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New York Times  

NEW YORK

“TIMES”    

Featuring Flo & Eddie

Recorded Live at the Bottom Line     1979 – 1994


Howard Kaylan – Vocals

Mark Volman – Vocals, Guitar

NEW YORK 

“TIMES”    -   Black Disc


  • Wheel of Fortune
  • I Happen To Like New York
  • Gershwin
  • Bald Mountain
  • Tidy Bowl
  • Debarkation
  • Escape From New York
  • The Duke/Pied Piper
  • Everyone’s Coming to NY
  • She’d Rather Ending
  • MTM
  • Agita
  • Tibetan Memory Trick
  • Letterman
  • Harvey Shiffler
  • Silver Bullet
  • Prison Song
  • Fast Car
  • I Lost My Heart In A Drive-In Movie
  • Who Outro

NEW YORK 

“TIMES”    -    White Disc


  • Halloween Intro
  • Halloween Theme
  • Horror Movie
  • Marmendy Mill
  • Steven
  • Steven Attacks
  • Nicki Hoi
  • Girls, Girls, Girls
  • Rockahula
  • Go East Young Man
  • Harem Holiday
  • Girls Reprise
  • Nicki Hoi Reprise
  • Who Needs The Peace Corps?
  • Concentration Moon
  • The Ugliest Part of Your Body
  • Absolutely Free
  • Peaches en Regalia
  • Magic Fingers
  • Saturday In The Park
  • Made It To The Top
  • American Bandstand
  • Boogie (My Father’s Place, Long Island NY)

NEW YORK “TIMES” liner notes - Black Disc:


Wheel of Fortune -- Our show opener in 1987. I was Vanna with a board that spelled THE TURTLES. I wore a mink coat and clapped my hands a lot.  -- Joe Stefko


We have always tried to be a mirror of pop culture at any given time, and Wheel was as hot then as it is now. It’s hard to ignore mindless success.  -- Kaylan


I Happen To Like New York -- A song Bobby Short sang in the Woody Allen film Hannah And Her Sisters from our 1994 show.  -- Joe Stefko


What a pleasure to sing a Bobby Short song. Yeah, I do happen to love that town. I lived on E. 54th St. at Sutton Place when we were doing our daily NYC radio show and walked to work at 57th and 5th every day. Some nights, I’d call my wife and tell her not to wait dinner on me, and I would walk the streets for hours, getting to know each and every restaurant and bar in town intimately. I was born in the city and moved away at an early age, but even so, as a kid, my parents would play one of their favorite records for me as I spent my years of childhood upstate and later in Los Angeles.  It was called Manhattan Tower: a brilliant, old-school Broadway play made for the radio by the genius arranger, Gordon Jenkins. There was a magic to that recording and I knew, from a very early age, that I, too, would return to this romanticized version of the city. I sing this song and it takes me right back to that feeling. No other city has that vibe, and we’ve been everywhere, kids. I still feel totally at home in New York, whenever I return to the tower.  -- Kaylan


Gershwin -- This came after Wheel of Fortune. We would go out for months at a time on our Happy Together Tours in the eighties so whatever we were obsessed with on the bus came out in our New York holiday shows. This was our Woody Allen period, the speeches were a take on Woody’s novel notes in the movie Manhattan.  -- Joe Stefko


Howard and I share a love of George Gershwin and having Peter Zale in the band was great.  Pete could play every Gershwin song we could shout out.  Richie played the Soprano sax on this piece.  The fact that one of our icons Woody Allen also shared that love of Gershwin allowed us to use it with our audience as part of a Woody salute.  Peter and Richie brought an element of class to us; well at least for a minute.  -- Mark Volman


I could stand backstage and watch the audience through a hole in the black curtains as I recited Woody’s words from Manhattan, the movie. They had no idea what was about to happen.  -- Kaylan


Bald Mountain -- Our guitarist, Dave Nelson, arranged this for us. He always wanted to do this piece live.  This was our very loosely based Disney show from 1988.  -- Joe Stefko


Tidy Bowl -- Another Dave Nelson arrangement. This was the chorus to a song he wrote called Fool For Love. We titled it Tidy Bowl after a bizarre experience Dave had with the toilet bowl cleaner. I will leave it at that. It came right after Bald Mountain and went into Illegal, Immoral and Fattening.  -- Joe Stefko


The Debarkation -- This was one of our salutes to John Carpenter, the 1984 show was a tribute to Escape From New York. The speech started as the lights went down.  -- Joe Stefko


The escape show was one of the most dramatic and during this song the way the lights worked with the sound of the helicopters and the voice-overs created a very dramatic effect in that small club.  It was really loud in there and it sucked everyone into the show right off the top.  -- Mark Volman


We loved scaring the shit out of our audience. Hey, it’s a holiday tradition at my house.  -- Kaylan


Escape From New York -- The theme song from the movie played live which came right after the debarkation speech.  -- Joe Stefko


This performance of such a great movie theme displays the meticulous effort the band put into the show to make the song exact.  -- Mark Volman


Translation of above sentence:  We love scaring the shit out of our audience.  -- Kaylan


The Duke -- The Duke’s theme from the same movie.  -- Joe Stefko


The Duke was a character in the movie played by Isaac Hayes.  He was the over the top bad dude in the film.  In the end Donald Pleasance screams his distain at him as he fires round after round from his gun, “You’re the duke, yeah, the duke, A-number one, the duke, aargh.  -- Mark Volman


Snake Pliskin rules!  -- Kaylan


Pied Piper --  It was just perfect to incorporate into The Duke.  -- Joe Stefko


This song was always one of our favorites going back to the original version by the Changing Times.  Two friends of ours Steve Duboff and Artie Kornfeld who wrote the great Turtles song “Just A Room” wrote the song.  The Pied Piper became a hit by Crispin St. Peters during the British Invasion.  At one time we used this song as part of our Springsteen comedy routine that appeared on our 1992 Rhino release “The Turtles featuring Flo and Eddie Captured Live.”  Those recordings were part of the “New York Times.”  Of course that is the Car 54 TV theme we sing during the instrumental break.  --  Mark Volman


The late Steve Duboff was one of my closest friends. In fact, I was married (once) in his home on Malibu Beach and Steve was my best man. Not only was he one of the coolest guys ever to come out of the NYC writer/producers of the sixties, but he also lived across the hall and introduced us to the amazing Soupy Sales, with whom we became long and lasting friends. I truly miss Steve and think of him daily. His partner, with whom I wrote a happening rocker called “Pick ‘Em Up”, Artie Kornfeld, was one of the producers of the original Woodstock Festival.  -- Kaylan


Everyone’s Coming to New York -- This came later in the Escape show and is from the movie. That is me doing my Martin Short impression of Irving Cohen at the start of the song.  -- Joe Stefko


This song really was a Broadway-show style song.  It showed what we as a rock band, were capable of.  -- Mark Volman


What can I say? John Carpenter is a genius.  -- Kaylan


She’d Rather Ending -- This straight through the Tibetan Memory Trick was one take. Mark conducted the whole thing with hand signals. We kept adding things to it until the ending was longer then the song; She’d Rather Be With Me. MTM was our salute to Mary Tyler Moore, who became a personal friend. Agita is from Woody Allen’s movie Broadway Danny Rose. This was taken from the 1984 Escape show.  -- Joe Stefko


The Trick is not really a trick at all. It was actually an announcer's test that involves retention, memory, repetition, enunciation, diction, and involves ten factors that use every letter in the alphabet a variety of times.  Del Moore, a long time friend of Jerry Lewis' passed it on to him. Jerry performed it on the Tonight Show and that is where we got it.  When we met Jerry in the 1980’s we performed it for him and he told us we had the ending wrong, which he proceeded to recite to us.  We kept our version, as we liked it better than Jerry’s.  This is the craziest amalgamation of stuff and it’s the peak of the insanity that went on during these shows. It really was us just trying to make ourselves laugh. – Mark Volman


After several plays, you should be able to recite this right along with us.

It’s great for the brain in this day and age where getting older means forgetting everything you ever knew.  -- Kaylan


Letterman Theme -- We played this as the opening to the encore of the Escape show. Everyone’s Coming To New York followed this.  -- Joe Stefko


Dave is and was New York. Our road manager, Larry Zinn, was, even then, doing the monitors for Paul Shaffer and the CBS orchestra on Dave’s show. He still does. Hi, Larry.  -- Kaylan


Harvey Shiffler -- Played by our late friend, Andy Craig, this was a take on high school days.  He was introducing The Crossfires in this 1982 History show where we started out playing the music of The Crossfire’s then became The Turtles then changed again to Flo & Eddie and The Holiday On Ice Band. Don’t ask.  -- Joe Stefko


So Howard and I wrote these intros for Andy.  He did one as the high school nerd to intro The Crossfires, then as a 60’s “Good Guy” disc jockey he introduced The Turtles and finally the cool 70’s Jock who brought us back as Flo & Eddie.  He changed costumes for each one and so did we.  This is part of the continuing evolution of a show in progress.  -- Mark Volman


Andy Craig was a terrific actor. He was the huge, bearded dude who did so many of those “Mad About You” episodes…he’d play the moving man or the angry biker, but, in fact, was this gigantic teddy bear with a heart of gold. Andy got the band together for my Dust Bunnies album project and the record is dedicated to him.  -- Kaylan


Silver Bullet --  As played by The Crossfires.  -- Joe Stefko


Silver Bullet (based on Rossini's "William Tell Overture") was a song called “Piltdown Rides Again” by The Piltdown Men.  The Piltdown Men were an instrumental group from Hollywood, featuring two lead saxophones whose records were issued on Capitol.  We actually recorded this as The Crossfires and it was a huge crowd pleaser.  -- Mark Volman


Most of our New York audience had never seen Mark and I actually play instruments before and I think we blew a lot of minds with our tenor and alto saxophones. Plus the snazzy dance steps that accompanied the piece were stolen from every soul band with a horn section.  I’m so glad we decided to become singers instead.  -- Kaylan


Prison Song -- A very short joke that always works.  -- Joe Stefko


Vaudeville will never die.  -- Kaylan


Fast Car -- Let’s hope Tracy Chapman has a sense of humor.  -- Joe Stefko


I love this bit. This was the raw kind of “who’s going to sue us next” material that we had recorded on our Illegal, Immoral and Fattening album. No hard feelings, Tracy. We really do like you.  -- Kaylan


I Lost My Heart At The Drive-in Movie -- From the Jerry Lewis film, The Patsy. We love Jerry to the horror of Harlan Ellison.  -- Joe Stefko


In the film, Jerry plays the world's most inept performer, Stanley Belt.  He appears on a teen TV show to lip-sync his new hit record, "I Lost My Heart in a Drive-in Movie."  It is so cool that the Late Lloyd Thaxton who introduced us to the Los Angeles teen audience introduces Stanley on that show.  -- Mark Volman


If you don’t “get this” you have no sense of humor.  -- Kaylan


Who Outro -- We opened our ’82 Holiday On Ice Show with The Who’s Tommy Overture and ended the show with this. We loved it so much and played it so long that the cassette, which was recording the show, ran out of tape. Sorry.  -- Joe Stefko


I always loved this piece of music.  Howard does a great job hitting all of the different melodic riffs that Roger Daltry sang.  Howard and I saw the Who perform the Tommy opera live in Hollywood in its entirety.  I think I may have passed out.  -- Mark Volman


Mark is correct. The two of us went to see the Who do Tommy for the very first time in it’s entirety at the Palladium in Hollywood. The only thing I passed, however, were doobies between me and David Crosby. All of L.A. rock royalty was there that night and we all knew music had changed…again. –Kaylan


White Disc:


Halloween Intro -- Welcome To Hell, Man was our salute to horror movies in 1985. The show opened with this speech. The tribute was a cross between Halloween/Friday The 13th/Alice Cooper’s Welcome To My Nightmare. This was our most ambitious show, and the most expensive.  -- Joe Stefko


This show might have been a mistake to do at Christmas but what a production.  (See story to follow).  Andy Craig was at his peak in this show with him actually singing a few solos in the show.  -- Mark Volman


Remember what I said before about scaring the shit out of our audience?

-- Kaylan


Halloween Theme -- This followed the speech and went right into Horror  Movie.  -- Joe Stefko


The group is actually playing live along with the pre-recorded tape of the speeches from the movie.  The power of this was in the coming together of the live band and recorded tape.  Sounds easy today in the digital world we live in but back in the 1980’s it was mostly an analog world for us.  -- Mark Volman


Horror Movie -- Take it Mark & Howard.  -- Joe Stefko


Horror movie was a song that we discovered on a trip to Australia.  It was the second single from the band Skyhooks who we hung out with while we were there.  The lead singer Graeme “Shirley” Strachan sang with us on our “Moving Targets” album on the song “Guns.”  -- Mark Volman


You only get to hear a couple of lines from this song…we figure, what the hell…you didn’t buy this to hear old Australian pop songs…so we took some liberties here, forsaking the song for the transition that takes it into the next piece.  -- Kaylan


Marmendy Mill -- This came right after Horror Movie. This is an incredible song from Flo & Eddie’s second self-titled album. A real thrill to play.  -- Joe Stefko


Every year we tried to do some Flo & Eddie songs that we only learned and put in the show for that particular year for the die-hard fans.  This was one of those.  For those who know the song, you know this is an epic recording and it is a testimony to the musicians as the performance is also an epic version of the song.  -- Mark Volman


This might be the only straight song on this compilation. It is, of course, my autographical piece from our second Reprise LP. The world-class guitarist, Dick Wagner, wrote the instrumental in the middle and producer, Bob Ezrin wrote the floaty piano that opens and closes the song. In answer to many questions, Marcy—the first word of the verse—is, in fact, a small suburb of Utica, NY where I was raised until the age of nine. I never thought we would have a live band good enough to do this one in person, but I was wrong…these guys rocked it.  -- Kaylan


Steven -- Andy Craig played the monster and sang this song from Welcome To My Nightmare. Andy was dressed in a one-piece white work jumpsuit and a hockey mask with red LED lights for eyes.  -- Joe Stefko


Steven Attacks -- After Andy sang Steven, which happened several times throughout the show, he would attack one of the members in the band. I had to shoot him when he went into the audience and when he was pushed into one of the columns on stage a pole would shoot out of his stomach which had guts wrapped around it dripping blood. This is what you are hearing him complain about on this track. We hired a special effects man to hook him up with these devises. He also went after one of the female background singers and slit her throat with a knife that pumped blood. After the first performance which was played straight we were told by Alan Pepper, the club owner, that we were scaring the waitresses who had to walk home after the late show so we put a comedy spin on it and Andy became Shecky, The Monster From The Catskills. Unfortunately the first performance was not recorded.  -- Joe Stefko


Oh, how I wish we had recorded that first and only wonderful, frightening show of Welcome to Hell, Man. Talk about scaring the audience…According to Alan Pepper, many couples walked out of that first show in terror. After the show, we were all summoned upstairs to his office where he said, “What are guys trying to do to me? This is Christmas, for God’s sake! They come in here, waiting to be cheered up and you’ve got them afraid that they’ll be stabbed! If you do it again, you’re fired!”  We had spent all this money on special effects and rehearsals…we didn’t WANT to make the show customer-friendly and this is one of the only times in the last 45 years that we’ve knuckled under to the pressure of management…but we did. Shecky was born and although the club owners got their way, I never felt like the audience got to feel what we had originally intended. Which was to scare the shit out of them.  -- Kaylan


Nikki Hoi -- This song from the first Phlorescent Leach and Eddie record was used as an opening and closing devise for the Elvis movie medley, which follows sans the Hippo Limbo.  -- Joe Stefko


Girls, Girls, Girls/Rockahula/Go East Young Man/Harum Holiday/Girls Reprise -- Back on the bus, obsessed with Elvis movies, we decided to torture our New York audience with a medley of obscure Elvis movie songs. This was one of the funniest things we did and is from the monster show in 1985. You really had to be there. I came out front to sing Go East Young Man from Harum Scarum while Mark played drums.  I was dressed as a sheik and sat on a cheap lawn lounge chair drinking a green drink while the girls, dressed as Harem girls, fed me grapes and stroked me nice-like. I couldn’t sing but we didn’t care, I had to do it. I still can’t sing and consequently I am not allowed to have a mic to this day. It was worth it.  -- Joe Stefko


Is anyone looking for a drummer?   -- Mark Volman


And you never WILL get a microphone, Stefko. Shut up!  -- Kaylan


Who Needs The Peace Corps? /Concentration Moon/The Ugliest Part Of Your Body/ Absolutely Free/Peaches en Regalia/Magic Fingers -- Our Frank Zappa medley from the 1993 show. A blast to play.  -- Joe Stefko


This was a great collection of songs we did while singing with The Mothers of Invention.  Howard and I loved the early Zappa records and this medley showcases some of our favorite songs from We're Only in it for the Money.  -- Mark Volman


We can’t ignore the late Mr. Zappa whenever we are doing a history of our careers. One day, we’d love to work with Dweezil too, just to keep the genius of his father alive. There was never a more brilliant musician and he was, of course, a well-acknowledged father figure to both Mark and me as well. -- Kaylan

          

Saturday In The Park -- For the New Year’s Eve show the Bottom Line would give out noise makers to the audience which got very annoying so we made them part of the show. This noise was from 1983.  -- Joe Stefko


Made It To The Top -- This came after Everyone’s Coming To New York from our 1984 Escape From New York Show.  -- Joe Stefko


This song came from an animated film called Animalympics.  The NBC network commissioned it as two separate specials, and it spoofs the Summer and Winter Olympic Games.  It features the voices of Billy Crystal, Gilda Radner and Harry Shearer.  I saw it on TV and I owned the record.  The songs were written by10cc's bassist Graham Gouldman.  I always thought the lyrics spoke a message that Howard and I could relate to and so it was added to the show for this one year.  We never did it again after this year.  -- Mark Volman


Kind of sounds like a Turtles record, doesn’t it?

Gouldman wrote Bus Stop for the Hollies and a zillion other hit songs.  -- Kaylan


American Bandstand -- This was played on tape as the audience got up to leave after the end of our Escape show. It was Cabby’s Theme from the movie.  -- Joe Stefko


Every day, when I came home from school, I’d flip the television to ABC to watch Dick Clark’s American Bandstand: the first and most influential teen dance show ever on TV. Clark took records and made them into instant hits. We were blessed when, at the age of 17, we were thrust out of high school and onto our first tour: Dick Clark’s Caravan of Stars in 1965. The theme, to which Barry Manilow would later pen the lyrics, is a lot more than just part of a John Carpenter film to me.  -- Kaylan


Boogie -- This was the encore from our very first show together in 1979 at My Father’s Place on Long Island. I was drumming for Meat Loaf on the Bat Out Of Hell tours throughout 1977-78 when in Ottawa, Canada Meat fell off the stage and broke. During this hiatus I went to My Father’s Place to see my friends Mick Ronson and Ian Hunter perform. Eppy, the club owner, asked me to help him get Flo & Eddie to come over and do a show. We went into his office and called Mark Volman. I told Mark that I would put a band together who would learn the show from tapes. We played two nights and called it The Flo & Eddie World Tour of Long Island. The show was recorded for a radio broadcast over WLIR, which is what this recording is from, hence the compression and the bleeping out of the word fuck. The bizarre guitar solo towards the end is Mark cutting the strings off his guitar with a wire cutter.

   

Although I went back on tour with Meat when he healed up I have been Mark and Howard’s drummer ever since. As it was the beginning it makes the perfect ending to all these recordings that I have amassed on cassette, DAT, and reel to reel throughout the years.  Denny McNerney recorded these shows and engineered the house sound on the better sounding tracks.  I listened to every track of every show and compiled this record. Denny edited and mastered the record making what was picked up by two mics hanging from the ceiling of the club sound as good as it does. I am very proud of this mess and thank all the members of The Turtles throughout these years for playing so well and to Mark and Howard for making it possible and for making it so much fun.  -- Joe Stefko


And it all ends appropriately with the plug being pulled after our first re-united show on Long Island radio over thirty years ago. It’s been a blast wearing the Flo and Eddie hats for these many years and getting to be Turtles when we needed to be. For this subsidized bit of schizophrenia, I thank you. And for a long and blessed career, I salute you. And for your good taste, I appreciate you. And for the rest of the story, stay tuned. I don’t think we’ve written our last chapter yet.  -- Kaylan


©2009 The Turtles -  Flo & Eddie Inc.