Van Dyke Parks: Memories of His Orange Crate Art
At Moths and Giraffes we are celebrating another anniversary, that of Brian Wilson and Van Dyke Parks' 'Orange Crate Art'. It's been twenty-five years since this wonderful collection of songs was released unto the world, and this year Omnivore Recordings has re-released this album with three bonus tracks, and a whole extra disc of the album in instrumental form. Here we delve into the original album and the bonus content, with Van Dyke Parks providing insight into the making of this masterpiece.
Image Credit: Mark Hanauer
Brian Wilson is best known for being a founding member of the great American band The Beach Boys, co-writing and producing their biggest hits in their early days. The band, which has enjoyed success in each decade since the 1960's, has always felt Wilson's presence. His melodies and his gift of arrangement continued to be a defining factor in their sound even when his attention was turned elsewhere. Brian launched a solo career in 1988 and continued to release excellent music whilst performing his material for audiences worldwide.
Van Dyke Parks is a musical extraordinaire. A wider point of reference would be his contribution to the arrangement of 'The Bare Necessities', from Disney's 'The Jungle Book', but he has worked with many musicians in an arranging and producing capacity. These include Harry Nilsson, Randy Newman, Ry Cooder and more recently New Zealand born Kimbra Johnson has worked with Parks both on and off stage. In addition to this, Van Dyke Parks has also enjoyed a career as a solo artist, beginning with 1967's 'Song Cycle'.
You don't need to know the entire history of Brian Wilson and Van Dyke Parks to enjoy Orange Crate Art, but there are significant career moments between the two artists. As quoted from Brian Wilson's autobiography, 'I Am Brian Wilson: The genius behind the Beach Boys':
'I met Van Dyke Parks because someone played him an early version of “Sloop John B,” and that’s how we ended up working together. I think it might have been David Crosby who introduced us. At that time I had decided I was going to make a record even more amazing than Pet Sounds, and I asked Van Dyke to write lyrics with me. That led to the idea of SMiLE.' (Wilson, p. 185)
Image Credit: Jasper Daily/Peter Reum Collection
'SMiLE', the first writing collaboration between Wilson and Parks, would've been The Beach Boys' twelfth album. With the music written and arranged by Wilson, Parks wrote the lyrics to these compositions, including tracks like 'Wonderful', 'Surf's Up', 'Vegetables' and 'Heroes and Villains'.
‘There’s such a genius in Van Dyke’s lyrics, especially “Heroes and villains / Just see what you’ve done.” It has such perfect rhythm in the words. It pushes itself forward. That’s my favorite song from that set most of the time, but there are other great ones, too.' (Wilson, p. 186)
Unfortunately, the original SMiLE album as it was conceived in 1966 and 1967 was never completed. Songs and parts of these sessions would appear on other albums by The Beach Boys, but a full release of those recordings wouldn't arrive until 2011 as 'The Smile Sessions'. The next time Brian Wilson and Van Dyke Parks would work together was in the early 1970's for a track entitled 'Sail On, Sailor', which Parks sheds more light on in our Q&A. That brings us to 1993 and the beginning of Orange Crate Art.
‘In late 1993 I got a call from Van Dyke Parks. He had a song that he thought would be a perfect fit for me. It was called “Orange Crate Art.” He wrote it because oranges were such a part of the California experience, and also because people say that nothing rhymes with orange. I said I wasn’t sure if I was up for singing on the song, so he came to visit to convince me.' (Wilson, p. 27)
The title track opens this experience with acoustic instruments, string orchestrations and what sounds like harpsichord. It may be the beautiful hammer dulcimer played by Terry Schonig, a horizontal stringed instrument the player taps with small hammers. Alternatively it could be any one of the synth programmers, though the sound of this album is so natural, you would be hesitant to believe any early 1990's synthesized sounds have permeated the mix.
'“Why am I here again?” I asked him. He laughed. “Because I hate the sound of my own voice.” I sang on that song, and I ended up singing on a bunch more. That wasn’t what I thought was going to happen, and sometimes it made me so nervous I felt sick, but we ended up with an album. The album had the same name as the song, Orange Crate Art.' (Wilson, p. 28)
The opening lyrics set the tone of the album following the uplifting introduction. 'Orange Crate Art was a place to start, Orange Crate Art was a world apart,' and this is very much evident. Whilst Brian Wilson's vocals are recognisable in his trademark blend, the music and poetry of this album is almost entirely written by Van Dyke Parks.
‘The whole thing was ready for me, thanks to Van Dyke. He wrote out all the lead vocal parts on charts and I came in and sang them. Then I arranged and sang my harmonies, stacking my vocals to add the Brian Wilson vibe to the record. The songs were about his ideas of California, the history of the state, and the myths that change the way people see history.' (Wilson, p. 28)
The lush orchestrations continue on 'Sail Away' with a team of guitars, including some slide making an early appearance. My favourite line here is 'One captain's paradise for two, sky in a sea that's twice as blue,' showing that Parks never lost his poetic ability. Brass is brought in along with steel drums by Robert Odin Greenidge - the percussion throughout Sail Away compliments the drums well.
The first co-write on Orange Crate Art goes to 'My Hobo Heart', with music by Parks and lyrics by Michael Hazlewood. Hazlewood, along with writer and musician Albert Hammond would write 'The Air That I Breathe', made famous by The Hollies in 1974. The concept of My Hobo Heart is vocalised by Wilson in the first two lines, 'I had a love in every town, I swore that I would sooner die than ever settle down.' There is some of Wilson's falsetto here, but also his latter day lower register which would become a staple in his solo work. The ascending notes towards the end of the track might feel out of place, but one of the reasons why I like this music is because it's both challenging and rewarding to listen to.
There are some lovely backing vocals in 'Wings of a Dove' and a strong lead from Wilson. Parts of this track almost feel cinematic with the climbing notes, simulating the sound of the dove gaining altitude. The instrumental version released on the 25th anniversary edition highlights the use of synths, as well as the woodwinds and the subtle percussion that is lost under Wilson's vocal. Parks released an excellent live version of this track on 'Moonlighting: Live At the Ash Grove', performed less than a year after Orange Crate Art's release. A large portion of the musicians on this album were part of his live band too.
In another lifetime, 'Palm Tree and Moon' might've been referred to as having an oriental feeling. The hammer dulcimer is definitely present here, the hammers dancing over the strings. Is it possible that the instrument echoing the lyric, 'Put it in a letter,' is an Erhu? This is a Chinese instrument with two strings that is bowed by the player, giving a mid-range fretless sound. Aside from these touches, the writing is western. In terms of the melody, Brian likens it to his Beach Boys song ''Til I Die':
'The lyrics go way down and then the “hey hey hey” picks them back up and then the lyrics go down again. Those are the waves, the raging sea. There’s a lyric that Van Dyke wrote on Orange Crate Art, in a song called “Palm Tree and Moon,” that has the same idea: “When a comet comes out to fall / Why on earth do we feel so small?”' (Wilson, p. 30)
'Summer In Monterey' is the second co-write with Michael Hazlewood once again contributing lyrics. The track begins with Brian's 'Ooh's' over a twinkling keyboard, a sound that reminds me of his self-titled solo album. The lyric evokes a time of youth, long ago, 'I would jump for joy that you were there. Take you to the movie show, watching arm in arm, used to hope the film would work its charm.' The backing is more simple, less of the orchestral and more of a band feeling. There's a harmonica solo towards the end of the song - harmonica player Tommy Morgan features on Orange Crate Art, who also played on the original SMiLE sessions.
A quick a cappella introduction from Brian leads into 'San Francisco', a bop, a slight walk behind it. Along with the former, this also features minimal orchestration. There's guitar, drums, and twinkling on keyboards and bells which is beautifully shown off in the instrumental version. The track definitely benefits from the straight beat that changes up with the conclusion of the lyrics.
Image Credit: Mark Hanauer
Touches of organ are felt on 'Hold Back Time' along with plenty of synth sounds, the orchestra is also back with fluttering woodwinds and punctuated by percussion. Wilson's vocals are immaculately stacked together. Hold Back Time is about enjoying the beauty of the moment, 'Hold back time, don't talk about tomorrow, tell that old clock on the wall he'll just have to call it a day.'
'My Jeanine' begins with bass harmonica, and drums played with brushes. You can hear accordion, and the way Brian Wilson sings the title of the song with his multiple vocal layers are majick. The acoustic instruments are ever present, with mandolins more evident here. The music in this one seems inseparable from the vocal, the instrumental lacking what the lyrics bring to this piece.
The introduction to 'Movies Is Magic' is grand, giving the feel of a red curtain opening to reveal an art deco stage. The mention of Nat King Cole certainly takes this song from 1995 back a few decades! For the first time, this sounds like a song Wilson himself could've written. The way the track ends has the same epic feeling as the beginning - the 'wow' factor of early Hollywood.
'This Town Goes Down At Sunset' is distinctive as being one that Van Dyke Parks didn't write - this one being written entirely by Michael Hazlewood. You can hear the buzz of crickets and the barking of dogs at night-time, setting the scene. The arrangement fits the context of Orange Crate Art, but Hazlewood's lyrics are simpler than something Parks would've written. That's not to say it isn't a charming song - how often do you hear a jaw harp being played without attachment to parody?
The final track on the original release of Orange Crate Art is a piece by George Gershwin, featuring a full orchestra with those sweeping strings that is so characteristic of this album. When listening to this piece, I can't help but view all the artwork in the accompanying booklet. Paintings of a California with rolling hills, clear blue water and pleasing textures throughout. The front cover features such rolling hills as the sun is setting.
'Lullaby' is the perfect way to finish Orange Crate Art, but the bonus tracks give a further peek behind the curtain. The Gershwin theme continues with the pair's take on the classic 'Rhapsody In Blue'. Melody is largely carried by vocal, but is backed up by the orchestra. Woodwinds, a buzzing snare, there's some glockenspiel, and the piano part that Gershwin himself performed in some of the earliest versions decades before. The recording is full and bright, if you thought these bonus tracks were of demo quality - you would be mistaken. These are genuine completed and unused recordings made at the time of Orange Crate Art's production.
The second bonus track is the final in the Gershwin trio, this time with Ira Gershwin's lyrics. 'Love Is Here To Stay' sounds less like Brian Wilson on lead vocals and more of an ensemble piece, but it doesn't matter. The harmonies are beautiful in the introduction and continue throughout, thick and full-bodied. Brian Wilson was obviously fond of the piece, as it was included in his 'Reimagines Gershwin' album, released in 2010. There's some great saxophone playing here, it's a shame that wasn't heard in other parts of the album.
There was no other way to finish off this CD and vinyl release other than with this unearthed recording of 'What A Wonderful World', the very same song made famous by Louis Armstrong. This one is the most simple of the recordings, Wilson's voice on display with minimal backing vocals. I would assume the electric piano is played by Van Dyke Parks. I have visions of them working this one out at the grand piano during rehearsal. A short clip of the pair performing the title track of the album can be seen in Wilson's film 'I Just Wasn't Made For These Times' in a similar way. The video made by Omnivore Recordings in promotion of this new release is inspired by the events of 2020.
Since the release of Orange Crate Art predated Brian Wilson's triumphant return to the stage, the pair did not tour this recording, which undoubtedly would've been a successful run of shows. They actually wouldn't work together again until Van Dyke Parks wrote the lyrics for a track on Wilson's 'Gettin' In Over My Head' album entitled 'The Waltz'. It was during this period that the pair reconvened to finish the writing for a new, solo recording of SMiLE, which was released towards the end of 2004. They would then collaborate on new material for an album Wilson was putting together to debut at the Royal Festival Hall, the same venue SMiLE received its first performance.
'Sometimes it’s okay to leave songs on their own. Sometimes you want to tie them together. That’s the real meaning of an album, going way back—people collected songs in a kind of book. I wanted the songs to be their own book. The only person I thought could do that was Van Dyke. We were both still humming a little bit from SMiLE, and when we spoke about the new songs, I asked him to write some narration over theme music I was composing. I thought it would tie the whole project together.' (Wilson, p. 224)
The narration Van Dyke Parks wrote would be used as interval pieces on an album called 'That Lucky Old Sun'. Four of these connecting pieces were made, bringing together the themes of the album, another look at a world within a world - California. Parks' poetry is spoken by Wilson, with one full song in the mix entitled 'Live Let Live'. Released in 2008, it is considered amongst the best of Brian Wilson's work.
Van Dyke Parks and Brian Wilson would not work together again, though each did continue with their respective careers. Wilson reunited with The Beach Boys for an album and a tour in 2012 and his last solo album, 'No Pier Pressure' was released in 2015. Parks released his long-awaited follow-up to Orange Crate Art in 2013 entitled 'Songs Cycled' which would feature a re-recording of the Orange Crate Art track 'Hold Back Time'. Van Dyke Parks continues to collaborate with other artists, providing his extraordinary talent in producing and arranging.
Image Credit: Robert Knight Archive/Redferns
Read on for Van Dyke's memories of Orange Crate Art, with more information about the 25th Anniversary Edition and the writing and recording of the original songs. There is also a sprinkle of his other collaborations with Brian Wilson, including a fascinating story about Sail On, Sailor. Finally, I ask about Van Dyke's work with Kimbra, and his latest release. A special thank you to Cary at Conqueroo, and to Van Dyke Parks for giving his time in answering these questions.
1. 2020 is the 25th anniversary of your album 'Orange Crate Art'! How did the ball start rolling, did the record company approach you first?
Outta the blue—-omnivore label prez Brad Rosenberger asked (both the Wilsons and me) if we’d object to its rereleased, with the bonus tracks (unreleased).
I’d always wanted to hear the album on vinyl, and was happy we all agreed to move forward.
2. The new release of this album features a second disc with the entire album in instrumental form, did the recordings have to be remixed to achieve this? Or was there always an instrumental version around that was mixed in 1995?
There were no remixes—-that was a phenomenal risk on my part—as it would reveal my arrangements in greater detail, uncovered from the safety net of the 5 part vocal tracks. I was properly apprehensive.
3. The bonus track of Gershwin's 'Rhapsody In Blue' is absolutely marvellous. Was it a coin-toss over whether to include this or 'Lullaby' on the original release?
The Gershwin Lullaby had just been discovered (as a string quartet) in a cardboard box in a WB Publishing warehouse in Brooklyn. It had been rejected from a Ziegfield musical.
I was determined to have its first recorded orchestration on and asked friend Fred Myrow (composer in residence for the NY Phil) to have that honor.
When the album first issued, that was priority.
The reserve about the number of tunes on the album had to do more with concern for sound quality than economics—-so the bonus tracks had to be delayed.
4. The video released for 'What A Wonderful World' applies itself very much to current events, what are you thankful for in 2020?
I am grateful for my loyal family, who have indulged the fiscal uncertainties they have shared with me, in my occupation in music.
I am grateful our family has simply survived those hardships, and are still alive in the face of this viral pandeminium.
5. Prior to the events of this year, were there plans for any anniversary performances in celebration of 'Orange Crate Art'?
Not to my knowledge. That question, best addressed to the Wilsons’ manager, who guides his active performance schedule.
6. The album is full of beautiful and uplifting music, what was the timeframe to the writing? Were all the songs new, or were some older pieces included?
Songs with my name as writer or co-writer were all new.
7. Michael Hazlewood has co-writes with you on 'My Hobo Heart' and 'Summer In Monterey' as well as contributing his own 'This Town Goes Down At Sunset', how did Michael become involved with the project?
The late and beloved Michael was a Brit ex-pat I met in LA (thru Terry Melcher, who advised we write together). We became close friends. He became my sprouts’ godfather. I wanted to pay that man (who’d written such fine tunes as “It Never Rains In Southern California”, and “All I Need Is The Air That I Breathe And To Love You”) an affectionate salute on my last studio-album for WB.
8. How did it feel being in a studio with Brian Wilson in the 1990's working on something brand new, unconnected to your work in the 1960's?
It felt like mounting a bike after decades without trying such balance.
It was easy as pie. We just picked up where we left off.
9. The selections of paintings that are reproduced in the 'Orange Crate Art' artwork are a perfect visual accompaniment to these recordings, did you choose some of these pieces yourself or was it all down to the art department?
I had thought best to sample the illustrations from the propaganda art on the fruit shipping boxes used to popularize California Agri-biz and real-estate...but WB Records’ Art Dir. Tom Recchion persuaded me to explore the “plein air” painters, whose works grace our album.
I chose each painting with great care, and they influenced my focus....such as with the ramshackle house in “Hold Back Time”—or the Chinese Junk off-shore “Palm Tree and Moon”.
I appreciate your asking about the art work.
In every album I’ve done, I’ve thought long and hard about its visual character....as there’s an undeniable nexus with sights and sounds...and music and visual art.
This aspect impressed me as a child—having heard “Pictures At An Exhibition” by Mussorgsky/Ravel.
10. Of course you had a number of other collaborations with Brian Wilson, how did you become involved in 'Sail On, Sailor'?
While working at A&R, I’d recommended the Beach Boys to Mo Ostin, WB’s CEO.
At a large weekly-staff meeting, we played “Holland”—the album sent in by the group for release.
There was silence after the acetate record played.
Ostin declared: “This is unreleasable. No hits. No Brian.”
Ostin looked at me at the far end of the table. “You promised you’d bring me Brian.
Please go get something from him. Write a tune—and get back to me.”
—-
As fate would have it, I had just been sent two Sony Walkmans, by Togugen Yamamoto, Prez of Warner Japan.
These fine hand-held devices were soon to be sold in the U.S.A.
I was first to own such—liberating so many to do remote recording that just wasn’t possible with heavy and unwieldy Nagra machines.
I took that Walkman over to bed-ridden Brian in his mansion in gated Bel Air. He was as reluctant as could be, but I stressed the pivotal need to save the group’s release—-and my promise to Mo.
—-
Randy Newman had done “Sail Away”—Lowell George had recorded “Sailing Shoes”.
Simply to enter that arena, I told Brian we’d call our song “Sail On Sailor”.
I put the Walkman on his piano and sang the first seven notes to that title.
Brian liked it, and played the convincing shuffle that got us to the bridge in a pause.
I sat on the bench for the bridge—with a scansion that I felt was a dead-wringer for Lowell George.
Brian approved—grabbed the bench, and plunged thru it all, complete top-to-bottom.
—-
At the next week’s A&R meeting, I was ready.
I showed off my new Walkman, and played the song-without-words, to the Suits’ delight and wonder.
All it needed were lyrics. I suggested they could have the tape, send it to Utrecht, where the boys were, to get words plastered on it, to record/mix and return it for inclusion.
I gave the tape to Ostin’s assistant Dave Berson, and he took it from there.
My job at W.B. was secure for another week, at least.
I believe four or five people were included in label copy, on the song’s release. My name was not among them.
Many years went by before that was corrected—-but this truth marches on.
There were waters leading to a snug harbor, tho any chance for profit had passed.
Through such accounting errors, much is revealed about personal character. Tho “Sail On Sailor” didn’t make a dent in the rent—I must confess that I have also enjoyed many opportunities in which I was paid royally, beyond just deserves.
My conclusion is that we make music for the sake of making music—-for the joys and light it brings the disconsolate—-and for the way it may change the hearts of Government.
11. 'Surf's Up' is one my favourite songs of all time. What are your memories relating to the writing and recording of that piece?
Been there. Done that.
12. 'The Waltz' is a track that appears on Brian Wilson's album 'Gettin' In Over My Head', would you tell us more about the history of that collaboration?
It was a brief moment in passing.
13. The spoken word pieces on 'That Lucky Old Sun' feature your wonderful wordplay, was there much of a collaborative effort on those, or rather did Brian Wilson give you the pieces of music for you to write poetry to?
There was little contact. I regretted that, for I prized the personal association, for obvious reason.
14. Going further back, your first professional job in music was arranging 'The Bare Necessities' from The Jungle Book. Was your brief for that strict or did you have some artistic license with it?
Strict.
15. You worked with Kimbra in 2013, an artist I admire very much. What was it like to work with her?
I enjoyed every bit of that. I got the basic track for an arrangement and submitted it.
Working for—-not with. Yet:
Kimbra is an astonishing talent. I was amazed by all that—and entirely grateful she joined me both in Australia and L.A., in concert. She is all heart, and deserves much attention in her fierce optimism.
16. Finally, is there a possibility of any new work from Van Dyke Parks in the future?
There was one in October 2019: as orchestrator/producer, in a co-bill album with Gaby Moreno, on Nonesuch.
¡SPANGLED! is a collection of pan American classics. It’s outta the box, Latino 101.
I recommend it.
As poet Lawrence Ferlinghetti put it:
“Pity the Nation that knows no language but its own!”
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Brian Wilson quotes are taken from:
Wilson, B. with Greenman, B. (2016) I Am Brian Wilson: The genius behind the Beach Boys, Hodder & Stoughton, Kindle Edition.
You can purchase the 25th Anniversary Version of Orange Crate Art from Omnivore Recordings here.
Follow Brian Wilson on facebook @officialbrianwilson and @brianwilsonlive for instagram and twitter.
Follow Van Dyke Parks @parksvandyke on instagram and @thevandykeparks on twitter.
