The 1960s were a transformative decade for music, and amidst the British Invasion and the rise of psychedelic rock, a sunnier sound emerged from the West Coast of America: sunshine pop. The Turtles, hailing from Los Angeles, became central figures in this genre, crafting infectious melodies and harmonies that resonated deeply with audiences. While they are perhaps best known for their chart-topping hit “Happy Together,” the catalog of The Turtles Songs reveals a band with surprising depth, versatility, and a fascinating history. This article delves into the story behind their music, exploring their journey from surf rock instrumentals to becoming purveyors of some of the most enduring pop songs of the era.
The Turtles
Before they were The Turtles, they were The Nightriders, a band formed in Westchester, Los Angeles, in the early 1960s. Howard Kaylan, a transplant from New York with a passion for comedy and music, joined the group as a saxophone player. His early influences were diverse, ranging from the comedic stylings of Ernie Kovacs and Stan Freberg to the jump blues of Louis Prima. Prima’s act, a blend of music and comedy with his then-wife Keeley Smith, particularly captivated young Kaylan. Musically, he was drawn to the saxophone solos in hits like Bobby Lewis’ “Tossin’ and Turnin'” and King Curtis’ work on The Coasters’ “Yakety Yak.” These influences spurred him to switch from clarinet to saxophone and immerse himself in the instrumental surf rock scene popular at the time.
It was in choir class that Kaylan met Mark Volman. Volman, initially lacking musical skills but possessing an undeniable charisma, joined The Nightriders, evolving from roadie to tambourine player and occasional vocalist. The band, initially focused on instrumental music inspired by Johnny and the Hurricanes and The Ventures, underwent several lineup changes and eventually solidified with Kaylan and Volman on saxophones, Al Nichol on lead guitar, Jim Tucker on rhythm guitar, Chuck Portz on bass, and Don Murray on drums. They rebranded as The Crossfires, taking their name from a Johnny and the Hurricanes track.
A jukebox, with the words
The Crossfires gained local popularity, known for their instrumental sets and choreographed saxophone performances by Kaylan and Volman. They even cultivated a dedicated fan base, “The Chunky Club,” named after one of their original instrumentals. While their early recordings were primarily surf instrumentals, like “Dr. Jekyll and Mr. Hyde,” they occasionally ventured into R&B covers. Their residency at the Revelaire Club in Redondo Beach honed their skills, as they became adept at backing touring acts, learning vast repertoires quickly. This experience exposed Volman and Kaylan to harmony singing, which would later prove crucial.
The British Invasion dramatically shifted the musical landscape. Instrumental surf rock waned in popularity, replaced by the vocal-driven sounds of bands like The Beatles and The Rolling Stones. The Crossfires adapted, attempting to emulate their new idols, particularly The Kinks, resulting in singles like “One Potato, Two Potato.” This transition marked a turning point. Volman and Kaylan put down their saxophones and discovered their vocal chemistry. Frank Zappa famously quipped about Kaylan’s singing talent and Volman’s tambourine skills and physique, but underestimated Volman’s crucial role. Their dynamic, inspired by Louis Prima and Keeley Smith, became a signature: Kaylan, the powerful vocalist with a somewhat awkward stage presence, and Volman, the energetic frontman, comedian, and crowd-engager. This partnership, lasting nearly six decades, was fundamental to the band’s identity.
After several label changes, The Crossfires signed with White Whale Records, a fledgling label seeking to capitalize on the British Invasion craze. To sound more British, they were rebranded as The Turtles – an animal name starting with “The” and ending in “les,” mirroring The Beatles. Their first single as The Turtles was a cover of Bob Dylan’s “It Ain’t Me Babe.” Inspired by The Zombies and their hit “She’s Not There,” particularly Colin Blunstone’s breathy vocal delivery, Kaylan adopted a similar style for The Turtles’ version. The song became a Top Ten hit, even earning a somewhat bewildered approval from Dylan himself.
Following the success of “It Ain’t Me Babe,” The Turtles were pressured to maintain a protest song image, releasing “Let Me Be,” a pseudo-rebellious track. However, the band members were more interested in having fun than political statements. A pivotal moment occurred when they witnessed The Lovin’ Spoonful in New York, who were championing “Good Time Music” – melodic, harmony-rich songs with folk roots but devoid of protest undertones. The Turtles embraced this direction, informing their label they were shifting to “good time music.”
This shift led to “You Baby,” another Top 20 hit. The Turtles were becoming established figures in the LA music scene. Kaylan and Tucker even had a near-encounter with The Beatles, a story complicated by a police incident and David Marks of The Beach Boys. Despite their growing popularity, the relentless pressure from White Whale Records to churn out hits began to take its toll. They released numerous singles, including Warren Zevon’s “Grim Reaper of Love,” but struggled to replicate the initial success. Lineup changes ensued, with drummers and bassists rotating. Just as things seemed precarious, Volman and Kaylan received draft notices for the Vietnam War.
Enter Herb Cohen, cousin of Kaylan, and manager of Frank Zappa and other LA acts. Cohen, a seasoned manager known for his unconventional methods, advised them on how to fail their draft physicals. Following his instructions to the letter – abstaining from hygiene, taking various drugs, and acting overtly uncooperative – both Volman and Kaylan received 4-F classifications, deemed unfit for service. They were free to continue making music, but still needed a hit.
Their breakthrough came with “Happy Together.” The song, written by Alan Gordon and Gary Bonner, two songwriters from The Magicians, had been rejected by numerous artists. The Turtles, however, heard potential in the demo. They refined the arrangement over months of live performances before recording it. Credit for the iconic sound is debated, with both bassist Chip Douglas and producer Joe Wissert claiming significant contributions. Regardless, “Happy Together” is a masterclass in dynamics, filled with subtle instrumental and vocal details, including the memorable “ba ba ba” backing vocals and the playful “How is the weather?” ad-lib by Kaylan at the end.
“Happy Together” was a monumental success, knocking The Beatles’ “Penny Lane” off the top of the US charts. It remains one of the turtles songs most instantly recognizable and beloved. However, even at their peak, band turmoil persisted. Chip Douglas left to produce The Monkees, leading to another bassist change, with Jim Pons joining. Pons, previously with The Leaves, brought further experience to the group.
The album Happy Together followed, featuring another Bonner and Gordon composition, “She’d Rather Be With Me.” While the band wasn’t particularly enthusiastic about it, “She’d Rather Be With Me” became an even bigger hit than “Happy Together” in some parts of Europe, solidifying the turtles songs‘ international appeal. A UK tour followed, bringing encounters with British music royalty like Graham Nash, Donovan, and even The Beatles – although a meeting with John Lennon proved less than harmonious for Jim Tucker. An unexpected encounter with Brian Jones of The Rolling Stones and Jimi Hendrix added to the surreal experiences of their rising fame.
Following “She’d Rather Be With Me,” the turtles songs continued to chart, though with varying degrees of success. They recorded “Guide for the Married Man,” a theme song for a film composed by John Williams (later famous for Star Wars scores). Further hits written by Bonner and Gordon, “You Know What I Mean” and “She’s My Girl,” followed. However, The Turtles felt they were being given lesser material by Bonner and Gordon and sought more creative control.
They started writing their own songs, but “Sound Asleep,” their first self-penned single in this new direction, underperformed. They brought back Chip Douglas as producer, who brought in Harry Nilsson, but “The Story of Rock & Roll” also didn’t achieve major chart success. Undeterred, they conceived the concept album The Turtles Present the Battle of the Bands. This ambitious project showcased their versatility, with each track presented as being by a different fictional band, parodying various musical styles. Despite the creative concept and strong original material, the album didn’t produce major hits initially, except for “Elenore.”
“Elenore” is a fascinating example of the turtles songs. Written by Kaylan as a sarcastic response to the label’s demand for “another ‘Happy Together’,” it ironically became their biggest hit since “She’d Rather Be With Me.” Intended as a parody, its catchy melody and self-aware lyrics resonated with audiences. The follow-up single, “You Showed Me,” a cover of an unreleased Byrds song, became their final Top Ten hit.
More lineup changes followed, with drummer Johnny Barbata leaving to join Crosby, Stills, Nash & Young, replaced by John Seiter. Legal battles with White Whale Records intensified. The label, seeing The Turtles as their only source of income, sought to exert maximum control. Managerial disputes and financial irregularities plagued the band. A White House performance for Tricia Nixon, arranged by their new management (co-owned by Bill Cosby), alienated some fans but secured lucrative corporate gigs.
Kaylan’s frustration with the band’s direction and his own perceived hypocrisy culminated in an on-stage meltdown, leading to a brief departure. Upon his return, The Turtles decided on a more democratic approach for their next album, Turtle Soup. They sought out Ray Davies of The Kinks to produce. Davies, a musical hero to The Turtles, agreed, marking his first major outside production role. Turtle Soup is considered the turtles songs‘ most cohesive and mature album. While Davies’ initial mixes emphasized orchestral arrangements, the band remixed it to highlight their own playing. The album, featuring tracks like “Dance This Dance With Me” and the poignant “You Don’t Have to Walk in the Rain,” didn’t yield any hits, but remains a critical favorite.
Financial disputes with White Whale escalated. The band discovered significant underpayment of royalties and sued the label. In retaliation, White Whale locked them out of their studio. In a final attempt, Jim Pons suggested they record “Lady-O,” a song by Judee Sill, a songwriter signed to The Turtles’ production company. Their version of “Lady-O,” featuring Sill herself on guitar, was released as their last single while still together as The Turtles. Despite its beauty, it failed to chart.
White Whale continued to release the turtles songs haphazardly, even re-releasing old album tracks as singles. Legal battles intensified, and The Turtles discovered they could no longer even use their own names professionally. The band dissolved. Kaylan and Volman, however, found an unexpected new chapter when they joined Frank Zappa’s band, albeit under the pseudonyms Phlorescent Leech and Eddie.
Despite the tumultuous journey and legal complexities that ultimately led to their breakup, the legacy of the turtles songs endures. From the infectious joy of “Happy Together” and “She’d Rather Be With Me” to the self-deprecating humor of “Elenore” and the sophisticated pop of Turtle Soup, The Turtles crafted a body of work that exemplifies the sunshine pop sound while showcasing their own unique musical personality. They were more than just a one-hit wonder; they were a band that navigated the changing tides of the 1960s music scene, leaving behind a collection of songs that continue to bring “good time music” to generations of listeners.
Discover more about the music of The Turtles
Explore their albums Happy Together, Battle of the Bands, and Turtle Soup to delve deeper into their discography and experience the full range of the turtles songs. Listen to compilations like All The Singles for a concise overview of their hit singles and essential tracks. Further reading includes Howard Kaylan’s autobiography, Shell Shocked: My Life with the Turtles, Flo and Eddie, and Frank Zappa, Etc. for an insider’s perspective on the band’s story.
