Van Dyke Parks at the Borderline
Seeing Van Dyke Parks live is a fascinating experience.
I believe I’ve seen him at every solo show he’s done in the UK (I’ve not seen the appearances he’s made on multi-artist bills or at the Meltdown and All Tomorrow’s Parties festivals), and they’re a marvellous example of how to marry spontaneity and an almost ritualistic precision.
The setlists Parks performs are near-identical every time — last year’s show included a few extra songs from Song Cycle, but otherwise they all follow the pattern of his Moonlighting: Live At The Ash Grove album from 1998. So while this show was ostensibly to promote his new album Songs Cycled (actually a compilation of the six vinyl-only singles he self-released two years ago), the only songs from that album he included were the two remakes, Hold Back Time (originally from his collaboration with Brian Wilson, Orange Crate Art) and The All-Golden (originally from Song Cycle).
In fact, to the best of my memory, Hold Back Time is one of only three songs in Sunday’s set that he didn’t play last year or in 2011, the other two being a version of Gottschalk’s Night In The Tropics and a quick solo stride piano busk through of Anything Goes at the end. And similarly only three songs from the 2011 set (his Beach Boys collaboration Heroes And Villains , new song Black Gold, and the madrigal The Silver Swan) didn’t make the set this time.
But what a setlist it is. Parks is one of the great songwriters of the last century, worthy of comparison with names like Gershwin, Porter, McCartney, Wilson or Ellington, and he shows it with the originals here, drawn mostly from the Orange Crate Art album, which are about as good as songwriting gets. But he is also a generous musician, who wants to introduce the music he loves to a wider audience, whether that’s the music of his friends like Harry Nilsson or Lowell George, or of musicians from previous generations, such as Gottschalk or the calypsonian Attila The Hun, and so their songs are incorporated in the set as well. It’s a tribute to Parks both as performer and as composer that these pieces fit in so well with his own.
But while the setlists remain the same, every Van Dyke Parks show is a new and different experience, because he constantly varies the arrangements. The first time I saw him was with guitar and bass supporting his piano, the second time had indie-pop group Clare And The Reasons providing backup on a variety of instruments, last year he had the whole Britten Sinfonia, and this time he had a four-piece backing band providing drums, double bass, cello and harp.
(It was also the first time I’ve seen Parks playing an electric keyboard rather than a full-size piano — the Borderline is very unlike his usual venues, being an underground, standing, sweaty rock club with a small, cramped stage).
This line-up sounded a little off on the first couple of songs — I suspect that Parks is used to the bands he works with taking their tempo from his fluid piano playing, while the band here were taking the time from the drummer — but quickly settled in and gave excellent performances all round, and once again hearing these familiar (though never over-familiar) songs played in a new arrangement gave me a fresh set of ears with which to listen to them.
The other thing that is never the same from one Parks performance to another is his stage patter. Parks speaks naturally in an elegant, elliptical style that most of us couldn’t achieve after months of honing our prose, and I suspect he would be incapable of introducing a song the same way twice. This time he was in an elegaic mood, seemingly prompted by his realisation that he is now seventy years old, and spoke a lot about the past. This was most notable when talking about dead friends such as Nilsson, George or John Hartford (the writer of Delta Queen Waltz), but even when telling a recent anecdote about working with Bob Dylan, he looks to the past, saying that the previous time they had met was in 1964, in Phil Ochs’ flat, when they’d had a row about the use of electric instruments in folk music.
The audience were clearly mostly unfamiliar with Parks’ work, other than maybe Smile and Song Cycle — every Parks show is mostly to people who’ve heard of him, rather than heard him, but he always wins them round very quickly. Their unfamiliarity showed when he spoke about Gottschalk (the great 19th century pianist and composer who influenced him perhaps more than any other) — when he mentioned that Mac Rebbenack is a fan of Gottschalk, Rebbenack’s name got more recognition than Gottschalk’s did. But the number of people walking out with CDs and vinyl — many of them asking each other “Did *you* know he was that good?” — showed just how well he can get a crowd onto his side.
After the first time I saw Parks, I thought I’d never see him live again, and it took twelve years until the next time. Now I’ve seen him three times in less than three years, and each time has required a round trip of over four hundred miles, and I’d still gladly make the same trip, to see him singing the same songs, every time it was on offer. Because every Van Dyke Parks show is a unique, life-affirming experience. One of the main themes of Parks’ introductions this time was homogenisation and commodification of music, the way “wherever I travel in the world, someone will play me a Ry Cooder lick” (he made a couple of exceptions to this rule, his “favourite living songwriter”, Loudon Wainwright III, who was in the audience, and the folk guitarist Martin Carthy). His own music points to a road not taken, incorporating folk, Gershwin, Gottschalk, ragtime, R & B, calypso and vaudeville in a gentle, civilised, *human* blend that has absolutely nothing to do with rock and roll but everything to do with what’s good in humanity.
You can stream Parks’ latest album here, but it’s definitely worth buying a physical copy, for the cover art for the singles (including work by people like Art Spiegelman and Frank Holmes) and the essays for each song by both songwriter and painter.
Setlist (from memory, so possibly inaccurate)
Jump!
Opportunity For Two
Orange Crate Art
Hold Back Time
Wings Of A Dove
Delta Queen Waltz
Danza
Night In The Tropics
FDR In Trinidad
Cowboy
Sail Away
encore
He Needs Me (with Gaby Moreno)
Sailin’ Shoes (with Gaby Moreno)
second encore
The All-Golden
Anything Goes
I have a feeling I’ve missed at least two songs out there, but I can’t think what they were.
RIP Ray Harryhausen
Very, very sad to hear that Ray Harryhausen, one of the great filmmakers of all time, has died aged 92. Normally I’d post a selection of YouTube moments from his films here, but I don’t have the bandwidth to look for them. Anyway, if you’re anything like me, the best moments are burned into your brain.
The films he worked on were often flawed — the directors and actors in the live-action parts were nowhere near his level of talent — but Harryhausen’s stop-motion animation elevated them. His creations were beautifully crafted, but more than that they had real character — he learned well from Willis O’Brien.
I was lucky enough to see Harryhausen talk about his work at the Media Museum in Bradford six or seven years ago, and to briefly tell him how much I loved his work, and though he must have been at least eighty-five even then, he still had the recall and vitality of many people half his age.
He’ll be missed.
Linkblogging for 04/05/13
I’ve got some limited connectivity again, but unfortunately I’ve been made so ill from the stress of the last few weeks that I’m not able to write. I’m hoping to be well enough tomorrow to travel to London to see Van Dyke Parks (I’d better be — I already bought the ticket for the show and for the bus down there) and if I do you can expect a review on Monday. If I *don’t* then I’ll try to get a 50 Stories Who post up on Mindless Ones tomorrow — I can’t watch any more of the current series until I get my own network connection back — and the post on Pacific Ocean Blue up for Monday. I’ll also, if I stay home, be putting out a little ebook-only release I think will be quite fun to write (it’ll only be 10,000 or so words at most, so I should be able to do it over the long weekend).
Meanwhile, links:
Paul Magrs takes a transphobic Doctor Who fan to task
Lee Griffin explains the new orphan works provisions in UK copyright law
Iain Coleman is looking at each TV Doctor Who story, from the beginning, from a scientific point of view
Alex Wilcock remembers the Labour party in government and discusses a book by Conrad Russell.
Sean Carrol on bad science reporting
The person who killed the snooper’s charter
The Heresiarch on Richard Dawkins once again criticising something he doesn’t understand
And Scott Aaronson on the US Congress’ attack on science
Brief update on the phone/internet situation
Thanks to Dave Page, I now have something approaching an internet connection at home — a borrowed cast-off smartphone acting as a wifi hub, which gives me a very small level of connectivity.
Sadly the comment on the Mindless Ones list (“Just think how much he’ll be writing without the net to distract him!”) couldn’t be further from the truth. Without any ability to research anything, and with so much time taken up with talking to incompetents at phone companies, coupled with the extra time every day lost to commuting to work, thanks to not being able to work from home, I’ve written precisely nothing in the last week.
Emailing BT’s chief executive got an immediate response, and got me in touch with someone who appears competent, who is working on getting the phone and net back, but that probably won’t be til the middle of next week.
Emailing TalkTalk’s chief executive got a ‘goodwill’ offer of £15.60, when we were paying £19.20 per month for their tenth-rate broadband service, along with me being told “I’ve listened to the call and it was only twenty-one minutes” (note “the call” singular — there were at least four to TalkTalk alone).
When I said my goodwill could not be bought so easily and that I considered this insulting in the extreme, I was asked if it would make any difference if the offer was put in writing.
So, in conclusion, TalkTalk are incompetent and actively customer-hostile from the lowest call centre worker right up to the chief executive, and there is no possible way ever of resolving a problem with them, and if you’re with them your best bet is to change ISPs as quickly as possible. BT, on the other hand, *may* have at least one competent person working for them — the jury’s still out on that.
Meanwhile, I *may* be able to read my emails occasionally over the next few days, if this smartphone keeps working, but am still not contactable by telephone.
(Also, I’ll be in That London on Sunday/Monday, watching Van Dyke Parks).


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