Bob Ezrin – Producer Extraordinaire #5

We are finally on our 5th Producer in the “Producer Extraordinaire” series after a very long break.  This time we are focusing on Bob Ezrin as he has produced some very influential albums and albums that have impacted my life like all the producers in this series have.  The other producers have been as follows:

Bob_EzrinBob Ezrin hails from Toronto, Canada (and I think 2 of the other producers in this series hail from Canada) and has been producing for over 40 years.  He has spanned many genres, but it his rock productions that have become the most famous and most notable.  He is a member of the Canadian Music Hall of Fame and has actually never won a Grammy award although he has been nominated once.  Let’s discuss his work…

ALICE COOPER:

Bob Ezrin has worked with Alice Cooper more times than I can count.  He might as well be considered a member of the band.  He pretty much did all the big albums in the 70’s and even a couple big ones in the 2000’s.  I believe it is a total of at least 13 albums (oh, I guess I can count).  Insane.  I guess he as much a part of their sound as anyone.

To be a part of such huge albums as “Welcome to My Nightmare”, “School’s Out”, “Billion Dollar Babies” and even Alice’s latest masterpiece, “Paranormal” goes to show the magic that Bob can pull out of an artist.  It also makes you wonder would Alice have been Alice without Bob behind the boards…probably, but who knows.

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Billy Idol – ‘Cyberpunk’ – Album Review (The Billy Idol Series)

After ‘Charmed Life’, Billy wanted to do something different.  He didn’t want to keep repeating his previous work over and over again.  Let me tell you he completely succeeded.  The album is nothing like his previous work and I think was way ahead of its time. ‘Cyberpunk’ delivered Billy’s most experimental and most controversial album.

Billy became fascinated with technology and the cyberpunk movement of the early 90’s.  He saw how the advancement could be used to make music and in fact, this was one of the first albums to use ProTools for almost the entire recording of the album. He felt the use of the computers allowed him to do things faster and he felt it gave the whole feel of a garage band.  I don’t know about that last part, but it was the very early stages of how albums and music would be recorded down the road.

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When he released the single for “Shock to the System” he released it with a 3 1/2″ Floppy Disc.  MP’s eat your heart out.  The disc housed pictures, bios and all the things you now see issued in todays electronic press kits (EPK).  He was also was one of the first albums to actually have an email address in the booklet that came with the album (don’t try it, it no longer works).

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