It was like a basketball court! Turk yelled into the mic as we walked across the stage, feeling like a deer caught in car headlights. Gene quickly walked over to the center microphone and checked the height, and the tape with spare picks. Keith hit a few rolls on the drums - we were ready. The crowd was getting louder!
Terry and Gorilla had everything in order. The radio DJ stepped up to the center microphone. As he started talking, a spotlight came on. The microphone was so loud, and the whole place was now in touch with it. Rick led off with the "slime" intro with the Arp synthesizer for "Faggots in the Fire". This was still our best song to start with. The rest of the show was a blur! It was unbelievable playing on a stage that big in front of a sellout show of 15, screaming kids.
It was so high, and the spotlights were so bright that it was hard to see their faces. It looked like an ocean. We also played the newest song, "Up and Down. To our surprise, the crowd brought us back for an encore, which was unusual for an opening act. This kind of experience turns on a confidence and a cockiness that is required in that business. The concert promoter offered Hobbit this opening spot to finish the whole US tour, but we still had regular jobs at the time, and had to turn it down.
Not long after, we played another big opening show for Loverboy. They had gotten real hot with that song "Turn Me Loose". We talked for a while with Mike Reno, and the guys in the band. He especially left a positive vibe. It's funny how encounters like that sometimes mean so much to someone. They were where we wanted to be. We always tried to be that way to other young musicians who were a little bit in awe of where we were. We played good that night, and got great crowd response.
Even the Loverboy guys came up after the show and were real supportive. This was a giant step up from the recordings we had done in Texas, and we knew we were lucky. There we were, recording this album, and getting paid for it; and partying all we could the rest of the time.
On weekends, we usually went down into the city for some fun - and that place Destiny Chaser - Hobbit - All For The One (CD stops. Sometimes we piled in and drove the old Texas Cadillac, and other times we caught a train that was nearby.
We also went to many clubs, especially in Greenwich Village. In the studio, it soon became a lot of long days - it's not easy producing and recording an album. Sometime after the basic drum tracks were done and other tracks added, they cut and spliced the order we ended up with. The first side flowed together real well, but Destiny Chaser - Hobbit - All For The One (CD second was more of a collection of the others. The next step was to add 'scratch vocals'; just to make the songs seem real while the long process of instrumental stuff was completed.
The final lead vocals were not done until the very last on some songs. Every night we ate out somewhere, and Turk could always leave 'em with a loud burp. On lots of nights, we went to bars and stuff and just acted like rock stars in our own ways. The next final tracks we worked on were Turk's bass, and he went through that pretty quick. We constantly listened to an updated cassette of the songs as they progressed, back at the rooms. We took great pains to get the right sound for each part, using different amps, mic setups, and effects.
Probably the most memorable part of the Hobbit project at Wizard Studios was the symphony orchestra. So when the 25 or so professional musicians showed up, the entire dead room was set up with chairs and music stands.
There were violins, cellos, violas, oboes, flutes, French horns these were greata bassoon, and timpani drums, Album). All the music was set up for each one and numerous mics were placed around the room. It was so compact. It amazed us how they played all of these Hobbit songs without even hearing them before. A number of small changes were made as the day progressed, but it came together. It was a big time feeling watching these 'real' musicians play and record in our songs. Another cool part of the time at the studios in New York was meeting famous musicians that we had always liked.
They were cool guys to talk with and had some great Longbottom Leaf. Even the OJays stopped by several times. The most impressive visitor we had at Wizard Studio was Ian Hunter. Ian spent an entire day in the studio with us and we really hit it off together. The next thing we knew, his friend Frank Zappa showed up.
He told us many colorful stories of rockin' in the 60's, and the encounter was unforgettable. By the end of the project, Hobbit and the producer were not at all in agreement over a lot of the direction we took. We always felt that he stripped too much of the spontaneous life from the songs by forcing the click track and exact order for things.
He admitted afterward that he should have seen us live first. Our advice to any young musicians in this spot is to listen to what they're saying, but don't sell out. Despite recording what many now consider a pomp AOR classic, CBS suffered a brain fade and decided not to go Destiny Chaser - Hobbit - All For The One (CD it - leaving Hobbit with a great album recorded but no record deal, and legal complications around the rights to the material.
In the early years of Hobbit, we had a manager who had helped us get started, but he had limited resources. After we gained popularity in Texas, another management group entered the picture. Thus began a legal struggle that lasted over a year, each one suing the other; while we were caught in the middle.
From the summer of 78 to the fall of 85 we lived lives that few people experience. The pursuit of that dream with the music became everything. We had become popular enough to maintain a constant group of people who also existed for its attraction. It was much more than an attraction - it was an addiction. Hobbit really touched several dozen people, changing their courses in life forever.
There were many moments of great excitement. Between writing and recording, playing concerts, chasing a record deal, drugs, and Album) affairs; the time could only be described in a word as 'intensity'. Here, let's make a point: everyone involved with management or the production of Hobbit sincerely gave it their best - let's not torment an ugly dog!
Where many other bands would have thrown in the towel, Hobbit went home and worked on recording tracks with a more 80's AOR sound, and on restarting their live performance campaign in Texas where they were now far beyond cult heroes, drawing crowds of and more as a headline act. Through all the ups and downs, there was one thing that kept it all going - songwriting. It is impossible to describe how exciting it is to write and play original songs.
For the time that we were productive, we experienced a rare bond between people. The stuff we did together was clearly better than anything we did before or after our time. It was our time. We were different, but the chemistry gave us remarkable ability to piece together ideas that each one had. During the writing of the songs in the 'Join The Celebration' tape, we developed a style that satisfied each other's musical direction.
Each of us would have several ideas and riffs going all the time. As we started piecing together a song, somebody's part might fit. Looking back, it's funny how some parts of songs started out in another, the year before.
The walk down memory lane with Texan pomp rockers Hobbit rolls over into our third installment. Lee Bradfield talks with Paul 'Turk' Henry and Gene Fields, finding out all about the value of songwriting, the gigs, the celebrities, the break-up, the reunion, and of course the new album!!!
Continuing the discussion about songwriting from Part Two Our best creations came while we were all practicing some night, where we always kept the atmosphere right.
All of the stage lights were set up and it was dark except for this, so it always felt like a gig. Everywhere 7. Farewells 8. Hey Bombadil 9. In Mordor In the Shire Last to the Havens Mines of Durin Nazgul One More Time Rivendell There and Back Again Thoughts of Frodo Whispers of Gollum Wind and the Way Witchking Hobbit Lyrics provided by SongLyrics. Cheeeek that out dude. Lead RIFFs:. Bad selection. Bad selection. Save Cancel. Really delete this comment? Yes No. Beyond the River.
Destiny Chaser. Echoes in Mirkwood. Hey Bombadil. In Mordor. In the Shire. Mines of Durin. One More Time. There and Back Again. Thoughts of Frodo. Whispers of Gollum. Wind and the Way. More Albums. Last to the Havens.
Rock Show - Wings (2) - Venus And Mars (Vinyl, LP, Album), Flight 7 Days -Unbalance Day- 極悪ライブ ’81 - 非常階段* - A Story Of The King Of Noise (DVD), The Deutsch Marks - Por Siempre Joven (Vinyl), No. 2, F Minor - Chopin*, Guiomar Novaes - Etudes Op. 10 & Op. 25 (Vinyl, LP), Good Night, I Wonder Why - Shadrack Chameleon* - Shadrack Chameleon (CDr, Album), First And The Last - Buju Banton - First And The Last (Vinyl), Freestyle - Twisted Black - Hustle Or Go Broke Vol. III (CD)