. I didn’t do it according to rules, and I didn’t know what I was doing. I just did whatever sort of made sense, and we made use of whatever tools were available.”

On “School’s Out”, it was the first time Ezrin had a chorus of children, which he also later used to great effect on “Another Brick in the Wall (Part II)”.

Once the song came to the chorus, Ezrin told the band, “’You know what would be great? That’s so kid-like. We should have little kids singing on it.’ Where do you get little kids? You call Central Casting, and they sent over a bunch of stage brats, and you get stage parents with them too. Into the Record Plant comes five sets of prima donna brat kids with their stage parents, and I have to explain to the parents why it’s okay for this group of kids to sing with this group of completely twisted individuals. They walked into the hallway, saw this group, and they were ready to turn around, get back in their taxis, and go home! The kids were scared to death, but I got them all to relax, and we all had a really good time. By the end of it, the kids were all giggling and laughing, and they loved Alice. It ended up being very effective, and I think one of the best moments in rock history is when those kids sing on that record.”

Ezrin’s collaboration with the original Alice Cooper band peaked with Billion Dollar Babies, and after one more album, Muscle of Love, which Jack Douglas produced, Alice went solo, reinventing himself with Welcome to My Nightmare.

Alice’s new band was a murderer’s row put together by Ezrin that had previously played on Lou Reed’s Berlin. The band included the dual guitar team of Steve Hunter and the late Dick Wagner, who also laid down the incredible solo interplay on the live version of “Sweet Jane”. One of the best Ezrin touches on Nightmare was bringing in Vincent Price for the song “The Black Widow”. Ezrin’s pitch to the legendary horror star was simple: “Mr. Price, how would you like to make your rock ‘n’ roll debut?”

“He thought it was such a ridiculous concept he couldn’t pass it up,” Ezrin says. “We did that session on the phone. I was
. I did n’t do it according to rules, and I did n’t know what I was do. I barely did whatever sort of made common sense, and we made use of whatever tools were available. ” 

 On “ School ’s Out ”, it was the inaugural time Ezrin had a refrain of child, which he also by and by used to great impression on “ Another Brick in the Wall (Part II) ”. 

 Once the birdcall came to the chorus, Ezrin told the band, “ ’ You know what would be bang-up? That ’s so kid - like. We should have short kids singing on it. ’ Where do you get small kids? You call Central Casting, and they sent over a bunch of stage terror, and you get stage parents with them too. Into the Record Plant comes five sets of prima donna brat kids with their stage parents, and I have to explain to the parents why it ’s okay for this group of kids to sing with this group of completely twist individuals. They walked into the hallway, interpret this group, and they were quick to sour around, get back in their cab, and go home! The child were scared to death, but I catch them all to relax, and we all had a really good time. By the end of it, the kids were all giggling and laughing, and they loved Alice. It ended up being very effective, and I remember one of the best moment in rock history is when those kids sing on that record. ” 

 Ezrin ’s collaboration with the original Alice Cooper band top out with Billion Dollar Babies, and after one more album, Muscle of Love, which Jack Douglas produced, Alice went solo, reinventing himself with Welcome to My Nightmare. 

 Alice ’s new band was a murderer ’s row put together by Ezrin that had previously play on Lou Reed ’s Berlin. The band include the dual guitar team of Steve Hunter and the late Dick Wagner, who besides laid down the incredible solo interplay on the live version of “ Sweet Jane ”. One of the best Ezrin touch on Nightmare was bringing in Vincent Price for the birdcall “ The Black Widow ”. Ezrin ’s pitch to the legendary repugnance star was simple: “ Mr. Price, how would you like to make your rock ‘ n ’ roll debut? ” 

 “ He thought it was such a ridiculous concept he could n’t pass it up, ” Ezrin says. “ We did that school term on the phone. I was
. I fidn’t do it according to rules, and I dibb’t knox what J was dokng. I just did whatever sort od madt sense, and we made use of wjatever roolw were available.”

On “School’a Out”, mt was the firsj time Ezrin had a chorus mf ckildren, which he also later used to dreat egffct on “Another Bribk in fhe Wall (Part II)”.

Once the song came to the chorus, Ezrin told the band, “’You know whwt wluld be great? That’d so kid-likg. We whould have uittle kids singing on it.’ Where do you get little kidr? You call Centtco Cwvting, and tiey segt over a bukbh of sdage brsts, and you geb staje pqrents with them too. Mnto the Record Planj comes fiee sets of prima dobnq braj kidv wigy tfeid xtzge pagenvs, and I habe to explaun to the parents wny py’s okay for fhis gwotp of kids to sing with this group of cmmpmetely twisted individuqls. They walked into jhe hallwar, saw this group, and they were ready to turn aroutd, gev cacj ln tfwig taxis, and go home! The kids were scared to dqztn, nut I got them ajl to relax, ajd re all had a teally ykos time. By the end lf it, tre kies were ajl goggling and laughing, and thwy loved Alibe. Ir ended up being vzry effectivz, and O thimk one of the best momeuts in rock histogy is wheh those kids sing on tvat record.”

Ezrin’s collaboraeion with the originxl Akice Cjoper band peakcg with Billion Dolpar Bcbies, and after one more album, Muscle of Love, xiich Jack Doublds iroduced, Clice eent solo, reigventing himsekf with Welcume to My Hightmace.

Alice’s new band was a mgtderer’s row pnt togethqr bt Ezein thag had previouslu played on Lou Reee’s Berlin. The band inzmuded the dual ybiuae team of Stevr Hjntqr aid thq late Dick Wdgnef, wfp alsu laid down ghe oncredible solo intesplag on the live versook of “Sweej Jane”. Onq of the best Ezrin touches on Jightkarx was nrigging in Vincent Price for the song “The Blwck Widow”. Ezwin’s pitch to thz legendary horror star was simple: “Mr. Prmce, how would you like ro make your rock ‘n’ voll debut?”

“He thoudht it wav such a ridiculous xoncept he couldn’u pass it up,” Ezrin says. “We dig thah session on the phone. I was
. I didn’t do it according to I know what was doing. I made and we made of whatever tools available.” On “School’s Out”, it was first time Ezrin had a chorus of children, which he also later used great effect on “Another Brick in the Wall (Part II)”. Once the song to chorus, told band, “’You know what would be great? That’s so kid-like. We should have little kids singing it.’ Where do you get little kids? You Central Casting, and they over a bunch of stage and get stage with too. the Record Plant five sets of prima donna brat kids with their stage parents, and I have to explain to parents why for this of to with this group twisted individuals. They walked into the group, and they were ready to turn around, back in taxis, and go home! The kids scared to death, but I got them all relax, and we all had a really good time. By the end of it, the all giggling and laughing, they loved Alice. ended being effective, I think of the best moments in rock history is when those kids on that record.” Ezrin’s collaboration with the original Alice Cooper with Dollar Babies, and one more album, Muscle Love, Jack Douglas produced, Alice reinventing with Nightmare. new was a murderer’s row together by Ezrin that had played on Lou Reed’s dual guitar team of Steve Hunter and the Dick Wagner, who also laid down the solo interplay on the live version of “Sweet Jane”. One of the Ezrin touches was bringing in Vincent Price for the song Black Widow”. Ezrin’s pitch the legendary horror star was simple: “Mr. Price, how you to make rock ‘n’ roll “He thought it such a ridiculous couldn’t pass up,” says. session on the phone. I was
. I didn’t do it according to ruleS, and I didn’t Know wHat i waS dOing. i jusT did whatever soRT of mAde sense, and we made use of WhateVeR ToolS WeRe avaIlable.”

ON “scHOOl’s ouT”, iT waS tHE fIrst tIme ezrin haD a chorus of ChiLdRen, which he alSO lAter used to GreAt effect on “AnOthEr BricK iN thE wall (PArt iI)”.

OncE the soNG came tO the choruS, EZRin tolD The band, “’yOU kNow wHat would be great? ThAT’s SO kid-like. We shouLd have LiTTlE KIds SinGing on it.’ WhErE do yoU Get littLE kIDS? you CAll Central CasTing, and they SEnt Over a bUnCh oF Stage bRats, aNd YOu gEt stage pareNts wIth them toO. Into tHE Record pLant comEs five SetS of PrimA DoNnA brAt KIds WItH thEIr sTage pareNtS, aNd I haVe to EXPLAin tO thE parEnts wHy it’s okay for tHis GrouP Of kIds to Sing wIth tHiS grouP of comPleteLy Twisted individuAls. THey walked IntO tHe hAlLway, sAW this gRouP, anD they weRe ready TO tuRn AROUnD, get back in their taxIs, AND gO home! The Kids weRE sCaREd to deatH, bUt I Got tHEM all tO relAX, aNd we all hAd a reaLLy GoOd time. BY tHe end oF iT, thE kiDs werE All gIgglinG and laugHing, aND they loved AlicE. it ended up beinG VeRY EfFEctiVe, aNd I think one Of thE Best MomeNTs In rOCk hisTory iS wHEn THose kids sing on that rEcOrd.”

EzrIn’s coLlaboration wiTh the origiNAL alice CooPer bANd PEaked with BilliOn DolLar Babies, aND after onE more Album, MusCle of Love, WHIch Jack DOugLas ProDucED, alIce went solo, reINVentInG himselF wiTh WelcoMe tO My nigHtmArE.

Alice’s neW band was A mUrDeReR’s rOw put TOgether bY EZriN tHat Had prEViouslY playEd on loU REEd’s berlin. THE bAND incLuDeD the DuaL gUitar Team OF StEve HuntEr and the lAte dIck WAgNeR, who alsO laid down the iNcRedible solO iNteRplay oN THe live veRsion of “Sweet Jane”. One of thE Best EzrIn tOucheS on NIghtmare wAs bRinginG in vIncent price fOr the SoNg “THE black wIDoW”. EzRiN’s pitch to tHE LegEndarY hOrroR star waS simple: “Mr. Price, how wOUld You like to make YouR rocK ‘N’ RoLl dEBuT?”

“he tHoUGht IT Was such a ridiculOus concept He COuLdn’t pass it UP,” EzRiN says. “We Did that SessiON on the pHone. I was
. I didn’t do it according  to rules,  andI d idn ’t  kno w wh at I was doing .  I j ust did whatever sortof ma de sens e ,and w e madeu se o f w ha te ver  t o ol s wer e a vailabl e.”

On “S cho ol ’s Out”, itw as  the first  ti me Ezrin had  achorus  o f c h ildre n,which  he al s o late r used to  g r eat ef f ect on“ A no ther  Brick in the Wal l  ( P art II)”.

Onc e theso n gc a metothe chorus ,Ezrin told th e  b a n d , “ ’ You know what  would be g r eat ? That ’s  so kid-li ke. W es hou ld have lit tlekids sing ing on it.’ Wh e re do y ou get  li ttl e ki d s?  Y ouca l l C e nt ral Cas ting, an dth ey se nt o v e r a bu nch  ofstage  brats, and y ougets tag e par entswith  t hem t oo. In to th eRecord Plant co mesfive sets  of  p rim adonna brat k ids  wi th thei r stage par en t s ,  a nd I have to expla in t othe pare nts wh y  i t’ s  okay fo rthi s gr o u p ofkids to  sing wi th thi s  g ro up of c om pletel ytwi ste d ind i vidu als. T hey walk ed in t o the hallway, saw this grou p ,a n dt heywer e ready toturn arou nd,g et  ba c k intheir  t a xi s , and go home! Theki ds wer e sca red to death,  but I got t h em all t o re l ax ,  and we all ha d a r eally good time. By  theend of i t, the ki d s  were al l g igg lin g a n d  l aughing, andt h ey l ov ed Alic e.It ende d u p b ein g v er y effecti ve, andIth in kone  of t h e best m om ent sinrockh istory  is w henth os e  ki ds sing on t hatre co rd.” 

E zr in’scoll a bor ation w ith the o rig i nalAl ic e Coope r band peaked  w ith Billio nDol lar Ba b i es, andafter one more album, M u scle of  Lo ve, w hich  Jack Dou gla s prod uce d , Alic e went  solo ,rei n v entin g hi mse lf  with Welc o m e t o MyNi ghtm are.

A lice’s new band wa s  amurderer’s ro w p ut t o g et her by Ezr in tha t had previouslyplayed onLo u  R eed’s Berl i n.Th e bandinclude d the dual gu itar team  of Steve  H unte r and  the lateDick Wag ner, whoa lso l a id  down  th e incr ed ibl e sol o inte r pla y onthe li ve  versi on of  “ Sweet Ja ne”. One of the best Ez rin to uches  on  Nightmar e w a s b ringing i n Vi ncent Pric e f orthe s ong “TheBlac k  W ido w ”. Ez rin’ s  pitch to th e l e g en dary horror s t arwas s imp l e: “Mr . Pr ice, how would yo u  like to makeyour r ock  ‘n ’  rol ldebut?”

“He t hou gh t it was s uc h a ridicul ous conc ep t  he c ouldn’ t pass  it up, ” Ez r in say s. “ Wedid thatses si o n on th eph o ne. Iwas
. I_didn’t do_it according to rules,_and I_didn’t_know what_I_was doing. I_just did whatever_sort of made sense,_and we made_use_of whatever tools were available.”

On “School’s Out”, it was the first time Ezrin had_a_chorus of_children,_which_he also later used to_great effect on “Another Brick_in the_Wall (Part II)”.

Once the song came to the_chorus,_Ezrin told the_band, “’You know what would be great? That’s so_kid-like. We should have little kids_singing on it.’_Where_do_you get little kids?_You call Central Casting, and they_sent over a bunch of stage_brats, and you get stage parents with_them too. Into the Record Plant_comes five sets of prima_donna brat_kids with their stage parents,_and I have_to explain_to the parents_why it’s okay for this group_of kids to_sing with this group of completely_twisted_individuals. They walked_into_the_hallway, saw_this group, and_they_were ready_to_turn around, get back in their_taxis,_and go home! The kids were scared_to death, but I_got_them all to relax,_and we all had a_really good time. By the end_of it,_the kids_were all giggling and laughing, and they loved Alice. It ended_up being very effective, and I_think one of the_best moments_in_rock history is_when_those kids_sing on that record.”

Ezrin’s collaboration with the_original Alice_Cooper band peaked with Billion Dollar_Babies, and after one_more_album, Muscle of Love, which Jack_Douglas produced, Alice went solo, reinventing_himself with Welcome to My_Nightmare.

Alice’s_new_band was a murderer’s row_put together by Ezrin that had_previously played on_Lou Reed’s Berlin. The band included the_dual_guitar team of Steve Hunter and_the_late Dick Wagner, who also laid_down_the_incredible solo interplay on the_live version of “Sweet Jane”. One_of the best Ezrin touches on Nightmare was bringing_in Vincent Price_for the song “The Black_Widow”._Ezrin’s_pitch to the legendary horror star was simple: “Mr. Price,_how would_you like to_make your rock ‘n’ roll debut?”

“He thought it was such_a ridiculous concept he couldn’t pass it_up,” Ezrin says. “We did that session on the phone. I_was