zmanbarzell's Full Review: Beach Boys' Party!/Stack-O-Tracks [Remaster] by Th...
By mid-1965 The Beach Boys had already released two hit albums and several hit singles. One might think a little vacation time for Brian Wilson would have been in order. But Capitol Records insisted on the delivery of one more L.P. in time for the shopping-crazy Christmas season. Brian, though, had major plans for the Boys' next record and was not willing to rush his creative flow. Unfortunately two of the easiest solutions to this problem, live and Christmas albums, were both exercised the previous year. Brian also did not want to put out a greatest-hits record, as this was usually an end-of-career desperation move.
The strange compromise solution Brian came up with: the band entered the studio with acoustic instruments, stumbled through some of their favorite songs and generally goofed around. Brian selected the most listenable tracks, brought some buddies and wives in, overdubbed clinking glasses, crunching chips and laughter and the result was an incredible simulation of a genuine "Beach Boys Party!".
This strange concoction somehow caught on with the public and became a huge holiday seller.
The album is goofy but never seems forced, due to the sincerity with which they pay tribute to the artists that inspired them. In a weird way the project is just as successful on it's own (very different) terms as their next L.P., "Pet Sounds". It is also a more purely joyful experience to listen to.
In a little over half an hour, the band covers a very wide range of influences, making the record almost a history lesson, essential for anyone interested in how the group's sound was formed.
They pay homage to (in order): The Olympics-"Hully Gully", The Beatles-"I Should Have Known Better", "Tell Me Why", a tender Dennis Wilson-led "You've Got To Hide Your Love Away", Arthur Alexander-"Mountain Of Love", The Rivingtons-"Papa Oom Mow Mow" (already covered on their "Concert" album), The Everly Brothers-a lovely "Devoted To You", The Hollywood Argyles-"Alley Oop", The Crystals-a moving Brian-led singalong to "There's No Other (Like My Baby)", themselves-a hilarious send-up medley of "I Get Around/Little Deuce Coupe", Bob Dylan-Al earnestly intones "The Times They Are A-Changin'" and The Regents-"Barbara Ann", which features a guest appearance by Dean Torrance of Jan And Dean and ironically became a huge hit single, reaching #2 on the charts.
Although only a rushed-through and anomalous creative pit-stop, this album is extremely enjoyable and actually the most completely successful artistically yet by the band. It may be a little weird for the casual listener, but if you're going to have a party, pick this album up, pay it and see what happens. It's always worked for me.
*****
In 1968, with their Capitol contract finally drawing to a close, the band was scrambling for product to fulfill their remaining commitments to the label in a hurry. Three greatest-hits L.P.'s had already been issued so one of the most unique and interesting albums in rock history was conceived.
"Stack-o-Tracks", as the album was christened, is an album comprised entirely of the backing tracks to 15 songs dating back to 1963. It was packaged as a "sing-and-play-along to The Beach Boys" record, with a gigantic words-and-chords booklet enclosed.
The real value, however, lay in the fact that unlike any of their contemporaries, save Phil Spector, their backing tracks were complex works of art on their own merits, revealing incredible depth of arranging and production skills. Which was especially amazing considering their reputation as a vocal group primarily.
Here was the chance to study in detail the bizarre combinations of instruments and sounds Brian sewed together to make rich monolihic audio tapestries.
The cuts included: "Darlin'", "Salt Lake City", "Sloop John B", "In My Room", "Catch A Wave", "Wild Honey", "Little Saint Nick", "Do It Again", "Wouldn't It Be Nice", "God Only Knows", "Surfer Girl", "Little Honda", "Here Today", "You're So Good To Me" and "Let Him Run Wild".
In retrospect some of the more basic piano-guitar based tracks (e.g. "Honda", "Saint Nick", "You're So Good") should have been substituted for more complex tracks (any of the "Today" ballads, more of "Pet Sounds") and on several tracks you can actually hear the voices in the background ("Catch A Wave", "Saint Nick", "Honda") but the sheer artistry of the music more than makes up for these deficits.
This album by it's very nature was destined for cult status, not commercial success and indeed, it did not enter the charts, was soon deleted and became a valuable collector's item.
This C.D. also adds three welcome bonus tracks to "Stack", the outstanding backing tracks to "Help Me Rhonda", "California Girls" and "Our Car Club".
This package will mainly appeal to fanatics and completists, but for anyone simply looking for a good time ("Party"), or interested in the mechanics of great record production and arranging ("Stack-o-Tracks"), it is a great purchase.
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