Dr. D.
Is it all "water under the bridge at this point."?
Each of you you have moved on. (In your own way).
Except Glen, RIP.
Are you all still BFF's?
Bob Ezrin, Before and After
Moderators: Si, SickThings, Shoesalesman, Dreary
- Daggers & Contracts
- Dada God
- Posts: 2826
- Joined: Mon Feb 04, 2013 5:47 pm
- Location: 340 Sanitarium
Re: Bob Ezrin, Before and After
I've Got The Answers To All Of Your Questions...
Re: Bob Ezrin, Before and After
This goes doubly for Me (except I was 13 when I got WTMN). I run the risk of being maudlin, but Mere words cannot convey how important the ACG was and is to Me. Not the happiest teenager (Constant uprooting-Military Dad-, Parent's bitter divorce, very shy, not many friends etc) and the five of You helped more than You could guess.Public Animal #9 wrote: ↑Sun Jul 10, 2022 10:35 am. I remember in 1975 being 15 years old and being devastated that the original band was not on Welcome To My Nightmare. The original band made my young, teenage years worth living and dreaming about. They were a gang and I loved them for it. Thank you Dennis, Mike, Neil, Glen and Vince for making the soundtracks for my early years growing up. You are loved and all true, early day fans know the score
:-)
I'm 60 now and those seven albums still rock my world.
Thanks Mr D
"I need everything the world owes me..."
Re: Bob Ezrin, Before and After
To get back to the original theme of this conversation, I have just one of a billion insights to Bob Ezrin's brilliance.
When I was in Nashville recording "Fireball" with Tommy Henriksen (guitar), Tommy Denander (guitar), Larry Mullen Jr. (Drums), Alice (Vocals), and Bob Ezrin (Hammond Organ).
I wanted to record the song live in the studio with the only overdubs being lead guitar and vocals. The first obstacle was when we realized the song wasn't in the best key for Alice's voice, so we transposed it from E down to D. Being excellent musician's, those guys made a quick job of that.
Then we recorded the song and nailed it, except for the simplest part of the song - the bridge, where one guitar played a major scale and the other played a minor scale. We could have overdubbed the one guitar part and been done with it, but Bob said we were going to stick to my idea of recording it live. So we recorded the song again. But this time, the guitar parts had switched and the guitar player that had played the major, now played a minor and the other guitar did the opposite, so the issue hadn't been solved.
Bob got up from the Hammond and picked up a guitar (I didn't know he played guitar) and he showed them the parts, in a transposed key mind you.
We nailed the track.
My point is, I've worked with other great producers, and all of them are swift problem solvers, but the depth of Bob's musical abilities has always been exceptional.
When I was in Nashville recording "Fireball" with Tommy Henriksen (guitar), Tommy Denander (guitar), Larry Mullen Jr. (Drums), Alice (Vocals), and Bob Ezrin (Hammond Organ).
I wanted to record the song live in the studio with the only overdubs being lead guitar and vocals. The first obstacle was when we realized the song wasn't in the best key for Alice's voice, so we transposed it from E down to D. Being excellent musician's, those guys made a quick job of that.
Then we recorded the song and nailed it, except for the simplest part of the song - the bridge, where one guitar played a major scale and the other played a minor scale. We could have overdubbed the one guitar part and been done with it, but Bob said we were going to stick to my idea of recording it live. So we recorded the song again. But this time, the guitar parts had switched and the guitar player that had played the major, now played a minor and the other guitar did the opposite, so the issue hadn't been solved.
Bob got up from the Hammond and picked up a guitar (I didn't know he played guitar) and he showed them the parts, in a transposed key mind you.
We nailed the track.
My point is, I've worked with other great producers, and all of them are swift problem solvers, but the depth of Bob's musical abilities has always been exceptional.
Re: Bob Ezrin, Before and After
We had some similar situations and it’s great to have a producer who not only knows their stuff, is on the ball enough to spot things like this when there’s a lot going on, but also has the tools and communication skills to solve the problem swiftly. I’d never had the experience of working with a “proper” producer until a couple of years ago and I have to say I’ve found the experience extremely creatively freeing and educational. Educational especially in the revelation that I’m definitely NOT a producer!
I’ve always been fascinated with the first 7 albums and whose ideas some of the instrumental choices were. For instance there’s an odd overdub on “Woman Machine” that sounds like a low pitched croaking vocal, almost like burping. How did that come about?