Bob Ezrin is the Canadian producer who taught rock to think in widescreen, properly. I heard his touch in the Alice Cooper band years (1971-1974) on "Love It to Death", "Killer", "School's Out" and "Billion Dollar Babies", then again when he steered Alice's solo debut "Welcome to My Nightmare" (1975). In 1973 he put Lou Reed's bleak masterpiece "Berlin" on a velvet operating table. He turned Kiss into arena-grade steel on "Destroyer" (1976), came back for the darker detour "Music from The Elder" (1981) and later "Revenge" (1992). In 1977 he framed Peter Gabriel's first solo album, and in 1979-1980 he helped Pink Floyd stack the bricks on "The Wall".