Van Dyke Parks
Van Dyke Parks | |
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Background information | |
Born | Hattiesburg, Mississippi, U.S. | January 3, 1943
Origin | Los Angeles, California, U.S. |
Genres | |
Occupation(s) |
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Instrument(s) |
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Years active | 1953–present |
Labels |
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Formerly of | The Mothers of Invention |
Van Dyke Parks (born January 3, 1943)[6] is an American musician, songwriter, arranger, and record producer who has composed various film and television soundtracks. He is best known for his 1967 album Song Cycle and for his collaborations with Brian Wilson and the Beach Boys (particularly the album Smile). In addition to producing or arranging albums by Randy Newman, Harry Nilsson, Phil Ochs, Little Feat, Happy End, Ry Cooder and Joanna Newsom, Parks has worked with performers such as Syd Straw, Ringo Starr, U2, Grizzly Bear, Inara George, Kimbra, Suzy Williams, Bob Dylan and Silverchair.
Born in
Starting in the 1970s, Parks made repeated excursions into
Early life
Born in 1943 in
As Parks was growing up, there were two grand pianos in the family living room, and at age 4 he began studying the
He began his professional career as a child actor. Between 1953 and 1958, he worked steadily in films and television, including the 1956 movie The Swan, starring Grace Kelly. He appeared as Ezio Pinza's son Andrew Bonino on the NBC television show Bonino.[17][18] One of his co-stars on Bonino was 14-year-old Chet Allen, who appeared as Jerry Bonino. Parks and Allen were roommates at the Boychoir School. Parks also had a recurring role as Little Tommy Manicotti (the kid from upstairs) on Jackie Gleason's The Honeymooners.[18]
After graduating from
Music career
1960s
Upon dropping out of Carnegie Tech in early 1963, Parks relocated to Los Angeles with the intent of being involved with the growing West Coast
In 1963, his older brother Benjamin Parks, a
Parks reacted strongly to
By 1964, Parks was growing more and more interested in songwriting. Parks has said that while bass player Hal Brown of the Brandywine Singers took him sightseeing around a decrepit "almost-
In 1965, Parks briefly joined Frank Zappa's Mothers of Invention on stage, where he was referred to as "Pinocchio."[23] Asked why he left, Parks said, "because I didn't want to be screamed at",[27] although he attended sessions for the Mothers' 1966 album Freak Out!.[citation needed] At some point, he performed at least one solo date with guitarists Steve Young and Stephen Stills as the opening act for the Lovin' Spoonful.[33] They performed as "The Van Dyke Parks."[34] Parks soon wrote a song for Young entitled "The All Golden."[15] He was also later asked to join Crosby, Stills, Nash & Young but declined.[32]
Meeting Brian Wilson
[Brian Wilson] was the force. Real convincing. He made music that could be enjoyed beyond its time. Phil Spector meant nothing to me—I thought his sound was just smoke and mirrors. People who said Pet Sounds was bastardizing classical music led very sheltered childhoods. That's a bunch of bullshit. Brian Wilson was not imitative, he was inventive; for people who don't write songs, it's hard to understand how inventive he really was.
—Van Dyke Parks, 2011[12]
Parks initially became aware of the Beach Boys during their early popularity in the early 1960s. Speaking of them in 1995, he said, "I knew they didn't surf.…I felt some resentment about [them], and I had been a fan of Four Freshmen and 5 Trombones.…Instinctively, I was not a Beach Boy fan. 'Something really dumb about it.'" He added that, "I loved Pet Sounds, you see. I came back to love them, and thought they had done a great job. It seemed to me that they would be fine in fighting spirit to take on this challenge of wresting that trophy out of the hands of those interlopers."[28] Parks went on to call Wilson "the biggest event of that era" but was hesitant to label him a "genius", believing Wilson to be more "a lucky guy with a tremendous amount of talent and a lot of people collaborating beautifully around him."[12]
According to most accounts, in 1966, Parks was introduced to Wilson while attending a party held at Terry Melcher's home.[35] Wilson biographer Peter Ames Carlin dates their meeting to mid-July,[36] whereas music historian Keith Badman cites February.[35] However, Parks had already met Wilson at least once before, in December 1965, when David Crosby, a mutual friend, invited him to Wilson's home in Beverly Hills.[37]
Wilson's (since-discredited) 1991 memoir, Wouldn't It Be Nice: My Own Story, suggested that he had met Parks, or had heard of him, through an unnamed mutual friend in December 1964.[38] Author David McGowan suggests that the friend may have been Loren Schwartz, who had supervised Wilson's first LSD trip.[39] According to Parks, Wilson "sought me out" after he had heard about him through mutual friends, "a neighborly couple" that experimented with psychedelic drugs. "People who experimented with psychedelics—no matter who they were—were viewed as 'enlightened people,' and Brian sought out the enlightened people."[40]
In Wilson's 1991 memoir, it was written that his first impressions of Parks was "a skinny kid with a unique perspective" and that he "had a fondness for
Smile and collapse
Unsatisfied with Pet Sounds collaborator
In light of Wilson's increasingly fragile mental state, the group tensions, and his signing to
Song Cycle and aftermath
Sometime in the mid-1960s, Parks visited
In 1967, Parks completed his first solo album, Song Cycle, produced by Lenny Waronker. Besides original compositions by Parks, Song Cycle includes interpretations of Randy Newman's "Vine Street", Donovan's "Colours", and the traditional "Nearer, My God, to Thee". The album's production reportedly cost more than US$35,000 (equal to US$310,000 today), making it one of the most expensive pop albums ever recorded up to that time. It sold very poorly despite rave critical reviews but gained status as a cult album in later years. Shortly after Song Cycle, Parks released a standalone 7" single: the A-side "The Eagle and Me" backed with "On The Rolling Sea When Jesus Speak To Me", which also sold poorly.
Parks has been critical of the flower power movement, which occurred toward the end of the decade, saying "Rock became a corporate classification, just like the blues. They took off its sexual organs. Some people got paid a lot of money to bottle the rebellion of the '60s, and that's when it started to mean zero to me." He added, "To me, 1969 really suggested the death knell of the counter-culture revolution. The terrible event of Charles Manson showed the cultism of the period; I was always wary of crowds. I didn't go to Woodstock. I didn't want to be in a mudflat waiting to get into a portable toilet. I thought it was a terrible idea. So I stayed at my office at Warner Bros.…I don't even know what happened around then, for many reasons. One is I was working so hard and was too busy to really get totally turned around by what other people were doing."[12]
The aftermath of his work on Smile and Song Cycle left Parks wanting to focus more behind-the-scenes and with lesser-known artists, such as Randy Newman and
During the late 1960s, Parks became one of the first owners of a prototype Moog synthesizer and recorded a number of experimental advertising jingles for various companies such as Datsun and the Ice Capades.[41] Parks plays the Moog on the Biff Rose song "Ain't No Great Day", from Rose's second LP, Children of Light. Parks was also instrumental in the genesis of the 1970 album In a Wild Sanctuary, by the electronic outfit Beaver & Krause. While having lunch with the duo, Parks suggested that they record an ecological concept album through the use of field recordings and synthesizers.[44] Parks and Randy Newman helped the duo get signed to the Warner Bros. label.[45]
1970s
In 1972, Parks's travels to the
Lowell and I were making up a tune called "Sailin' Shoes." The group walked in, unannounced. They wanted me to make them "The California Sound." I wasn't sure what they were talking about, and thought they should leave. I told them I was too busy. We were in the control room, and it was out of control. Lowell walked over to their briefcase, next to their manager. It was opened, and filled with brand-new $100 bills. Lowell walked over to the briefcase, fondling it tenderly, and announced "...I think we can make music out of this!" So we did.
—Van Dyke Parks, 2013[46]
In the early 1970s, Parks was brought in to produce the third album by seminal Japanese folk rock band Happy End while working on Discover America at Sunset Sound Recorders. He also helped with the writing for the closing track, "Goodbye America, Goodbye Japan" ("さよならアメリカ さよならニッポン", "Sayonara America Sayonara Nippon").[46] Sometime after, Parks became acquainted with member Haruomi Hosono, who went on to be one of the founding members of the electronic band Yellow Magic Orchestra. Parks went on to participate in a number of Hosono-related projects.[47]
Although Smile had dissolved in mid-1967, Parks's collaborations with Wilson had not, for the time being. He was instrumental in getting the Beach Boys signed to Reprise[citation needed] and contributed vocally to "A Day in the Life of a Tree" and the writing of "Sail On, Sailor." Several songs with his lyrics, written during the Smile sessions, appeared on later Beach Boys albums, including "Surf's Up," "Heroes and Villains," and "Cabinessence.'
In September 1970, Parks became head of the audio/visual department of Warner Bros. records.[48] This department was the earliest of its kind to record videos to promote records.[49] Parks made the department up by himself and had few employees at Warner Bros. Together they made more than a dozen promotional films documenting artists including Ry Cooder, Joni Mitchell, Randy Newman, Earth, Wind & Fire, and Captain Beefheart. They were by nature documentary films, which could be rented or bought by any accredited music school. Parks later described the department as "promotional—but they could create an income stream for musicians who were hard-pushed into tours that required drugs to sustain them."[22] Although each production ran for about ten minutes and required at least $18,500 to create, one exception was a video for the Esso Trinidad Steel Band, which ran about forty minutes. It also happens to be one of two films known by Parks to have survived since then, the other being a promotional video for Ry Cooder.
Parks recorded only two albums during the 1970s, but he had performed on numerous albums recorded by friends who were working in or around the Los Angeles music scene—notably Harry Nilsson, whom Parks considered the "smartest guy" he had ever met in the music business.[12] During the early 1970s, Parks dealt with prescription drug abuse. He later spoke of himself as being "dead for five years", and he spent the first half of the decade "trying to regain an interest in living."[42] Parks later stated, "When I was head of audio-visual services and on the A&R staff at Warner Bros., a man came into my office and he had a snake and his name was Alice. Right then, I knew that my days were numbered as a person really interested in the record business."[12] About his department during this time Parks stated, "I provided that each artist would get 25% of the net profits of the rentals or sales. It was going to be a very promising market for the artist. Warners soon grew tired of what I thought was a fair equation of participation in creative profits, and basically isolated me."[22]
After Clang of the Yankee Reaper, Parks quit his day job at Warner Bros. and "retreated from further record interests, seeking the more gregarious plain-speaking of the film community…with no less satisfaction."[42] He spent the next several years, and most of the 1980s, focusing more on motion picture and television projects, writing scores for high-profile films, such as Popeye, and serving as musical director for television programs such as The Billy Crystal Comedy Hour, taking on as much work as he could to stay out of unemployment.[12][42]
1980s
Parks made a slight comeback in 1984 with the album Jump!, which featured songs adapted from the stories of Uncle Remus and Br'er Rabbit. The album exhibits a Broadway-style reduced orchestra with Americana additions, such as banjo, mandolin, and steel drums. Parks composed the album but did not arrange or produce it. Martin Kibbee contributed to the lyrics. Following up on the album, Parks wrote a series of children's books—Jump (with Malcolm Jones), Jump Again, and Jump On Over—based on the Br'er Rabbit tales, illustrated by Barry Moser, and loosely accompanied by Parks's own album Jump!. The books contain sheet music for selected songs from the album. Parks also published a book called Fisherman & His Wife in 1991, which came packaged with a cassette.
By 1984, Parks was refused future collaborations with Wilson, instead being informed by an unnamed representative that "Mike Love is Brian Wilson's exclusive collaborator."[42] Though Parks worked with the other Beach Boys on songs such as on "Kokomo" and the album Summer in Paradise, he did not work together with Wilson until a few years later, during the aborted album Sweet Insanity.
He wrote "City of Light", "It's a B-Movie", "Cutting Edge", and "Worthless", all of which were used in the film The Brave Little Toaster, directed by Jerry Rees.[citation needed] During the 1980s and 1990s, Parks grew considerably more active in arranging and producing albums by independent artists, which inspired him to return more fully to the music business.[12]
Following Jump!, in 1989 Warner Brothers released Tokyo Rose. This concept album focuses on the history of Japanese-U.S. relations from the 19th century to the "trade war" at the time of its release. The songs are pop tunes with an orchestral treatment including Japanese instruments and old Parks Caribbean favorites like steel drums. The album did not sell well and was not widely noticed by critics. To promote the album, he performed some shows in Japan with musicians such as Haruomi Hosono, Syd Straw, harmonicist Tommy Morgan, and steelpan player Yann Tomita.[50]
1990s
Between 1992 and 1995, Parks teamed up again with a then-reclusive Brian Wilson to create the album Orange Crate Art. Parks wrote all of the songs on the album, except "This Town Goes Down at Sunset" and George Gershwin's instrumental "Lullaby", with vocals by Wilson. Orange Crate Art is a tribute to the Southern California of the early 1900s and a lyrical tribute to the beauty of Northern California. It was recorded during a stressful period for Wilson, after being involved in court orders relating to years of psychiatric misconduct to which he had been subject. According to Parks, "When I found him, he was alone in a room staring at a television. It was off." The album was met with poor commercial reception, much to the disappointment of Parks.[27]
1998 saw the release of Parks's first live album, Moonlighting: Live at the Ash Grove, which shows a love of the work of 19th-century American pianist Louis Moreau Gottschalk, as well as performances of several of Parks' better-known and lesser-known songs. The live ensemble includes Sid Page as concertmaster.
2000s
Parks's 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 and has stated that what most attracted him to the band was Johns' courage. 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.
Parks was contacted by Wilson in 2003 to help with preparing a live performance of Smile. He agreed, and the duo re-recorded the album and then presented it on a world tour, beginning with the world premiere performance at the Royal Festival Hall in London, which Parks attended. Parks later provided some lyrics to That Lucky Old Sun, released in 2008. The album once again featured almost completely new compositions written by Brian Wilson, but with minimum input from Parks compared to the previous Smile collaboration.
Parks worked with Inara George on a record released in 2008, An Invitation, and 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.
In 2009, Parks performed in
2010s
In 2010, Parks stated "At this point, I don't have an album in me. But I have some songs, so I'm putting them out as 45 rpm stereo records this summer."
In August 2011, Parks was contacted by
When Skrillex called me up, I'd never heard of him. I pretended I knew who he was. ... I said, "Well, send me the piece, and if I feel able, I'll do it." I don't have any hobbies, you know. I love music; I do it everyday [sic]. And he said, "Oh, thank you, Mr. Parks. We will destroy the world." I said, "Okay..." I Google him and there he is, on YouTube, in front of 30,000 people, pouring beer onto a laptop computer, at which point the crowd jumps into the mosh pit and has an erection. I think, "My, God. Who are these people?" ... I have two things I can do: Run away from all this in horror because I'm so superior, or dig in and serve and try to bring hope to the hopeless. That can be done behind the curtain, and that's where I'm very comfortable working ... I treat every job as if it were the very thing that will define me. Nothing is beneath me. I think that is evident to people who ask my best"[52]
In November 2011, after 44 years, a compilation
While in Tokyo in January 2013, Parks performed with Haruomi Hosono for the first time in years.[47] In March 2013, Parks announced the release of Songs Cycled, which compiled his six 2011–12 singles into one LP. It was Parks' first full album of relatively new material since 1995's Orange Crate Art. The album was released on May 6, 2013 through Bella Union.[59] Also in March, Parks performed at the 2013 Adelaide Festival with Daniel Johns and Kimbra.[60] In September 2013, Parks curated a "Best-of" CD by New Orleans pianist/composer Tom McDermott entitled Bamboula. Parks memorialized the 50th anniversary of the 1963 Kennedy assassination by releasing a new original composition entitled "I'm History" on November 22.[61]
Parks underwent unsuccessful hand surgery in 2014, causing his hands to freeze after about forty minutes of playing piano. On May 9, 2015, Parks performed what he called his "final piano performance" at the
Film and television work
Parks has also scored much music for feature-length motion pictures and television series, including
Parks had four songs featured in the animated film The Brave Little Toaster (1987). He worked closely with David Newman on the film's score as well. He composed the theme song for Rudy Maxa's Savvy Traveler radio program on NPR.
Parks composed the faux-psychedelic song "Black Sheep" (a parody of Smile and Brian Wilson's style in general) for Walk Hard: The Dewey Cox Story, sung by John C. Reilly, who portrays the titular character.
Parks has taken small television and film roles including appearances in Popeye, The Two Jakes, and as
Discography
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Filmography
Film
- Also composer
Year | Title | Role |
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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
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" |
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musician Van Dyke Parks in 1943 (age 76)
- ^ a b Henderson 2010, p. 32.
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- ^ Henderson 2010, pp. 32–33.
- ^ a b Henderson 2010, p. 33.
- ^ YouTube
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- ^ "Van Dyke Parks". bellaunion.com. Archived from the original on August 25, 2017. Retrieved May 9, 2018.
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- ^ Alex McNeil, Total Television, New York: Penguin Books, 1996, p. 111
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- ^ a b Henderson 2010, p. 37.
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- AllMusic
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- ^ Ruhlmann, William. "Van Dyke Parks biography". Allmusic. Archived from the original on July 20, 2014. Retrieved July 17, 2013.
- ^ a b McMahon, Damon (November 17, 2013). "Van Dyke Parks has a lot to say". Vice. Archived from the original on October 24, 2014. Retrieved June 6, 2014.
- ^ Henderson 2010, p. 38.
- ISBN 9780825673504.
- ^ a b Badman 2004, p. 114.
- ^ Carlin 2006, p. 92.
- ^ Carter 2016, p. 175.
- ^ Carter 2016, p. 188.
- ^ McGowan 2014, p. 254.
- ^ White 1996, p. 267.
- ^ a b c "Lecture: Van Dyke Parks (New York, 2013)". Red Bull Music Academy. Archived from the original on September 19, 2013. Retrieved September 20, 2013.
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- ^ Sound & Communications. Sound & Communications Publications. 1994. p. 22.
- ^ Unterberger, Richie. Liner notes for Beaver and Krause's in a Wild Sanctuary. Archived from the original on September 24, 2015.
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- ^ a b "ヴァン・ダイク・パークス インタビュー│Special│Billboard JAPAN". Billboard-japan.com. Archived from the original on July 27, 2013. Retrieved July 26, 2013.
- ISBN 978-0-470-12777-3.
- ISBN 978-1-4165-5120-1.
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- ^ Hoskyns, Barney (June 2012). "Van Dyke Parks". Mojo.
- ^ Parks, Van Dyke. "'Twas Brillig: Van Dyke Parks answers the general inquisition (viz "author" Mike Eder et al) on the Beach Boys' reunion and Smile". Bananastan. Archived from the original on May 13, 2013. Retrieved June 6, 2013.
- ^ Toomey, Alyssa; Brennan, Rosemary (February 10, 2013). "2013 Grammy Awards Winners: The Complete List". E!. Archived from the original on April 12, 2013. Retrieved April 12, 2013.
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- ^ "ENTERTAINMENT Adelaide Festival 2013 review: Van Dyke Parks with Daniel Johns and Kimbra". The Advertiser. March 10, 2013. Retrieved October 23, 2013.
- ^ Leorne, Ana (November 25, 2013). "Van Dyke Parks announces 7'" single 'I'm History'". The 405. Archived from the original on February 12, 2015. Retrieved December 2, 2014.
- ^ Lewis, Randy (May 12, 2015). "Van Dyke Parks gives his 'final performance' on the piano". Los Angeles Times. Archived from the original on May 12, 2015.
Sources
- Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6 – via Internet Archive.
- ISBN 978-1-59486-320-2.
- Carter, Dale (2016). "Into the Mystic? The Undergrounding of Brian Wilson, 1964–1967". In Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. ISBN 978-0-472-11995-0.
- Henderson, Richard (2010). Van Dyke Parks' Song Cycle. Continuum. ISBN 978-0-8264-2917-9.
- McGowan, David (2014). Weird Scenes Inside the Canyon: Laurel Canyon, Covert Ops & the Dark Heart of the Hippie Dream. SCB Distributors. ISBN 978-1-909394-13-1.
- ISBN 0333649370 – via Internet Archive.
External links
- Van Dyke Parks discography at Discogs
- Van Dyke Parks at IMDb
- Van Dyke Parks at the Internet Broadway Database
- musicOMH interview with Van Dyke Parks, 2011
- 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
- Smirnoff, Marc (2010). The Oxford American Book of Great Music Writing. Foreword by Van Dyke Parks. University of Arkansas Press. ISBN 978-1-55728-950-6. Archived from the originalon January 27, 2011.