I remember the first time I recorded with Bob Hoag. I was 23 and had been playing in bands for quite some time — long enough to know the score, anyway. Back then, Bob's studio was in a dingy industrial park next to what was probably a chop shop and the creepiest Circle K in the East Valley. The only other company in the studio besides Bob were the three stray cats he had taken in. They all had funny names like "The Fuzz Jr." and the "Shy One," and Bob always made sure to leave food for them before he left. The first time I saw all this, I remember thinking, "There is no way great records are made here."
Bob proved me wrong.
My band The Loveblisters spent two weeks at Mesa's Flying Blanket recording what would be our first EP. We didn't have a drummer back then, so Bob filled in. It didn't take long for us to realize that we weren't the great band that we thought we were.
At least not yet.
Anytime one of us missed a note or slipped off the beat — even the slightest — Bob would start us over, and if one of us wasn't cutting it while recording a track, Bob would put them on mute and turn to those of us in the room and say, "If he doesn't get it in the next three takes, I'm going to go in there and do it. I mean, you're paying me by the hour."
Bob wasn't just recording us, and what he was doing went well beyond "producing" us. He was whipping us into shape. We took Bob's mentorship, along with the masters, away from that session and found ourselves tighter and more polished than we ever thought possible. And the EP sounded stellar. So good, in fact, that New Times called it the best local pop record of the year.
Bob has done what he did with my band countless times with countless other bands. His résumé reads like a who's who of heavies from the Phoenix music scene over the past 10 years. From The Format and Dear and the Headlights to local favorites like What Laura and Black Carl, Bob has consistently taken scrappy, young, ambitious bands and polished them up while making huge-sounding records. In fact, many of the artists Bob has recorded have transcended local popularity and become prominent regional and national acts, bringing long overdue attention to the creative community that calls Phoenix home. — Lou Kummerer
New Times contributor and longtime Valley musician Lou Kummerer knows a thing or two about talent. He interviewed Bob Hoag on August 16 at Flying Blanket studio in Mesa.
I live in Phoenix because I absolutely detest the rain.
When I was a kid, I wanted to make movies. That was the only thing I wanted to do, and it's actually crazy that my whole life has ended up revolving around music.
While I'm driving, I tend to like to get to the speed limit as fast as humanly possible, and I like to try to take advantage of any open space on the road.
My favorite word is "piffy."
My least favorite word is "fetid."
My favorite sound is my wife's laugh. My kids' laughter is creeping up on that, but for now, it's still my wife.
The sound that I hate is motorcycles.
My favorite swear word is wookiefucker. (But I would like to be able to show this to my parents, so maybe skip that.)
My hero is my grandpa — my dad's dad. He's had a really awesome life and it seems like he's done everything really well. He has a pretty big family and he's been married to the same woman his whole life. He hung out with Joe DiMaggio in bars in Atlantic City and bought Frank Sinatra a drink once at the 500 Club in Atlantic City — so, of course he's my hero because of that. He's a man of integrity and honesty, but in a really simple and humble way. He's just everything I could ever want to be as a person. He's a solid dude.
Right before I go to bed, I almost always eat a bowl of ice cream and try to watch a half-hour to an hour of television.