Flo & Eddie - Moving Targets 1976

For their final (of two) projects for Columbia Records in the mid-'70s, Mark Volman (Flo) (vocals/guitar) and Howard Kaylan (Eddie) (vocals) serve up a mixed bag of rockers as only Flo & Eddie can. With the exception of the Turtles' "Elenore" and "Guns" -- the latter of which features a shared credit with former Turtles' and Mother of Invention bandmate Jim Pons -- the remainder of Moving Targets (1976) was written entirely by the pair. While their lyrics might come off as cynical (read: realistic) or whiney to some, they counteract the typical pop/rock fare by presenting the listener with an undeniably fresh vantage point. The (perhaps) semi-biographical "Mama, Open Up" seems to be a psychological profile of its authors disguised as a typical '70s power ballad. Sounding like a combination of Chicago and Todd Rundgren, Alan MacMillan's horn-fuelled arrangement on "The Love You Gave Away" -- not to mention Flo & Eddie's impeccable harmonies -- almost disguise the odd spin on a love triangle. Marked by a bright jangle guitar introduction and strong dual-lead vocals, "Hot" stands out as a return to a feel that recalls earlier Flo & Eddie material. MacMillan's brass score provides some punch to "Best Friends." The compact and catchy tune lives up to its parenthetical moniker that indicates it as a "theme to the unsold T.V. pilot." "Best Possible Me" is truly exceptional, equaling anything in the Flo & Eddie cannon. MacMillan earns his keep as the orchestration underscores the powerful melody. In a very different way, the same can be said of the tongue-in-cheek "Keep It Warm" as they mull over their life and future as singer/songwriters. "Guns" is an upbeat rocker with the occasional anti-war sentiments, while the new recording of "Elenore" is taken at a noticeably quicker pace that reflects the way Flo & Eddie were concurrently performing the song in their live shows. "Make Your Own Kind of Music" meets "Add Some Music to Your Day" on "Sway When You Walk" as the highly recommended entry not only brims with positivity, it taps into the duo's silly and cerebral sides as well. Bucking the norm of placing the title track at the beginning of the disc, "Moving Targets" can be found at the conclusion of the platter. The mid-'70s proto-heavy metal vibe bears an Alice Cooper or Kiss influence, contrasting the rest of the effort in its relative straightforward approach. AMG.

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Flo & Eddie - Flo & Eddie 1973

Of all the Mothers of Invention (MOI) alumnae, the Phlorescent Leech (aka Flo) and Eddie remain one of the most musically consistent. Part of the reason could be traced back to Mark Volman (Flo) (vocals/guitar) and Howard Kaylan (Eddie) (vocals) having achieved significant success as the lead vocalists behind '60s folk-rockers the Turtles prior to hooking up with Frank Zappa in 1970. Although rarely mentioned, one-time Leaves' member and longtime Turtles' bassist Jim Pons was also recruited to be a Mother of Invention, where he, Volman, and Kaylan remained until the band was unceremoniously dissolved when Zappa was pushed off stage by unstable audience member Trevor Howell. Zappa landed ten feet below a concrete orchestra pit on December 10,, 1971 at the Rainbow Theatre in London. The incident effectively put Zappa out of commission, leaving the Mothers to find work elsewhere. In fairly short order, Volman and Kaylan were signed to Reprise Records as Flo & Eddie where they resurfaced with the excellent, self-titled Phlorescent Leech & Eddie (1972). Their second and final Reprise album -- titled Flo & Eddie (1974) -- was ostensibly created so that the duo would have a product to push during their high-profile opening slot on Alice Cooper's (then) big-budget Billion Dollar Babies (1974) tour. Primary components of the Cooper production team -- including producer Bob Ezrin, engineers Shelly Yakus and Jack Douglas, as well as Cooper's masterful design and concept team at Pacific Eye & Ear -- collectively updated Flo & Eddie's sound and image. While the results did yield a slicker and less organic product, it is actually what Volman and Kaylan bring to the festivities that arguably makes Flo & Eddie (1973) the better of the two endeavors. At the heart and soul of Flo & Eddie is their vocal blend -- which they can (and occasionally do) turn into a full-blown choir, thanks to a few vocal overdub passes. The hearty syncopated rocker "If We Only Had the Time" provides a great example of this technique. The Kinks' "Days" is the first of several superbly chosen covers. Simply stated, Kaylan and Volman effortlessly embody the song's profound sense of loss and wistful nostalgia as if the tune had been penned for them. The jaunty "You're a Lady" hearkens back to the memorably quirky melodies and catchy choruses that defined the Turtles at their best -- à la "She's My Girl" and "You Showed Me". "The Original Soundtrack from 'Carlos and De Bull'" is an odd tale of a matador that recalls Flo & Eddie's dramatic ventures in 200 Motels, and the brilliant saga of "Billy the Mountain" from their Zappa days. Another grand slam remake follows as they upgrade the Small Faces' "Afterglow" with a slightly metallic tinge -- no doubt thanks to Ezrin's handiwork. Fellow '60s survivor and Reprise recording artist John B. Sebastian lends his dulcet tones to a modern doo-wop update of the Ronettes' "Best Part of Breaking Up" that is driven by the same type of hard-hitting rhythm that accompanied Gary Glitter's "Rock and Roll (Part One)". A final dip back into their MOI tenure as the "Sanzini Brothers" -- better known as Aldolph, Rip-Off, Rudolph, and Jack -- are heard performing the "horrible sodomy trick". The opening of "Another Pop Star's Life" is clearly inspired by Roger Daltery's blood-curdling wail at the climax of the Who's "Won't Get Fooled Again". The tale of excess and debauchery was later revealed to have been an observation on the lifestyle of Marc Bolan from T Rex. The acoustic "Just Another Town" may well have its subject matter rooted in the 200 Motels motif of "touring can make you go crazy" as they depict a substance-less nomadic existence. The Kaylan-penned seven-plus-minute "Marmendy Mill" is a pastoral epic featuring orchestration by Alan MacMillian -- whose other notable Ezrin productions include Lou Reed's Berlin (1973) and Alice Cooper's Welcome to My Nightmare (1975). The youthful ode to the freedom and innocence of childhood perfectly caps what is -- by most accounts -- the best of what Flo & Eddie are all about. AMG.

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Flo & Eddie - Illegal, Immoral and Fattening 1975

After issuing a pair of thoroughly excellent albums on Reprise Records, the Phlorescent Leech & Eddieaka Flo & Eddie -- who were embodied by Mark Volman (Flo) (vocals/guitar) and Howard Kaylan(Eddie) (vocals) -- moved over to the Columbia label for two additional LPs Illegal, Immoral and Fattening (1975) and Moving Targets (1976). The contents of the former are split between studio and live material containing considerable overdubs. The support backup band for the project consists of West Coast session talents Phil Reed (lead guitar), Erik Scott (bass), Andy Cahan (keyboards), and Craig Krampf (drums) -- with one notable exception that will be dealt with shortly. As the anti-authoritarian title track "Illegal, Immoral & Fattening" instantly reveals, the performances are victims of -- or perhaps too-accurately parody -- mid-'70s glam metal, which is heavier and may come off as slightly pretentious when compared to their earlier outings. What certainly has not escaped them are their immutable vocal harmonies or the vicious Flo & Eddie sense of funny business. Kaylan and Volman's tenure as co-founders of 1960s folk-rockers the Turtles likewise reveal their remarkable sensitivity when interpreting ballads. Their version of Albert Hammond's "Rebecca" and the catchy, lithe "Let Me Make Love to You" are this platter's quintessential examples. Fellow Turtles and Mothers of Invention member Jim Pons is co-credited with the first of several obligatory cuts to feature their mature-theme gags circa the Mothers' anything goes stage shows under Zappa's baton. "Kama Sutra Time" -- which also handily pokes fun atElton John and T. Rex -- as well as the "Sanzini Brothers Return," are filled with plenty of locker-room humor. Then there is the case of the rapid, multi-syllabic "Tiberian Memory Trick" tongue twister. This famous bit of convoluted conversation was handed down from the likes of Del Moore and Jerry Lewis. By the time Danny Kaye began incorporating it into his act, it was named "The Tibetan Memory Trick." And it remained an integral part of Flo & Eddie's stage act ever after. The funky, wah wah driven "Livin' in the Jungle" and the demented power ballad "Cheap" are on par with their best straight-ahead rockers -- although the term "straight-ahead" is definitely relative. The "Kung-Fu Killer" is a brilliant piece of live shtick that -- on-stage at least -- seems to have developed out of an update of the Turtles' hit "You Showed Me." They draw upon the concurrent pop hit "Kung Fu Fighting" and even the Doors' Oedipal climax to "The End" before remaking the Mothers' classic "Eddie, Are You Kidding?" circa Just Another Band from L.A. (1972) appropriately enough. "The Pop Star Massage Unit" is another sexually suggestive wink and nod that also includes allusions to "Jumpin' Jack Flash," and "My Sweet Lord." Wrapping up the effort is a rock & roll spin on Irving Berlin's "There's No Business Like Show Business" that boasts a significantly different combo of all-stars -- namely Danny "Kootch" Kortchmar (guitar), Leland Sklar(bass), Ian Underwood (keyboards), and Aynsley Dunbar (drums). In 2007, Illegal, Immoral and Fattening as well as Moving Targets were issued onto a single two-fer CD from the U.K.-based Evangeline reissue imprint. AMG.
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