Russell]]. Parks initially questioned Waronker's "filthy-rich" background but was convinced by his professional trust, including a loaned sports car, and a solo contract offer.{{sfn|Hoskyns|1996|p=202}}{{sfn|Henderson|2010|pp=55–57}} He later said that Waronker had sought him out because of his association to Brian Wilson: "He's never admitted that to me, but it's no offense to him to say that."{{sfn|Hoskyns|1996|p=202}}

Seeking to distance the group from associations with [[surf music]], then considered passé, Parks proposed renaming the Tikis to [[Harpers Bizarre]] to reflect his appreciation for [[Cole Porter]] and [[Depression-era]] songwriting. He arranged and performed on Harpers Bizarre's first two albums for Warner Bros., ''[[Feelin' Groovy]]'' and ''[[Anything Goes (Harpers Bizarre album)|Anything Goes]]'' (both 1967). The latter included their rendition of "High Coin" and Porter's "[[Anything Goes (Cole Porter song)|Anything Goes]]".{{sfn|Henderson|2010|pp=40–41}} During sessions for the Mojo Men, Parks experimented with eight-track recording technology, drafting arrangements on butcher paper in a style likened by Henderson to [[Jack Kerouac]]'s manuscripts. Waronker encouraged experimental approaches, summarized as "Go in with a good song and weird it out."{{sfn|Henderson|2010|p=57}} The resulting singles "[[The 59th Street Bridge Song (Feelin' Groovy)]]" (a national Top 10 hit for Harpers Bizarre) and "[[Sit Down, I Think I Love You]]" (written by Stills and arranged by Parks for the Mojo Men, reaching regional charts), convinced the label of the group's ability.{{sfn|Henderson|2010|pp=55–57}} Parks produced Harpers Bizarre's version of "Come to the Sunshine", their follow-up single.{{sfn|Hoskyns|1996|p=201}}
[[File:Van Dyke Parks 1967.png|thumb|left|Parks in a 1967 promotional shot]]
Warner Bros. financed a test single, "[[Colours (Donovan song)|Donovan's Colours]]", that was credited under the pseudonym "George Washington Brown" due to Parks' reluctance to risk his family's reputation.{{sfn|Henderson|2010|pp=62–63}}{{refn|group=nb|A myth emerged around the pseudonym after ''[[Cheetah (magazine)|Cheetah]]'' magazine reported musicians speculating that "Brown" was a wealthy South American financier directing Parks remotely.{{sfn|Henderson|2010|pp=63–64}}}} After journalist [[Richard Goldstein (writer, born 1944)|Richard Goldstein]] praised the single in the ''[[Village Voice]]'', the company greenlit a full solo album but required Parks to use his real name.{{sfn|Henderson|2010|pp=62–64}} On January 5, 1967, he signed a multi-album contract with Warner Bros.,{{sfn|Carlin|2021|p=6}} an agreement that included a substantial recording budget, full creative control, and no set deadlines. This was an extraordinary allowance for an artist like Parks, comparable to the largesses afforded to the Beatles.{{sfn|Carlin|2021|pp=2, 7}}

{{listen|type=music
|filename=Palm Desert VDP.ogg
|pos=
|title ="Palm Desert" from ''Song Cycle'' (1967)
|description=Parks drew from the folk-inspired [[chamber music|chamber]] works of [[Percy Grainger]] and the spatial recording techniques of [[Juan García Esquivel]] when creating tracks like "Palm Desert", a tribute to the [[Coachella Valley]] city where Parks wrote ''Song Cycle''.{{sfn|Henderson|2010|pp=70–72}} }}

By April, Parks had withdrawn from the ''Smile'' project to focus on his debut album, ''[[Song Cycle (album)|Song Cycle]]'', recorded over seven months with sessions produced by Waronker, engineered by Lee Herschberg and Doug Botnick, and mixed by Bruce Botnick.{{sfn|Henderson|2010|pp=23, 53, 62}} A [[concept album]] centered on Hollywood and Southern California,{{sfn|Hoskyns|1996|p=203}} it was one of the most expensive albums ever produced, costing approximately $80,000 (equivalent to ${{formatnum:{{Inflation|US|80000|1967|r=-4}}}} in {{Inflation-year|US}}).{{sfn|Carlin|2021|p=7}} Parks characterized his studio approach as "[[the quick brown fox jumps over the lazy dog]]", explaining that his techniques had been shaped by observing Wilson's practice of recording single tracks across multiple studios to maximize his sonic palette: "It wasn’t necessary to me to be where they were firing the biggest guns. But to me, to be at a place where there was a good gun with a great shot."{{sfn|Kubernik|2009|p=79}} At Parks' commission, Newman wrote the opening track "Vine Street".{{sfn|Henderson|2010|pp=68–69}}

Upon release, ''Song Cycle'' elicited positive reviews from critics associated with the [[New Journalism]] movement, but yielded confusion from retailers, radio programmers, and the label's marketing staff.{{sfn|Henderson|2010|pp=107–109}} To address poor sales, the company, without consulting Parks, launched an unconventional ad campaign—initiated by Creative Services director [[Stan Cornyn]]—declaring the album a commercial flop.{{sfn|Henderson|2010|pp=109–113}} According to Parks, "there was every expectation that the recording costs would be recovered, and they were, within three years."<ref name="splice">{{cite web |author1=n.a. |title=INTERVIEW: Van Dyke Parks |url=http://www.splicetoday.com/music/interview-van-dyke-parks |website=Splice Today |access-date=April 14, 2025 |archive-url=https://web.archive.org/web/20090624145731/http://www.splicetoday.com/music/interview-van-dyke-parks |archive-date=June 24, 2009 |date=January 22, 2009}}</ref>{{refn|group=nb|Cornyn ensured that tracks from ''Song Cycle'' and Parks' commercial scoring work, such as compositions for [[Ice Capades]] and [[Datsun]] advertisements, later appeared on Warner Bros.' mail-order [[Warner/Reprise Loss Leaders|Loss Leader]] series through the 1970s.{{sfn|Henderson|2010|pp=116–117}} These commercial scores were among the earliest recordings that employed a [[Moog Synthesizer]].<ref name=RBMA2013>{{cite web|title=Van Dyke Parks|url=https://www.redbullmusicacademy.com/lectures/van-dyke-parks|website=[[Red Bull Music Academy]]|access-date=April 28, 2025|date=2013|df=mdy-all}}</ref>}}

{{quote box
| align = 
| width = 25%
| quote = We didn't know whom we were selling Ry [Cooder] or Randy [Newman] to, it was strictly on a wing and a prayer, but we did our darnedest to sell them anyway.
| source = —Van Dyke Parks{{sfn|Hoskyns|1996|p=205}}
}}

After completing ''Song Cycle'' Parks relocated to Laurel Canyon and co-produced Newman's [[Randy Newman (album)|1968 self-titled debut album]] with Waronker, which faced a similar reception.{{sfn|Henderson|2010|pp=76–77, 119–120}}{{sfn|Hoskyns|1996|p=202}}{{refn|group=nb|To Parks' disappointment, Newman's follow-up album, ''[[12 Songs (Randy Newman album)|12 Songs]]'' (1970), abandoned orchestration and excluded his involvement as co-producer.{{sfn|Henderson|2010|pp=119–120}} }} The Parks-Waronker production team reunited for folk singer [[Arlo Guthrie]]'s 1969 album ''[[Running Down the Road]]'', featuring contributions from Los Angeles session musicians such as Ry Cooder.{{sfn|Henderson|2010|p=122}} They then produced Cooder's [[Ry Cooder (album)|1970 self-titled debut album]], containing an ornate orchestral rendition of "[[One Meat Ball]]" arranged by Parks.{{sfn|Henderson|2010|pp=119–120}}{{refn|group=nb|Cooder later expressed dissatisfaction with the album's elaborate production, opting for a stripped-down approach on his 1972 follow-up, ''[[Into the Purple Valley]]'', produced solely by Waronker.{{sfn|Henderson|2010|pp=120–121}}}}

===Beach Boys and Little Feat signings===
[[File:The Beach Boys Billboard 1971.jpg|thumb|left|upright|Parks advocated for the Beach Boys' signing with Warner-Reprise]]

Following the Beach Boys' departure from [[Capitol Records]], the band signed to Reprise in 1969 through a deal brokered by Parks. Amid concerns about the group's contractual complexities and declining commercial viability, Parks leveraged his prior familiarity with the band to advocate for their acquisition; he later stated that he "put [his] job on the line" to facilitate the deal.{{sfn|Priore|2005|pp=137–138}} The band's second album for the label, ''[[Surf's Up (album)|Surf's Up]]'' (1971), included [[Surf's Up (song)|the title track]], co-written by Parks originally for ''Smile'', and "[[A Day in the Life of a Tree]]", featuring Parks singing part of the coda.{{sfn|Priore|2005|p=139}}

[[File:Little Feat 1975.JPG|thumb|[[Little Feat]] in 1975. Parks forged a friendship and songwriting partnership with bandleader [[Lowell George]] (front){{sfn|Henderson|2010|p=126}} ]]

In the 1970s, Parks collaborated extensively with [[Little Feat]] founder [[Lowell George]], contributing to the band’s recordings and co-writing material throughout the decade.{{sfn|Henderson|2010|pp=126–127}} Parks and George first met during sessions for [[the Fraternity of Man]]'s second album ''Get It On!'' (1969), which featured future Little Feat members [[Richie Hayward]] and George's songwriting collaborator Martin Kibbee. Their friendship grew after Little Feat's [[Little Feat (album)|self-titled 1971 debut album]], with Parks periodically co-writing, producing, and advising George on music business matters.{{sfn|Brend|2002|p=46}}

After Warner Bros. had considered dropping the band, Parks invited George to contribute guitar to his forthcoming follow-up to ''Song Cycle'' and record their collaborative song "Sailin' Shoes", with the results later reaffirming Little Feat's value to Warner Bros.{{sfn|Brend|2002|p=46}}{{refn|group=nb|Accounts differ on the extent of the pair's collaboration on "Sailin' Shoes". George described a spontaneous creative breakthrough during a session with Parks, whereas Parks recalled initiating the title and developing the music with George during ''Discover America'' recordings, with George later finalizing the song structure. Despite Parks' contributions, the song was solely credited to George.{{sfn|Brend|2002|p=47}}}} Hayward later stated, "Van Dyke Parks got us our record deal and produced us. He’s an amazing human being—the [[Oscar Levant]] of rock music. [...] He’s old school. You can tell by his violin scores."{{sfn|Kubernik|2009|p=266}}{{refn|group=nb|Conversely, Kibbee attributed the label's renewed interest to the commercial potential of George's co-written song "Easy to Slip".{{sfn|Brend|2002|p=46}}}}

===Executive promotion, music video pioneering, and other signings===
[[File:Don Van Vliet and Gary Lucas, 'Doc at the Radar Station' sessions (May 1980).jpg|thumb|upright=0.5|Parks pioneered the modern music video through films created for acts such as [[Captain Beefheart]] in the early 1970s]]

From the late 1960s to early 1970s, Parks transitioned to an executive role at Warner Bros., having proposed alternative revenue streams to reduce artists' reliance on touring. He spearheaded the creation of Audio-Visual Services, a division producing promotional films for acts such as Zappa, [[Joni Mitchell]], [[Earth, Wind & Fire]], and [[Captain Beefheart]].{{sfn|Henderson|2010|p=122}}{{refn|group=nb|Films were also created for Cooder, Newman, the Esso Trinidad Steel Band, and Little Feat.{{sfn|White|1996|p=282}}}} Directors and crews were recruited from the advertising industry to realize these projects,{{sfn|White|1996|p=282}} intended for screening before Warner Bros. theatrical features{{sfn|Henderson|2010|pp=122–123}} and potential educational or cable television distribution.{{sfn|White|1996|p=282}} The films combined performance footage with surrealist visuals, exemplified by Beefheart's ''[[Lick My Decals Off, Baby|Lick My Decals Off]]'' short.{{sfn|Henderson|2010|pp=122–123}} Parks was appointed as the divison's head in August 1970.{{sfn|White|1996|p=282}} According to Henderson, {{blockquote|Song-length, musical film shorts called [[Panoram]] [[Soundie]]s had been tried in a jukebox-style format by the Mills Novelty Co. during the 1940s, and the Beatles filmed promotional TV/movie theater clips in 1967–68 [...] but no record company had ever established an in-house department for the production of what would prove the forerunner of music videos.{{sfn|White|1996|p=282}}}}

The division dissolved by mid-1971.{{sfn|White|1996|p=282}} According to some writers, Ostin deemed the initiative financially unsustainable due to limited distribution avenues and costs exceeding $500,000 (equivalent to ${{Format price|{{Inflation|US|500000|1971|end_year={{Inflation-year|US}}}}}} in {{Inflation-year|US}}).{{sfn|White|1996|p=282}}{{sfn|Henderson|2010|pp=125–126}} Parks stated in a 2013 interview that only one of the films produced had exceeded costs of $18,500: "I provided that each artist would get 25% of the net profits of the rentals or sales. [...] Warners soon tired of what I thought was a fair equation of participation in creative profits, and basically isolated me to the extent that I left."<ref name="BOMB Magazine">{{cite web|last=Connoly|first=Keith|title=Van Dyke Parks|url=http://bombsite.com/issues/999/articles/7276|website=Bombsite.com/|access-date=July 17, 2013|date=July 2013|url-status=live|archive-url=http://archive.wikiwix.com/cache/20130718060245/http://bombsite.com/issues/999/articles/7276|archive-date=July 18, 2013|df=mdy-all}}</ref> 
{{quote box
| align = 
| width = 25%
| quote = Parks had achieved the kind of oracular stature at the company that transcends any one title or job. His opinion was sought out on matters large and small. He was heavily involved in A&R decisions [...].
| source = —''In Heaven Everything Is Fine: The Unsolved Life of Peter Ivers and the Lost History of New Wave Theatre'' (2009){{sfn|Frank|Buckholtz|2009|p=103}}
}}
Unrealized plans included a dedicated cable channel;{{sfn|White|1996|p=282}} internal memos from Parks referenced early concepts for what became [[Music Television]], including the phrase “I want my music television” and the acronym "MTV".{{sfn|Henderson|2010|p=123}} Parks remained under Ostin, later saying, "I was directly under Mo Ostin at WB Records [...] I answered to only one man. That was Mo."{{sfn|Henderson|2010|p=123}} His initiatives had also extended to facilitating logistical support for filming at the 1969 [[Woodstock Festival]], though he later distanced himself from the festival: "I had other priorities than queuing at a rock concert's mud flat latrine."{{sfn|Henderson|2010|p=123}} 

In 1970, Parks and Newman recommended [[electronic music|electronic]] music duo [[Beaver & Krause]] to Smith, leading to their signing.<ref>{{cite book|last=Unterberger|first=Richie|title=Liner notes for Beaver and Krause's in a Wild Sanctuary|url=http://www.richieunterberger.com/sanctuary.html|url-status=live|archive-url=https://web.archive.org/web/20150924091145/http://www.richieunterberger.com/sanctuary.html|archive-date=September 24, 2015|df=mdy-all}}</ref> In 1972, Parks became involved in the career of musician [[Peter Ivers]] through mutual associate [[Buell Neidlinger]]. Parks admired Ivers' songwriting and technical skill on harmonica, leading to Ivers signing with Warner Bros. and recording his third album, ''[[Terminal Love]]'' (1974). Ivers also contributed as a session musician on Parks' projects.{{sfn|Frank|Buckholtz|2009|pp=102–103}}

==Caribbean-focused era (1970–1975)==

The [[1969 Santa Barbara oil spill]] profoundly influenced Parks' artistic direction, prompting him to pursue environmental and racial justice causes through his work and deepen his engagement with [[Caribbean music]]. He sought to elevate Caribbean traditions, particularly [[calypso (music)|calypso]] and [[steel pan]], as vehicles for political consciousness, aiming to subvert the oil industry's cultural influence while challenging perceptions of Caribbean music as superficial entertainment. From 1970 to 1975, he promoted West Indian music in the U.S., envisioning its alignment with countercultural movements. However, logistical challenges in touring with a large steel band and resistance from corporate interests hindered broader acceptance.<ref name="denise">{{cite web|last=Sullivan|first=Denise|date=2009|title=The Day Van Dyke Parks Went Calypso...|url=http://bananastan.com/calypso.html|publisher=Bananastan|url-status=dead|archive-url=https://web.archive.org/web/20131210230620/http://bananastan.com/calypso.html|archive-date=December 10, 2013|df=mdy-all}}</ref>

[[File:Allen Toussaint with microphones, 1980s.jpg|thumb|left|upright|Parks included two renditions of [[Allen Toussaint]] songs on ''[[Discover America]]'' (1971). He later produced Toussaint's 1975 album ''[[Southern Nights (Allen Toussaint album)|Southern Nights]]'' ]]

Parks produced the [[Esso Trinidad Steel Band]]’s 1971 album of covers by artists like [[the Kinks]] and [[the Jackson 5]], as well as the 1974 calypso collection ''Hot & Sweet'' by Trinidadian artist [[Mighty Sparrow]].{{sfn|Henderson|2010|pp=125–128}} He dedicated the Esso Trinidad Steel Band's album to [[Prince Bernhard]] of the [[World Wildlife Fund]] as part of his environmental advocacy: "Everything was directed to making it a proper, political, green album."<ref name="denise"/> Parks' second album, ''[[Discover America]]'' (1972), reinterpreted Trinidadian calypso standards alongside compositions by songwriters such as [[Allen Toussaint]] and the sole original "Sailin' Shoes".{{sfn|Henderson|2010|pp=125–128}} He delayed the album's release to allow Little Feat's version of the song to debut first on their second album ''[[Sailin' Shoes]]'' (1972).{{sfn|Brend|2002|p=47}} Parks' focus on calypso during this period also led to friction with [[Bob Marley]], whose requests for production assistance he declined.<ref name="denise"/>

Parks' third album, ''[[Clang of the Yankee Reaper]]'' (1976), co-produced with Andrew Wickham and Trevor Lawrence, revisited calypso music while exploring themes of British colonial influence in the Caribbean. It featured one original composition alongside reimagined Trinidadian songs.{{sfn|Henderson|2010|p=129}} Limited production resources led to scaled-back arrangements, including the use of an [[ARP String Synthesizer]] instead of live orchestration.{{sfn|Henderson|2010|pp=129–130}} The sessions were further affected by the death of a close friend of Parks prior to recording; he later dismissed the album as “brain-dead”, disowning it in subsequent years.{{sfn|Henderson|2010|p=130}}

==Further collaborative work (1971–1976)==
===''Happy End'', "Sail On, Sailor", and ''Feats Don't Fail Me Now''===
[[File:YMOHosono2008(cropped).jpg|thumb|upright|[[Happy End (band)|Happy End]] member [[Haruomi Hosono]] (pictured with [[Yellow Magic Orchestra]] in 2010) later performed with Parks at concerts ]]

While recording the ''Discover America'' version of "Sailin' Shoes", Parks and George encountered the Japanese band [[Happy End (band)|Happy End]], who visited their studio unannounced. Parks later recounted that the group had sought guidance on creating "the [[California Sound]]". Though initially hesitant due to his workload, George noticed a briefcase filled with cash brought by Happy End’s representatives, prompting an impromptu collaboration. The two wrote {{nihongo|"Goodbye America, Goodbye Japan"|"さよならアメリカ　さよならニッポン"|"Sayonara America Sayonara Nippon"}}, which became a chart-topping hit in Japan,<ref name="Blues2013">{{cite web|last=Limnious|first=Michalis|title=Versalite artist Van Dyke Parks talks about the Beats, Horatius, Sinatra, Pythagoras, Ry Cooder; and 60s|url=http://blues.gr/profiles/blogs/interview-with-versalite-artist-van-dyke-parks|work=Blues.gr|access-date=August 18, 2013|date=May 22, 2013|url-status=live|archive-url=http://archive.wikiwix.com/cache/20130819033423/http://blues.gr/profiles/blogs/interview-with-versalite-artist-van-dyke-parks|archive-date=August 19, 2013|df=mdy-all}}</ref> while Parks produced Happy End's final album, ''[[Happy End (1973 album)|Happy End]]'' (1973).{{sfn|Brend|2002|p=160}} This marked the first meeting between Parks' and band member [[Haruomi Hosono]], who later performed alongside Parks at numerous concerts in Japan.<ref name="BillboardLive2013">{{cite web |url=http://www.billboard-japan.com/special/detail/472 |title=ヴァン・ダイク・パークス インタビュー│Special│Billboard JAPAN |publisher=Billboard-japan.com |access-date=July 26, 2013 |url-status=live |archive-url=https://web.archive.org/web/20130727021117/http://www.billboard-japan.com/special/detail/472 |archive-date=July 27, 2013 |df=mdy-all }}</ref>

Parks was the primary composer of the Beach Boys' 1973 single "[[Sail On, Sailor]]", which reached number 79 on the ''Billboard'' charts.{{sfn|Priore|2005|pp=141–142}}{{refn|group=nb|Some later pressings omitted Parks' credit.{{sfn|Badman|2004|p=323}}}} He joined initial recording sessions for Little Feat's fourth album ''[[Feats Don't Fail Me Now]]'' at Hollywood’s [[The Sound Factory|Sound Factory]] between January and March 1974.{{sfn|Brend|2002|p=76}} The track "Spanish Moon", produced by Parks and co-written with George, featured a prominent Parks-assisted horn arrangement by [[Tower of Power]] and other production elements distinguishing the track from the remainder of the album.{{sfn|Brend|2002|pp=76, 82}} A truncated version of the song was released as a single in March 1975.{{sfn|Brend|2002|p=82}}

Parks’ involvement did not extend beyond these early sessions, having sparked tensions with Warner Bros. due to budgetary disputes, as recalled by George, who added that Parks "was going to do more" before the band "got stuck [and] broke up for about two weeks".{{sfn|Brend|2002|p=76}}{{refn|group=nb|These Parks-produced sessions additionally yielded two unreleased outtakes, both later included on the 2000 compilation ''Hotcakes & Outtakes''.{{sfn|Brend|2002|p=82}}}} The album’s title origin remains contested between Parks and guitarist [[Paul Barrère]].{{sfn|Brend|2002|p=77}} Alongside members of Little Feat, Parks also contributed to Kathy Dalton's 1973 solo debut ''Amazing'' and [[Howdy Moon]]'s [[Howdy Moon (album)|1974 self-titled album]].{{sfn|Brend|2002|pp=158, 160}}

===Nilsson albums and ''Southern Nights''===
[[File:Harry Nilsson (1973).png|thumb|left|upright|Parks formed part of [[Harry Nilsson]]'s studio band in the mid to late 1970s]]

During the 1970s, Parks collaborated extensively with singer-songwriter [[Harry Nilsson]],{{sfn|Henderson|2010|pp=127–128}} contributing to albums such as ''[[Nilsson Schmilsson]]'' (1971), where he played accordion on "The Moonbeam Song",{{sfn|Kubernik|2009|p=388}} and ''[[Duit on Mon Dei]]'' (1975), where he provided Caribbean-inspired arrangements after completing ''Clang of the Yankee Reaper''.{{sfn|Henderson|2010|pp=127–128}}{{refn|group=nb|Nilsson covered "Vine Street" on his 1970 album ''[[Nilsson Sings Newman]]'', with Newman on piano.{{sfn|Shipton|2013|p=99}}}} Parks introduced Nilsson to steel pan player and [[Desperadoes Steel Orchestra]] member [[Robert Greenidge]] for ''Duit on Mon Dei'' and performed piano on several tracks.{{sfn|Shipton|2013|p=187}}{{refn|group=nb|Parks helped Nilsson assemble the bulk of the album, excluding "What’s Your Sign?", "Salmon Falls", and "Down By the Sea", which were orchestrated by [[Perry Botkin, Jr.]].{{sfn|Shipton|2013|p=188}}}} His organizational skills proved vital during chaotic, drug-fueled sessions, helping maintain focus amid Nilsson’s increasingly erratic [[RCA Records|RCA]]-era output.{{sfn|Henderson|2010|p=127}} Parks characterized his role as Nilsson’s "musical secretary", translating fragmentary concepts—often scribbled on matchbooks—into fully realized compositions.{{sfn|Shipton|2013|pp=188–189}}

{{Quote box
|align=
|quote=My life basically gravitated toward [Harry Nilsson], who was truly a genius-- the smartest guy I ever met in the music business. He turned my head around because he could be retro without shame.
|source=—Van Dyke Parks, 2011<ref name="five"/>
|width = 25%
}}

Nilsson drew inspiration from Parks’ Trinidadian musical explorations, facilitated by their shared familiarity with the session players, including [[Jesse Ed Davis]], [[Jim Keltner]], [[Bobby Keys]], and [[Klaus Voormann]], whom Parks had previously worked with throughout 1974.{{sfn|Shipton|2013|p=189}} For ''Duit on Mon Dei'', Nilsson revisited older demos, such as "Turn Out the Light", which Parks and arranger Fredric Myrow reworked with steel pans and brass to evoke a Caribbean aesthetic, and the new original "Kojak Columbo", co-developed by Parks and [[Dr. John]]. Parks also originated the song "Good for God", which Nilsson expanded from a spontaneous studio exchange.{{sfn|Shipton|2013|p=191}} Plans for live performances involving Parks and the studio ensemble, plus [[Jesse Ed Davis]] and [[Ringo Starr]], were abandoned due to challenges securing Nilsson's ideal venue.{{sfn|Shipton|2013|p=195}} Parks involvement extended to the 1975 follow-up ''[[Sandman (album)|Sandman]]'', where he expanded Nilsson's "Jesus Christ, You're Tall", and whose Voorman-designed sleeve featured caricatures of Parks and other members of the studio ensemble.{{sfn|Shipton|2013|pp=195, 197, 201}}

Having brought Toussaint to Warners' attention via ''Discover America'', Parks traveled to Louisiana to work on Toussaint's 1975 album ''[[Southern Nights (Allen Toussaint album)|Southern Nights]]'', though he was ultimately denied a production credit due to intervention by Toussaint's management.{{sfn|Henderson|2010|pp=126–127}} That year, Parks and Brian Wilson recorded "Come to the Sunshine", intended for the Beach Boys album that became ''[[15 Big Ones]]'' (1976), but the recording was lost.{{sfn|Badman|2004|p=354}} In 1976, he appeared as one of the interviewees in the band's [[NBC]] television special ''[[The Beach Boys: It's OK!|It's OK!]]''.{{sfn|Badman|2004|p=356}}

==Shift to television and film (1978–1990s)==
===First film scores and late-1970s work===
[[File:Jack Nicholson - 1976 (new).jpg|thumb|upright=0.5|Parks' first film score was for [[Jack Nicholson]]'s ''[[Goin' South]]'' (1978)  ]]

By the late 1970s, Parks had entered a period of personal and professional transition.{{sfn|Henderson|2010|p=129}} Having ensconced himself in the American southeast, he returned to Los Angeles after being commissioned by [[Jack Nicholson]] to compose the score for ''[[Goin' South]]'' (1978), Nicholson’s directorial debut.{{sfn|Henderson|2010|p=130}} The film’s music, characterized by unconventional instrumentation and [[silent film|silent-film]]-era piano motifs, echoed the style of Parks’ earlier solo work, particularly ''Song Cycle''. This project marked his shift toward film composition, though his later screen scores seldom retained the sonic signatures of his standalone recordings.{{sfn|Henderson|2010|pp=130–131}}

George's 1979 solo debut, ''[[Thanks, I'll Eat It Here]]'', included "Cheek to Cheek", a song co-written with Parks.{{sfn|Brend|2002|pp=128, 163}} Little Feat biographer Mark Brend surmised that the track "Himmler's Ring", written by [[Jimmy Webb]], was arranged by Parks, citing a resemblance to ''Discover America''.{{sfn|Brend|2002|p=128}} Parks' partnership with Nilsson continued with ''[[Flash Harry (album)|Flash Harry]]'' (1980), an album that reunited the extant RCA house band and included Nilsson's version of "Cheek to Cheek".{{sfn|Shipton|2013|pp=237–238}}{{Refn|group=nb|Kibbee was listed as a third co-writer on Nilsson's version.{{sfn|Brend|2002|p=128}}}}

Parks and Nilsson also collaborated on the soundtrack for [[Robert Altman]]'s film ''[[Popeye (film)|Popeye]]'' (1980), where Parks appeared onscreen as a pianist.{{sfn|Henderson|2010|p=128}} The film's soundtrack elicited a mostly unfavorable critical response; Parks later suggested that [[Tom Pearson]]'s incidental score had overshadowed the sparse, character-driven songs, disrupting his aim at a subdued musical atmosphere inspired by the original ''[[Popeye the Sailor (film series)|Popeye]]'' cartoons.{{sfn|Shipton|2013|p=245}} Elements of Parks' ''Popeye'' arrangements were later sampled in [[Jon Brion]]'s score for ''[[Punch-Drunk Love]]'' (2002).{{sfn|Henderson|2010|p=128}} Later in 1980, Parks joined Nilsson as part of a studio band for Starr’s unreleased album ''[[Stop and Smell the Roses (Ringo Starr album)|Can't Fight Lightning]]'', but the sessions halted abruptly following [[John Lennon]]'s [[Murder of John Lennon|assassination in December]].{{sfn|Shipton|2013|p=251}}
===''Jump!'', ''Tokyo Rose'', and other work===

In the 1980s, Parks shifted focus to composing for television and low-budget films. In a 2011 interview, he reflected: "I withdrew from the popular music field as a producer and even as an arranger and started scoring countless television shows that mean nothing and B movies with A scores, in my view. I worked hard to get my children their college and stayed insulated, basically."<ref name="five">{{cite web|last=Dombal|first=Ryan|title=5–10–15–20: Van Dyke Parks The veteran songwriter and arranger on the Beach Boys, Bob Dylan, and more.|url=http://pitchfork.com/news/42269-5-10-15-20-van-dyke-parks/|work=Pitchfork|date=April 22, 2011 |url-status=live|archive-url=https://web.archive.org/web/20130514101025/http://pitchfork.com/news/42269-5-10-15-20-van-dyke-parks/|archive-date=May 14, 2013|df=mdy-all}}</ref> This included [[Shelley Duvall]]'s ''[[Faerie Tale Theatre]]'' (1982–1987).<ref>{{cite news |last1=Kort |first1=Michele |title=Shelley Duvall Grows Up: There's a Lot of the Kid Left in the Tenacious Producer Who Put Cable on the Map and Breathed New Life into Children's TV |url=https://www.latimes.com/archives/la-xpm-1991-12-15-tm-866-story.html |access-date=April 28, 2025 |work=[[Los Angeles Times]] |date=December 15, 1991}}</ref>
[[File:Brer Rabbit and the Tar Baby.jpg|thumb|upright=0.7|Parks adapted [[Br'er Rabbit]] folk tales for his 1984 album ''[[Jump! (album)|Jump]]'' and trilogy of children's books (illustration by [[A. B. Frost|A.B. Frost]])]]

Parks revived his solo career with his fourth album, ''[[Jump! (album)|Jump!]]'' (1984), conceived as the soundtrack to a [[musical theatre|musical]] adaptation of [[Joel Chandler Harris]]’ [[Uncle Remus]] stories. The album showcases acoustic orchestrations inspired by early 20th-century brass bands and American folk traditions.{{sfn|Henderson|2010|p=131}} It received critical praise<ref name="Deming2023"/> and Parks expanded the project into a trilogy of illustrated children’s books—''Jump!'', ''Jump Again!'', and ''Jump On Over!''—collaborating with artist [[Barry Moser]].{{sfn|Henderson|2010|p=131}} The first volume received a [[Caldecott Medal]] in 1986.{{sfn|Henderson|2010|pp=131–132}}

In 1988, Parks played accordion on the Beach Boys' single "[[Kokomo (song)|Kokomo]]"{{sfn|Carlin|2006|p=267}} and contributed four songs -- "City of Light", "It's a B-Movie", "Cutting Edge", and "Worthless" -- to the 1989 film ''[[The Brave Little Toaster]]'', directed by [[Jerry Rees]].{{citation needed|date=September 2014}}  He also co-produced [[Hal Wilner]]'s multi-artist albums ''[[Lost in the Stars: The Music of Kurt Weill]]'' (1985) and ''[[Stay Awake: Various Interpretations of Music from Vintage Disney Films]]'' (1988).<ref name="Roberts20"/>

Parks' fifth album ''[[Tokyo Rose (album)|Tokyo Rose]]'' (1989) continued his exploration of cross-cultural themes, revisiting Japanese-American relations initially addressed in the ''Song Cycle'' song "Pot Pourri".{{sfn|Henderson|2010|p=132}} To promote the album, he performed concerts in Japan with Haruomi Hosono, songwriter [[Syd Straw]], harmonicist [[Tommy Morgan]], and steelpan player [[Yann Tomita]] as his supporting band.<ref>{{cite web |url=http://www.sadanari.com/ongaku990824_05.html |title=♪♪ Sadanari Deluxe Discover ! Van Dyke Parks_05 |publisher=Sadanari.com |access-date=July 26, 2013 |url-status=live |archive-url=https://web.archive.org/web/20141204175212/http://www.sadanari.com/ongaku990824_05.html |archive-date=December 4, 2014 |df=mdy-all }}</ref>

In 1990, Parks appeared on ''[[Twin Peaks]]'', playing a defense attorney in the episode "[[The Orchid's Curse]]",{{sfn|Lake|2010|p=79}} and in 1991 he composed the music for an album pairing [[Jodie Foster]]'s narration of ''The Fisherman & His Wife'' with his original score.<ref name="Deming2023"/> During this period, he also provided arrangements for [[U2]]’s ''[[Rattle and Hum]]'' (1988), [[Sesame Street]]'s ''[[Follow That Bird]]'' (1985), [[T-Bone Burnett]]'s ''[[The Talking Animals]]'' (1988), [[Stan Ridgway]]'s ''[[Mosquitos (album)|Mosquitos]]'' (1989), [[Divinyls]]' ''[[Divinyls (album)|Divinyls]]'' (1991), and [[Fiona Apple]]’s ''[[Tidal (album)|Tidal]]'' (1996).<ref name="Blues2013"/> 

==Later career and collaborations (1990s–present)==
===1990s–2000s===
In October 1995, Warner Bros. issued the album ''[[Orange Crate Art]]'', credited jointly to Parks and Brian Wilson.{{sfn|Badman|2004|p=376}} A concept album centered on California's cultural heritage, Wilson provided lead vocals for nearly all tracks.{{sfn|Carlin|2006|p=282}} The album received praise for Parks' lyrics and Wilson's multilayered vocal arrangements, as well as provoked speculation about the potential revival of ''Smile'', fueled by Warner Bros.' marketing campaign.{{sfn|Carlin|2006|p=283}} On October 8, 1996, Parks and Wilson performed a concert together at the Will Geer Theater in Topanga, California.{{sfn|Badman|2004|p=376}}  In 2000, Parks was commissioned to write an [[overture]] arrangement of Wilson's songs for Wilson's ''Pet Sounds'' concert performances.{{sfn|Granata|2003|p=230}} Parks attended the 2001 [[An All-Star Tribute to Brian Wilson|tribute show held in Wilson's honor]] at the [[Radio City Music Hall]] in New York{{sfn|Carlin|2006|p=305}} and appeared as a featured guest on his ''[[Gettin' In over My Head]]'' (2004).{{sfn|Badman|2004|p=378}}
{{quote box
| align = left
| width = 25%
| quote = I started getting excited about music again when Rufus Wainwright came up [...] Then I met more people that I could respect for their talent and who trusted me to serve them.
| source = —Van Dyke Parks, 2011<ref name="five"/>
}}
Through the 2000s, Parks remained active as an arranger and collaborator, contributing to albums by artists such as [[Victoria Williams]], [[Sam Phillips]], [[Joanna Newsom]], and [[Rufus Wainwright]],{{sfn|Henderson|2010|pp=132–134}} and providing songs for the children's television series ''[[Harold and the Purple Crayon]]'' (2001–2002).<ref name="cohen2013">{{cite web |last=Cohen |first=Alex |title=Van Dyke Parks Lights Up Songs From Inside |url=https://www.npr.org/2013/07/27/205474774/van-dyke-parks-lights-up-songs-from-inside |website=NPR |date=July 27, 2013 |access-date=April 29, 2025}}</ref> Parks' association with Australian rock band [[Silverchair]] began with his work on their fourth studio album ''[[Diorama (Silverchair album)|Diorama]]'' in 2002. Parks was attracted to the music of lead singer and guitarist [[Daniel Johns]]. He composed orchestral arrangements for Silverchair's fifth album ''[[Young Modern]]'' album in 2007. Johns traveled to [[Prague]] with Parks to have the arrangements recorded by the [[Czech Philharmonic]]. The album's title is a nickname Parks uses for Johns.{{cn|date=April 2025}}

[[File:WilsonParksSmilePremiere.jpg|thumb|Parks onstage following Wilson's performance of ''Smile'' at the [[Royal Festival Hall]] in London, 2004]]

In 2003, Parks was contacted by Wilson to assist with live performances of ''Smile''. Billed as ''[[Brian Wilson Presents Smile]]'', Wilson embarked on a world tour of the album, beginning with a premiere performance at the [[Royal Festival Hall]] in London in 2004, which Parks attended.{{sfn|Carlin|2006|p=305}} He subsequently provided lyrics and narration to select tracks on Wilson's ''[[That Lucky Old Sun (album)|That Lucky Old Sun]]'' (2008).

During this period, Parks provided arrangements for Wainwright’s ''[[Want (Rufus Wainwright album)|Want]]'' and ''[[Want Two]]'' (2004), Newsom's ''[[Ys (album)|Ys]]'' (2006), and [[Scissor Sisters]]' ''[[Ta-Dah]]'' (2006).<ref name="Blues2013"/> He contributed the ''Smile'' parody song "Black Sheep" to the 2007 comedy film ''[[Walk Hard: The Dewey Cox Story]]''.<ref name="Roberts20">{{cite news|magazine=Los Angeles Times|date=April 14, 2020|title=Van Dyke Parks' existential awakening: 'This is a time for reimagining'|url=https://www.latimes.com/entertainment-arts/music/story/2020-04-14/van-dyke-parks-hal-willner-coronavirus|last=Roberts|first=Randal}}</ref> In the late 2000s, Parks worked with [[Inara George]], daughter of Lowell, on ''An Invitation'' (2008), an album combining Inara’s vocal narratives with Parks' orchestral backdrops.{{sfn|Henderson|2010|pp=133–134}} They performed two songs together on January 8, 2008, at the [[Walt Disney Concert Hall]] in Los Angeles, as part of the program ''Concrete Frequency: Songs of the City''.{{cn|date=April 2025}}

In 2009, Parks performed in ''[[The People Speak (film)|The People Speak]]'', a documentary feature film that uses dramatic and musical performances of the letters, diaries, and speeches of everyday Americans, based on historian [[Howard Zinn]]'s ''[[A People's History of the United States]]''. Parks performed with Bob Dylan and Ry Cooder on the documentary broadcast on December 13, 2009, on the [[History (U.S. TV channel)|History Channel]]. They played "Do Re Mi" and reportedly a couple of other Guthrie songs that were excluded from the final edit.<ref>{{Cite web|url=https://peopleshistory.us/|archive-url=https://web.archive.org/web/20101114055144/http://www.thepeoplespeak.com/pages/credits/|url-status=dead|title=Bringing History to Life &#124; Voices of a People's History in the US|archive-date=November 14, 2010|website=Peopleshistory.us|access-date=August 13, 2019}}</ref>
===2010s–2020s===
In 2011, Parks released ''Arrangements, Vol. 1'' through his label Bananastan, a curation of previously released songs he had arranged for other artists in the 1960s.<ref name="Greene11">{{cite web |last1=Greene |first1=Jayson |title=Van Dyke Parks: Arrangements, Vol. 1 |url=https://pitchfork.com/reviews/albums/15840-van-dyke-parks-arrangements-vol-1/ |website=Pitchfork |date=September 22, 2011}}</ref> The year, he began releasing a series of vinyl singles featuring original songs, archival recordings, cover songs, and re-recordings.<ref name="Deming2023"/> These tracks were compiled into the album ''[[Songs Cycled]]'', released on May 6, 2013, through [[Bella Union]].<ref>{{cite news|last=Snapes|first=Laura|title=Van Dyke Parks to Release Songs Cycled, First Album of New Material Since 1989|url=http://pitchfork.com/news/49745-van-dyke-parks-to-release-songs-cycled-first-album-of-new-material-since-1989/|access-date=March 1, 2013|newspaper=PitchforkMedia|date=March 1, 2013|url-status=live|archive-url=https://web.archive.org/web/20130303020229/http://pitchfork.com/news/49745-van-dyke-parks-to-release-songs-cycled-first-album-of-new-material-since-1989/|archive-date=March 3, 2013|df=mdy-all}}</ref> It was followed later in the year with ''Super Chief: Music for the Silver Screen'', an orchestral [[concept album]] that compiled music originating from his various television and film scores over the previous decades.<ref name="Deming2023"/>

In January 2013, Parks performed with Haruomi Hosono in Tokyo for the first time in many years.<ref name="billboardlive">{{cite web |url=http://www.billboard-japan.com/special/detail/472 |title=ヴァン・ダイク・パークス インタビュー│Special│Billboard JAPAN |publisher=Billboard-japan.com |access-date=July 26, 2013 |url-status=live |archive-url=https://web.archive.org/web/20130727021117/http://www.billboard-japan.com/special/detail/472 |archive-date=July 27, 2013 |df=mdy-all }}</ref> That March, he performed at the [[Adelaide Festival]] with Daniel Johns and [[Kimbra]].<ref>{{cite web|title=ENTERTAINMENT Adelaide Festival 2013 review: Van Dyke Parks with Daniel Johns and Kimbra|url=http://www.adelaidenow.com.au/entertainment/adelaide-festival-2013-review-van-dyke-parks-with-daniel-johns-and-kimbra/|work=The Advertiser|access-date=October 23, 2013|date=March 10, 2013}}</ref> In September, he curated a "Best-of" CD for New Orleans pianist Tom McDermott, titled ''Bamboula''.{{cn|date=April 2025}} On November 22, Parks released a 7-inch single, "I'm History", to mark the 50th anniversary of [[John F. Kennedy]]'s [[assassination of John F. Kennedy|assassination]].<ref>{{cite news|url=http://www.thefourohfive.com/news/article/van-dyke-parks-announces-7-single-i-m-history|title=Van Dyke Parks announces 7'" single 'I'm History'|date=November 25, 2013|access-date=December 2, 2014|last=Leorne|first=Ana|work=The 405|url-status=live|archive-url=https://web.archive.org/web/20150212174720/http://www.thefourohfive.com/news/article/van-dyke-parks-announces-7-single-i-m-history|archive-date=February 12, 2015|df=mdy-all}}</ref>

In 2014, Parks underwent unsuccessful hand surgery, which resulted in his hands freezing after about forty minutes of playing the piano. On May 9, 2015, he performed what he described as his "final piano performance" at the [[Largo (nightclub)|Largo]] nightclub in Los Angeles. Guest performers included [[Gaby Moreno]], [[Joe Henry]], [[Edward Droste]] of [[Grizzly Bear (band)|Grizzly Bear]], Kimbra, and [[Grant Geissman]]. Parks expressed plans for future projects involving setting poetry to music, collaborating with a string quartet, and seeking a film project that piqued his interest.<ref>{{cite news|last1=Lewis|first1=Randy|title=Van Dyke Parks gives his 'final performance' on the piano|url=http://www.latimes.com/entertainment/music/la-et-ms-van-dyke-parks-largo-coronet-20150512-story.html|work=[[Los Angeles Times]]|date=May 12, 2015|url-status=live|archive-url=https://web.archive.org/web/20150512115551/http://www.latimes.com/entertainment/music/la-et-ms-van-dyke-parks-largo-coronet-20150512-story.html|archive-date=May 12, 2015|df=mdy-all}}</ref>

In 2019, Parks partnered with Moreno on ''¡Spangled!'', creating orchestral arrangements for traditional songs from South and Central America. He arranged four compositions by Mexican poet and harpist [[Verónica Valerio]] for their 2021 EP ''Van Dyke Parks Orchestrates Verónica Valerio: Only in America''. Additional collaborative work has included contributions as an arranger and instrumentalist for Brian Woodbury's ''Antipathy & Ideology'' (2022), [[Oliver Sim]]'s ''[[Hideous Bastard]]'' (2022), [[Tommy McLain]]'s ''I Ran Down Every Dream'' (2022), and Wainwright's ''[[Folkocracy]]'' (2023).<ref name="Deming2023"/>

==Style and influences==
[[File:Les Paul and Mary Ford 1954.jpg|thumb|upright|Parks acknowledged [[Les Paul]]'s multi-tracked recordings with [[Mary Ford]] as a foundational influence on his production style.]]

Parks' overall sound and music style has been categorized as [[orchestral pop]],<ref>{{cite web|last1=Joffe|first1=Justin|title=The Day J-Pop Ate Itself: Cornelius and the Timeless Freakiness of 'Fantasma'|url=http://observer.com/2016/06/the-day-j-pop-ate-itself-cornelius-and-the-timeless-freakiness-of-fantasma/|website=[[The Observer]]|date=June 13, 2016|url-status=live|archive-url=https://web.archive.org/web/20170204171349/http://observer.com/2016/06/the-day-j-pop-ate-itself-cornelius-and-the-timeless-freakiness-of-fantasma/|archive-date=February 4, 2017|df=mdy-all}}</ref> [[Americana (music)|Americana]],<ref name="Ind">{{cite web|last1=Gill|first1=Andy|title=Album review: Van Dyke Parks, Songs Cycled (Bella Union)|url=https://www.independent.co.uk/arts-entertainment/music/reviews/album-review-van-dyke-parks-songs-cycled-bella-union-8601687.html|website=[[The Independent]]|access-date=29 October 2016|url-status=live|archive-url=https://web.archive.org/web/20161030075255/http://www.independent.co.uk/arts-entertainment/music/reviews/album-review-van-dyke-parks-songs-cycled-bella-union-8601687.html|archive-date=October 30, 2016|df=mdy-all}}</ref> [[art pop]],<ref name="Spin">{{cite journal|last1=Wood|first1=Mickael|title=Strange Beauty|journal=[[Spin magazine|Spin]]|date=Dec 2006|page=95|url=https://books.google.com/books?id=dhpEiwR_cZAC&q=van+dyke+parks+%22art+pop%22&pg=PA95|access-date=29 October 2016}}</ref> [[baroque pop]],<ref>{{cite book|first1=David|last1=Kamp|last2=Daly|first2=Steven|title=The Rock Snob's Dictionary: An Essential Lexicon of Rockological Knowledge|page=124|date=2005|publisher=Broadway Books|isbn=9780767918732|url=https://archive.org/details/rocksnobsdiction00kamp|url-access=limited|access-date=29 October 2016}}</ref> and [[experimental pop]].<ref>{{cite journal|last1=Pederson|first1=Erik|title=What the World Needs Now: The New Easy Listening|journal=Option|date=1997|issue=77|url=http://sks.sirs.swb.orc.scoolaid.net/cgi-bin/hst-article-display?id=SNY5419-0-6412&type=ART&artno=0000075107}}{{dead link|date=April 2016}}</ref> His musical influences include [[Percy Grainger]], [[Louis Moreau Gottschalk]], [[Spike Jones]], [[Juan García Esquivel]], and [[Les Paul]],{{sfn|Henderson|2010|pp=45, 72, 80, 132}} as well as [[Bach]], [[Beethoven]], [[Charles Ives]], [[Chopin]], [[Antonín Dvořák]], [[Bedřich Smetana]], [[Vaughn Williams]], [[George Gershwin]], [[Woody Guthrie]], and [[Howlin' Wolf]].<ref name="Blues2013"/>

According to Parks, hearing Jones’ "[[Cocktails for Two]]" (1944) and Les Paul and [[Mary Ford]]'s "[[How High the Moon]]" (1951) as a child convinced him of the creative possibilities of recorded and multitracked sound and set him on a lifelong path in studio music.<ref name="billboard 2013">{{cite magazine|last=Gallo|first=Phil|title=Van Dyke Parks Takes Artful Approach on First Solo Album in Decades|url=http://www.billboard.com/articles/news/4435130/van-dyke-parks-takes-artful-approach-on-first-solo-album-in-decades|magazine=Billboard|access-date=July 26, 2013|date=July 25, 2013|url-status=live|archive-url=https://web.archive.org/web/20130726225948/http://www.billboard.com/articles/news/4435130/van-dyke-parks-takes-artful-approach-on-first-solo-album-in-decades|archive-date=July 26, 2013|df=mdy-all}}</ref><ref>{{cite web|url=https://www.vice.com/en/article/van-dyke-parks-has-a-lot-to-say/|title=Van Dyke Parks Has a Lot to Say|date=November 7, 2013|website=vice.com|access-date=May 9, 2018|url-status=live|archive-url=https://web.archive.org/web/20160304044725/http://noisey.vice.com/blog/van-dyke-parks-has-a-lot-to-say|archive-date=March 4, 2016|df=mdy-all}}</ref> His affinity for "tuneful percussion" originated from attending Grainger's [[chamber music|chamber]]-folk symphony performances in his youth.{{sfn|Henderson|2010|p=72}}

Lyrically, Parks is characterized by a free-associative approach.{{sfn|Henderson|2010|p=70}} Influences on his lyric style include [[James Joyce]], [[Lawrence Ferlinghetti]], [[e.e. cummings]],<ref name="splice"/> [[William Saroyan]], and [[John Steinbeck]].{{sfn|Priore|2005|p=40}} The ''Discover America'' album title derived from Ferlinghetti's poem "I Am Waiting".{{citation needed|date=April 2025}}

==Impact and legacy==
[[File:VDParks 02212004.jpg|thumb|left|upright|Parks signing ''Smile'' memorabilia, February 2004]]

In his [[AllMusic]] summary, contributor Mark Dehming wrote that Parks remains "widely regarded as one of the most talented behind-the-scenes figures in rock and pop music and a respected, cult-favorite singer/songwriter in his own right."<ref name="Deming2023"/> ''[[Pitchfork (website)|Pitchfork]]'' contributor Jayson Greene recognized Parks as placing "an inimitable stamp on American pop, though the vast majority of music fans have no idea when they are listening to his work."<ref name="Greene11"/>
{{Quote box
|align=
|quote=I honestly knew that I wasn’t an artist, even when I signed at Warner Bros. I knew I was simply a musician who wanted to record in the studio, and I signed an artist contract basically kicking and screaming [...]
|source=—Van Dyke Parks{{sfn|Kubernik|2009|p=354}}
|width = 25%
}}
Writing in 2002, Brend summarized Parks' career as eclectic and resistant to categorization, marked by his multidisciplinary approach across prolific collaborative work, involvement in 1960s and 1970s West Coast music scenes, "unique" solo projects, and ambiguously defined role at Warner Bros.{{sfn|Brend|2002|p=46}} Parks himself reflected on his role as a behind-the-scenes collaborator rather than a conventional solo artist, citing his work with figures such as Randy Newman, Ry Cooder, and Little Feat as examples of his preference for supporting others’ creative visions.{{sfn|Kubernik|2009|pp=354–355}}

''Song Cycle'' influenced the 1970s [[singer-songwriter]] movement and inspired many other recording artists to experiment with studio artifice.{{sfn|Henderson|2010|pp=23, 64–65}} Author and musician [[Bob Stanley (musician)|Bob Stanley]] credits Parks, among others, with originating [[soft rock]] styles leading to the offshoot genre later termed "[[sunshine pop]]", and with presaging the more complex pop styles associated with early forms of [[progressive rock]].{{sfn|Stanley|2013|pp=178–179}} In his 2010-published [[33⅓]] book covering ''Song Cycle'', Richard Henderson credits Parks as influential on music production in his consideration for [[Recording studio as an instrument|the studio as a compositional tool]] alongside "the potential of a record's production to suggest scenery and location", paralleling [[Brian Eno]]'s impact.{{sfn|Henderson|2010|p=23}}

==Personal life==
Parks is the great-nephew of 19th-century poet [[Will Carleton]], whose book ''Farm Ballads'' originated the title of Parks' ''Clang of the Yankee Reaper''.<ref name="Parkes2013">{{cite web|last=Parkes|first=Taylor|url=https://thequietus.com/articles/12337-van-dyke-parks-interview|title=The Clang Of The Yankee Reaper: Van Dyke Parks Interviewed|website=[[The Quietus]]|date=May 22, 2013 |access-date=December 14, 2019}}</ref>{{sfn|Henderson|2010|p=79}} His brother [[Carson Parks|Carson]] wrote the song "[[Somethin' Stupid]]", which became a hit for [[Frank Sinatra|Frank]] and [[Nancy Sinatra]] in 1967.{{sfn|Priore|2005|p=35}}

==Discography==
{{Main|Van Dyke Parks discography}}
{{See also|Van Dyke Parks discography#Appearances|l1=Van Dyke Parks appearances}}
{{Col-begin}}
{{Col-break}}
'''Studio albums'''
* ''[[Song Cycle (album)|Song Cycle]]'' (1967)
* ''[[Discover America]]'' (1972)
* ''[[Clang of the Yankee Reaper]]'' (1976)
* ''[[Jump! (album)|Jump!]]'' (1984)
* ''[[Tokyo Rose (album)|Tokyo Rose]]'' (1989)
* ''[[Orange Crate Art]]'' (1995) (with [[Brian Wilson]])
* ''[[Songs Cycled]]'' (2013)
{{Col-break}}
'''Live album'''
* ''[[Moonlighting: Live at the Ash Grove]]'' (1998)
{{Col-break}}
'''Compilations'''
* ''Idiosyncratic Path: Best Of Van Dyke Parks'' (1996)
* ''Arrangements: Volume 1'' (2011)
* ''Super Chief: Music For The Silver Screen'' (2013)
{{col-end}}
==Filmography==

===Film===
:{{legend|#CCFFFF|Also composer}}

{| class="wikitable sortable"
|-
! Year
! Title
! Role
|-
|1956
|''[[The Swan (1956 film)|The Swan]]''
|George
|-
|1959
|''A Gift for Heidi''
|Peter
|-
|1971
|''Love It or Leave It''
|Himself / Songwriter
|-
|1980
|''[[Loose Shoes]]''
|Indian No. 2
|-
|1980
|style="background: #CCFFFF"|''[[Popeye (film)|Popeye]]''
|Hoagy – the Piano Player
|-
|1985
|''[[The Beach Boys: An American Band]]''
|Himself
|-
|1988
|''Ry Cooder & The Moula Banda Rhythm Aces: Let's Have a Ball''
|Himself
|-
|1988
|''[[Vibes (film)|Vibes]]''
|Dr. Weiner
|-
|1990
|style="background: #CCFFFF"|''[[The Two Jakes]]''
|Francis Hannah
|-
|1991
|''[[He Said, She Said (film)|He Said, She Said]]''
|Priest
|-
|2007
|''The Old, Weird America: Harry Smith's Anthology of American Folk Music''
|Himself
|-
|2009
|''[[The People Speak (film)|The People Speak]]''
|Himself
|-
|2010
|''[[Who Is Harry Nilsson (And Why Is Everybody Talkin' About Him)?|Who Is Harry Nilsson]]''
|Himself
|-
|2010
|''All You Need Is Klaus''
|Himself
|-
|2010
|''[[Phil Ochs: There but for Fortune]]''
|Himself
|}

===Television===

{| class="wikitable sortable"
|-
! Year
! Title
! Role
! Notes
|-
|1953
|''[[Bonino (TV series)|Bonino]]''
|Andrew Bonino
|Series regular
|-
|1953
|''[[The Philco-Goodyear Television Playhouse]]''
|
|Episode: "The Glorification of Al Toolum"
|-
|1954
|''[[Goodyear Playhouse]]''
|
|Episode: "Here's Father"
|-
|1954
|''Ponds Theater''
|Elisha
|Episode: "Elisha and the Long Knives"
|-
|1954
|''[[The Campbell Playhouse (TV series)|Campbell Summer Soundstage]]''
|
|2 episodes
|-
|1955
|''The Elgin Hour''
|Richie Dane
|Episode: "Crime in the Streets"
|-
|1954-1955
|''[[Studio One in Hollywood]]''
|Lawrence Alden / Robbie / Eddie Stone
|3 episodes
|-
|1955
|''Windows''
|The Boy
|Episode: "The Calliope Tree"
|-
|1956
|''[[Kraft Theatre]]''
|
|Episode: "The Devil as a Roaring Lion"
|-
|1956
|''[[The Alcoa Hour]]''
|Ted
|Episode: "Man on Fire"
|-
|1956
|''[[Star Tonight]]''
|
|Episode: "A Trip to Czardis"
|-
|1956
|''[[General Electric Theater]]''
|Horace
|Episode: "The Golden Key"
|-
|1956-1957
|''[[The Kaiser Aluminum Hour]]''
|Boy / Bobby
|2 episodes
|-
|1959
|''Brenner''
|Jay Joplin
|Episode: "Family Man"
|-
|1982
|''[[Faerie Tale Theatre]]''
|The Musician
|Episode: "The Tale of the Frog Prince"
|-
|1990
|''[[Twin Peaks]]''
|Jack Racine
|Episode: "Episode 12"
|-
|}

==Notes==
{{reflist|group=nb|33em}}
==References==
{{Reflist|20em}}
==Bibliography==
{{refbegin|indent=yes|30em}}
*{{cite book|last=Badman|first=Keith|title=The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio|url=https://archive.org/details/beachboysdefinit0000badm|url-access=registration|year=2004|publisher=Backbeat Books|isbn=978-0-87930-818-6}}
* {{cite book |last1=Brend |first1=Mark |title=Rock and Roll Doctor: Lowell George, Guitarist, Songwriter, and Founder of Little Feat |date=2002 |publisher=Backbeat Books |isbn=978-0-87930-726-4 |url=https://archive.org/details/rockrolldoctorlo0000bren/|url-access=registration}}
* {{cite book|first=Peter Ames|last=Carlin|author-link=Peter Ames Carlin|title=Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson|url=https://archive.org/details/catchwaverisefal0000carl/|year=2006|publisher=Rodale|isbn=978-1-59486-320-2|url-access=registration}}
* {{cite book |last1=Carlin |first1=Peter Ames |author1-link=Peter Ames Carlin |title=Sonic Boom: The Impossible Rise of Warner Bros Records, from Hendrix to Fleetwood Mac to Madonna to Prince |date=2021 |publisher=Henry Holt and Company |location=New York |isbn=9781250301574 |edition=First |url=https://www.google.com/books/edition/Sonic_Boom/gdLtDwAAQBAJ}}
* {{cite book |last1=Carter |first1=Dale |title=Reading Smile: History, Myth and American Identity in Brian Wilson and Van Dyke Parks' Long-Lost Album |date=2021 |publisher=Routledge |location=Abingdon, Oxon |isbn=9780367622862 }}
* {{cite book |last1=Frank |first1=Josh |last2=Buckholtz |first2=Charlie |title=In Heaven Everything Is Fine: The Unsolved Life of Peter Ivers and the Lost History of New Wave Theatre |publisher=Soft Skull Press |location=New York, NY |year=2009 |pages=368 |isbn=9781593762704 |url=}}
* {{cite book|last1=Granata|first1=Charles L.|title=Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds|date=2003|publisher=A Cappella Books |isbn=9781556525070|url-access=registration|url=https://archive.org/details/wouldntitbenice00char}}
*{{cite book |last=Henderson |first=Richard |title=Song Cycle |date=2010 |series=[[33⅓]] |publisher=[[Continuum International Publishing Group]] |location=New York |isbn=978-0-8264-2917-9 |url=https://archive.org/details/van-dyke-parks-song-cycle-richard-henderson_202011 |url-access=registration}}
* {{cite book |last1=Hoskyns |first1=Barney |author1-link=Barney Hoskyns |title=Waiting for the Sun: Strange Days, Weird Scenes, and the Sound of Los Angeles |date=1996 |publisher=St. Martin's Press |location=New York |isbn=978-0-312-14444-9 |url=https://archive.org/details/waitingforsunstr0000hosk/|url-access=registration}}
* {{cite book |last1=Hoskyns |first1=Barney |author1-link=Barney Hoskyns |title=Hotel California: The True-Life adventures of Crosby, Stills, Nash, Young, Mitchell, Taylor, Browne, Ronstadt, Geffen, the Eagles, and Their Many Friends |date=2006 |publisher=John Wiley |isbn=978-0-471-73273-0 |url=https://archive.org/details/hotelcaliforniat0000hosk/|url-access=registration}}
* {{cite book |last1=Kubernik |first1=Harvey |title=Canyon of Dreams:The Magic and the Music of Laurel Canyon |date=2009 |publisher=Sterling |isbn=978-1-4027-6589-6 |url=https://archive.org/details/canyonofdreamsma0000kube/|url-access=registration}}
*{{cite book|last=Lake|first=Kirk|title=There Will Be Rainbows: A Biography of Rufus Wainwright|url=https://books.google.com/books?id=9_t9aUJBqT0C|access-date=4 August 2013|year=2010|publisher=HarperCollins|isbn=978-0-06-201871-7}}
* {{cite book|last=Priore|first=Domenic|author-link=Domenic Priore|title=Smile: The Story of Brian Wilson's Lost Masterpiece|url=https://books.google.com/books?id=81YIAQAAMAAJ|year=2005|publisher=Sanctuary|location=London|isbn=1-86074-627-6}}
*{{cite book|last=Stanley|first=Bob|author-link=Bob Stanley (musician)|title=Yeah Yeah Yeah: The Story of Modern Pop |url= https://books.google.com/books?id=9emZAAAAQBAJ|date=2013|publisher=Faber & Faber|isbn=978-0-571-28198-5}}
* {{cite book|last=Shipton|first=Alyn|title=Nilsson: The Life of a Singer-Songwriter|url=https://archive.org/details/nilssonlifeofsin0000ship/|year=2013|publisher=Oxford University Press|isbn=978-0-19-933069-0|url-access=registration}}
* {{cite book |last=White |first=Timothy |author-link=Timothy White (writer) |title=The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience |date=1996 |publisher=Macmillan |isbn=0333649370 |url=https://archive.org/details/nearestfarawaypl0000whit/ |url-access=registration}}
{{refend}}

==Further reading==
* {{cite book |ref=none|last1=Brend |first1=Mark |title=American Troubadours: Groundbreaking Singer-Songwriters of the '60s |date=2001 |publisher=Backbeat Books |isbn=978-0-87930-641-0|url=https://archive.org/details/americantroubado00bren/|url-access=registration}}
* {{cite book |last1=Priore |first1=Domenic |author1-link=Domenic Priore |title=Riot on Sunset Strip: Rock 'n' Roll's Last Stand in Hollywood |date=2007 |publisher=Jawbone Press |location=London |isbn=978-1-906002-04-6 |url=https://archive.org/details/riotonsunsetstri0000prio/ |ref=none|url-access=registration}}
* {{cite book | last = Smirnoff| first = Marc| title = The Oxford American Book of Great Music Writing|others=Foreword by Van Dyke Parks| url = http://www.uapress.com/titles/fa10/smirnoff-pb.html| year = 2010| publisher = University of Arkansas Press| isbn = 978-1-55728-950-6| url-status = dead| archive-url = https://web.archive.org/web/20110127035148/http://www.uapress.com/titles/fa10/smirnoff-pb.html| archive-date = January 27, 2011| df = mdy-all|ref=none}}
* {{cite book |ref=none|last1=VanderLans |first1=Rudy |authorlink=Rudy Vanderlans|title=Palm Desert |date=1999 |publisher=Emigre |isbn=978-0-9669409-0-9 |url=https://archive.org/details/palmdesert0000vand/|url-access=registration}}
* {{cite book |ref=none|last1=Zollo |first1=Paul |title=Songwriters on Songwriting |date=1991 |publisher=Writer's Digest Books |isbn=978-0-89879-451-9 |url=https://archive.org/details/songwritersonson0000zoll/|url-access=registration}}
==External links==
* {{discogs artist}}
* {{IMDb name}}
* {{IBDB name}}
* [http://www.musicomh.com/music/features/van-dyke-parks_0511.htm musicOMH interview with Van Dyke Parks, 2011]{{dead link|date=April 2025}}
* [https://web.archive.org/web/20161031024541/http://bananastan.online/ Welcome to Bananastan!] The Van Dyke Parks Bananastan Archive
* [http://www.bobclaster.com 80-minute 1984 KCRW radio interview by Bob Claster ''A Visit with Van Dyke Parks'']
*[https://web.archive.org/web/20070602154109/http://cecilvortex.com/swath/2007/05/03/an_interview_with_van_dyke_parks.html Van Dyke Parks on creativity, an interview with about-creativity.com May 3, 2007]
* {{cite web|ref=none|last=Hoskyns|first=Barney|authorlink=Barney Hoskyns|title=AUDIO: Van Dyke Parks (1993)|url=http://www.rocksbackpages.com/Library/Article/audio-van-dyke-parks-part-3-1993|website=[[Rock's Backpages]] Audio|date=June 16, 1993|url-status=live|archive-url=https://web.archive.org/web/20130510152418/http://www.rocksbackpages.com/Library/Article/audio-van-dyke-parks-part-3-1993|archive-date=May 10, 2013|df=mdy-all}}

{{Van Dyke Parks}}
{{Frank Zappa}}

{{Authority control}}

{{DEFAULTSORT:Parks, Van Dyke}}
[[Category:1943 births]]
[[Category:20th-century American male actors]]
[[Category:20th-century American musicians]]
[[Category:20th-century American pianists]]
[[Category:American male child actors]]
[[Category:American entertainment industry businesspeople]]
[[Category:Record producers from California]]
[[Category:Brian Wilson]]
[[Category:Living people]]
[[Category:Musicians from Hattiesburg, Mississippi]]
[[Category:People from Ventura County, California]]
[[Category:Songwriters from Mississippi]]
[[Category:Experimental pop musicians]]
[[Category:Baroque pop musicians]]
[[Category:Art pop musicians]]
[[Category:People from Lake Charles, Louisiana]]
[[Category:American music arrangers]]
[[Category:Bella Union artists]]