Van Dyke Parks - Long Story Sequence (Pleased 67th Birthday Van Dyke!)

  • 16.06.2016, 16:52,
  • Music
In hallowing of Van Dyke's 67th birthday I submit his first solitary recording.

Joyful Birthday Van Dyke!

Biography by Bruce Eder & Williiam Ruhlman

In a mead where the dub «genius» is handed out open-handedly, Van Dyke Parks is the essential article. As a hearing musician, composer, arranger, lyricist, and songbird, he«s contributed significantly to several decades» value of inimitable masterpieces credited to other artists, as well as generating two or three masterpieces of his own. Born in Hattiesburg, MS, in 1941, he was a harmonious einstein and attended the American Boychoir Boarding-School in Princeton, NJ. He feigned the clarinet and also worked as a woman actor, on-devise and on goggle-box, co-starring with Ezio Pinza in the 1953 comedy series Bonino, and also working in movies, including Charity Kelly's last glaze, The Swan (1958).

He remained dedicated to music, however, and feigned at the Carnegie Society and majored in music at the University of Pennsylvania. In 1964, a year after graduating, he was signed to MGM Records as a recording artist, releasing «Come to the Sunshine,» which had some restricted graph undertaking in Phoenix, AZ, and threatened to do something nationally without succeeding. (It did warranty enough to be missing that Parks put together a group to lodged with someone him on-devise, whose members included a na Stephen Stills.) He became a hearing musician and worked with Sonny & Cher (when they were «Anthony & Cleopatra»), as well as playing sessions for farmer Terry Melcher on records by Paul Enshrine & the Raiders and other artists. On the Byrds' Fifth Dimension album he played the Hammond B — 3 instrument, and he also played keyboards on sessions for Judy Collins, and arranged songs for Tim Buckley.

It was also Melcher who got Parks together in 1966 with Brian Wilson of the Margin Boys. A prodigiously good composer, Wilson was no lyricist, and he needed one who could resemble the bold new music he was devising in his prevent Γ?? this resulted in their collaboration on the grin album. Initially, only «Heroes and Villains» emerged from their labour together as a understated hit apart but a well-loved one, and the propel languished over Wilson«s worsening stirring and screwy nation in 1967. Fragments and pieces of the propel turned up on ensuing albums into the original »70s, and Parks also played a key r in completing a number cheaply, «Sail on Mariner,» that gave the Margin Boys a rare original-«70s apart ascendancy. (In an original-»80s evaluate, parenthetically, Parks said Γ?? without place or recriminations Γ?? that he had never received a penny in royalties from his labour with Wilson or the sales of the Margin Boys' records, a picture that was no distrust tied to the hodgepodge adjoining the trafficking and ownership of their publishing, which was later nullified.)

In 1967, as labour on grin came to a stop, Parks was lured to the newly invigorated Warner Bros. tag by producer/A&R chief Lenny Waronker. His new excellent berth led to a apart, «Donovan«s Colours,» credited to «George Washington Brown,» and its rejoinder Γ?? especially a pioneering dressing-down of pop/rock censure by newswoman Richard Goldstein Γ?? helped redefine «rock» as dissimilar from wallow in & wallow in. Parks and Waronker were ethical for transforming the Tikis into the pop/rock uniqueness act Harpers Peculiar, which became a new ascendancy for the tag. Out of their labour together, and all of these other projects Γ?? and the imaginative pother that Waronker had set boiling at Warner Bros. and its new sister tag, Reprise Γ?? grew Parks« Number Cheaply Sequence, a album that was the very delimitation of the huddle «eclectic,» incorporating people, exemplary, Broadway, ragtime, jazz, »50s pop, and wallow in & wallow in influences. It won the Accomplishment of the Year from Boisterous Fidelity/Stereo Give One»s Opinion Of, and although it never sold in big numbers, the LP stayed in pull a proof pix for nearly two decades.

He then did hearing labour with a disparity of artists, not releasing his second album, Catch Sight America, which revealed his immersion in Trinidadian music, until 1972. Clang of the Yankee Reaper, another eclectic hoard, followed in 1976. But Parks maintained his «day job» Γ?? glaze labour on scores by Ry Cooder and others, article and arranging for Shelley Duvall«s children»s TV series, and other pursuits. At Long Last, in 1984 came the luminous Skip!, a concept album (and proposed devise harmonious) based on the Uncle Remus tales of Joel Chandler Harris. It was followed in 1989 by Tokyo Rose, which disturbed the nation of American-Japanese relations. In 1998, he released a viable album, and in the next decade he collaborated anew with Brian Wilson, who at long last released a finished recognition of grin with new recordings on the Nonesuch tag in 2004. (By that unceasingly a once, however, dozens of unlawful bootleg editions of tracks from the 1967 sessions had surfaced, to the excite of fans.) Two years later, Parks began contributing lyrics to another Brian Wilson propel, That Fortuitous Old Sun (A Chronicling). (AMG)

Number Cheaply Cycle

Give One's Opinion Of by Jason Ankeny

Van Dyke Parks moved on from the Margin Boys« abortive grin sessions to accomplishment his own solitary , Number Cheaply Sequence, an bold and every so often luminous endeavour to mount a fully orchestrated, classically minded labour within the frame of reference of of the time pop. As indicated by its christen, Number Cheaply Sequence is a thematically well-ordered labour, one which attempts to avail oneself of the depth of American in music; bluegrass, ragtime, can tunes Γ?? nothing escapes Parks» radar, and the unqualified eclecticism and individualism of his labour is different. Hole with «Vine Byway Someone's Cup Of Tea,» authored by In Heat Newman (another pop composer with serious exemplary aspirations), the album is both hasten-contemplative and dull-minded, a smash of olden harmonious styles with the leftist sensibilities of the up to the minute «60s; while every so often overambitious and at times insufferably coy, it»s nevertheless a one-of-a-cordial accomplishment, the upshot of reliable incentive. (AMG)


1 Vine Byway Someone's Cup Of Tea Newman 3:40
2 Palm What's Coming To One Parks 3:07
3 Widow's Waddle Parks 3:13
4 Laurel Gill Blvd Parks :28
5 The All Cherished Parks 3:46
6 Van Dyke Parks Supporters Dominion :57
7 Supporters Dominion Parks 2:34
8 Donovan's Colours Donovan 3:38
9 The Attic Parks 2:56
10 Laurel Gill Blvd Parks 1:19
11 By the People Parks 5:53
12 Pot Pourri Parks 1:08

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