Ed was now an established actor as well as singer and songwriter, and he was about to add another credit to his resume – namely, production. It was the mid-1970s, and dance music, aka disco, was the latest rage from radio to TV to movies. Ed discovered a group whose sound he liked so much that he brought them to Tom Cat Records, which was distributed by RCA, and got them signed to the label as The Front Runners. The group’s debut single was a disco rework of the Toni Fisher classic, "The Big Hurt," coupled with a Rambeau original, "Lullaby Brazil." The record label was dissolved shortly thereafter, and Ed went on to write and produce for other artists and resume his acting career. He was actually up for the lead role in the movie Eddie and The Cruisers, but "the producers felt I might be too good looking for the part of Eddie. Go figure."

It’s not very often when an actor’s good looks are actually a detriment to getting a job, but then Ed Rambeau is in a league all his own, and ordinary rules don’t seem to apply to him. We are, after all, talking about a man whose big dreams came to fruition despite his small-town upbringing. It helps to remember that during Ed’s growing-up years, the only forms of entertainment were radio, television (still in its relative infancy), the movies, records, and live theatre and concerts – there was no Internet, no digital music, no CDs, no home video, no YouTube. An aspiring talent could not make a demo or a video and get it circulated around the world without leaving the comfort of his home; if he wanted to make it in show business, he had to hit the pavement. Musicians like Ed, back in the 50’s and 60’s and 70’s, could not just "phone in" their performances – getting even just a foot in the door often meant moving to a new city hundreds or thousands of miles from the only home they’d ever known. It meant giving up a lot, including the proximity of friends and family, without any guarantees of success. In short, they had to really want to do it and not just because it was "easy," because it wasn’t. Ed was determined to become a legitimate singer and songwriter, and he did. For him, it entailed leaving his childhood home and moving hundreds of miles away, and he did. His enormous talent may have spoken for itself, but Ed was the person who had to go out and find people willing to listen to it. And he did.

In his forties and fifties, and with the golden era of rock and roll now just a memory, Ed shifted his focus to other genres of music – or, rather, he expanded his repertoire to include a diversity of styles, from Sinatra to Broadway to the Brill Building. He also expanded his talents to include skills outside the show-business realm. Ed began painting, mainly as a hobby at first but he soon discovered that he was quite good at it, as did other people who showed interest in obtaining his works of art. In addition, Ed developed (no pun intended) an interest in photography; his interest took a quantum leap when digital cameras came into the picture (pun intended), making photography much more accessible and affordable. In the early 1990’s, Ed put together a recording studio in his Manhattan apartment, which over the years has grown to include the newest technology as it has become available. The original equipment was analog, and Ed’s recordings were mainly on tape. Once digital was made available for private use, Ed updated his studio correspondingly and now records exclusively on CD and MP3.

Also during the 90s, Ed began performing live, although he wasn’t touring on the oldies circuit – he was booked mainly on cruises, singing tunes from the 1940s to the present day, and one appealing fringe benefit was the opportunity to travel around the world. Photos on Ed’s website show him mugging for the camera in Italy, enjoying the scenery in France, and posing near a hotel swimming pool in Egypt. "I've been to Europe, Asia, Africa, India, Mexico, many, many places in the Caribbean, Hawaii, almost everywhere except Australia. One of my biggest thrills was when a taxi driver in Singapore began to sing ‘Concrete and Clay.’" Ed’s live shows are a joy to watch, and to hear as well -  thankfully, Ed has audio recordings for posterity, which are available on CD via his website. An online video of Ed singing a slow, sultry version of the Lou Rawls hit "You"ll Never Find Another Love Like Mine" during an appearance on a Carnival Cruise shows clearly why he has been referred to as a male Judy Garland. Ed is one of those rare artists who sing words - not just notes - and who punctuates every phrase with spontaneous and heartfelt gestures.  Ed is a singer's singer who wears his musical emotions not just on his sleeve, but on his face, in his voice, and all over his body.  He personifies the word "performer."