Van Dyke Parks
Template:Short description Template:Use mdy dates Template:Infobox musical artist
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 experiments, Americana iconography, free-associative lyrics, and Caribbean sounds. He is best known for his 1967 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 along the West Coast and contributed arrangements to Disney film soundtracks, including "The Bare Necessities" for The Jungle Book (1967). Following two singles issued on MGM Records—"Come to the Sunshine" (1966) and a folk rock adaptation of Beethoven's 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, later completed in 2004 as 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 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 (with Nilsson, 1980), Follow That Bird (1985), and The Brave Little Toaster (1987). He authored a trilogy of children's books based on his 1984 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
[edit]Van Dyke Parks was born on January 3, 1943Template:Sfn in Hattiesburg, Mississippi, briefly residing in Lake Charles, Louisiana.Template:Sfn He is the youngest of four musically inclined brothers, all of whom played brass instruments.Template:Sfn 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.Template:Sfn 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.Template:Sfn Van Dyke's mother was a Hebraic scholar.Template:Sfn Parks began playing clarinet at age four and demonstrated early proficiency on the family piano, which later accommodated eight-handed performances with his brothers.Template:Sfn
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.Template:Sfn The choir performed nationwide, and Parks sang under conductors Arturo Toscanini, Thomas Beecham, and Eugene Ormandy.Template:Sfn 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.Template:Sfn
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), 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".Template:Sfn
Early career (1963–1966)
[edit]Folk groups and Disney gigs
[edit]In 1960, Parks enrolled at the Carnegie Institute, majoring in composition and performance,Template:Sfn and studying under Aaron Copland.Template:Sfn 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.Template:Sfn The pair performed along the California coast, from San Diego to Santa Barbara, initially earning $7.50 per nightTemplate:Sfn at venues such as Hermosa Beach’s Insomniac Café, where they appeared alongside acts including the Andrew de la Bastide Steel Band, Bessie Griffin and the Gospel Pearls, and the Chambers Brothers.Template:Sfn David Crosby attended a Santa Barbara performance, remarking to associate David Lindley, "If they can get away with it, so can we."<ref name="Prism Films">Template:Cite web</ref><ref name="Seldom Seen Kid">Template:Cite magazine</ref> Parks also performed acoustic folk music at the Prison of Socrates coffeehouse on Balboa Peninsula while the Beach Boys played simultaneously at the nearby Rendezvous Ballroom.Template:SfnTemplate:Sfn 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".Template:Sfn
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.Template:Sfn He also toured New England as a member of the Brandywine SingersTemplate:Sfn and was a member of the Greenwood County Singers, participating on their first two Kapp Records albums,Template:Sfn as well as songwriter Terry Gilkyson's group the Easy Riders.Template:SfnTemplate:Refn After recruiting a standup bass player, the renamed Steel Town Three secured a residency at West Hollywood’s Troubadour nightclub, earning $750 weekly (equivalent to $Template:Inflation in Template:Inflation-year).Template:Sfn
In 1963, Parks' brother Benjamin Riley Parks, a French horn player and the youngest 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.Template:SfnTemplate:Refn 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.”Template:SfnTemplate:Sfn This session at Los Angeles' Sunset Sound Recorders was Parks' first paid recording work.Template:Sfn He subsequently played and arranged on other Disney soundtracks, including Savage Sam (1963) and The Moon-Spinners (1964),Template:Sfn while Sunset Sound hosted much of his recordings through the 2000s.Template:Sfn
"High Coin", MGM singles, and Laurel Canyon scene
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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 and Doug Botnick.Template:Sfn 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.Template:Sfn Hutton recalled first encountering Parks at a Troubadour-related party around 1963,Template:Sfn describing him as appearing boyish and holding forth intellectually to attendees.Template:SfnTemplate:Sfn Parks later named Hutton’s band Three Dog Night.Template:Sfn
After 1964, Parks observed an influx of aspiring musicians into Laurel Canyon, inspired by the commercial breakthroughs of local acts.Template:Sfn The Beatles' Hollywood Bowl appearance that year and the Rolling Stones’ American release 12 × 5 convinced him that major labels were poised to commodify blues music.Template:Sfn He later recalled the transformative influence of 12 × 5 together with Bob Dylan's 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."Template:Sfn Parks subsequently pursued songwriting more actively.<ref name=sodajerker>Template:Cite web</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."Template:Sfn He penned the song "High Coin", first recorded by Rick Jarrard and released as Jarrard's debut record in late 1965,Template:Cn with subsequent recordings by Bobby Vee, the West Coast Pop Art Experimental Band, Jackie DeShannon, and the Charlatans.Template:Sfn
In 1965, Parks made regular appearances on the ABC talk show The Les Crane Show,Template:Sfn engaging in discussions that included a segment with computer programmers.<ref name="Hopkins68"/>Template:Refn 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.Template:Sfn 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.Template:Sfn In the same month, Crosby invited Parks to Beach Boys leader Brian Wilson's home in Beverly Hills, marking their first meeting.Template:Sfn 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."Template:Sfn Parks later cited Pet Sounds as the only "striking [work] coming out of the United States" at the time.<ref name="tim">Template:Cite magazine</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 squaresville to investigate [...] America."<ref name="cohen2013"/>
In 1966, Parks briefly signed with MGM under A&R executive Tom Wilson.Template:Sfn 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".Template:Sfn Los Angeles Free Press journalist Paul Jay Robbins translated the original German text into English for "Number Nine",Template:Sfn while the lyrics of the B-side "Do What You Wanta" were written by Hutton.Template:Sfn 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.Template:Sfn
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"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".Template:Sfn He was joined by Stills and Steve Young, all three playing guitar, though the band immediately dissolved.Template:Sfn Parks was also briefly a member of Frank Zappa's Mothers of Invention prior to the recording of their album Freak Out! (1966),Template:Sfn contributing three arrangementsTemplate:Sfn before leaving due to disinterest in performing before raucous audiences<ref name="dorian">Template:Cite web</ref> and disagreements with Zappa.<ref name="Deming2023">Template:Cite web</ref>Template:Refn
Studio session work and Smile
[edit]Template:Main 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.Template:Sfn Ry Cooder joined Parks on these studio dates.Template:SfnTemplate:Sfn On the Byrds' single "5D (Fifth Dimension)", the title song of their 1966 album, Parks contributed Hammond organ.Template:SfnTemplate:Sfn He also appeared on Gene Clark's solo debut, Gene Clark with the Gosdin Brothers (1967).Template:Sfn
Through Melcher, Parks reconnected with Brian Wilson several months after their first meeting.Template:SfnTemplate:SfnTemplate:Refn Impressed by his articulate manner, Wilson, seeking a new lyricist, later offered him a collaboration on the Beach Boys' next album, soon titled Smile.Template:Sfn Parks had attended some "Good Vibrations" recording sessions, and believed that his suggestions regarding the song's cello, initially recorded in June 1966,Template:Sfn convinced Wilson of their shared creative sensibilities.Template:Sfn He declined Wilson’s proposal to complete unfinished lyrics for "Good Vibrations", preferring a joint creative effort.Template:Sfn Writing together at Wilson's home, their collaboration terms included Wilson purchasing Parks a $5,000 Volvo to address his transportation needs (equivalent to $Template:Inflation in Template:Inflation-year).Template:SfnTemplate:Refn
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.Template:Sfn 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.Template:Sfn 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.Template:SfnTemplate:Refn Parks additionally contributed piano to many of the recording sessions, as well as marimba (on "Wind Chimes").<ref>Template:Cite AV media notes</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".Template:Sfn 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.Template:Sfn Two Smiley Smile tracks—"Wonderful" and "Wind Chimes"—were not officially recognized as his co-written songsTemplate:Sfn until 2004.Template:SfnTemplate:Refn
Initial Warner Bros. period (1966–1971)
[edit]Waronker collaborations and Song Cycle
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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.Template:Sfn After Seven Arts Productions had acquired Warner Bros. in 1966, the record division rebranded as Warner Bros.-Seven Arts under president Joe Smith, who prioritized broadening the label's artistic scope.Template:Sfn 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.Template:Sfn 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.Template:SfnTemplate:Sfn 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."Template:Sfn
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 (both 1967). The latter included their rendition of "High Coin" and Porter's "Anything Goes".Template:Sfn 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."Template:Sfn 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.Template:Sfn Parks produced Harpers Bizarre's version of "Come to the Sunshine", their follow-up single.Template:Sfn
Warner Bros. financed a test single, "Donovan's Colours", that was credited under the pseudonym "George Washington Brown" due to Parks' reluctance to risk his family's reputation.Template:SfnTemplate:Refn After journalist Richard Goldstein praised the single in the Village Voice, the company greenlit a full solo album but required Parks to use his real name.Template:Sfn On January 5, 1967, he signed a multi-album contract with Warner Bros.,Template:Sfn 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.Template:Sfn
By April, Parks had withdrawn from the Smile project to focus on his debut album, Song Cycle, recorded over seven months with sessions produced by Waronker, engineered by Lee Herschberg and Doug Botnick, and mixed by Bruce Botnick.Template:Sfn A concept album centered on Hollywood and Southern California,Template:Sfn it was one of the most expensive albums ever produced, costing approximately $80,000 (equivalent to $Template:Inflation in Template:Inflation-year).Template:Sfn 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."Template:Sfn At Parks' commission, Newman wrote the opening track "Vine Street".Template:Sfn
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.Template:Sfn 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.Template:Sfn According to Parks, "there was every expectation that the recording costs would be recovered, and they were, within three years."<ref name="splice">Template:Cite web</ref>Template:Refn
After completing Song Cycle Parks relocated to Laurel Canyon and co-produced Newman's 1968 self-titled debut album with Waronker, which faced a similar reception.Template:SfnTemplate:SfnTemplate:Refn 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.Template:Sfn They then produced Cooder's 1970 self-titled debut album, containing an ornate orchestral rendition of "One Meat Ball" arranged by Parks.Template:SfnTemplate:Refn
Beach Boys and Little Feat signings
[edit]
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.Template:Sfn The band's second album for the label, Surf's Up (1971), included 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.Template:Sfn
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.Template:Sfn 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 self-titled 1971 debut album, with Parks periodically co-writing, producing, and advising George on music business matters.Template:Sfn
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.Template:SfnTemplate:Refn 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."Template:SfnTemplate:Refn
Executive promotion, music video pioneering, and other signings
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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.Template:SfnTemplate:Refn Directors and crews were recruited from the advertising industry to realize these projects,Template:Sfn intended for screening before Warner Bros. theatrical featuresTemplate:Sfn and potential educational or cable television distribution.Template:Sfn The films combined performance footage with surrealist visuals, exemplified by Beefheart's Lick My Decals Off short.Template:Sfn Parks was appointed as the divison's head in August 1970.Template:Sfn According to Henderson, Template:Blockquote
The division dissolved by mid-1971.Template:Sfn According to some writers, Ostin deemed the initiative financially unsustainable due to limited distribution avenues and costs exceeding $500,000 (equivalent to $Template:Format price in Template:Inflation-year).Template:SfnTemplate:Sfn 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">Template:Cite web</ref> Template:Quote box Unrealized plans included a dedicated cable channel;Template:Sfn internal memos from Parks referenced early concepts for what became Music Television, including the phrase “I want my music television” and the acronym "MTV".Template:Sfn Parks remained under Ostin, later saying, "I was directly under Mo Ostin at WB Records [...] I answered to only one man. That was Mo."Template:Sfn 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."Template:Sfn
In 1970, Parks and Newman recommended electronic music duo Beaver & Krause to Smith, leading to their signing.<ref>Template:Cite book</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.Template:Sfn
Caribbean-focused era (1970–1975)
[edit]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 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">Template:Cite web</ref>
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.Template:Sfn 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".Template:Sfn 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).Template:Sfn 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.Template:Sfn Limited production resources led to scaled-back arrangements, including the use of an ARP String Synthesizer instead of live orchestration.Template:Sfn 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.Template:Sfn
Further collaborative work (1971–1976)
[edit]Happy End, "Sail On, Sailor", and Feats Don't Fail Me Now
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While recording the Discover America version of "Sailin' Shoes", Parks and George encountered the Japanese 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 Template:Nihongo, which became a chart-topping hit in Japan,<ref name="Blues2013">Template:Cite web</ref> while Parks produced Happy End's final album, Happy End (1973).Template:Sfn 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">Template:Cite web</ref>
Parks was the primary composer of the Beach Boys' 1973 single "Sail On, Sailor", which reached number 79 on the Billboard charts.Template:SfnTemplate:Refn He joined initial recording sessions for Little Feat's fourth album Feats Don't Fail Me Now at Hollywood’s Sound Factory between January and March 1974.Template:Sfn 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.Template:Sfn A truncated version of the song was released as a single in March 1975.Template:Sfn
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".Template:SfnTemplate:Refn The album’s title origin remains contested between Parks and guitarist Paul Barrère.Template:Sfn Alongside members of Little Feat, Parks also contributed to Kathy Dalton's 1973 solo debut Amazing and Howdy Moon's 1974 self-titled album.Template:Sfn
Nilsson albums and Southern Nights
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During the 1970s, Parks collaborated extensively with singer-songwriter Harry Nilsson,Template:Sfn contributing to albums such as Nilsson Schmilsson (1971), where he played accordion on "The Moonbeam Song",Template:Sfn and Duit on Mon Dei (1975), where he provided Caribbean-inspired arrangements after completing Clang of the Yankee Reaper.Template:SfnTemplate:Refn 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.Template:SfnTemplate:Refn His organizational skills proved vital during chaotic, drug-fueled sessions, helping maintain focus amid Nilsson’s increasingly erratic RCA-era output.Template:Sfn Parks characterized his role as Nilsson’s "musical secretary", translating fragmentary concepts—often scribbled on matchbooks—into fully realized compositions.Template:Sfn
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.Template:Sfn 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.Template:Sfn 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.Template:Sfn Parks involvement extended to the 1975 follow-up 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.Template:Sfn
Having brought Toussaint to Warners' attention via Discover America, Parks traveled to Louisiana to work on Toussaint's 1975 album Southern Nights, though he was ultimately denied a production credit due to intervention by Toussaint's management.Template:Sfn 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.Template:Sfn In 1976, he appeared as one of the interviewees in the band's NBC television special It's OK!.Template:Sfn
Shift to television and film (1978–1990s)
[edit]First film scores and late-1970s work
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By the late 1970s, Parks had entered a period of personal and professional transition.Template:Sfn 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.Template:Sfn The film’s music, characterized by unconventional instrumentation and 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.Template:Sfn
George's 1979 solo debut, Thanks, I'll Eat It Here, included "Cheek to Cheek", a song co-written with Parks.Template:Sfn 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.Template:Sfn Parks' partnership with Nilsson continued with Flash Harry (1980), an album that reunited the extant RCA house band and included Nilsson's version of "Cheek to Cheek".Template:SfnTemplate:Refn
Parks and Nilsson also collaborated on the soundtrack for Robert Altman's film Popeye (1980), where Parks appeared onscreen as a pianist.Template:Sfn 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 cartoons.Template:Sfn Elements of Parks' Popeye arrangements were later sampled in Jon Brion's score for Punch-Drunk Love (2002).Template:Sfn Later in 1980, Parks joined Nilsson as part of a studio band for Starr’s unreleased album Can't Fight Lightning, but the sessions halted abruptly following John Lennon's assassination in December.Template:Sfn
Jump!, Tokyo Rose, and other work
[edit]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">Template:Cite web</ref> This included Shelley Duvall's Faerie Tale Theatre (1982–1987).<ref>Template:Cite news</ref>
Parks revived his solo career with his fourth album, Jump! (1984), conceived as the soundtrack to a 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.Template:Sfn 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.Template:Sfn The first volume received a Caldecott Medal in 1986.Template:Sfn
In 1988, Parks played accordion on the Beach Boys' single "Kokomo"Template:Sfn 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.Template:Citation needed 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 (1989) continued his exploration of cross-cultural themes, revisiting Japanese-American relations initially addressed in the Song Cycle song "Pot Pourri".Template:Sfn 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>Template:Cite web</ref>
In 1990, Parks appeared on Twin Peaks, playing a defense attorney in the episode "The Orchid's Curse",Template:Sfn 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 (1989), Divinyls' Divinyls (1991), and Fiona Apple’s Tidal (1996).<ref name="Blues2013"/>
Later career and collaborations (1990s–present)
[edit]1990s–2000s
[edit]In October 1995, Warner Bros. issued the album Orange Crate Art, credited jointly to Parks and Brian Wilson.Template:Sfn A concept album centered on California's cultural heritage, Wilson provided lead vocals for nearly all tracks.Template:Sfn 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.Template:Sfn On October 8, 1996, Parks and Wilson performed a concert together at the Will Geer Theater in Topanga, California.Template:Sfn In 2000, Parks was commissioned to write an overture arrangement of Wilson's songs for Wilson's Pet Sounds concert performances.Template:Sfn Parks attended the 2001 tribute show held in Wilson's honor at the Radio City Music Hall in New YorkTemplate:Sfn and appeared as a featured guest on his Gettin' In over My Head (2004).Template:Sfn Template:Quote box 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,Template:Sfn and providing songs for the children's television series Harold and the Purple Crayon (2001–2002).<ref name="cohen2013">Template:Cite web</ref> Parks' association with Australian rock band Silverchair began with his work on their fourth studio 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.Template:Cn
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.Template:Sfn He subsequently provided lyrics and narration to select tracks on Wilson's That Lucky Old Sun (2008).
During this period, Parks provided arrangements for Wainwright’s Want and Want Two (2004), Newsom's 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">Template:Cite news</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.Template:Sfn 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.Template:Cn
In 2009, Parks performed in 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 Channel. They played "Do Re Mi" and reportedly a couple of other Guthrie songs that were excluded from the final edit.<ref>Template:Cite web</ref>
2010s–2020s
[edit]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">Template:Cite web</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>Template:Cite news</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">Template:Cite web</ref> That March, he performed at the Adelaide Festival with Daniel Johns and Kimbra.<ref>Template:Cite web</ref> In September, he curated a "Best-of" CD for New Orleans pianist Tom McDermott, titled Bamboula.Template:Cn On November 22, Parks released a 7-inch single, "I'm History", to mark the 50th anniversary of John F. Kennedy's assassination.<ref>Template:Cite news</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 in Los Angeles. Guest performers included Gaby Moreno, Joe Henry, Edward Droste of 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>Template:Cite news</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
[edit]
Parks' overall sound and music style has been categorized as orchestral pop,<ref>Template:Cite web</ref> Americana,<ref name="Ind">Template:Cite web</ref> art pop,<ref name="Spin">Template:Cite journal</ref> baroque pop,<ref>Template:Cite book</ref> and experimental pop.<ref>Template:Cite journalTemplate:Dead link</ref> His musical influences include Percy Grainger, Louis Moreau Gottschalk, Spike Jones, Juan García Esquivel, and Les Paul,Template:Sfn 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">Template:Cite magazine</ref><ref>Template:Cite web</ref> His affinity for "tuneful percussion" originated from attending Grainger's chamber-folk symphony performances in his youth.Template:Sfn
Lyrically, Parks is characterized by a free-associative approach.Template:Sfn Influences on his lyric style include James Joyce, Lawrence Ferlinghetti, e.e. cummings,<ref name="splice"/> William Saroyan, and John Steinbeck.Template:Sfn The Discover America album title derived from Ferlinghetti's poem "I Am Waiting".Template:Citation needed
Impact and legacy
[edit]
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 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"/> Template:Quote box 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.Template:Sfn 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.Template:Sfn
Song Cycle influenced the 1970s singer-songwriter movement and inspired many other recording artists to experiment with studio artifice.Template:Sfn Author and 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.Template:Sfn In his 2010-published 33⅓ book covering Song Cycle, Richard Henderson credits Parks as influential on music production in his consideration for the studio as a compositional tool alongside "the potential of a record's production to suggest scenery and location", paralleling Brian Eno's impact.Template:Sfn
Personal life
[edit]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">Template:Cite web</ref>Template:Sfn His brother Carson wrote the song "Somethin' Stupid", which became a hit for Frank and Nancy Sinatra in 1967.Template:Sfn
Discography
[edit]Template:Main Template:See also Template:Col-begin Template:Col-break Studio albums
- Song Cycle (1967)
- Discover America (1972)
- Clang of the Yankee Reaper (1976)
- Jump! (1984)
- Tokyo Rose (1989)
- Orange Crate Art (1995) (with Brian Wilson)
- Songs Cycled (2013)
Template:Col-break Live album
Template:Col-break Compilations
- Idiosyncratic Path: Best Of Van Dyke Parks (1996)
- Arrangements: Volume 1 (2011)
- Super Chief: Music For The Silver Screen (2013)
Filmography
[edit]Film
[edit]| Year | Title | Role |
|---|---|---|
| 1956 | The Swan | George |
| 1959 | A Gift for Heidi | Peter |
| 1971 | Love It or Leave It | Himself / Songwriter |
| 1980 | Loose Shoes | Indian No. 2 |
| 1980 | 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 | Dr. Weiner |
| 1990 | The Two Jakes | Francis Hannah |
| 1991 | He Said, She Said | Priest |
| 2007 | The Old, Weird America: Harry Smith's Anthology of American Folk Music | Himself |
| 2009 | The People Speak | Himself |
| 2010 | Who Is Harry Nilsson | Himself |
| 2010 | All You Need Is Klaus | Himself |
| 2010 | Phil Ochs: There but for Fortune | Himself |
Television
[edit]| Year | Title | Role | Notes |
|---|---|---|---|
| 1953 | 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 | 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
[edit]References
[edit]Bibliography
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Further reading
[edit]External links
[edit]- Template:Discogs artist
- Template:IMDb name
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- musicOMH interview with Van Dyke Parks, 2011Template:Dead link
- Welcome to Bananastan! The Van Dyke Parks Bananastan Archive
- 80-minute 1984 KCRW radio interview by Bob Claster A Visit with Van Dyke Parks
- Van Dyke Parks on creativity, an interview with about-creativity.com May 3, 2007
- Template:Cite web
- Pages with non-numeric formatnum arguments
- Pages with broken file links
- 1943 births
- 20th-century American male actors
- 20th-century American musicians
- 20th-century American pianists
- American male child actors
- American entertainment industry businesspeople
- Record producers from California
- Brian Wilson
- Living people
- Musicians from Hattiesburg, Mississippi
- People from Ventura County, California
- Songwriters from Mississippi
- Experimental pop musicians
- Baroque pop musicians
- Art pop musicians
- People from Lake Charles, Louisiana
- American music arrangers
- Bella Union artists