Copyright © 2013 by Howard Kaylan
All rights reserved. No part of this book may be reproduced in any form, without written permission, except by a newspaper or magazine reviewer who wishes to quote brief passages in connection with a review.
Published in 2013 by Backbeat Books
An Imprint of Hal Leonard Corporation
7777 West Bluemound Road
Milwaukee, WI 53213
Trade Book Division Editorial Offices
33 Plymouth St., Montclair, NJ 07042
All photographs are from the author’s collection unless otherwise noted.
Front cover illustration © 2013 Cal Schenkel
Library of Congress Cataloging-in-Publication Data
Kaylan, Howard.
Shell shocked : my life with the Turtles, Flo and Eddie, and Frank Zappa, etc. / Howard Kaylan with Jeff Tamarkin.
pages cm
ISBNs: 9781480342934 (epub); 9781480342941 (mobi)
1. Kaylan, Howard. 2. Rock musicians—United States—Biography. 3. Flo & Eddie (Musical group) 4. Turtles (Musical group) 5. Mothers of Invention. I. Tamarkin, Jeff. II. Title.
ML420.K226A3 2012
781.66092—dc23
[B]
2012044564
www.backbeatbooks.com
Contents
Foreword: Turtlefucking Mothers by Penn Jillette
Acknowledgments
But First: A Rock Group Inside of Enemy Territory
1. Howard Kaylan, with a Y
2. Music Juice and the Sounds of Pounds
3. Westward, Toward the Matterhorn!
4. Destiny Calls
5. The West Coast Ambassadors of Good-Time Music
6. How Is the Weather?
7. Beat the Beatles
8. We Rule This World! No One Can Touch Us!
9. Eht Seltrut
10. Punks Leaving a Trail of Destruction
11. Lucifer Laughs
12. Fuckin’ Corporate Sellouts!
13. Put a Fork in Us
14. Around Here, We Have Rules
15. A Hint of Possible Ascension on the Hipness Scale
16. As Good as It Gets
17. A Car Shaped Like an Enormous Penis, Sounds Like Good, Clean Family Fun
18. Anybody Got Any Dope?
19. A Closely Guarded Secret
20. A Pony Harness Dipped in Enchilada Sauce
21. Smoke on the Water
22. Air Supply Is a Better Name Than the Phlorescent Leech and Eddie!
23. Perception Is Everything
24. Spinning in Some Hippie Delirium
25. Officially Bipolar
26. Lobster, Caviar, and Cocaine
27. Skating on Thin Ice
28. Moving Targets
29. Getting Spit On by the Boss Himself!
30. Singers Don’t Get Desks
31. Hey Ma, Look—I’m a Performance Artist!
32. Who the Hell Are These Fat Guys, and Why Are They Here?
33. Turtles Once Again
34. Happy Together
Photo Insert
Foreword
Turtlefucking Mothers
by Penn Jillette
Boston was a million miles from western Massachusetts. Boston was a hip city and had hip music, and my little dead factory town of Greenfield, Massachusetts, had jack shit. We had nothing. Getting a driver’s license meant music, and music meant Zappa. I drove to Boston to see and hear Frank Zappa and the Mothers of Invention at the Music Hall, October 6, 1971. I was sixteen years old and I’d had my driver’s license for one month. It was the first place I drove out of my hometown.
Chuck Berry was Frank’s opening act. Chuck did “My Ding-a-Ling” and had the audience singing along with the winking, coy, cheesy, burlesque, little- (or maybe big-) dick joke. The idea wasn’t sophisticated, and neither was the music. But Chuck Berry had been part of inventing rock ’n’ roll, he played his ass off, and he was opening for Zappa. He had Zappa’s imprimatur, so I was reverent regarding Chuck’s dick jokes.
Then Zappa’s band hit the stage, and there onstage with Frank and the real musicians were two of the Turtles. I couldn’t tell, maybe the bass player was also a Turtle, but there was no doubt that the two main Turtles were out there in tie-dye and they were now Mothers. The show was the best show I’d ever seen, but I was a child then. It’s still at the top of the list of best shows I’ve ever seen and I’m old now. Not as old as those guys in the Turtles but still wicked old. I’ve seen a lot of shows, but that Mothers show was life changing. It didn’t just have the potential to change lives in the abstract—it changed my life in ways that can be measured.
♦ ♦ ♦
I learned to juggle when I was twelve years old, and I was funny. I formed a juggling group called the Toss-Ups (“We were originally called the throw-ups but we weren’t as popular”—actual joke from the Toss-Ups’ show). We were cheesy, vaudeville, and as showbizzy as we could be in a shitty little town. We entered talent shows and won them. We played nursing homes and even did a juggling and unicycle show at the jail where my dad was a guard. We were as close to showbiz as we could get and still live on the wrong side of the tracks from Centerville. It wasn’t a real nice place to raise your kids.
Zappa wasn’t doing cheesy juggling shows. He was a real musician. Yup, he had funny lyrics, but the music was serious and the funny was subversive and smart. It was Lenny Bruce humor—Zappa’s wasn’t the humor of the cheesy vaudeville jugglers I watched on The Ed Sullivan Show. I was scratching and clawing to get into showbiz and Zappa was in art. So what the fuck were those motherfucking Turtles doing on that stage? The Monkees had come into my family’s living room, grabbed my mind, and led me right to Zappa. I had only a quick stop at the Beatles and the Velvets. Zappa was real art.
No one in my family had ever tried alcohol. I had the longest hair in my school and wore eye makeup, but I never even touched recreational drugs. I was an atheist. Zappa was atheist. Zappa made fun of people on drugs, and he was an artist. He was my hero. He was an artist. He was a smart, sober, funny artist. Wow.
What the fucking fuck were those Turtles doing onstage with Zappa? Zappa could do no wrong with me. When the back of his albums told me to listen to Edgard Varèse, I went to the library and listened to Varèse. When he demanded I read “In the Penal Colony” by Franz Kafka before listening to a side of a record, I turned off my mom’s record player and rode my bike back to the library and read that story before I listened to the piece. Zappa was teaching me art and now he had fucking Turtles onstage. In my fast trip from the Monkees to the Mothers I didn’t stop at the Turtles for a moment. I heard “Happy Together” on the radio, but it didn’t mean jack shit to me. Weren’t those the same pussies that made my other real artist, Dylan, sound singsongy?
♦ ♦ ♦
Boston 1971: The most important concert of my life and there were the Turtle guys onstage with the man who had taught me to love twentieth-century classical music and real literature. And one of the Turtle guys wasn’t rock ’n’ roll skinny like I wasn’t rock ’n’ roll skinny, and he had hair just like mine, long but not hip. Children in my school had said I looked like the fat guy in the Turtles with the long hair and glasses, and there he was, with the other Turtle guy, both singing their asses off with Frank Fucking Zappa. Did this mean I had to like these Turtles?
Years later, brilliant voice actor Billy West would say, “There’s one show business.” I didn’t have those words for it then, but Frank Zappa, Howard Kaylan, and Mark Volman taught m
e that there was only one showbiz that night in Boston. These lightweights were onstage with the heavyweights and they were doing the best show I would ever see. Their voices were beautiful. The music was hard, and they were still having fun. Some of the jokes were very serious and over my head (what the fuck was going on singing in German about a sofa?). Some of the jokes were just stupid jock cock jokes that I would sneer at in my school. It was all mixed together. It was a show that was smart and stupid, heavy and light, beautiful and more beautiful.
They were doing a show with cheesy jokes, and it was also art. How could that be? It wasn’t stuffy—it was funny, entertaining, showbiz, vaudeville, and fun, and it still had content. Those turtlefucking Mothers with those motherfucking Turtles.
They did “Happy Together” in this Mothers show, and it was a really good song. And the music was more sophisticated than I had ever thought. Those perfect AM voices doing art. I loved hearing something I knew from the radio in a smarty-pants show. Were they making fun of it? Yes. Were they also playing it for real? Yes. Were they playing it because it was fun? Yes. My view of showbiz and art came together. It was that moment, during that show in Boston, that the line between showbiz and art was erased for me. If Turtles could be Mothers, maybe a hick juggler could speak his heart in a magic show.
I drove back to Greenfield and now did my best to look as much like the Phlorescent Leech as I could. When people said, “You look like that guy,” I said, “Yeah, the guy in the Turtles, he’s also in the Mothers now.” I was proud of being in showbiz and I was proud of how I looked, and I knew what I wanted to do in life. That’s a lot to learn from a couple of Turtles.
I went back and explored the Turtles’ music that I had dismissed. They had that California sound, but there was a wink. “Call you up, invest a dime”; “how is the weather?”; “pride and joy, et cetera.” And “Happy Together” wasn’t as foursquare as the Beach Boys would have played it. It didn’t swing like Miles, but at least they dotted the eighth note. There was fucking hip and smart all over this band; once I looked, those fucking Turtles had some depth along with the pop and the funny.
♦ ♦ ♦
I followed Flo and Eddie and they taught me how to live. Each of them had a lifelong artistic showbiz partner, and they showed up anywhere they wanted. They could act, write, sing, do radio, cartoons—there was one showbiz and they were in all of it, and turtlefucker, I was going to be in all of it too. If a couple of goofballs from an AM band could make art with Zappa, a juggler/magician/comedian could do goofy shows with his lifelong artistic partner and feel like it was art. A magic show isn’t art? Fuck you, those Turtles are artists! Penn and Teller could try to be artists. Penn and Teller played the Music Hall in Boston, and we’ve been back there many times. I was in showbiz enough to use the dressing room used by those turtlefucking Mothers.
I became friends with Howard and he sat backstage with us and told us stories. I’ve repeated those stories. I treasure those stories, and they’re in this book. Reading this book is like sitting backstage in the Penn and Teller Monkey Room and hearing stories, with all Teller’s stupid stories about teaching Latin cut out. This book is way better than hanging out backstage with us. You’re about to read Howard’s Turtles, Mothers, and Flo and Eddie stories without the Penn and Teller stories.
Howard knows I’ve never done any drugs, but he also knows I love hearing stories about drugs. I’m not sure I would have wanted to hang with him when he was high, but I sure like hearing about it all now that he’s sober. This book will teach you that Hendrix was a Three Stooges fan, and you wicked need to know that.
And who doesn’t love the groupie stories? Howard and I may have disagreed about drugs, but we never disagreed about sex.
This is a great book. By a cheesy vaudeville showbiz entertainer.
And it’s art, and don’t you fucking forget it!
Acknowledgments
HOWARD KAYLAN
This life was molded by Michelle Dibble Kaylan; Mr. Robert Wood; Mark Volman; Sid and Sally Kaplan; Allan Kaplan; George Carlin; Evan Cohen; Mel Carter; Paula Guran; John Shirley; Joe Stefko and Therese DePrez; Herb, Martin, and Evan Cohen; Penn Jillette; Alexandra Kaylan; Emily and Max Rothenberg; Poochifer Robin Jub-Jub Dibble Kaylan; Ernie Kovacs; Pickle Suzanne Kaylan; Claudette Granahan; the Kingston Trio; Soupy Sales; Frank Zappa; Marc and June Bolan; Jerry Lewis; Harry Nilsson; all the girls; all the dealers I still owe; Dick Clark; Tom Smothers; Scott Walker; Mr. Art Ferguson; Jeff Tamarkin, Janet Rosen, and Sheree Bykofsky; Mike Edison and Bernadette Malavarca; Louis Prima and Keely Smith; Howard Stern; Alan Gordon; Rev. Bleepo Abernathy; LeeLoo Nightmare Kitty; Sid Caesar; Green Buddah Patient Exchange; Stan Freberg; Sam and Dave; Mrs. Koontz; Miss Gretenberg; Mr. Oliveri; Harlan Ellison; Mary Tyler Moore; Ken Barnes; Dubdie the Matriarch; and Harold Bronson.
JEFF TAMARKIN
Jeff Tamarkin is greatly indebted to Howard Kaylan; Michelle Dibble Kaylan; Sheree Bykofsky; Janet Rosen; Mike Edison; Bernadette Malavarca; Gert Tamarkin; Dave Tamarkin; Lydia Sherwood; Larry Rossman; and Caroline Leavitt and Max Tamarkin, my reasons for everything I do.
But First:
A Rock Group Inside of Enemy Territory
I was snorting coke on Abraham Lincoln’s desk in the White House. Yes, that Abraham Lincoln and that White House. A bunch of hairy peacenik dopers from California though we were, it seems that Tricia Nixon, daughter of Tricky Dick himself, was a fan of the Turtles and had requested our presence. Our first instinct: You’ve got to be kidding! No way in hell!
Yet here we were, our noses vacuuming lines off the surface of Honest Abe’s very own work space.
♦ ♦ ♦
We had gone through several managers during the past five years and been on the charts far more often than anyone would ever have guessed, considering that we were the only ones looking out for us, and that White Whale Records wasn’t much of a label.
There had been the folk-rock years, and we had been lucky enough to score a few big hits; we were among the earliest children of Bob Dylan, putting our cover version of his tune “It Ain’t Me Babe” into the Top Ten.
Then we had become the good-time-music boys, influenced by the Lovin’ Spoonful and determined not to protest anything. We’d made it to number one with a song that’s still recognized today as one of the classic rock ’n’ roll love songs of all time. “Happy Together,” indeed.
And, now, finally, we had engineered our own success with “Elenore,” our first self-penned Top Ten record, and “You Showed Me,” which we had changed from a Beatlesque rocker into a lush ballad.
We were lucky and we knew it.
Of course, now we had the big-time management to prove it.
Gone were the friends of friends—we’d realized that we really weren’t in any position to manage ourselves—and hello to the new Superstar Management Team.
We had been courted, successfully, by Ron DeBlasio and Jeff Wald, who were, at the time, top reps for the Campbell-Silver-Cosby Corporation.
That’s right—Bill Cosby.
Mister Pudding Pops.
Fat Freaking Albert.
Bill, his own self, was a full partner in the firm that represented him.
And us.
And others.
And his sweaters.
And he was the number one comic in America.
Across the hall was the office of the appropriately named Artie Mogul, who ran the in-house record company, Tetragrammaton, home to Deep Purple and more.
Of course, he had nothing to do with us. Neither did Mr. Cosby, but his name promised to open a lot of doors in Hollywood, and that was exactly what we needed.
But what, I asked, could these guys bring to the table for a band that had been around the block and, hypothetically, overstayed their welcome?
We didn’t have to wait long to find out.
We had heard, through the grapevine, that the Turtles were Tricia’s favorite band, and we’d all had a good chuckle over that.
Old Man Nixon was the creepiest Dick of his generation, the least popular president among the under-thirty crowd that had ever been, and a killer of our young men and women, as far as we were concerned.
We were deeply antiwar and deeply self-conscious. We weren’t Nixonites, that’s for sure. We were everything he stood against.
So when the hand-engraved invitations to perform at Tricia’s coming-out party arrived at the Cosby office, we were none too thrilled. In fact, we flat-out refused to play.
They started to freak out.
“What do you mean, you refuse to play?! Who the hell do you think you are?! This isn’t a political thing. It’s like a goddamn royal proclamation, you idiots! You play the White House because you’re an American!”
Blah, blah, blah…
They shamed us into it.
Not only that, but to add insult to injury, management now was requesting that we each go out and buy a classy new suit. Can’t play for the president looking like the sewer rats that you really are.
Perfect. There it was, again.
Too bad Johny Barbata wasn’t the drummer in the band anymore. He’d have loved the sight of us clumsily trying on the very Brioni suits that he’d been trying to get us to wear for three and a half years.
Now we had each bought one. Talk about fish out of water.
♦ ♦ ♦
Came the big day, May 10, 1969, we flew into Washington, DC, on the taxpayers’ dollar. There, we were met by five separate cars, each with a driver, all flying the American flag, and taken directly to the White House. Once there, we discovered that the Secret Service had dossiers on each of us. They kept us in a holding lounge while going through our intimate details individually.
After we had all been cleared, it was time to unload the equipment that we had brought with us all the way from L.A.
But we didn’t do the unloading. Instead, the Secret Service guys did. And they didn’t know the first thing about large equipment cases. So as they began to unload the trap case (the large case that holds the snare drum, percussion goodies, and miscellaneous items) from the drum set, they tipped it to one side and unknowingly triggered the tiny switch on the electric metronome/tuner that we always carried with us.
Shell Shocked: My Life with the Turtles, Flo and Eddie, and Frank Zappa, etc. Page 1