(Capitol) 30 tracks (74:31) with 24 page booklet.
Beach Boy's Party!: One night in June of 1965, I and the other Beach Boys invited some friends to the recording studio to take part in what was to be the first and only live party album. We even had some beers for everybody. I had made up a list of songs for us to have as a guideline. The party was live and happenin'. The engineer set up the microphones so that everybody in the room was heard loud and clear. Back in high school Mike and I and two of my friends at Hawthorne High School sang 'Hully Gully- at an assembly. Now, we really did it up good with instruments too on our party album. The group blend was really good and tight. There is somethin' very special about recording live. The fact that you make little mistakes is overlooked. This is the realism of a live recording.
The way that the conversation kept gain' between songs was exciting. We were cookin'. Our friends were all smiles throughout the whole recording. The mood was up and we were on our way. As you might have noticed, we did some Beatle songs. Should've Known Better' was Carl's favorite Beatle song. We all hoped they would get a kick out of our doin' a tribute to their great songwriting. The boys and girls that we invited really enjoyed themselves. They really gave this album the excitment that it needed. On 'Papa-Oom-Mow-Mow' Mike sang gutteral sounds. This cut was tearin' it up. We never got more excited than on this one. -Devoted To You- was a ballad which really slowed down the mood for a couple of minutes. This one was an old Everly Brothers song. Now we were rockin' again with 'Alley Oop.- This one was a funny song. It was about a guy of ancient times that nobody ever fooled with. His name was Alley Oop.
Our good friend, Dean Torrence, came by just in time to sing the lead with me on 'Barbara Ann.- He and I were screaching for those high notes. Dean always did have a handsome face. He and Jan and me used to hang out together. They were real cool guys. -There's No Other' was a Phil Spector song. I loved singin' the lead on this one. The party album was a challenge for us to try our hand at spontaneity. It worked. We all, including our friends, worked hard to bring to all of you a live recording like this one. So call some friends and sit down and join the party as you listen to this one. Have a good party.
Stack-O-Tracks literally means an album of just the instrumental tracks from 12 of my records. There are no voices on this album. Making an instrumental track is a whole experience. It starts after you have written a song. As I write a song, I write some of the instrumental piano and pluck some of the different notes for the arrangement. It's impossible to play the whole arrangement on the piano but you play
just enough to get the overall feelin' of the record. It is an art in itself.
I always get that bigger picture of my records at my piano before I record them. I go in there prepared. 'In My Room' was an indication of my simplicity with our earlier records. I used a harp on it. It added a holiness to it. The harp was played by Maureen Love, Mike's sister. -Catch A Wave- was more rhythmic. The guitars were more clean and driving as if to say that they didn't wanna' stop. The piano was played by me and it was perfectly synchronized with the guitars. The 3 different sounds combined to make one unique sound. I was ecstatic about this. 'Wild Honey' was primarily a piano type record. used my grand piano at my studio in Bel Air. 'Little Saint Nick' was in the spirit of 'Little Deuce Coupe,' with its shuffle beat rhythm. The real test is to make it sound easy. Some people find the shuffle to be just as fun to dance to as rock and roll. 'Do It Again' was a classic. It had everything a listener could want: sound bliss, rhythm, and excitement. It really rocked slowly.
'Wouldn't It Be Nice' was recorded with 2 accordions. That gave it a unique sound. This track is one of my biggest accomplishments ever. It rocked along and it even slowed down toward the end. This is called a retard. Then it went right back to the regular rhythm for the fade sequence. 'God Only Knows' was done with a strip of masking tape over the strings of my piano. This gave the piano a plucking sound. I also used the bottoms of 2 plastic orange juice containers for our percussion. This track was holy. 'Little Honda' was my biggest excitement record of the early sixties. This track was so exciting that even the best of them would agree. 'Here Today' was a work of art in my opinion. It was an assertive track with utilization of basses played up higher. The trombones gave it that masculine touch. 'You're So Good To Me' was spearheaded by a guitar sent through a Leslie organ speaker. It gave it an eerie effect.
'Let Him Run Wild- was also a very sensitive piece of music, ranging from cool vibraphones to driving, loud horns and basic instruments such as drums and basses and guitars. Making a track calls for good concentration and a heart full of musical feelings to stay up on your toes and always have the overall sound and feeling in mind. Even though these tracks are presented without my vocal arrangements and harmonies, they are my music. I am proud to share with you my music, because I believe music is god's voice.
|Beach Boys's Party! - Stack-O-Tracks (CD) 1|
|2:||I Should Have Known Better|
|3:||Tell Me Why|
|5:||Mountain Of Love|
|6:||You've Got To Hide Your Love Away|
|7:||Devoted To You|
|9:||There's No Other (Like My Baby)|
|10:||Medley: I Get Around/Little Deuce Goup|
|11:||The Times They Are A-Changin'|
|14:||Salt Lake City|
|15:||Sloop John B.|
|16:||In My Room|
|17:||Catch A Wave|
|19:||Little Saint Nick|
|20:||Do It Again|
|21:||Wouldn't It Be Nice|
|22:||God Only Knows|
|26:||You're So Good To Me|
|27:||Let Him Run Wild|