Transcript:

Speaker My first exposure to Lou Reed was actually in covering one of his songs with Mitch Ryder. We did a version of rock n roll in 1970. One or two I can’t remember exactly. And I got to speak to him on the phone. We didn’t actually meet, but he had been a hero of mine. And I was so. So.

Speaker Too bad about that. Nice cut, though, I forgot to speak to him on the phone. Right.

Speaker Start over again with I thought you might start the whole thing. You’re going to start there. OK, first me.

Speaker I love the beginning of it. I’m not going to give you that beginning better. So screw it and screw the bit about how you know, how overjoyed I was to talk to you. I’ll talk about it. So apparently we did a pretty good job in making that record. And apparently he approved, which I guess wasn’t wasn’t an easy thing to accomplish in those days because Lewis was more than discerning. He was downright curmudgeonly.

Speaker What year is this? Talk about with the how would you were and where this was an.

Speaker The interesting thing about this is that I was probably the quintessential Lou Reed consumer, the quintessential Velvet Underground fan. I was 21 years old, producing a band in Detroit, Michigan, which was the hotbed of political upheaval and revolution in America at that time. I was sort of torn between hippie domen and being a revolutionary and being able to work on and with Lou Reed material, to me was a sort of statement that I had arrived at the mainstream of American culture.

Speaker So then how. How did you end up then with Berlins?

Speaker That’s right.

Speaker So now Lou Reed ceases to be an icon and a legend and becomes a real guy to me and somebody whose material I feel a bond with. Then I get a phone call from his manager to see if I might be interested in working on his next album. And I went to a show in Toronto, which is where I’m from and where I was living at the time at Massey Hall and saw Lou Reed live on stage for the first time. I only knew about the Velvets through records. I had never seen them. So to see this living legend for the first time was an eye opening experience.

Speaker Now, there’s a one years that.

Speaker Seventy two. OK. That is the second side, a side story to this, if you if you will. Interestingly enough, the opening act for Lou Reed that night at Massey Hall was a band called Genesis. And this guy climbs out of a trap door in the middle of the stage with a flower on his head and his head completely shaven. And I turn to Dennis Katz, who was Lou’s manager at that time. And I said, OK, I’m doing Lou. I’m definitely doing Lou. I wanted to, Lou, but can you give me the kid with the flower? And, you know, I ended up producing Peter Gabriel’s first solo album a few years later. So Lou has had Lou has had more of an effect on my career than he may realize because he was indirectly responsible for my exposure to Peter and being involved with Peter and with that entire crew of creative people from Bath, England has been very important to me.

Speaker Perfect. If you could now talk about the beginnings of Berlin. But make sure that you use Berlin and the title, because we.

Speaker As opposed to Dusseldorf.

Speaker OK, I got it.

Speaker I’m sorry. It’s been a salty morning. I’ve been beaten people up all day and I’m trying to be really nice. Let me see you get back to being nice. Berlin. So after seeing Lou perform live at Massey Hall, we talked together in person about the possibility of working and about what sort of a project the two of us would like to do. And I expressed my interest in Lou as a poet and Lou as an artist. And Lou, as a creator of imagery that was symbolic of the fabric of modern American life. And I wanted to capture that not episodically in a bunch of little songs, but I wanted to to work with him on the creation of a work that from beginning to end had a story, a message and painted a picture. Before deciding what the subject matter would be, we both agreed that it would be really great to create the soundtrack to a nonexistent movie where all of the elements within the film were contained in the album.

Speaker Lou had recorded a song on an earlier record called Berlin, can I use that as an example of something that he had done that I considered to be particularly filmic because the picture in Berlin was so starting in?

Speaker Where you want me, can I pick it up in the middle? Can I pick it up it because.

Speaker Yeah.

Speaker Because the picture in Berlin was so vivid and and so articulate to it, it used a technique that the Greek dramatists called select Ticky. I don’t want to get too intellectual here, but selecta key is when you use a small piece of something to describe the hole.

Speaker A perfect example of Sinak, Ticky, is the Odessa steps sequence in the HMS Potemkin, where the the baby carriage falls down the steps and end in that one scene. You see what happened to all of Russia during the revolution? Well, in this song, Berlin, you know, candlelight and do binay on ice. You know, you get a feeling in that one image of the entire of the essence of the entire relationship between these two people.

Speaker I said, why don’t we do something like this? And then I thought, help.

Speaker Why do we do this? You know? Never write something like this if we’re going to create something.

Speaker There’s no law against going back and redoing something you’ve done before. And I said in inside of that song is the kernel of a great tale. And maybe we can come up with a film called Berlin based on the alienation of two people, based on the separation of two two sides of a personality, two sides of a culture, two sides of the world, two sides of a relationship. Lucette I got it. I got it. Don’t describe it anymore. He went away.

Speaker I’d say it was about a month later that he came back and we were in my modest little house on Summerhill Avenue in Toronto sitting on the floor, and he had his acoustic guitar and a bunch of notes and he said, how’s this? And he started to play this work for me. And I’m not getting tears in my eyes talking to you about it, because it was it was such a moving.

Speaker Brilliantly articulated story, everything about these people was contained in these simple little pieces of poetry and music. And Lou had managed to capture the essence not just of a of a particular kind of relationship, but of a whole time in history and a whole portion of our culture.

Speaker That was great. Great, great.

Speaker Can you talk about any particular songs that we were playing, some of that album?

Speaker I know you recently played The Kids That Kills you recently played it now. Yeah.

Speaker For the longest time, Lou couldn’t play any of the songs off of Berlin. In fact, he couldn’t play the album at all. He told me it made him want to hide in the closet. It’s a very emotional work and it really pulled from deep inside of him, some of his most. Fundamental fears and hurts and sin and feelings of alienation. I’m sure there was a parental thing going on inside there. I’m sure that the woman he described had something to do with his own mother, although we never talked about that. So it was a very painful experience. But if I had to isolate a song on Berlin that I think typified everything, that would be the kids were going to jump back a little bit.

Speaker I describe Lou Reed when you first met him, what he looked like in those days, that kind of. What was the person in nineteen seventy two, I guess was.

Speaker Heagle.

Speaker The first time I met Lou Reed, he was the quintessential Lou Reed. He was all in black. He had lots of leather. He had shortish hair, which was interesting for the time he had black fingernails, which was also an interesting touch. Although I was used to that, having worked with Alice Cooper. So that wasn’t shocking to visit anyway. He smoked. He Lou Reed looked like exactly what you would imagine Lou Reed to be. So I was not at all surprised. It wasn’t like going backstage and, you know, finding me out of costume and being, you know, a short little Jewish guy with with pants named. And, you know, carrying a book of both, Larry, or something like that. He was Lou Reed of definite rock and roll animal.

Speaker How did you dress?

Speaker I was a hippie. I had hair almost of the small of my back. I don’t know why he didn’t throw me the hell out of his dressing room.

Speaker And I can’t tell you whether I hit my granny takes a trip phase or not by then.

Speaker But I was definitely I had good intentions. I did try to be try to be Australia’s. I could be.

Speaker They want to try and stay in rhythm here, but let’s stop for a second.

Speaker I don’t mind. I can go back and pick it up. Yeah.

Speaker Uh.

Speaker We still we’re not ruling. Yeah, I’m still. You minute. Well, we can. Any other songs in the Berlin album or experience? Where was it? It was in London.

Speaker Yes. I mean, talk about that. Most of Berlin was cut in London. It was without a doubt, the most extraordinary experience I’ve ever had, the making of an album, even including the wall, which was, you know, no small feat. Let me start that again. OK, most of our. Right. Most of Berlin was done in London, and those sessions had to be among the most extraordinary that I’ve ever had in my life. I had at one time on the floor Stevie Winwood, Jack Bruce, Aynsley Dunbar, Steve Hunter, the magnificent guitar player who was parents medically responsible for rock and roll on the on the Mitch Ryder album. I had Lou himself. David Bowie would drop in. Mick Ronson, God rest. His soul would drop in Gene Martinec from Canada, who was a very strange but wonderfully talented man and little me. I got to play with those guys. I’d be sitting on piano and Steve, he’d be on organ. And every once in a while I’d have to look up and remember that this was actually real. It was an emotionally hyper charged atmosphere. Lou is going through a particularly difficult period in his life. He was ambivalent about a number of things.

Speaker Stuff was coming. Karen.

Speaker How it is managed we go back to the atmosphere. Lou, it was very.

Speaker It was an emotionally hyper charged atmosphere. Lou is going through some major.

Speaker What did I say before? Because that was it was a good word, you ambivalent? He was ambivalent. So this was the, you know, shut it off. Shut it off.

Speaker I know it was an emotionally hyper charged atmosphere in that studio at that time. Lou was going through an awful lot of change in his life, in relationships and his image of himself and artistically. I think he was going through a period of self-doubt as well. And I can honestly say that all of us were messing around with things we shouldn’t have been messing around with. Those sessions, though, pulled the very best and the very worst out of all of us.

Speaker You talk about how these songs were all written already. They were already. And the music was pretty much raised. Was it really just getting people to rehearse this music and try it?

Speaker Well, you know, and this is this is my part of Berlin. Lou came to me with a complete work lyrically and melodically, but it had no no rhythmical framework, no support structure musically. And what I did was I took the songs that he’d written a really just a cassette of of an acoustic guitar and and some lyrics and in some cases just paper lyrics and Alala. And I went into the studio in Toronto and I sat there for a month, my month. He’d had his month. Now was my month. And I imagined the entire record. And it was the first time was a real breakthrough for me, because it was the first time that I was ever able to hear something before making it. So in a studio in London, the thing about Berlin that may be different from other Lew albums and I’m not sure, was that we really knew what the record was supposed to be. And and the trick was then to communicate that to our rhythm section, who were to play freely within a structured sort of. So the trick was to communicate that to our rhythm section, who were to play freely within a structure and the structure had already been set. We’d already written the charts with the strings and the brass and all that other stuff. So things had to be quite precise. We assembled a rhythm section of the best musicians you could possibly want to work with. And we gave them a roadmap and the latitude to veer left or right, you know, 15 degrees. But they had to go down the road in the time we prescribe and arrive at the end at a set, at a set place and in a set time.

Speaker I didn’t say that very well.

Speaker Like to great. That was great. What I’d like you to do is what you know. You’re so used to what it’s like in those kind of places. But try and describe for us. I mean, these things started.

Speaker Okay. Here’s more now. Okay. What was it like? What was it like? Okay.

Speaker Rollback. It’s 1973. We’re in London. London in 1973 is hotter than a pistol. Guys like David Bowie are reigning supreme there. There are performance artists and musicians on virtually every street corner, every store front is selling. Pop culture, pop, pop, pop stuff. All the young dudes. Everybody’s a young dude. And we’re in the heart of it in a studio called Morgan, which no longer exists. The studio is in an area of town which is sort of working class. You walk in the door directly across a sort of dingy hallway is is a recording studio and a control room tucked away in the corner. It’s the same place where later on I did Alice Cooper. Billion Dollar Babies. So I did a lot of stuff in that room. I really love that room, Lou. And I would be in the control room. The band would be out on the floor. Sometimes I would play with the band. Sometimes Lou would be set up with a microphone where he actually sat in the middle of the musicians and sang along with them as they were doing stuff. And actually, some of the performance nuance that you now hear on the finished product of Berlin grew out of those guyed tracks that Lou provided us with.

Speaker Here’s a normal day. We get up late. We’re musicians were young. We get up late. We get up late. We come to the studio. Twelve o’clock. Aynsley Dunbar and I start first. And he’s the drummer. We sit down and I play for him on the piano and show him on paper. The orchestral chart will go along with this song. He writes the drum chart. The two of us rehearse. I play the piano, which represents everyone else. And he plays the drums. Two hours later, he’s ready. The rest of the band shows up. They learn the song. They have a chart. They learn where. They have places to play out and where they have places to. That they have to restrain themselves. We begin to run it. No clue yet as we run it.

Speaker We’re getting more and more comfortable with it. People are having ideas. About four o’clock. Lou shows up. Usually looking a little bit, the worse for wear is four o’clock is kind of the equivalent. Everybody else is 5:00 in the morning.

Speaker Looks like a guy who has been functioning, got four or five hours sleep, and usually he was.

Speaker So he comes in. He’s got his coffee. He’s got his dark glasses on. Doesn’t matter what time of the day it is. And and I play him where we are. He has some input and some ideas. Sometimes he’s so carried by the the energy in the room and by the power of the music that he goes directly to the microphone, puts on his headphones and begins to sing with us. No words exchanged. Those were amazing moments. We would take a dinner break in Morgan’s studios. They had a hot bar, meaning an actual liquor serving bar in the studio. We can’t do that in America, but you can do that in London. And they would serve your hot food of questionable quality. And we eat not too heavily. Have a couple of drinks, not too much, and go back and try and finish taking the track by anywhere around midnight or one o’clock in the morning, after which point we would add some small embellishments, overdubs to it. And typically I would edit pieces of tape together to create a master take and that would sometimes take me five or six in the morning. Lou would be there with me all the way to the end. Sometimes his retinue would join us. His entourage and their entourage variously included rock stars, painters, poets and philosophers from the sort of underworld of of of London culture. Sometimes the control room was so full, it was impossible to work. Occasionally I’d have to suffer through having his last producer, David Bowie, sitting right next to me.

Speaker I’m trying to look like a genius. And I’m a big fan of David’s. I was just a little bit intimidated.

Speaker And sometimes it was dead quiet and it was just me and low. And it was an emotional and difficult moment. Every time we we reached a point where something was just about to be put to bed.

Speaker More. That’s fabulous. Translated Just back, hurt your ears.

Speaker We have speed. So listen to this.

Speaker And I am the waterboy. The real game’s not over here, but my heart is overflowing anyway. I’m just a tired man. No words to say.

Speaker But since she lost her daughter, it’s her eyes that fill with water and me. I am much happier this way. That’s incredible.

Speaker I don’t care if there is music underneath that. That’s absolutely beautiful poetry.

Speaker I cut that off. That’s incredible. I have to agree with you.

Speaker And how when when you have these lyrics, Lou, I’ve already done the music.

Speaker Well, he he wrote folk songs. I mean, they were like folk songs. And as I say, we were sitting on the living room floor of my house and he was playing me acoustic guitar renditions of these songs. They did mature melodically and also harmonically. When I started to arrange them, but they didn’t change that much. And for the most part, we had at least first verse and chorus. So we had a context that was established. And you could see your storyline was kind of like having a treatment for each song. And I know exactly where he was going. And then we stayed in close touch. And in my month, I constructed the music that supported the story.

Speaker So while we’re still at this talk about this album, the reaction to this album about Berlin, I know it was supposed to be the Sgt. Pepper of the you can use that quote or somebody sad or something in the 70s when with Sergeant Pepper.

Speaker Sixty, sixty, sixty seven. OK.

Speaker I also am interested in the fact that at the time it was it got very good reviews but didn’t sell well. It was considered most depressing album ever.

Speaker And he’s right. Talk about. Look at.

Speaker I will.

Speaker Ultimately, ultimately, this album ended up having a huge effect on everybody that had anything to do with it. Those of us who made it considered it to be one of the high or low points of our lives and careers. The people who released it were either most disappointed or most overjoyed at working with the album. And the press and the public found it to be the most something. Nobody was ambivalent about Berlin and nobody accepted it as being just another record. Rolling Stone, I think, called it the Sgt. Pepper of the 70s, which was daunting when I read that and a great honor. But in spite of that, the public sort of voted with their feet and they didn’t buy the record.

Speaker Use the other quote, maybe.

Speaker You know what? Let me let me condense that for you. That’s an awful lot of crap.

Speaker Sorry, sorry, sorry, Lou.

Speaker OK, let me try it again and see if I can frame this. Your reaction? Yeah.

Speaker OK. Berlin seems to have been a kind of signal album for everybody who had anything to do with it, the people who made it, the people who sold it. People who reviewed it. And the people who bought it. Or rather didn’t buy it. For those of us who made it. It was either high point or low point of our career. The press received it as mostly being some great work of art. Rolling Stone, I think, called it the Sgt. Pepper of the 70s. Lester Bangs, however, did say it was the most depressing album ever made and the public just didn’t get it. I don’t hold the record company entirely responsible. You know, it’s it’s.

Speaker Let me start that again.

Speaker It’s almost required that you hold the record company entirely responsible for this kind of failure in the marketplace. But it wasn’t their fault. It was our fault. We had always we had always sorry. We had always envisioned the album to be part of a package which would include a live show. We had even a design for a for a stage, a scaffolded stage with places for actors and actresses, places for dancers or places for Lou to move from one scene to another. It was grandiosity, really. We never could have carried it off, given the toll that the making of the album took out of all of us. We were left with not enough energy to mount the stage show. We never supported it the way we were. We should have.

Speaker And consequently, the poor thing died.

Speaker Can you say there was also a time insurance concept? I can tell you more. Not like I can tell you more than that.

Speaker What else was playing at the same time to compare like what other albums were out there?

Speaker I have no idea. I’ve not I’ve only ever lived in my own little world.

Speaker OK. Tell us about it a of time because it was.

Speaker And what I can tell you, I can give you like a real World Today example. OK.

Speaker There’s an English man excuse me, there’s an English band today called Catherine Wheel and Rob Dickinson, who is the lead singer and writer of the band. And I were in my house talking about their next album. And we were talking about what it needed to sound like and how it could be expressive and representative of this time. And we started digging out examples of things that may inspire or things that one might actually want to emulate. And the thing that was most pertinent to this time that we dragged out at his request, not mine, was Berlin.

Speaker You’re running out to take it. OK, so let’s talk about Transformer.

Speaker Coming before Verlyn and say what you want about the idea that.

Speaker Non commerciality. Right. OK. OK.

Speaker Think about this. The album before Berlin was Transformer, which had lose perhaps biggest hit single ever. It was a pop album. No question. It may not have started out to be that, but it became a popular record and was a hit internationally. This guy could have ridden on that for five years. He could have made transformer to Transformers three walk on the wild side. You couldn’t walk on a not so wild side, but instead he elects to take one of the bravest steps that I’ve ever seen in pop music history anyway. And he goes out to make a seminal work that digs deeper inside the soul of the artist than any other work that had been released, certainly into the American music scene in 50 years.

Speaker Perfect. Are there any albums compared to build an emotionally emotional or other type, that type of album? Would you think there’s anything like the wall?

Speaker So go back to that self-congratulatory, too, so you can go back to the part where the musician today was saying you were going to explain why Berlin was so much. Oh, yeah, I was rather. OK.

Speaker Karen, come in, come in. It’s very good. Come in.

Speaker Hurry up. Where’s David? Can he come and sit on my knee? He will. Yes, he will. We will talk like this.

Speaker Scuse me.

Speaker What was the question you wanted to talk about Rob Dickinson and what it was about that album? OK. I don’t think you need it, but I’ll give it to you.

Speaker Can you just pull your. What’s happened? Pulled up. Thanks.

Speaker You got look out for me. Oh, don’t let me be geeky, good and more important. Yeah. OK. Lou is a work in progress. He’s an artist. Yeah.

Speaker Talk about that. You’re in your words. Yeah.

Speaker As far as I’m concerned, Lou Reed is a work in progress. This is a guy who’s never going to stay in one place. He will constantly be evolving because he’s a true artist. And that’s the definition of art. Art is an evolutionary process that begins at birth and ends only at death. I know where to go from there. That’s pretty good. I consider myself to be really fortunate to have been able to work with a tiny handful of people who could actually be called artists. Maybe two, maybe three.

Speaker And one of those and the one who stands out almost stop.

Speaker I hate it when I run into walls. Don’t hate that. You know, you’re going you’re rocking along.

Speaker You turn the corner and bam right there.

Speaker I consider myself to be really fortunate to have been able to work with two or three people who could be called artists. I don’t even like that word and I ban it from use in the control room. By the way, I’m one of those has to be Lou Reed. He is the American spirit. Or let me put it another way. He’s the spirit of the American city. He’s the he’s the spirit of urban America from the middle 60s through to today. And he carries that spirit with him. And that voice, he speaks for us. He speaks to us. He holds a mirror up to us. He is us.

Speaker Talk about you, can any other albums of live or any songs that touched you? Well, sort of. Sorry to him, please. Just sort of jam. Yes. Yeah. Talk about magic loss.

Speaker I just you know, I’m very bad at quoting you, I come back. Did they put sort of Damocles in here? I think it’s before it was pretty bad. You know, they they don’t even have it here.

Speaker It’s before it was written. Produced with it. Yeah. Right. Magic and all this anyway.

Speaker Losers always had a particular talent for touching me where I live. You know, and when when magic and loss came out and I bought a copy, I never asked for it for free. I want to feel a sense of ownership, you know. So I went I bought my copy and I took it home and I put it on it. Sword of Damocles came on and I the tears came up in my eyes and I felt that he’d done it again. He touched that nerve in the middle of my humanity.

Speaker Cut right there. That’s pretty great.

Speaker Other people that I know, you talk about, the other people that you put together with little like Nils Lofgren and how and kiss and say stop talked about that.

Speaker So we see an expanded.

Speaker Lou has this reputation of being a sort of recluse. You know, I call them curmudgeonly and yeah, he is and can be.

Speaker And let me start that again from a different side. To make it shorter, let me think it OK.

Speaker Forget one of the things that gives me the greatest joy is introducing talented people to each other. It’s something I’ve done all my career long. Whether it has anything to do with my projects or not. And in Lou’s case, I feel fortunate to have been able to not only introduce people to him like some of his band members that Dick Waggoner’s and Steve Hunters and, you know, the people that went out on the road with him and also made his album, but also introducing him to some other people. It’s not something that he does naturally or easily. But I would call Lou and say, hey, Lou, I’ve got this really wacky project like KISS, for example. And it’s a great story. It’s very filmic. Would you help me with lyrics? And. And each time I asked him, he said yes. One of the best of those projects was the Nose Lofgren album, which which was only marginally known for its time. It was it was Neil’s last out money and am and I think it got lost. But Lou wrote some phenomenal lyrics for that record on this song called I Found Her, which is not in his lyric book. Surprisingly, he comes up with with stuff like I made her and like, God, I cannot make her just as well because I found her. That’s right. That is so powerful.

Speaker Continue that thought about the meals that worked with him on the bills. Right.

Speaker And he thought about that or why I don’t know anything about those sessions. I just know they did it. I think that the relationship that I initiated between the two of them went on to another project and Neil’s work with Lou on the Bells. And Neil still refers to those those days and those sessions. I believe they had a telephone relationship. They were called writers by coaxial cable. I think that’s great. No, not even coaxial cable. Let me start that again. They were co writers by copper wire. That’s even better.

Speaker You put together the band, correct, royal tour, is that right?

Speaker That was my house band. Yeah. Maybe talk about that.

Speaker Did he take them all out? He had yeah, Dick, he had stevia. Panting Glan had for cash. I just want to make sure you have the names.

Speaker Lock and load animal.

Speaker Says here as Rinn, the genius behind the control board.

Speaker And there was a Sergeant Pepper’s quote is not attributed, which is may want to do that again and just leave it at. No, actually, I didn’t given an attribution. You think was a Rolling Stone or something. Who cares?

Speaker Band is nowhere near the motorized riptide. Oh, the rock and roll.

Speaker All right.

Speaker I think it’s just safe to say they were my bet, my backup guys, Hunter Wagner Pantie. I think it was.

Speaker I hate it when this happens. But I could call Steve Hunter right now and find out who got a phone number.

Speaker Four six four three three oh six. I think. Try it. Two, one, three four six four three three oh six.

Speaker How do you like that?

Speaker So the big bands at the time were. Todd Rundgren, Guiles Band. Alice Cooper, obviously.

Speaker And it was an interesting now. It was an interesting time. Baroque baroque music, was it?

Speaker It was an explosive, an experiment, a time filled with experiment and.

Speaker A time of uncertainty, sexual ambivalence, social ambivalence. A lot of upheaval. A different kind of rebellion. You know, rebellion through dropping out rebellion through drug taking, rebellion through political demonstration. Rebellion through doing everything that you thought might upset your parents. And a lot of people were simply expressing their rebellion through their music, like Alice. And we made no bones about that. When we did that, Lou, was more profound. As a matter of fact, I just happened to have a quote there of me and one of his on the C.D. anthology that he had between thought and expression. And I forgot I said this, but I agree with it 100 percent. I said, Lou Reed is the most underrated contemporary poet in America. He has developed a new form of expression. It’s got a natural rhythm to it. It’s got pulse. It has a style about it. He has a kind of facility with language in a form of lyrical creativity that nobody else has. And that’s what makes it higher. I agree with me.

Bob Ezrin
Interview Date:
1997-06-26
Runtime:
0:37:52
Keywords:
American Archive of Public Broadcasting GUID:
cpb-aacip-504-n29p26qs0g, cpb-aacip-504-6m3319sn47
MLA CITATIONS:
"Bob Ezrin , Lou Reed: Rock And Roll Heart" American Masters Digital Archive (WNET). June 26, 1997 , https://www.pbs.org/wnet/americanmasters/archive/interview/bob-ezrin/
APA CITATIONS:
(1 , 1). Bob Ezrin , Lou Reed: Rock And Roll Heart [Video]. American Masters Digital Archive (WNET). https://www.pbs.org/wnet/americanmasters/archive/interview/bob-ezrin/
CHICAGO CITATIONS:
"Bob Ezrin , Lou Reed: Rock And Roll Heart" American Masters Digital Archive (WNET). June 26, 1997 . Accessed December 4, 2022 https://www.pbs.org/wnet/americanmasters/archive/interview/bob-ezrin/

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