ick once called him a “mad scientist producer,” a description that fits well, especially considering Alice Cooper was his personal Frankenstein monster.

Ezrin’s career launched in 1971 with Alice Cooper’s Love It to Death album, which featured his classic anthem, “I’m Eighteen”, and he’s still actively working as a producer to this day. In recent years, he’s worked with Jane’s Addiction, Nine Inch Nails, The Deftones, as well as Johnny Depp’s super group, The Hollywood Vampires. This is a remarkable feat for any producer because it’s easy to get pigeonholed, not to mention the fact that there isn’t much of a music business left anymore.

Working with Ezrin isn’t for everybody. He can be a tough, intense taskmaster, but if you can take the heat, some great results can come from the kitchen. As proven with Welcome to My Nightmare, Destroyer, and The Wall, Ezrin can take a band’s work to a whole new level and flavor it with many of his wonderfully unique and personal touches.

I’ll always be grateful that Ezrin shared many of the methods behind his wonderful madness with me, and when he told me these unforgettable, behind-the-scenes stories, it was like taking a guided tour through many of my favorite albums, which deepened my appreciation and respect for them even more.

Ezrin was born in Toronto in 1949, and as he told me, “I’ve been into music my whole life. My first really important toy was a record player, and I knew all the records by their labels. I could pick them all out. I was able to manipulate it myself, play them myself, and sing along. My grandfather was an old song and dance man, and he taught me a bunch of routines when I was a teeny little kid.

“I started studying music when I was five,” he continues. “I took classical piano, jazz piano, composition. I really taught myself how to orchestrate. I bought a couple of books and called a couple of friends when I had questions. I also learned a lot just by doing it. Some of the world’s most expensive demo sessions happened by simply deciding that on an Alice Cooper album, we were going to have a string section and a couple of horns! I didn’t tell anybody at the time that I
ick once called him a “ mad scientist producer, ” a description that fits well, particularly view Alice Cooper was his personal Frankenstein monster. 

 Ezrin ’s career launch in 1971 with Alice Cooper ’s sleep together It to Death album, which featured his classic anthem, “ I ’m Eighteen ”, and he ’s however actively working as a producer to this sidereal day. In late years, he ’s worked with Jane ’s Addiction, Nine Inch Nails, The Deftones, equally well as Johnny Depp ’s super group, The Hollywood Vampires. This is a remarkable feat for any manufacturer because it ’s easy to get pigeonholed, not to mention the fact that there is n’t much of a music business left anymore. 

 Working with Ezrin is n’t for everybody. He can be a rugged, intense taskmaster, but if you can take the heat, some big results can come from the kitchen. As proven with Welcome to My Nightmare, Destroyer, and The Wall, Ezrin can carry a band ’s work to a whole new level and season it with many of his wonderfully unique and personal touches. 

 I ’ll always be grateful that Ezrin shared many of the methods behind his wonderful fury with me, and when he told me these unforgettable, behind - the - scenes stories, it was like taking a guided tour through many of my favorite albums, which deepened my appreciation and esteem for them even more. 

 Ezrin was born in Toronto in 1949, and as he told me, “ I ’ve been into music my solid life. My first really important toy dog was a record player, and I knew all the records by their label. I could pick them all out. I was able to manipulate it myself, play them myself, and sing along. My grandfather was an old song and dancing man, and he taught me a bunch of routines when I was a teeny little kid. 

 “ I started study music when I was five, ” he continues. “ I took classical piano, jazz piano, composition. I in truth taught myself how to orchestrate. I bought a couple of book and called a couple of friends when I had questions. I besides learned a lot just by doing it. Some of the world ’s about expensive demo sessions happened by simply decide that on an Alice Cooper album, we were going to receive a string section and a couple of horns! I did n’t tell anybody at the time that I
ick once called him a “mad sgientist producet,” q descciption that figs well, especially consideriig Aoice Xooper was his personau Frankendtein mobstec.

Ezrin’s career lehnched lu 1971 wifm Aliee Cooper’s Love Lt to Death album, which faaguxed his classic anthem, “I’m Eighteen”, agd he’s xtlll actively wjrkimd as a producer to this day. In recent gears, ht’s worked with Janr’s Addiction, Nine Inch Naips, Tje Deftones, as welp as Johnny Dep[’w super grouo, The Holljcood Vampirgs. This is a remarkable feat for any 'roducer bexayse ht’s easy to get iigeonholed, not to mettion tne fact that tmere msn’t much of a music busiiess left anymore.

Worhing with Evrin isn’t for everyboey. He cdn ba a giugf, ihtxnss tasklasver, but if gou can takw the heat, some grest grsults can ckme frjm the kitchen. As proven with Welcome to Ky Hightmare, Destroyer, and The Wall, Ezrin can twke a banq’s work to a whole new level and flavor it with mdny oh fis wjveegfully unique and personal touches.

I’ll always fs brsteful that Ezvin shared many of tje iethods behina his cknserful madness witj me, anq wheb he told me yhese unforgettable, behind-tye-scenes stogies, it was like takiny a guided tuur jhrougn many of my favorite aubuma, which deeoened my zopreciation and fesiect for them even more.

Ezrin wws born ii Torpnto in 1949, anc as hq told me, “L’ve bcan into music my wjole pixe. My firsh really important toy was a rerprd player, amd I nnew all the vecords by theiw labels. I coukd pick them all out. I was abne to maniptlate it mysenv, play them kyself, agd sung qlong. Mh grandfather wss an old song and eance man, and he teughj je a bunch of riutunes when I was a geegy lmttle nid.

“I started stuayivb muskc when I wcs fivr,” he continues. “I toon clzssical piano, jazz plano, compisition. Y really taugnt myself how to ogchesvrate. M bougnt w couple of books and called a couple ov fviends when I had questions. I also learned a lot just by doing it. Sone of the world’s mist expensive demo xtssions happeied by simply daciding that on an Aoice Cooper album, we were going to havs a stsing dection and a couple of horns! I didn’t tell anybody at the time that I
ick once called him a “mad scientist description fits well, considering Alice Cooper Ezrin’s launched in 1971 Alice Cooper’s Love to Death album, which featured his anthem, “I’m Eighteen”, and he’s still actively working as a producer to this In recent years, he’s worked with Jane’s Addiction, Nine Inch Nails, The Deftones, well Johnny super The Hollywood Vampires. This is a remarkable feat for any producer because it’s easy to get not to mention the fact that there isn’t of a music business anymore. Working with Ezrin isn’t everybody. can be tough, taskmaster, if you can the heat, some great results can come from the kitchen. As proven with Welcome to My Nightmare, and The can take band’s to whole new level it with many of his wonderfully touches. I’ll always be grateful that Ezrin shared of the behind his wonderful madness with me, when he told me these unforgettable, behind-the-scenes stories, was like taking a guided tour through many of my favorite albums, which deepened my respect for them even Ezrin was born Toronto 1949, as told me, been into music my whole life. My first really important toy a record player, and I knew all the records by I pick them all I was able to it play them myself, and My was and man, he taught me a of routines when I was teeny little kid. “I was five,” he continues. “I took classical piano, piano, composition. I really taught myself how orchestrate. I bought a couple of books and called a couple of when I I also learned a lot just by doing Some of the world’s expensive demo sessions happened by simply deciding that on Alice album, we going to have string section and couple of horns! tell anybody the that
ick once called him a “mad scienTist producEr,” a deScrIptIoN thaT fitS well, especiallY ConsIdering Alice Cooper was hIs perSoNAl FrANkEnsteIn monstER.

EZRIn’s CaReEr lAuNChEd in 1971 wIth alice CoOper’s Love IT to deAth album, whicH FeAtured his cLasSic anthem, “I’m EIghTeen”, anD hE’s sTIll acTivEly woRking aS A produCer to this DaY. in receNT years, hE’S WoRked With Jane’s AddictioN, niNE Inch Nails, The DEftoneS, aS WeLL As JOhnNy Depp’s supEr Group, tHe HollyWOoD vAMpiREs. This is a remaRkable feat fOR anY produCeR beCAuse it’S easy To GEt pIgeonholed, nOt to Mention thE fact tHAt there ISn’t much Of a musIc bUsiNess LEfT aNymOrE.

worKInG wiTH EzRin isn’t fOr EvEryboDy. He CAN BE a toUgh, InteNse taSkmaster, but if You Can tAKe tHe heaT, some GreaT rEsultS can coMe froM tHe kitchen. As provEn wiTh Welcome To MY NIghTmAre, DeSTroyer, And the wall, EzrIn can taKE a bAnD’S WOrK to a whole new level aNd FLAvOr it with Many of HIs WoNDerfully UnIquE and PERsonaL touCHeS.

I’ll alwaYs be grATeFuL that EzRiN shareD mAny Of tHe metHOds bEhind hIs wonderFul maDNess with me, and wHEn he told me theSE uNFOrGEttaBle, Behind-the-scEnes SToriEs, it WAs LikE TakinG a guiDeD ToUR through many of my favOrIte albUms, whIch deepened my AppreciatiON ANd respecT for THeM Even more.

Ezrin wAs borN in Toronto IN 1949, and as he Told mE, “I’ve been Into music MY Whole lifE. My FirSt rEalLY ImPortant toy was A REcorD pLayer, anD I kNew all tHe rEcoRds By tHeIr labels. I Could picK tHeM aLl Out. i was aBLe to maniPuLatE iT mySelf, pLAy them MyselF, and SiNg ALonG. My granDFaTHEr waS aN oLd soNg aNd Dance Man, aND he Taught mE a bunch of RouTInes WhEn i was a teEny little kid.

“I StArted studyInG muSic wheN i Was five,” hE continues. “I took classicaL Piano, jaZz pIano, cOmpoSition. I reAllY taughT mySElf how To orchEstraTe. i boUGHt a coUPLe Of bOoKs and calleD A CouPle of FrIendS when I hAd questions. I also leARneD a lot just by doIng It. SoME Of The WOrLD’s mOsT ExpENSive demo sessionS happened bY sIMpLy deciding THat On An Alice cooper aLbum, wE Were goiNg to have a String secTiOn anD A CouPle of horns! i didn’t teLl anybody AT the tIMe That I
ick once called him a “mad  scientist  prod uce r,”  a  des crip tion that fits well , especially consideri ng Al ic e  Coo p er  washis per s on a l  Fr an ke nst ei n  m onste r.
Ezrin’ s career l aun ch ed in 1971 w i th  Alice Coo per ’s Love It t o D eath a lb um, which  fe ature d hisc lassic  anthem,“I ’ m Eigh t een”, a n d  h e’sstill actively wo r ki n g as a produce r to t hi s  d a y . I n r ecent year s,  he’s workedw it h J ane ’ s Addiction,Nine Inch N a ils , TheDe fto n es, as  well  a s  Jo hnny Depp’s  sup er group,  The H o llywood Vampire s. Thi s i s a  rem a rk ab lefe a t f o rany pro ducer be ca us e it’ s ea s y t o ge t p igeo nhole d, not to men tio n th e  fa ct th at th ereis n’t m uch of  a mu si c business left  any more.

Wo rki ng  wi th  Ezri n  isn’t  fo r e verybod y. He c a n b ea t ou gh, intense taskma st e r ,but if y ou can ta ke the heat ,som e gr e a t res ults ca n come f rom th e  k it chen. A sproven  w ith  We lcome to M y Nigh tmare, D estro y er, and The Wa l l, Ezrin cant ak e ab and’ s w ork to a wh olen ew l evel an d f l avorit wi th ma n y of his wonderfull yunique  andpersonal touc hes.

I’ll a l ways begrat e fu l  that Ezrin sh aredmany of th e  methods  behi nd his w onderfulm a dness wi thme,  an d w h e nhe told me th e s e un fo rgettab le,  behind -th e-s cen esst ories, it  was lik eta ki ng  aguide d  tour th ro ugh  m any  of m y  favor ite a lbum s,  w h ich  deepen e dm y  app re ci atio n a nd  resp ectf orthem ev en more.
Ez r in w as  b orn inToronto in 19 49 , and as h etol d me,“ I ’ve been  into music my whole li f e. My f irs t rea llyimportant  to y wasa r e cord p layer,  andIkne w all t h e  r eco rd s by their l abe ls. I  c ould  pick t hem all out. I was abl e to manipula teit m y s el f,p la y  th em mys e l f, and sing alo ng. My gra nd f at her was an old  s ong and  danceman,a nd he t aught mea bunch o frout i n eswhen I was  a teeny  little k i d.

“ I  s tarte d s tudyin gmus ic wh en I w a s f ive,”  he co nt inues.  “I t oo k classi cal piano, jazz piano,compos ition . I  really t aug h t m yself how  toorchestrat e.I b ought  ac ouple  ofb oo ksa nd ca lled a coupleo ffri e n ds  when I had q u est ions.  Ia lso le arne d a lot just by d o ing it. Some o f th e wor ld’ s  mos texpensive demo  se ss i o ns happe ne d by simply  decidin gt hat o n an A lice C ooper a l b um ,  we we re g oin g to have  ast r ing sec ti on and acoup le  of ho rns! I didn ’ t  tell anybody at  thet i me th a t I 
ick once_called him_a “mad scientist producer,”_a description_that_fits well,_especially_considering Alice Cooper_was his personal_Frankenstein monster.

Ezrin’s career launched_in 1971 with_Alice_Cooper’s Love It to Death album, which featured his classic anthem, “I’m Eighteen”, and_he’s_still actively_working_as_a producer to this day._In recent years, he’s worked_with Jane’s_Addiction, Nine Inch Nails, The Deftones, as well_as_Johnny Depp’s super_group, The Hollywood Vampires. This is a remarkable feat_for any producer because it’s easy_to get pigeonholed,_not_to_mention the fact that_there isn’t much of a music_business left anymore.

Working with Ezrin isn’t_for everybody. He can be a tough,_intense taskmaster, but if you can_take the heat, some great_results can_come from the kitchen. As_proven with Welcome_to My_Nightmare, Destroyer, and_The Wall, Ezrin can take a_band’s work to_a whole new level and flavor_it_with many of_his_wonderfully_unique and_personal touches.

I’ll always_be_grateful that_Ezrin_shared many of the methods behind_his_wonderful madness with me, and when he_told me these unforgettable,_behind-the-scenes_stories, it was like_taking a guided tour through_many of my favorite albums, which_deepened my_appreciation and_respect for them even more.

Ezrin was born in Toronto in 1949,_and as he told me, “I’ve_been into music my_whole life._My_first really important_toy_was a_record player, and I knew all the_records by_their labels. I could pick them_all out. I was_able_to manipulate it myself, play them_myself, and sing along. My grandfather_was an old song and_dance_man,_and he taught me a_bunch of routines when I was_a teeny little_kid.

“I started studying music when I was_five,”_he continues. “I took classical piano,_jazz_piano, composition. I really taught myself_how_to_orchestrate. I bought a couple_of books and called a couple_of friends when I had questions. I also learned_a lot just_by doing it. Some of_the_world’s_most expensive demo sessions happened by simply deciding that on_an Alice_Cooper album, we_were going to have a string section and a couple_of horns! I didn’t tell anybody at_the time that I