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A strange lost relic from Beach Boy Bruce Johnston – recorded in the mid 70s with some sweet AOR production work by Gary Usher. The album's actually a fantastic slice of late 60s sunny LA pop – and features work by Curt Boettcher, Chad Stuart, and a few other lost pop luminaries – working with Johnston in a compressed style of pop that's got some nice similarities to the better 70s work of the Beach Boys. The album includes great remakes of "Deirdre" and "Disney Girls", a strangely nice version of "I Write The Songs" (actually written by Johnston himself!) – and the tracks "Rendezvous", "Won't Somebody Dance With Me", "Pipeline", and "Thank You Baby". A great bit of overlooked soft rock from the 70s! 2 bonus tracks on this Japanese CD edition: single and 12" disco versions of "Pipeline".

Rare work from the west coast mainstream pop underground of the 60s – that magical musical place where cats who had bigger gigs were able to make some special sounds in between the chart singles – groovy little records that often got lost amidst the shifting sands of time! Two of the biggest talents on that scene of the time were Beach Boy Bruce Johnston and producer Terry Melcher – both of whom worked on much bigger projects, especially in later years, but also cut some cool stuff here together as a duo. The music here is heavy on the harmonies you'd expect from a duo with their experience – but most vocals are duo mode, not quartet or quintet – set amidst some totally sweet hot rod and surf-styled music – produced mostly by Melcher with this cool squished-up studio sound! The set features rare singles, a few unissued numbers, mono cuts, and even some work by the related Rogues – 20 whopping titles that include "Come On Let's Go", "Hawaii", "Summer Means Fun", "Raining In My Heart", "Roger's Reef", "Yeah", "Thank You Baby", "Halfway", "Four Strong Winds", "Look Who's Laughing Now", "Come Love", and "Custom Machine".

A pre-Beach Boys gem from Bruce Johnston – and definitely the party promised in the title! We're not sure about the pajamas, though – because things are so romping, nobody's sure to get any sleep – as Johnston and crew cook things up with a great mix of garage and surf, and maybe a dose of Memphis soul too – loads of gritty guitars, rumbling rhythms, and a slightly sinister sound that hints at the changes to come on the Sunset Strip! Johnston sings a bit on the record – in a rough style that's more influenced by R&B than the sweet harmonies of his later group – and the recording has a "live in studio" quality that really keeps things on edge throughout. A surprising gem – with cuts that include "What'd I Say", "Surfer Stomp", "Ramrod", "Last Night", "Surfer's Delight", and "Mashin The Popeye".

Smoking hot rod grooves – put together by studio maestro Bruce Johnston in the years before he became a bigger Beach Boy! The set's one of many groovy surf/car sets that Johnston cut during this mid 60s stretch – although it's more obscure than most, given its release on Smash Records – instead of the usual Capitol or Columbia outlets for his work. But the lineup features some key familiar faces from those other projects – guitar from Glenn Campbell and Tommy Tedesco, and some mighty drums from the great Hal Blaine! Hot Rod enthusiast George Barris adds his name to the project – and also gives up some nice car knowledge on the back cover – and titles include "Stick Six", "Fireball", "Jive Driver", "Super Fine", "Firecracker 400", "Hotty 32", and "Speed Shifters".