CHAPTER 5 - Eric Carr pre-KISS

05.01. Your Turn To Cry

Written and arranged by Eric Carr (possibly with his first bass player Thomas), this song would be one of two recorded by the Cellarmen and pressed onto acetate. Eric had formed the Cellarmen in 1965 with two school-friends and by the following year the band’s lineup had solidified into a four piece. Both of these songs would be recorded at Jody Records, a vanity label, on McDonald Avenue in Brooklyn. An earlier acoustic demo of this song also circulates. “Your Turn To Cry” shows Eric demonstrating his Bob Dylan influences, since he also played harmonica on the recording. Eric’s use of the harmonica was a result of John Lennon having played one on several Beatles recordings.

Victor Cohen, guitarist and keyboard player in the band, recalled how the recordings came about: “My recollection is that we were together for less than a year when Eric showed us these two songs and asked us to learn them. We did and shortly thereafter, Eric’s dad drove us to a recording studio in someone’s basement to record them. I think we were only there for about an hour and a few weeks later, we each had a copy of the record. I think it was around 1967, since I was still playing guitar and none of us were driving yet” (JG).

05.02. I Cry At Night

The second of the Cellarmen songs recorded by the young Eric Carr. Eric would drum, sing, write (possibly with his first bass player Thomas), and arrange this song as well as dictating the bass line to bassist, and future brother in law, David Bartky. This song, according to Eric, was something of his version of The Beatles’ “Eight Days A Week.” Victor feels that the songs didn’t live up to their potential: “I always liked ‘I Cry at Night’ better than ‘Your Turn to Cry.’ As I look back, I believe that ‘I Cry at Night’ could have been a hit. It was as good as many songs of that time. We just had no clue how to pursue this. If we were smart enough to get professional management or a record label behind us, I think we would be on ‘Where Are They Now, One Hit Wonders’ today” (JG).

05.03. Drum Solo

Eric Carr’s first drum solo was recorded in 1967 and released on the “Tale Of The Fox” DVD in 2002. As a starting point for a drummer Eric would continue to develop his drum solo throughout the 1970s. While with Salt And Pepper, Creation, and Mother Nature / Father Time, Eric would have a drum solo spot during those bands shows. What Eric would later perform with KISS as his drum solo retained elements of what he’d done right from this first recorded version, though the scale would increase!

05.04. No Matter How You Try

Eric Carr’s pre-KISS band, The Cellarmen, recorded six songs in the studio during the three years that they were a band. “No Matter How You Try” was one of two songs the band recorded as the backing group for female singer Crystal Collins in 1968. This is in contrast to the suggestion that the band was the backing group for an artist simply known as Gale, mentioned in Dale Sherman’s “Black Diamond” book. It is interesting to note that one of the artists, who recorded material at Jody during the same time frame, was one Gail Dobrywoda. It is possible that this is where the confusion over the name “Gail/Gale” came from.

The songs have no writing connection with the band, who would also provide backing vocals and harmonies on the recording. The recording work apparently came about due to the band’s manager setting up the session rather than there being any other connection between the band and Crystal prior to the recording. Essentially, the Cellarmen were simply hired to be Crystal’s backing band.

05.05. When You Grow Tired

“When You Grow Tired” was the second song recorded by The Cellarmen acting as a backing band to vocalist Crystal Collins. Like “No Matter How You Try,” while the band had nothing to do with the writing of the material, they did help work out the arrangement. Apparently this left the songwriter less than amused. The songs would be recorded on the small Jody record label in a basement studio. Bassist David Bartky recalled, Crystal “came down to the Cellar and rehearsed with us. Just about everything about that was The Cellarmen. Arrangement and all. I didn’t take part in the harmonies but Paul, Bob and Victor did. The chords were written but lead, bass and drums were done by the band (drums, Paul, lead Bob and bass me). We made that thing. Crystal was cute. Her grandma came with her to the Cellar and the recordings” (JG). Both of the Crystal Collins songs would be recorded at Jody’s.

05.06. No Matter How You Try

Two additional “rehearsal” takes, with the Cellarmen rehearsing with Crystal Collins, exist of this track. The second of these feature more prominent background harmonies from Paul. The band and Crystal essentially run through the songs live. The sound quality of these is far superior to those taken from the studio acetates.

05.07. When You Grow Tired (Rehearsal, 1967/8)

A single rehearsal take exists with the band practicing the arrangement of the song with Crystal.

05.08. Then I Made A Wish

This song was written by Bob Dorsey and Harry Simon. The Cellarmen would record, and to a certain extent rearrange, this somewhat psychedelic piece at Jody Records in Brooklyn. This song would be the B-side of the privately pressed Jody 45. Like the A-side track, “I Found You (The One I Adore),” this track would be produced by Vincent Vallis and Henry De Meo. Henry again adding a three-note trumpet part.

Bassist David Bartky recalled the recording sessions: “I remember watching the trumpet player put his 3 notes to our music. So by this time there was overdubbing. Our stuff was recorded ‘live.’ This one took a few takes. I remember the producer, a black man, telling me ‘Bassie, you ready to get it right this time.’ I don’t know why I had trouble on this but I did. It took several tries” (JG). The 3:06 audio of this recording would be released in 2000 on the “Inside The Tale Of The Fox”

05.09. I Found You (The One I Adore)

During The Cellarmen’s second foray into the studio, they recorded material for some songwriters who wanted to publish their material. While the band was not responsible for writing the material, they did the arrangements. The song was written by Bob Dorsey and Harry Simon and produced by Vincent Vallis and Henry De Meo, who would also play the trumpet on the track. Vincent was the head of Jody Records, the Brooklyn vanity label and studio where the songs were recorded. A very limited issue of the vinyl was made (Jody A-9004), mostly for those involved with and for distribution to labels in hopes that the song would get picked up by other recording artists.

Eric Carr would sing lead, and the label would be printed with the credits “Vocal: Paul Caravello / Band: The Cellarmen” which would cause some issues within the band which and cause the band to split up. Victor recalls, “I think this was put together by Eric’s father. We just learned the songs and recorded them. We never performed them afterwards. When the record came out it was under the name ‘Paul Caravello and the Cellarmen.’ This was news to the rest of us. They were very forgettable songs” (JG). The 2:31 audio of this recording would be released in 2000 on the “Inside The Tale Of The Fox” DVD.

The friction caused by name of the band on the recording would lead to Eric departing the band in late 1968. He would then play in a three-piece garage band, Things That Go Bump In The Night, until mid-1969. The other three members recruited a new drummer and vocalist, and continued as Smack. Early in the summer of 1969 the drummer quit and Eric returned to the band, just for the summer. When the summer ended and Eric couldn’t be persuaded to stay in the band, they broke up and Eric and Victor went on to a new project, joining the pre-existing band Salt And Pepper.

05.10. Touch Me

A cover of the classic Doors song, the Cellarmen recorded this for a local television show that was then never broadcast. According to Victor, “we did, however, record a pilot for a local rock show. I forgot the name, but it was an ‘American Bandstand’ rip-off, that was going to feature local groups. We played ‘Touch Me’ by the Doors. When it was over, the host came over to talk to us. We had no idea he was going to do this and we basically froze and had nothing to say. The show never made it to TV” (JG).

The Crystal Collins rehearsal tape also features the Cellarmen running through several covers.

Eric had recorded numerous covers, usually by himself with an acoustic guitar. Several versions of “Hey Joe” circulate. Copies of him performing “Fool On The Hill,” “The Crystal Ship,” and “Yesterday” are also easily obtainable.

05.11. Just My Imagination

Fully known as “Just My Imagination (Running Away With Me),” this 4:10 demo would be recorded with John Henderson on lead vocals. The song would be a cover of the Temptations’ hit written by Norman Whitfield and Barrett Strong in 1970. The Temptations’ recording was released as a single in February 1971 and reached #1 on the charts, eventually selling over 2 million copies. The Rolling Stones have also covered this song including their recording on the “Some Girls” album that was released in 1978.

Both Eric Carr and Victor Cohen joined Salt And Pepper in early 1970 when their agent at Creative Talents told them that another of the bands the agent managed had broken up. John Henderson, singer Guy Rowe, and keyboard player Jerry Ade had formed salt And Pepper in 1969. According to Victor, “I called John [Henderson], who was the leader of the band and auditioned. Three members of the band were staying, John, his wife Sarita, and Bart. They already had a new lead singer, George Chase. When I auditioned, they had a drummer, but he was not staying. I got the job, and John asked me if I knew any drummers. I called Eric and he joined the band a week later. We played with this same line-up for three years, from early 1970 to August 1973” (JG).

Eric replaced drummer Joe Schmidt. When Victor left the band in August 1973, Eric continued to play in the constantly evolving band until November 1979. According to John Henderson, “The band actually matured when Victor and Paul came in. In ‘69 I’d had never even hardly been out of Harlem. When Jerry Ade came to me and said ‘let’s start a band.’ To me White Plains was upstate. White Plains is like nowhere from the city, but to me it was upstate, being from Harlem. I didn’t know anything about that whole area; it was all new to me. The band was still kinda rough around the edges, but when Paul and Victor came into the band we really matured. That’s when we started getting good. We started putting together a real show” (JG).

05.12. Black Magic Woman

Originally recorded by Fleetwood Mac, but most famously covered by Carlos Santana. Salt And Pepper would record a 5:32 version of the song. Written by Peter Green in early 1968, the song was first released on the 1969 “English Rose” album. Santana’s version (Columbia 13-33195) would be released in February 1971, backed with “Oye Como Va.” Both songs would be included on Santana’s classic “Abraxas” album. John Henderson would take lead vocals on the Salt And Pepper recording.

05.13. Misty

Sarita takes lead vocals on Salt And Pepper’s 3:20 cover of the Johnny Burke and Erroll Garner jazz number, with the rest of the band providing harmonies. Also released by Johnny Mathis on his 1959 single, backed with “Maria” (Columbia 4-33042), the song dated back to 1954 when it was released as a single by the Errol Garner Trio. It managed to hit #30 on the charts.

05.14. Summertime

Apart from being a favorite of the late Janis Joplin, this song was composed by George Gershwin, Ira Gershwin, and DuBose Heyward for the 1933 theatre production of “Porgy & Bess,” which was based on George’s 1924 novel “Porgy.” The Salt And Pepper recording runs 5:57, again with Sarita on lead vocals.

05.15. Coordination

A 2:45 funked-out piece that was written by a friend of John Henderson, who wasn’t in the band: “When you put your hand, alright / Put your hand in mine, mine, mine, mine, mine, mine, mine / And then you whisper so softly, baby (yeah, yeah, yeah) / And I replied / I said, I get a sweet sensation (yeah, yeah, yeah, yeah, yeah, yeah, yeah) / This is called a relation now, now, now, now, now, now / Good coordination baby, yeah, yeah, yeah, yeah, yeah, yeah, yeah / It makes a better relation.”

While this piece is usually credited to Creation, Victor Cohen recalled: “But Sarita and I played sax on several songs. You can hear them on a few Salt and Pepper recordings, including ‘Coordination’” (JG). In addition to probably being a Salt And Pepper recording, it is likely that most of these tracks were recorded in 1973. Regardless, being very drums and bass based, the song provides an excellent illustration of Eric Carr’s drumming.

05.16. Down By The River

Keyboardist Victor Cohen recalled some of the sessions from which this recording came, “John wrote several songs and we recorded them and a few cover songs. Bart had some connection with a studio in White Plains. We did these recordings independently, with the hope of landing a recording contract. Eric sang background on some of these songs, but sang part of the lead vocal on ‘Down by the River.’ Eric was a Neil Young fan” (JG). The song was originally released on Neil’s 1969 album “Everybody Knows This Is Nowhere.” Eric also recorded another Neil Young song, “Out On The Weekend,” on his own with a tape player running while he played acoustic guitar. Eric would get to do plenty of lead vocals with Salt And Pepper/Creation singing material such as the Manhattan’s “Kiss And Say Goodbye” in concert in addition to providing harmonies.

05.17. Stranger

Although Creation performed mainly cover material, they did record some originals during a foray into the studios with producer Lee Valentine. Written by John Henderson, this song moves away from the R&B sort of material the band covered and takes the sound back to a funked-up hybrid of late-1960s rock. The style of the song is very similar to the sort of material performed early by Big Brother & The Holding Company 1966/7, with an extended drum/guitar interaction break. That section, in itself, is an excellent demonstration of Eric Carr’s drumming technique, along with some smokin’ guitars and excellent raspy soulful Henderson vocals. This recording would be released on the 2000 “Inside The Tale Of The Fox” DVD.

05.18. Baby, I Want You

One of the rougher recordings from Creation archives. This 3:44 song is more of a jam or rehearsal and may have been an original.

05.19. Work Song

It’s not clear whether this 4:00 recording is a cover or an original, but it is very bleak: “Work all your life, until you’re old and grey / Then you wind up with nothing / After working your life away / What can you say, what can you do / Get yourself together / Before it happens to you.” The song has an R&B funk feel very typical of the band’s material and presentation. This song was possibly written by Glen Dorsey.

05.20. I’m So Lonely

Running 3:30, a demo version of this recording would be released on the 2000 “Inside The Tale Of The Fox” DVD as a bonus audio track. Written by John Henderson, the song had originally been released as an independent Creation 7” single (Prolific C-704), backed with “Somethin’ Telling Me,” making it the earliest available Eric Carr material. The fully recorded 3:06 single version adds orchestration and slightly rearranges the recording from the demo version that features more prominent drums, keyboards, and bass.

Produced by Carvel Gray and Robert C. Carlos, the strings would be arranged by Horace Ott. John Henderson handles the lead vocals on both versions of this recording. According to John, “well, ‘I’m So Lonely,’ that’s a rare record.... This guy called Carvel Gray is the one that took us in the studio. He’s the same one who put us on the show with Nina Simone” (JG). In fact, Creation, who was sometimes billed as Salt And Pepper at the time, performed and recorded a version of the song when they opened for Nina. During the performance there was stage banter about the song and whether anyone in the audience had purchased the record. This would seem to indicate that the band indeed knew that the single had been released.

05.21. Something Tellin’ Me

In most cases, this song is found as a short 1:22 live rehearsal that is incomplete. Several other rehearsal pieces from the band do circulate, notably a drum/bass workout that runs 1:30. During the early part of 1975 Creation intended to go back into the studios to work with producer Lee Valentine in hopes of releasing a single, but nothing appears to have come from these plans.

There is a full version of this song since it was released as the B-side on the Creation 7” single. The fully recorded version of the song runs 3:16 and features George D. Chase on lead-vocals. Written by Harold Taylor, John would be credited, with T. Taylor, for the arrangement of the piece. Like “I’m So Lonely,” Carvel Gray and Robert C. Carlos would produce the recording.

05.22. Looker Of The Glass

This 4:08 recording was written by a friend of John Henderson. Nothing else is currently known.

05.23. What Are You Today?

This 3:37 recording was written by Harold Taylor, a friend of John Henderson. Harold had been the lead singer with the band The Joneses who had several R&B hits in 1974/5 and had also worked with producer Lee Valentine. Lee was Dione Warwick’s longtime guitarist.

05.24. Fairy Shoemaker

Running 5:20, this song is based on the poem of the same title by William Allingham. Allingham was born in Ballyshannon, County Donegal, Eire (Ireland), in 1824, and had this work included in “Fairy and Folk Tales of the Irish Peasantry” (1888) selected by W. B. Yeats. Like some of his other poems, this piece was set to music by Mansel Treharne Thomas in the 1950s.

While this song circulates along with material invariably attributed to either Salt And Pepper or Creation, John Henderson didn’t recall ever having anything to do with this recording.

05.25. People

This 2:42 song was written by Sarita and John Henderson. It is a funk-charged 1970s anthem.

05.26. Rock Steady

This 3:17 recording is a cover of an Aretha Franklin song which was originally released on her 1971 album, “Young, Gifted & Black.” Sung by Sarita, within the context of Eric Carr’s later membership in KISS, it is ironic that KISS’ production company found inspiration for their name from the same source.

“Bionic Boogie” Notes:

Following Creation’s transition into Mother Nature / Father Time, as a result of the band finding that there was also another band with the same name, the band also made live appearances as Gregg Diamond’s Bionic Boogie during the late-1970s. Studio musicians including Alan Schwartzberg on drums recorded Gregg’s three “Bionic Boogie” albums. No member of Mother Nature / Father Time ever appeared on any “Bionic Boogie” recording, though they would play much of the material during their appearances as the band. The band’s interaction with Gregg would be limited to his auditioning them to be the live band. This “ghosting” was a useful source of income for the members of Mother Nature / Father Time.

“Lightning” Album Notes:

Produced by Lewis Merenstein and Ralph Moss. Assistant producer Howard Merritt. Recorded at the Sound Place, New York. Released November 1979. Eric Carr is credited as Paul Caravello on drums and backing vocals. Lightning was essentially the same band as Mother Nature / Father Time. Lew would be the controlling factor concerning the recording of the “Lightning” album and the band’s signing with Casablanca Records. There is no shortage of irony that as the replacement drummer for KISS, Eric had already released an album on the same record label.

05.27. Disco Symphony

Written by Tom Siano. This ten minute disco epic would be released on a promotional single backed with “Baby, Without Your Love.” Tom had copy-written his “Disco symphony” collection which ran to some six pages in May 1979 as “Thomas Siano song suite, number 1.” As the primary songwriter of material on the “Lightning” album Tom, would quit the band soon after its release and was replaced by Gary Dunn.

05.28. In And Out Of Love

Written by Tom Siano. Track runs 6:41. Julie Burger and Holly Oasi provide backing vocals.

05.29. Baby, Without Your Love

Written by Tom Siano. Track runs 7:03 and would be the B-side of the “Disco Symphony” 12” single (Casablanca NBD-20205DJ).

05.30. I Love The Way You Love Me

Written by Tom Siano, John Henderson, and Eddie Dozier this 5:25 track is the shortest on the album. Julie Burger and Holly Oasi provide backing vocals.

05.31. One Step At A Time

Written by Tom Siano and Eddie Dozier. Track runs 6:28.

05.32. Prisoners Of Rock And Roll

An unfinished song that Eric Carr wrote while on tour with KISS in 1980 that never made it past the instrumental stage. One might suppose that the song’s title reflects Eric’s state of mind concerning his musical career and personal situation during his time with “Flasher,” his final band prior to joining KISS. According to John Henderson, “Paul [Eric] had decided that he really wanted to join a rock band. He wanted to do something different” (JG).

In late 1979 Eric had joined the 4 piece power-rock combo by December. The band performed mostly rock cover songs around the New York area. Apparently, this was a particularly sad period for Eric, as he had become unsure about his musical future after more than a decade of effort. He was left with the option of continuing to attempt to make it or settle down to the more mundane task of finding a non-musical career with which to pay the bills, like many of his previous band members had done. Flasher played a diverse sort of material. One club recording features The Clash’s “London Calling,” several Ramones songs, and Tom Petty!

In March 1980, the band’s keyboard player quit. For a while Flasher continued as a trio though by May Eric had already given notice that he intended to quit the band. During May 1980 Eric had a chance meeting with this former keyboard player at the Poets club in Queens, where Flasher were going to be performing. Turino mentioned that KISS were looking for a drummer, following the departure of Peter Criss, and suggested that he audition for KISS.

“KISS Application” notes:

When Paul Caravello submitted his audition package to Aucoin Management, he included a four-track tape that included material to demonstrate his drumming and vocal abilities. Featured on the tape were “Shandi,” which his sang, and “Torpedo Girl,” on which he drummed. The audition tape was completed with Paul drumming along to two Van Halen songs, “You Really Got Me” and “The Cradle Will Rock.”

05.33. Torpedo Girl (drums)

05.34. Shandi (vocals)

05.35. You Really Got Me (drums)

05.36. The Cradle Will Rock (drums)

“KISS Audition” notes:

It is known that Paul Caravello’s audition for KISS was video-recorded, and apparently the recording still exists. Paul would be offered an audition with KISS for Monday, June 23, 1980, at 1:30pm and was told to learn 5 songs. It can only be hoped that one day these recordings surface in either audio or video format.

05.37. Black Diamond

05.38. Firehouse

05.39. Strutter

05.40. Is That You?

05.41. Detroit Rock City