The Advisory Panel
— These world famous multi-platinum producers and industry executives are a direct part of our live events year round.
Music Industry Executive Icon2007 Hollywood F.A.M.E.
Award recipient for Lifetime Achievement, Industry Executive
Mike Curb, California’s former lieutenant governor and acting governor, is one of the most prominent figures in the entertainment world and presides over his own independent record label which has launched the careers of numerous stars and is considered to be the oldest record company in the nation still being operated by its founder. During a distinguished career spanning over five decades, Curb has earned multi-faceted success as a songwriter, producer and record company owner, covering a wide range of musical styles.As an individual, he has written more than 400 songs, and received countless music industry awards, including the prestigious Overall Producer of the Year Award from Billboard magazine in 1972. As the founder and Chairman of Curb Records, Curb’s company has achieved more than 300 No. 1 records and has been honored by Billboard magazine.Curb supports programs for homeless and the under served communities, music education and works to restore historic music industry locations. The Curb Foundation owns and has restored Elvis Presley’s former home in Memphis and RCA Studio B, Columbia Studio A, the Quonset Hut, and the Johnny Cash Museum in Nashville. Curb has served on the governing boards of the Recording Industry Association of America, the Dole Food Company, the worldwide board of the USO, the ACM, CMA and CMF (Country Music Hall of Fame) and was honored by the Grammy Museum where the Mike Curb Gallery is located. The Mike Curb Memphis Hall of Fame is located at the Rock ‘N’ Soul Museum and Curb is part of the North Carolina Music Hall of Fame, and he also has been inducted into the Georgia Music Hall of Fame, the National Business Hall of Fame and in 2014 received the Musician’s Hall of Fame Award.Curb’s roster of exclusive recording artists has included Wynonna Judd, Tim McGraw, LeAnn Rimes, Lyle Lovett, Jo Dee Messina, Clay Walker, Steve Holy, Tim Dugger, Kimberley Locke, Mo Pitney, Ruth Collins, Rodney Atkins, Sweetwater Rain, Ashley Gearing, Larry Gordon, Rachel Holder, Dylan Scott, Morgan Frazier, American Young and Lee Brice, whose recording of “I Drive Your Truck” was the CMA Song Of The Year in 2013.
Curb Records has continued to play a major role in the contemporary Christian genre with artists such as Selah, Michael English, Jamie Slocum, MIKESCHAIR, Nicol Sponberg, No Other Name, Ryan Corn, OBB, Plumb and Natalie Grant, who received five Gospel Music Association Dove Awards as Female Vocalist of the Year. In addition to the recordings of his own group (the Mike Curb Congregation), Curb has been involved in the contemporary Christian music business since its inception. Curb signed early contemporary Christian artists such as Larry Norman, 2nd Chapter of Acts, DeGarmo and Key, The Boone Girls and Debby Boone, whose recording of “You Light Up My Life” is considered to be the first contemporary Christian hit single and the biggest record of the 1970s based on Billboard chart activity. Since that time Curb has had success with contemporary Christian artists such as Stryper, Whiteheart, Patty Cabrera, Jonathan Pierce, Fernando Ortega, and MercyMe, whose recording of “I Can Only Imagine” became one of the biggest Christian crossover hits of all time.
Curb and his wife have two adult daughters, Megan Carole and Courtney. They have six grandchildren Catie, Brandon, Ethan and Connor Michael Cox and Caroline and Carter Curb Childress. Curb has been honored as Father of the Year by the National Father’s Day Council. In 2006, he received the lifetime achievement award at the annual Los Angeles Music Awards. Curb was honored as Nashvillian of the Year and he received his star on Nashville’s Music City Walk of Fame. Curb has also received his star on the historic Hollywood Walk Of Fame.
2013 Hollywood F.A.M.E. Award recipient for Legacy in Cinema
As the founder and president of Warner Sisters, I whole-heartedly believe that the moving image—in the form of films, television, video and other media—is an incredibly powerful communication tool. It can be equated to today’s tribal drum—carrying emotional, intellectual and philosophical messages, which are hummed almost unknowingly or subliminally as the result of taking in this form of entertainment.Warner Sisters is here to carry on the purpose of the original Warner brothers’ motto that my grandfather, Harry Warner, president and founder of the studio, initiated and implemented for over fifty years.
Producing entertainment that “educates, entertains and enlightens” is my legacy. Inspiring other artists and businessmen to increase understanding amongst their fellow man is, I believe, our creative duty and honour.As a woman, a mother and grandmother, I’m aware of playing a tremendous role in creating tomorrow’s reality. Being creators and nurturers of new life and the future generation, I believe we have a certain obligation to reflect this quality in our creative lives and in our work.As a producer who honors writers as the origin and source of a story, I have a tremendous respect and obligation to help keep the integrity of the story intact all the way through to the very end—the final communication that arrives on the screen. This is why I’m an independent producer.The question is often asked, “Does Hollywood have an ethical responsibility?” In the great filmmaker Frank Capra’s own words: “We have it within our power to speak to hundreds of millions of people two hours at a time in the dark. No single person before has ever had that power, no emperor, saint, no individual however powerful. We have a tremendous responsibility.”My family understood this. They were aware of the numbers of people they reached and the power of this medium. They knew they were setting trends, influencing and introducing viewpoints and instrumental in creating the future culture. Personally, I welcome this responsibility and the ability to make a difference. We as creative minds can and do awaken and enrich awareness in others. Like my grandfather, I CARE!Most sincerely, Cass Warner
About Cass Warner
As a young girl, Cass Warner would accompany her father, twice Oscar-nominated writer/producer Milton Sperling, to the Warner Bros. studio lot each Saturday. So long as she avoided any door with a flashing red light, she was given free reign of the Warner lot and all its mesmerizing, circus-like magic. This was the birthplace of her interest in the art of film making.
But celluloid had always been in her blood. Cass’ grandfather was Harry M. Warner, the founder and president of Warner Bros., whose inspirational motto for the studio was “to educate, entertain and enlighten”.
In her youth, she studied acting with the acclaimed Milton Katselas, as well as screen-writing under the mentor-ship of her father and Howard Koch of Casablanca fame. Now, years later, Cass Warner proudly carries the torch of Harry Warner’s motto through her production company: Warner Sisters Productions.
She is honored to administer the rights to all of Howard Koch’s un-produced works: screenplays, plays, short stories and novels, which she is developing into a library, as well as individual projects for screen and stage.
In 1993, Cass authored the definitive story of the Warner family entitled, “Hollywood Be Thy Name: The Warner Brothers Story” now available at Amazon.com and newly titled, “The Brothers Warner”.
Cass completed a feature documentary, The Brothers Warner (2008) which she directed, wrote and produced. The film, which is an intimate portrait of the family and their cultural legacy. The 60-minute version ran on Public Broadcasting Service (PBS) American Masters for several years. Warner Home Video is distributing the DVD.
Cass was a Consulting Producer and Warner Sisters credited on Warner Bros. studios’ five-part series on the history of the studio and of their films called You Must Remember This: The Warner Bros. Story (2008) (V) narrated by Clint Eastwood, and Warner Sisters is credited as well.
Other projects include “Conversations With Cass”, a series of one-on-one conversations with some of today’s most recognized actors and other notable personalities, Matthew McConaughey and Giovanni Ribisi. (Excerpts from the series have been previewed on The Starz cable channel). Written, directed, and hosted by Cass these “Conversations” will form a large part in an inspirational film library in her non-profit she’s creating called “The Dream Factory”.
The documentary has been shown at over 30 film festivals and won many awards. In November 2008, Cass Warner received the most prestigious acknowledgment for a film at The Savannah Film Festival, the “HBO Films Producer Award” for her film The Brothers Warner.
Cass is a supporter of the International Youth for Human Rights, which encourages youth from ages 12-21 to use the UN Declaration of Human Rights as the basis for the education of children and adults concerning their rights. She is also a member of The Artists for Human Rights, the Citizens Commission on Human Rights, the International Documentary Association, and Women in Film.
2008: HBO Films Producer Award at the Savannah Film Festival
2008: Producer’s Documentary Award at the Paso Robles Film Festival
2008: Final Nominee for the ABC Source News Award from the International Documentary Association
2009: The Award of Excellence at The Indie Distribution Fest
2009: Best Documentary Award at the Prince Edward Island Film Festival
2009: The Moondance Film Festival Spirit Award which goes to women filmmakers
2009: Won the St. Louis International Film Festival award for “artistic merit, contribution to understanding the human condition, and recognition of ethical, social and spiritual values”
2009: Emmy Nominee as a Director
2009: “Best International Documentary” at the Falstaff International Film Festival
2010: “Best Documentary” for the 15th Annual International Family Film Festival
2013: 7th Annual Hollywood F.A.M.E. “Legacy In Cinema” Award
— Read More –
2008 Hollywood F.A.M.E. Award recipient for Lifetime Achievement, Music Producer
David Kershenbaum has an impressive history in the music industry both as an A&R and a music producer. He has produced over 75 international gold and platinum albums and is credited for signing artists such as Janet Jackson, Joe Jackson and Bryan Adams. He has worked with Tracy Chapman, Duran Duran, Supertramp, Laura Branigan, Cat Stevens, Elkie Brooks, and Tori Amos.. His work has yielded multiple Grammys and an Oscar nomination.David has been an executive at three major record companies, A&M, Capitol and Elektra. His first album at A&M Records was Joan Baez’s Diamonds & Rust (1975). David signed the British musician Joe Jackson and was responsible for the production of four of his albums, including Night and Day (1982), which became the artist’s most successful album, earning two Grammy nominations and a worldwide Top 5 single, “Stepping Out”. Produced by David, Joe Jackson’s debut album Look Sharp! helped establish Jackson as a cornerstone of new wave music.While at Elektra Records, David produced Tracy Chapman’s first two albums, Tracy Chapman (1988) and Crossroads (1989), plus her fifth album, Telling Stories (2000). Chapman’s debut album sold over 17 million copies and earned three Grammy awards and six nominations including “Best Producer Of The Year”, “Best Song Of The Year”, “Best New Artist”, and “Best Album Of The Year”.David worked with Duran Duran on their album Rio at Capitol Records. Duran Duran had released the album on EMI in the United Kingdom and quickly attained four UK Top 20 singles. Before David’s involvement, the sales of Rio were not particularly strong in the United States, and Capitol Records (EMI’s American branch) was at a loss about how to sell the band. However, after an EP of David’s dance remixes of songs from Rio (released as Carnival) became popular with DJs during the autumn of 1982, the band arranged to have most of the album remixed by him. After it was re-released in the U.S. in November, with heavy promotion as a dance album, Rio begin to climb the American charts. Following the success of David’s remixes, Capitol changed its marketing strategy on Duran Duran from New Romantic to dance band. This resulted in multi-platinum sales and the hit song “Hungry Like the Wolf”. The album went gold in the US on March 1, 1983, and platinum on April 26, eventually reaching double platinum status. It peaked at number 5 on the Billboard Hot 100 in the US (on June 5, 1983), and remained on the charts for 129 weeks.David established his own group of companies encompassing five recording studios, a film music supervision division, and a music publishing company. Under this banner, he produced and recorded many projects including a Kenny Loggins album for Sony and a platinum LP by Joshua Kadison.As a partner and co-president of Morgan Creek (Warner Brothers) Music Group, David acted as executive producer for the song “Everything I Do, I Do It For You” by Bryan Adams, from the movie Robin Hood: Prince of Thieves.As a music supervisor at Morgan Creek Pictures, he supervised and developed music soundtracks for many major motion pictures, including The Last of the Mohicans soundtrack, which has sold 1,800,000 copies. Other films he worked on include Bill and Ted’s Excellent Adventure, Road House, Navy Seals, White Sands, and 200 Cigarettes.
2009 Hollywood F.A.M.E. Award recipient for Lifetime Achievement, Music Producer
Multi-platinum record producer Ron Nevison, throughout his career, has operated much like a surgeon, brought in during a critical point in a band’s career to bring them back to the top from the commercial brink. Whether kick-starting a stalled hit maker like Jefferson Airplane back into flight as Jefferson Starship, or breathing fresh air back into an outdated band’s sound- such as was the case with Heart and Chicago, via seminal 1980s Billboard # 1 ballads like ‘These Dreams’ and ‘Look Away,’ respectively, Nevison has rarely had a patient- metaphorically speaking- that he couldn’t heal with his multi-platinum production touch. Critics first took note of Nevison’s exceptional ear far ahead of many of his pop-rock peers, with one prominent example of the latter being Rolling Stone Magazine’s observation in their 1973 review of “The Who’s” Quadrophenia, which Nevison engineered, that the album had been “magnificently recorded.”Nevison’s profile continued to rise through the mid-1970s as he helped to sonically shape a new generation of AOR rock via his engineering work on the first 3 Bad Company’s LPs, Thin Lizzy, and perhaps most notably on Led Zeppelin’s 1975 ‘Physical Graffiti’ LP among a host of others. In addition to the aforementioned radio re-invention of Jefferson Starship via late 70s and early 80s hits like ‘Jane,’ Nevison’s transition into head producer for groups like The Babys, Traffic’s Dave Mason (which produced the hit single ‘We Just Disagree)’, UFO, and Eddie Money cemented his status as one of the industry’s most in-demand hit record producers. Nevison’s successes were measured by those of the acts he produced throughout the 1980s, carving out a niche for himself as the go-to producer for veteran rock acts needing a commercial reintroduction to a new generation of rock fans.Whether with Survivor’s ‘Vital Signs’ LP (which produced 3 top-10 hits with ‘I Can’t Hold Back,’ ‘High on You,’ and ‘The Search is Over,’) or arguably his greatest turn-around with Heart over the course of 8 Top 10 hits between 1984 and 1987, including # 1 smash hits like ‘These Dreams’ and ‘Alone.’ Nevison also helmed the turn-around of legendary pop-rock outfit Chicago on 1988’s ’19’ LP, which produced three top-ten hits including ‘I Don’t Wanna Live Without Your Love,’ ‘Look Away,’ and ‘You’re Not Alone.’Amid this era, Nevison balanced his smash pop-rock resume with a return to his harder rock roots via hit collaborations with genre giants like Ozzy Osbourne on ‘The Ultimate Sin,’ Kiss on ‘Crazy Nights,’ and the two multi-platinum Damn Yankees studio LPs. In the latter case, Nevison’s collaboration with the group produced the smash hit ‘High Enough’ for the supergroup (which featured Ted Nugent, and principle members of Night Ranger and Styx.) The producer also logged hits during the heyday of the hair-metal genre with platinum rockers including Europe, Bad English, Firehouse, and Motley Crue front man Vince Neil. Nevison’s rock production was also discovered by a new audience throughout the 1990s as Greatest Hits collections were released by legends like Led Zeppelin, The Who, Thin Lizzy, New York Dolls front man David Johansen, and Bad Company among many others. Not surprisingly, these collections included many classic hits engineered and/or produced by Ron Nevison, who continued to maintain a mainstream pop presence with these and other rock legends throughout the 1990s, producing hit records for Meatloaf, Night Ranger, Candlebox, Lynryd Skynryd , UFO, and Grand Funk ailroad among others.Ron Nevison’s career highlights include many of the record industry’s highest distinctions, including his being recognized as Billboard Magazine’s Top-5 Producer of the Year 4 separate times, garnering countless Grammy-nominated and winning hit records/albums, and producing well over 100 Million Albums sold in he course of his almost 4-decade career. With the pop rock-genre he helped to invent alive as ever almost a decade into the millennium, Nevison reasons that “I think my production style, as a derivative on a new school of producers, is starting to come around because the 70s is making a comeback. And what happens in this cyclical kind of thing, in ten years, the 80s will be coming around again. 14 year old musicians are forming bands now and listening to Led Zeppelin. And its amazing that 13 year old kids right now have gone from Britney 2 years ago, to hip hop at 13, to 14 to Led Zeppelin. Talk to me in another 5 or 10 years, and I’ll probably be more relevant than I am now.”— Read More –
– Multi-Platinum Producer/Engineer 2011 Hollywood F.A.M.E.
Award recipient for Lifetime Achievement, Music Producer
Born in a small town in South Dakota then moving to Minneapolis, Minnesota at the age of 12, Keith received a very midwestern cultural education founded in reality and defined with realism. As he became more and more interested in music both classical and pop music of the time, he was lucky enough to earn some valuable experience in a couple of the only recording studios in the Minneapolis area. Playing upright bass with light jazz bands around the University of Minnesota Campus brought him into communication with many other
musicians in the Twin Cities jazz, classical, and folk music scenes.After an audition with recording artist Jimmy Rodgers for a job playing bass, Keith was hired and spent the next 8 weeks on the road with Jimmy and meeting artists such as Gale Garnet, Cass Elliot, James Hendricks, Tim Rose, Felix Pappalardi, and Sean Bonniwell. Once this short 8 week tour was over Gale Garnet asked Keith to join her folk trio and back her for a few week stint at the Ice House in Pasadena CA. During that engagement Gale was signed to a record contract with RCA and a few months later “We’ll sing in the Sunshine” was a number one hit / Grammy winner and the three toured the United States with artists like the Four Seasons, Bill Cosby, Hoyt Axton, Chad Mitchell Trio, among so many others. A wealth of soon to be discovered super talents were touring and co-mingling in the folk circuit like David Crosby,
Roger McGuinn, and Chris Hillman, just to name a few, where Keith could feel the energy of the oncoming change in Pop Music and Rock.While finishing up a tour with Gale Garnett, Keith and Sean Bonniwell put their heads together and formed what turned out to be the Music Machine, a hard rock, very tight, well rehearsed band who had a few hits in the late 60’s. During the Music Machine era Keith met up with a U of M college friend Curt Boettcher and started producing pop records and had success with the Association, Tommy Roe and several others.This collaboration and partnership caught the ear of Clive Davis who at the time was president of CBS records at the time, and “hired” the two to produce and assist on some of the new “ambitiously electronic” sounds associated with LA bands and studios for CBS. The Collaboration netted several products such as “Sweetheart of the Rodeo” by the Byrds, “At the Zoo” on the Bookends album by Simon and Garfunkel, and of course the Millennium Album, the first 16 track album produced in America linking up two 8 track Ampex machines mechanically.After working within the confines of CBS and IBEW union oriented studios, Keith and Curt proceeded to be named partners in a new record company venture called Together Records, a subsidiary of MGM under Mike Curb. This gave the two of them the opportunity to use outside studios, experiment with sound and more multitrack recording. Keith and Curt ended their production partnership shortly there afterwards. Keith decided to move on to make sure that the individual artists talents were always held in the highest regard. “A producer should be just a vehicle to get the artists creativity on “tape” in an accessible manner to the marketplace you’re going after” states Keith.In 1973 Keith wanted to fulfill his understanding of the palette available to producers by honing his engineering skills. Olsen started the production company Pogologo Productions which is still in existence and active today. The first artists he signed to Pogologo Productions were “Lindsey Buckingham and Stevie Nicks, Waddy Wachtel, and Jorge Calderon. The Buckingham Nicks Album was done first and released on Polydor Records, the next release was Waddy’s Single “Go to Beirut” on Anthem Records. Jorge’s talent was signed to Warner Bros. records in Burbank.From this point on the road is very well documented on Keith’s career by numerous websites, books, and episodes of VH1’s “Behind The Music”. Keith sensed a change in the direction of Pop and Rock music, and spent the next 25 years helping to define it. With over 120 albums produced netting a 1 in 4 Gold or better ratio, of which more than 24 are Platinum or better, and more than 14 are multi-Platinum, sales from Keith Olsen’s work exceeds 110 million units at retail, equaling more than a Billion dollars in business.
To date his work appears on more than 250 albums and is in many feature films. Olsen has always stated “It’s about the music and how it affects the listener at home, in the car, listening on their iPod, The Song, the Performance of that song, and lastly the Sound, are all extremely important. He says ”Remember, we play music, we’re not supposed to work at it”.
During a few year stint as Corporate Director of Global Product Development at Mackie Designs, during their public ownership era, Keith used his first hand knowledge of how production equipment is used, what is needed, how to keep technology out of the way of creativity, to develop their digital products line. He assembled a team of technological super Jedi’s to help with this huge task of specification of high end products. With a full compliment of new and exciting digital products by Olsen and his team, Mackie Designs came out with digital consoles, hard disc recorders, I/O devices, powered speakers and mixers that hammered the death nail in the high end, high priced studio, for most of the recording industry, and helped define how records will be made in the 21st Century.
Being an advocate on issues concerning the recording industry, its problems and challenges, Keith, now with glasses from staring at too many computer screens, ran for the Board of Governors for the Pacific Northwest Chapter of the National Academy of Recording Arts and Sciences (NARAS- the Grammy people). He was elected to the post of National Trustee of NARAS in 2001-2006. From this position he has had ever increasing visibility is areas of Intellectual Property rights, illegal copyright theft, and archival of past works. Being in close communication with noted alliances for the structuring and preservation of these rights, Olsen has working toward solutions to benefit all copyright owners. He states, “The purpose of archival is so important to all artists and record companies alike, so as to not lose the early works, not just of old magnetic tape, but also not to lose current projects of the current generation of artists.” Keith Olsen now produces several albums per year, yet he gives his time and energy tirelessly to the Hawaiian Music scene, as well as the NARAS P&E Wing, the mission of which he strongly believes is so necessary in this era of digital revolution. He currently serves as Trustee from the PNW Chapter, is on the A&N Committee, P&E Steering Committee, P&E Advisory Council.
Jack Douglas’ first professional job was at the new recording studio Record Plant Studios, contributing to projects by Miles Davis, The James Gang, Alice Cooper, Cheap Trick, Montrose, Rough Cutt, Artful Dodger, Moxy, Flipp, and Mountain. A chance encounter with a group member led Douglas to help engineer The Who’s early sessions for The Who’s Who’s Next at The Record Plant. After this landmark recording he was given a chance to engineer John Lennon’s Imagine album. Douglas and Lennon formed a close bond and worked together for the remainder of Lennon’s life.As a Record Plant staff engineer, Douglas also forged working relationships with Patti Smith, Blue �yster Cult, the New York Dolls, Cheap Trick, Starz and most notably Aerosmith. Douglas engineered and produced many of Aerosmith’s albums in the 1970s, including Get Your Wings (1974), Toys in the Attic (1975), Rocks (1976) and Draw the Line (1977), all of which have gone multi-platinum. Toys in the Attic and Rocks broke Aerosmith into the mainstream and have become highly influential, with both albums ranking among Rolling Stone’s list of the “500 Greatest Albums of All Time”. His close relationship with Aerosmith extended beyond producing and engineering, as Douglas was also a musical contributor to the group when they came up short of material on their projects. For example, Douglas helped write the band’s 1978 hit “Kings and Queens”. He was often given the nickname of “the sixth member” of Aerosmith, due to his close relationship with the band. Douglas was replaced as producer by the band for the 1979 release Night in the Ruts, but Douglas was to again work with the group on 1982’s Rock in a Hard Place and several of Aerosmith guitarist Joe Perry’s solo albums. For much of the late 1980s, 1990s, and early 2000s, Aerosmith worked with other producers, but in the mid-2000s, they re-united with Jack Douglas on the 2004 blues cover album, Honkin’ on Bobo. Douglas will also produce the band’s upcoming album Music from Another Dimension!, slated for release in November 2012. The band continues to maintain a cordial friendship with Douglas.In the mid-seventies, Jackie Fox, bass player for The Runaways got Douglas to agree to produce their next record but the other band members decided on a different producer (this contributed to the amount of tension between the girls and led Jackie to quit a few months later). 1978 saw Douglas work with the Australian group Skyhooks as executive producer on their Guilty Until Proven Insane album (which included the track “Women in Uniform” which was later covered by Iron Maiden).In 1980 Douglas was working as producer with Lennon and Yoko Ono on their penultimate Double Fantasy album (for which he won a Grammy Award for Album of the Year). During the same sessions he worked on another Lennon/Ono album Milk and Honey that was to be released later, but Lennon’s murder cut that project short (an unfinished version of the album was released in 1984). Douglas was later involved in litigation with Ono over unpaid royalties from Double Fantasy.Since then he has kept working as an engineer and producer, reuniting with Aerosmith for three more albums and producing albums for artists such as Supertramp, Zebra, Clutch, Local H, Slash’s Snakepit and in 2006 the return of the New York Dolls. He is currently working with the Michael Monroe band on their forthcoming album. He has recently finished production with sleaze rock band Blackrain on their new album “It Begins” .Douglas also teaches a studio etiquette class at Ex’pression College for Digital Arts in Emeryville, California.— Visit Jack –
Any producer is only as good as the sounds and sights he helps create. By this standard, Eddie Kramer must be regarded as a rock icon. For nearly five decades Kramer has painted the rock landscape with his aural and visual brush working with some of music history s biggest names: The Rolling Stones and The Beatles, just to name a few. Still, Kramer is best known for three long-term associations with Jimi Hendrix, Led Zeppelin and Kiss. He not only produced and engineered music for these legendary artists that continue to influence rock musicians and producers of our times, but he also has set standards for rock production today, making Kramer a true innovator. Eddie continues to work as producer, engineer, author, software developer, lecturer and studio designer.Kramer’s photographs have been exhibited in some of the world’s most prestigious galleries and museums and have become prized possession of international collectors. His recordings continue to define the soundtrack of new generations.In 1964 Kramer established the sophisticated KPS Studios, which, despite its rudimentary 2-track recording capability, gained such a reputation that in less than a year he was bought out by Regent Sound (where the Rolling Stones recorded their first album) They enlisted Kramer to help run their new four-track studio (where the Beatles recorded) “Fixing A Hole”.Kramer s next stop was Olympic Sound studios in 1966 where he developed an illustrious reputation among the bands of the time, Jimi Hendrix, The Rolling Stones, The Beatles, Traffic, and The Small Faces among others. His association with Hendrix was the most powerful one, and the one that lasted the longest. Kramer engineered every Hendrix album from ‘Are You Experienced’ to “Cry of Love,” and after Hendrix’s death co-produced the posthumous releases “War Heroes”, “Rainbow Bridge” and “Hendrix in the West” with Mitch Mitchell.In 1968 Kramer came to work at the Record Plant in NYC, engineering Hendrix’s “Electric Lady Land” LP, and also worked with The Vanilla Fudge, Joe Cocker and NRBQ. In 1969 Kramer went independent, producing Johnny Winter’s first LP and engineering “Led Zeppelin II,” acknowledged by fans and critics alike as perhaps that bands most influential work. This led to work on five other Zeppelin albums, half of their overall output. This pairing provided some historic moments. As Eddie tells of one particular session, “Zep II was mixed over a two day period in New York, and at one point there was bleed-through of a previously recorded vocal which we could not get rid of in the recording of ‘Whole Lotta Love.’ It was the middle part where Robert (Plant) screams Wo-man. You need it, ..Jimmy (Page) and I both grabbed for the reverb fader at the same time and threw some reverb on. We looked at each other and laughed and Page said: ‘leave it in’…”Kramer is recruited to record the Woodstock festival in August of ’69 for both the album and the movie. “I arrived at dawn and was struck by the sight of the sun rising over what appeared to be the construction of the stage. The show was scheduled to start at lunchtime, and I was appalled at the raw state of the event. That pretty much set the tone for the entire concert. All of us in the crew had to have Vitamin B shots in the bum, so that we would be able to stay up for three days. The whole thing was recorded under the most primitive of conditions, but we got it done, says Kramer. Woodstock was 3 days of drugs and hell.”Woodstock established Kramer as one of the most important live music producers of the rock era, recording Led Zeppelin, Jimi Hendrix, Kiss, John Mayall, The Rolling Stones, Peter Frampton, Joe Cocker, Curtis Mayfield, Santana, David Bowie, Derek and The Dominoes and others.
In 1969 Hendrix and his manager Michael Jeffery hired Kramer and architect John Storyk, to build a state of the art studio in what was The Generation Club where Jimi used to jam. After 13 months and a million dollars later, Electric Lady Studios was complete, and Kramer served as its Director of Engineering from 1970 -1974. During this
time, in addition to producing the posthumous Hendrix records, Kramer produced records by Carly Simon, Sha Na Na and Peter Frampton, and engineered albums for artists as diverse as Dionne Warwick and Lena Horne plus David Bowie’s “Live at the Spectrum’ and “Young Americans’ which included “Fame” with John Lennon playing rhythm guitar. Mixing Led Zeppelin’s “Houses of the Holy” and “Physical Graffiti,” among others.
In 1975 Kramer left Electric Lady Studios to work with what was to become the No. 1 band in America at the time and produced “Kiss Alive !!.” He went on to produce “Kiss Alive II” and “Double Platinum” for Kiss, (in addition to producing “Rock and Roll Over,” “Love Gun,” and Ace Frehley’s first solo record) engineered Led Zeppelin’s “The Song Remains the Same” (the album and the movie),the historic “Frampton Comes Alive” LP, and The Rolling Stones “Love Ya Live,” three of the most popular live albums of the rock era.
Kramer kicked off the 80 s producing bands like Fastway and his work with Anthrax on “Among The Living” and “I’m The Man” helped them cross-over to a more mainstream rock audience, and helped ignite a career that has sold over seven million records. His work with Twisted Sister on “Under The Blade” helped their career take off. Other rock bands he has worked with since include Angel, Ace Frehley, Alcatraz (with Steve Vai),The Scream,Raven, Loudness, Triumph, Robin Trower, Havana Black and Whitesnake, and he has also done work in fields as diverse as country and classical, recording acts such as the Kentucky Headhunters and guitarist John Williams.
Since 1997 Kramer has re-mastered all of the Jimi Hendrix albums from the original master tapes for Experience Hendrix/MCA (Now Sony Legacy as of 2010). In addition, all reissued albums have been released on 180 gram VINYL with the original artwork and gatefold covers.
In ’99 Eddie completed the definitive version of Jimi Hendrix’s historical performance at Woodstock, which contained 30 minutes of previously unreleased material. For the closing ceremonies at the ’99 Woodstock Festival, Eddie contributed the audio to what was a monumental visual presentation of Jimi’s performance of “Star Spangled Banner.” Eddie supervised and mixed “The Jimi Hendrix Experience,” a 4-cd box set, described by Rolling Stone as “The Rolls Royce of Box Sets.” This was released in September 2000 and was certified gold.
Eddie contributed production and engineering for Stone Free, a tribute to Jimi Hendrix on Warner Bros. Records, which features tracks from artists such as: The Cure, Eric Clapton, The Spin Doctors, Buddy Guy, Seal/Jeff Beck, Slash/Paul Rodgers, P.M. Dawn, Body Count/Ice Tea. The album has generated approximately $1,000,000 in haritable funds which have been donated in Jimi Hendrix’s name to the United Negro College Fund as musical scholarships to The Berklee School of Music, The Julliard School of Music and The Dance Theatre of Harlem.