#Eddie Kramer

[zanephillips]

BILLY WARLOCK as Eddie Kramer Baywatch 2.09 "The Trophy: Part 1"

[acecroft]

BILLY WARLOCK as Eddie Kramer in Baywatch (1989 - 2001) Season 1

[firethatgrewsolow]

Robert with Roy Harper and Eddie Kramer backstage at MSG in 1973.

[persephone-nymph]

Jimi Hendrix and Mick Jagger, Madison Square Garden, NYC, 1969, by Eddie Kramer

"Jimi called me up one night and said I'm going to see the Stones tonight, do you wanna go? I grabbed my camera bag and met him at the backstage entrance to Madison Square Garden and we went up to the dressing room and hung out with the Stones. This was on the occasion of Jimi’s birthday November 27, 1969."

[myvinylplaylist]

KIϟϟ: Love Gun 7” Single (1977)

Side A: Love Gun

Side B: Hooligan

2012 Vinyl Reissue from KIϟϟ: The Casablanca Singles 1974-1982

Casablanca Records

[rolandrockover]

Kover It Up Vol. 5 - New York Groove

Hello, Russ Ballard, Kiss. As soon as one even mentally pronounces this chain of associations, the bell should ring for every halfway educated Kissalomaniac that one is dealing with a definitive key figure for Kiss kover songs. Songs that were written by Russ Ballard, and that Kiss or their closer associates have reinterpreted and recorded, mind you.

All in all, this has resulted in a total of five tracks (1), respectively two of which Ace has tackled more or less on his own. And today, of course, we want to talk about the very first one, namely nothing other than New York Groove from Ace's first solo album from 1978 (2). And as is well known, it was Eddie Kramer who persuaded Ace to cover this song, which the latter will probably have learned to appreciate over time.

But let's get down to business.

Hello's version of this NY vision sounds a little as if Chris Norman, in his best Smokie days, had been forced by strict medical prescription to spare his vocal chords as much as possible and not to sing but only to whisper. Such an idiosyncratic decision lends the music a determinedly passive, but nonetheless equally commanding and energetic effect, which is only reinforced by the unusually light, but all the more confident harmonic flow of the background chorus, pushing itself rhythmically into the mix and taking the song to a higher level overall.

What Ace and Eddie cooked up together for their part doesn't sound that dissimilar at all. They certainly didn't reinvent the song (as one could later claim of 2000 Man), and which Eddie Kramer definitely didn't set out to do, but made it just a bit more straightforward and, above all, designed it all around Ace. And that's exactly the key, an emotionally intelligent focus on Ace, his voice, and his person, because that's what this is all about here: The humanization of a rock n' roll alien from the craziest rock band in the world to that point.

The guitars at the beginning are comfortably reminiscent of a quirky Swedish children's television series from the 70s (3) and create, at least in me, a warm-hearted and positively charged energy that, thanks to Ace's charm, doesn't intend to get lost again throughout the entire song. His imperfect voice sounds somewhat tight, thanks to doubling and whatever studio gimmick, and saturated enough, and at the same time left with enough room to be nothing but himself, which brings song and mood to life, and even works to his advantage lead vocally. Is there anyone else here besides me who is also reminded of Peter Criss and Beth? I mean in principle.

Be that as it may, to conclude with a brief mention of Ace's solo playing. Its production seems surprisingly thin and used just as sparingly, but staged in an all the more lively manner, which really puts the finishing touches to this simple but equally gorgeous piece of good-feeling music. And here it is, an urban anthem for the people to believe in, presented by a true New Yorker for all New Yorkers, and of course everyone else too.

More authentic than the original.

Side Note:

(1) New York Groove on Ace Frehley (1978), Some Kinda Hurricane and Let Me Rock You on Peter Criss' eponymous Let Me Rock You (1982), Into the Night from Frehley's Comet's debut (1987), and last but not least Kiss' real last smash God Gave Rock n' Roll to You II (1991).

(2) Incidentally, I have no idea whether the Ace and Peter songs from the 80s are actual cover versions or just purchased tracks without a previous release. I just threw it out there because it fits so well, and what do you do for a halfway successful introduction?

(3) Karlson on the Roof (1974) by Astrid Lindgren.

New York Groove (1975)

New York Groove (1978)

[blackros78]

Jimi Hendrix and Eddie Kramer working the mixing board at Electric Lady Studio.

[lesserknownhusbands]

[mymelodic-chapel]

Jimi Hendrix- The Cry of Love (Blues Rock, Psychedelic Rock) Recorded: March 1968 – August 1970 Released: March 5, 1971 [Reprise Records] Producer(s): Jimi Hendrix, Eddie Kramer, Mitch Mitchell

[basakgj]

(I only used red and yellow, nothing else.)

I first watched Baywatch(1989) on YouTube and really liked the characters, so I decided to draw it. I also added a character that wasn't in the original poster, and although I didn't use many colors, I hope you enjoy it! :)

[zanephillips]

BILLY WARLOCK Baywatch 1.04 "Second Wave"

[acecroft]

BILLY WARLOCK as Eddie Kramer in Baywatch (1989 - 2001) Season 1

[jannik056]

[myvinylplaylist]

KIϟϟ: Alive! (1975)

Casablanca Records

[rolandrockover]

Almost Reality

(1) Kiss wanted to be Elvis on steroids. Isn't that one of the often expressed basic ideas behind Kiss?

Of course, it's always easy to say something in the likes, especially in retrospect, but even if I don't know exactly when Paul first came up with this parable, he and his bandmates certainly didn't say to themselves before the band was formed: Hey, let's be a monstrous version of Elvis Presley! Wouldn't that be cool? but rather moved gradually and purely intuitively in this direction until something like a full consciousness dawned in them (2) and formed the point from which the Kiss-forming amplifier must have been actually switched on.

I think on Love Gun (1977), however, Kiss were already fully defined and fully grown, and knew for sure and pretty much exactly who they were, what was expected of them, and how best to achieve their goals.

I also think that Gene didn't just sat down for Almost Human with the intention of transforming the Elvis Presley song Edge of Reality (1968) into a Kissian demon offspring, but today I'll try to explain why this impression has always occurred to me, and has become more and more solidified over the years, especially since I started writing this blog. I say this from a position as someone who grew up with Elvis' and Kiss' music in equal measure, and loves both with a more than generous portion of his heart.

First of all, both songs have an unusually high degree of psychedelic (rock) in them by the standards of their two performers. This was probably extraordinary for Elvis at the time, because he was probably never closer to psychedelic than with Edge of Reality, which was certainly thanks to his movie work. Kiss, on the other hand, had this door wide open as part of their very own, crazier band identity, and expanded their repertoire in an all too natural way, although I still consider Almost Human to be their real first step in this direction (3).

Furthermore, the female choirs form a significant intersection. For Elvis, this was basically a norm that was only extended to a certain degree. For Kiss, especially in the way they are used, it is an absolute innovation and a total expansion of their sound spectrum, and a whole lot more druggy than with Elvis. Whether it was actually sung by female backing singers or by bandmembers themselves is completely irrelevant. Also listen to the Elvis intro and Kiss' extended vocal intersection right before the guitar solo.

To quote myself briefly in this respect:

"Almost Human sounds like a horny werewolf super devil making a porno in the middle of a funky cartoon whorehouse in the depths of flaming hell, with his entire female cast and personal harem dousing opium and all pining around him, breathing out the refrain of this beautiful song from their tired bodies (4) ."

On Elvin's side, on the other hand, there are these magnificently arranged trumpets in the bridge to the chorus of Edge of Reality, which for me form a key moment in the overall aesthetic of this song. In Kiss, the corresponding rhythm guitar counterpart also appears in the bridge to the chorus, only not quite as sophisticated and structured as those trumpets, but rather simplified, yet following a very similar dynamic.

And if I wanted to, I could try to convince myself and all of you that Almost Human's riff and Edge of Reality's chorus have a relationship in melody and arrangement, but because I don't want to overdo it, I'd better draw the line at this point.

Because, humans and reality are always such a thing. You know what I mean?

Side Notes:

(1) Actually, the title would have been Edge of Humanity, which is by no means a bad title, except that Almost Reality seemed more appropriate to me.

(2) And above all in Bill Aucoin and Sean Delaney.

(3) Carnival of Souls (1997) can of course be seen as a much deeper dive.

(4) Just besides, you can read the full review of Almost Human with a focus on Ace's solo here.

Almost Human (1977)

Edge of Reality (1968)

[kenpiercemedia]

KISS Celebrates 50 Years of "Strutter" with Limited Edition Gold/Gold-Plated Playable Collectibles

The Press Release: The #1 most Gold-awarded U.S. artist and Rock and Roll Hall of Fame© Inductees KISS, proudly present “Strutter” on a limited-edition, playable gold records in honor of 50 years of the single available now. KISS partners with Precious Sound to produce two versions—the ultra-rare Pure Gold Edition and the Gold-Plated Edition. Order, HERE. As the ultimate KISS precious metal…