Square Peg / Sherpa Present
Happy Together Tour
Chuck Negron, Gary Puckett & The Union Gap, Mark Lindsay, Gary Lewis and the Playboys
1013 K Street
Sacramento, CA, 95814
Doors 7:00 PM / Show 8:00 PM
This event is all ages
The Turtles Featuring Flo & Eddie
Very few rock performers have remained as vital through the 1960's, 70's, 80's and 90's
as have Howard Kaylan and Mark Volman. Initially they made their mark with the
Turtles, then they joined Frank Zappa's Mothers of Invention, and then they glided into
their own Flo & Eddie persona, dishing out records that have encompassed a multitude
They've always been smart enough to have responded to the latest worthwhile trends in a
fashion that has yielded an abundance of quality records, and more than their share of
hits. This history will attempt to add a depth and perspective to Kaylan's and Volman's
unique musical journey, one that, perhaps encapsulates the post-Beatles rock era like no
other. This text was originally a companion piece to Rhino's exquisitely packaged,
executive version of "The Turtles Greatest Hits" (RNLP 160).
Let's pause just for a second to make the totally subjective case that the Turtles were the
closest America ever came to having a Beatles. Others, like the Lovin' Spoonful, Rascals
and Beach Boys, certainly had as many hits, but the Turtles hits were better conceived
and arranged and, like the Beatles, transcended so many styles: from the outright protest
"It Ain't Me Babe"
"Let Me Be"
"Can I Get to Know You Better"
"You Showed Me"
"She'd Rather Be With Me"
"She's My Girl"
"You Know What I Mean."
The Rascals lacked the heavy guitars that were the sound of the day; the Spoonful were
limited in approach, and didn't last that long anyway; and the Beach Boys were too
square for too long, and somehow seemed tied to a pre-Beatles era.
Suffice to say that, even the Turtles more minor hits, the ones which failed to make it
onto "The Turtles Greatest Hits.", all sound like first class records.
This will provide a necessary primer for understanding Kaylan's and Volman's crazy
world, so you'll be better prepared when the duo hit you with their next record, as their
Two guys from Westchester. The one with the curly hair and glasses, and the other with
the beard. That's how Mark Volman and Howard Kaylan (AKA Flo and Eddie) refer to
themselves. Two slightly bewildered kids thrust into the fast lane of rock 'n' roll stardom -
hits, fame, national tours, hanging out with the Beatles, joining the Mothers of Invention,
acting in the "200 Motels" movie, and on and on ... Two guys from Westchester.
Despite its extremely boring, middle-classness, the Los Angeles suburb of Westchester
bears some insight. A frequently fogged-in area slotted next to Los Angeles' International
Airport, in the late 1950's/1960's the community thrived due to its proximity to Hughes
and other companies that were instrumental in America's galloping let's-catch-up-withthe-Russians space program.
This bred a generation of kids who were slightly smarter than the bulk, and Westchester
High during these years used to place right up there scholastically among the city's
schools. (Sad to say that, with the coming of the 1970's, Westchester's potency was
severely sapped as the bucks for the aerospace industry dissolved, and the airport started
grabbing more territory; laying waste to nice tract homes and turning the area into the
remains of a holocaust; in essence, ruining all that was. Howard later fantasized about the
possibility of buying the now-deserted junior high school he once attended.
Westchester was devoutly conservative, had no teen night clubs of its own, and was so
far out of the happening Hollywood area (12 miles) as to strip it of all means of
convenience to acquire that hipness comfortably. It was in this cultural wasteland that the
partnership of Howard Kaylan and Mark Volman was formed.
Howard Kaylan (changed in 1965 from Kaplan, because that's how he always wrote his
name) was born June 22, 1947 in the Bronx, and spent his first eight years in Manhattan
before his father took a job with General Electric in Utica, New York. After the family
moved there for a year or so, they moved to the Los Angeles area, settling in
Westchester. Mark Volman was born April 19, 1947. After a brief period living in
Redondo Beach, his family moved nearby to Westchester.
Little did they know it at the time, but both Mark's and Howard's musical direction was
forged by a crusty, old Mr. Ferguson who gave clarinet lessons in a drafty cubicle above
the Westchester Music Store. Mark went to Orville Wright Jr. High, while Howard went
to Airport Jr. High They didn't know each other, but they both pursed their lips around
clarinet reeds for Mr. Ferguson, who ran them through the gamut of "Deep Purple" and
"Anapola, My Pretty Little Poppy".
The puckers soon gave way to wide grins when their friendship formed in the
Westchester High A Cappella Choir, which was conducted by Robert Wood. Mark was
a first tenor, Howard a second tenor. (Wood was so influential that the duo later named a
publishing company after him. "Mr. Woods Music.')
It was quite a choir, and won all sorts of city competitions. Look at the accompanying
photo and you'll see not only Mark and Howard, but Al Nichol and Chuck Portz, all
standing right next to each other!
In 1963, Al Nichol, Howard Kaylan, and Chuck Portz had just changed the name of their
novice surf combo from the Nightriders to the Crossfires. Mark Volman knew them from
the Westchester High A Cappella Choir and joined the group (initially as a roadie). Also
in the band were Don Murray from Inglewood High and Dale Walton.
Dale was later replaced by Tom Stanton, who in turn, was later replaced by Jim Tucker.
Ironically, their music was almost exclusively instrumental! Four guys from choir
forming an instrumental band? Actually, it wasn't all that surprising. In 1962, the hardest
dance music of the time evolved out of Dick Dale's concept of the Surfer Stomp, searing
guitar solos over a pounding rhythm section. Nichol was one of the very best of the city's
...The Crossfires adapted their own, original versions of standards like "Money" and
"What'd I Say"...
The effects of being in a band had their social consequences. Howard expresses it this
"In B-10 I was socially less than a potato; in A-10 I was like Fabian to
The pair, along with the rest of the band, were thrust into an Animal House-like
existence. Here they were, mere lads of 15, their fingers ripping away at their saxes,
playing at fraternity parties. The naive duo were exposed to wild bacchanals, strangely
devastating drinks like "Red Death," and all manner of mayhem.
To rise to the occasion, and to keep the frat boys happy to insure the band of even more
$200-a-night jobs (good money for 1962), the Crossfires adapted their own, original
versions of standards like "Money" and "What'd I Say" that were laced with the well
chosen obscenities that the UCLA party boys loved so much. An ill-timed rendition of
those very same ditties at the Westchester Women's Club effectively banned the
Crossfires from Westchester, for good.
They set their sights on the adjacent South Bay area (Redondo Beach, Manhattan Beach,
Torrance) and quickly found themselves winners of several Battle of the Bands
competitions that resulted in a residency at Reb Foster's (a local DJ) Revelaire Club. The
group also had a fan club of sorts, "the Chunky Club," whose members made obscene
genital gestures with the help of spoons during band appearances. (For more insight into
this period, refer to the Crossfires album, Out of Control) It was here that demands were
made upon them to learn the various hit recordings of stars like the Coasters, Sonny and
Cher, the Righteous Brothers and others for whom they would occasionally become the
In 1964, the Beatles and the whole English Invasion took effect. Mark and Howard put
down their saxes, took up the vocals more ardently (Howard did most of the leads, Mark
backups and tambourine) and the Crossfires dropped their entire repertoire of surf
instrumentals and grew their hair long. They were so taken with this change of identity,
that it was not uncommon for them to show up at the South Bay Bowl, spewing forth
English accents and claiming they were Gerry and the Pacemakers. It's a wonder what one little, properly-phrased order of "white tea please" can bring on in the way of offers
of free drinks, food and autograph requests.
Despite this response, and their following at the Revelaire, frustration set in. The
members weren't in high school anymore, two were married, and the band wasn't earning
enough money. On the night they were submitting their resignation from the Revelaire
and about to break up, they were approached by Ted Feigin and Lee Lasseff who signed
them to a brand new, nameless record label, later to be called White Whale.
It was time for a name change as well. The group liked "The Half Dozen," or "Six Pack,"
but opted for Reb Foster's suggestion, The Turtles (like The Byrds, right?).
It was exactly the same band and the same songs - one week at the Revelaire they were
the Crossfires, the next week they were the Turtles.
It wasn't long before the release of the Turtles first single, their arrangement of a Bob
Dylan song, "It Ain't Me Babe." It was an immediate hit - climbing into the Top Five
nationally - quickly establishing the Turtles as a force of their own. Their first concert
appearance was before 50,000 kids at the Rose Bowl, opening for Herman's Hermits.
Formerly of Three Dog Night
Gary Puckett & The Union Gap
Formerly of Paul Rever & The Raiders!!
Born in Oregon, raised in Idaho, Mark Lindsay began his career as the rockabilly singer in Freddy Chapman's Idaho Playboys. He and bandmates Dick and "Mooney" White, along with Paul Revere Dick and Jerry Labrum, soon formed The Downbeats... which became Paul Revere and the Raiders after they got their first contract with Gardena Records in 1961.
Seventeen Top 20 hits later, with Mark Lindsay on all the lead vocals (including his own hit "Arizona"), it's still hard for him to believe that a shy, skinny, geeky farm kid could have been so lucky.
Mark still tours as a solo artist and, of course, continues to create new music.
Gary Lewis and the Playboys
Aficionados of the '60s pop classics have cause to rejoice with the return of Gary Lewis & The Playboys.
Gary Lewis was about as close to being an "overnight success" in the recording field as anyone can get. And - just because it happens so seldom - it is always a special thrill when show business lightning strikes twice in the same family. The comedy antics of Jerry Lewis skyrocketed him to fame when he was just barely out of his teens. No. 1 son Gary had achieved comparable success in the music field... also at a young and carefree age.
The son of a famous father - in any field - is often faced with serious problems in finding and maintaining his own identity. But when Gary Lewis and The Playboys auditioned for their first job at Disneyland, no one there knew Gary was anybody but a thin drummer. The entertainment director of the park merely liked what he saw and heard, and hired Gary and the boys on the spot - much to their surprise. The boys were enthusiastically accepted by the audiences from the very first night, and as the word spread it was not long before they were playing to a packed house every night.
It was the summer of 1964 when Gary Lewis and The Playboys were discovered by producer Snuff Garret. Before long, with the producer/arranger team of Garrett and Leon Russell behind them, they took their first single, This Diamond Ring straight to number one. After their second hit titled Count Me In went to number two, Gary and the band proved that they would be a continued success. They followed with more Top 10 songs such as Save Your Heart For Me, Everybody Loves A Clown, She's Just My Style, Sure Gonna Miss Her, and many more.
In 1965 Gary himself was Cash Box magazine's "Male Vocalist of the Year", winning the honor over other nominees Elvis Presley and Frank Sinatra. He was the first and only artist during the 1960's to have his first seven releases reach Billboard magazine's Top 10 on the Hot 100 chart. Along with his appearances on various popular television shows including American Bandstand, Hullabaloo, and The Tonight Show. Gary accumulated an impressive five appearances within two years on the Ed Sullivan Show.
With the reoccurring interest in oldies music, Gary Lewis & The Playboys are one of the hottest acts around. Gary Lewis, along with the Playboys, continues to tour and entertain fans across the country and abroad.
$35.00, $49.00 & $59.00 | $2.00 Increase Day of Show
Tickets are also available at by calling 1-800-225-2277.
Thu, June 22
Fri, June 23
Sun, June 25
Mon, June 26
Fri, June 30