Tim McPhate | KissFAQ
In a KissFAQ exclusive, award-winning songwriter details the creative process for his iconic song “New York Groove,” the recording of the original version by Hello and his recollections of how the song came into the Ace Frehley fold, and discusses additional KISS-related songs such as “Into The Night,” “Let Me Rock You” and “God Gave Rock And Roll To You,” and putting his life down in his music.
The following is an excerpt from Ballard’s interview with KissFAQ’s Tim McPhate:
KissFAQ: Russ, for my first question, I’d like to go back to 1974. That year Argent actually headlined three concerts with KISS serving as the opening act. I know you left the band 
around this time, but did you perform with Argent on those dates?
Russ Ballard: I remember doing two shows with KISS. One was at the Academy of Music, I think when they were beginning. I remember them setting up the big logo behind the drums. I didn’t know what to expect but there seemed to be a buzz. And then I saw the band take the stage with the makeup and stuff. I thought, “This is cool.” (laughs) Then I remember another show we did with them in St. Louis. It was a Sunday night, I think, at a beautiful theater. It held about 2,000. I had a good look at them that night from the side. I thought they were great.
KF: According to the book “KISS Alive Forever,” KISS and Argent were set to do a longer tour.
RB: I just remember doing two shows. I don’t remember talk of any more. When I left the band they kept going. They could have [talked about it].
KF: Russ, you were born in Waltham Cross, Hertfordshire. That’s quite the long way from New York. Am I correct in saying you came up with the song title for “New York Groove” while on a plane?
RB: Yeah. I had just produced a solo album for Roger Daltrey. I played on his first album and he asked me if I’d like to produce his next album, “Ride A Rock Horse.” It took about six months. This was 1975. After finishing, we both thought it would be a good idea to go to Sterling Sound in New York to get it mastered because everyone said that was the place where the cuts sounded louder and that they were a better mastering facility than the one in London. I went on a plane to New York. While on a plane, I always carried a little notepad and a pen around with me. I always found it very inspiring to be on a plane. As soon as you get away from home, ideas come to you. And I thought, “I’m back in the New York groove.” That’s what was in my head because I hadn’t been there for a couple of years. And I told that story about “Many years since I was here.” (laughs)
KF: Did you have a particular affinity for New York?
RB: I loved going there. It’s always so exciting. When you’re with a bunch of guys in a band, it was always good to go there. There’s so much to do there. I was looking forward to going there. I didn’t write any more on that plane, just “New York Groove.” It was later that I finished the song in the studio when I had to. It was that time in the studio and I had to come up with something. I just had this title and I had a Super Vamper harmonica with me. In my head, I always wanted to do a Bo Diddley beat. I wanted that Bo Diddley thing (sings the rhythm of the Bo Diddley beat). And the words, I just made them up in the studio. It was probably the first rap. You think about Ace shouting, “Here I am again in the city/With a fistful of dollars/And baby you better believe.” It’s like a rap in the ’70s.
KF: And the band you were in the studio with was Hello?
RB: Yes. They were 16 years old. My brother saw the band and he said to me, “I’ve just seen this group. They’re 16. They’re an amazing little band.” My friend, who was a good mate of mine, wanted to manage a band. So he got in touch with them. We went to the father’s house of the guitar player. They set up in the house and they played. And I thought, “Yeah, they’re great.” He got them a deal with Bell Records, which became Arista. They did one song and then I took them in the studio and I got them to stamp on a table, you know, with these big platform boots. I got them to stamp on this table like (mimics stomping drum rhythm). I just made up the tune as we went. I said, “E, right. A, E, B.” (laughs) I was making things up as we went along. And it was pretty exciting to do that. It made it energetic, which I really liked.
KF: Of course, Hello’s version became a Top 10 hit in the UK in 1975. Did you sense there was something special after hearing the playback of the track?
RB: I think it had quite a verse to it. The verse was melodic and it was going to places that you didn’t expect to go. Yeah, I thought it was great. The main thing, Bell Records thought it was very radio friendly. And they got it out there. They did every kind of TV show for it. When I heard that Ace was doing it, that was great as well.
Full Russ Ballard interview here: