did the band boston ever tour

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Boston is an American rock band that achieved its most notable successes during the 1970s and 1980s. Centered on guitarist, keyboardist, songwriter, and producer Tom Scholz, the band is a staple of classic rock radio playlists.

How Boston Flew So High And Fell So Far

How the biggest band of the 70s, created by reclusive genius Tom Scholz, were almost pulled apart by turmoil and tragedy

Released in August 1976, the debut Boston album sent shockwaves through the music industry. It was a true Cinderella story – a band appearing out of nowhere, turning the world upside down and injecting fresh hope into a scene that was fast dying on its feet.

To achieve this ‘overnight’ success, Boston leader Tom Scholz braved rejection, ridicule, near poverty and endless humiliation. He spent roughly six years ignoring his detractors, hidden in a basement tweaking songs, overdubbing and refining parts until the tapes literally began to disintegrate. Some laughed. Some were worried for his sanity. Most felt that he needed to get out a bit more rather than hang on to a crazy dream that was slowly slipping away. Then, one day, things changed.

This is the story of an unassuming garage musician from Toledo who launched Boston, the biggest new rock band of the 1970s. He was the creator of a hit machine, turning them into an American phenomenon, dominating FM radio by crafting one of the biggest-selling debut albums of all time. Sales to date are in excess of 17 million and still going strong. However, by 1980 Boston had crash-landed, with ex-bandmates embarking on a bitter war of words that still continues 30 years later.

Much has been written about Boston over the years. Scholz has spoken publicly about his tiffs and tribulations, the failure to deliver albums on time and the fact that he appears to be one of the most litigious musicians on the planet. It’s all grist for the mill, of course, but what we all should know is that he’s still toiling away in his home studio in Massachusetts, perfecting songs that he may have started 20 years ago, or even yesterday, but always mindful that they could be better, that the production needs more tweaking or that the arrangements are not truly perfect. It was the same way back in 1970 when, with unfailing determination and singularity of vision, he first set about his original quest for a record deal.

Born 1947 in Toledo, Ohio, Donald Thomas Scholz worked hard to get an education, one that would take him to the prestigious Massachusetts Institute Of Technology (MIT), a teaching and research facility educating America’s best and brightest in science and engineering.

He graduated with flying colours, gaining a bachelor’s and then a master’s degree before taking up a prime position with the Polaroid Corporation as a product design engineer. In many ways it was a dream job for anyone who loved tinkering with electronics, a place where you could have an idea and spend your time figuring out how to make it work. But that wasn’t all that he was interested in. As a young man he’d learnt to play the piano and developed a healthy interest in pop and rock music. Writing songs and playing in a handful of local Boston bands, his thoughts turned to a professional career in music… a dream that would dominate his life for the next six years.

It wasn’t long before Tom sensed a schism between playing live and recording songs. The traditional method of gaining recognition and, in turn, a record contract, was to perform live, playing seven nights a week anywhere and everywhere. Sporting names such as Middle Earth, Freehold and Mother’s Milk, his early bands featured musicians who would later play an important role in the launch of Boston – especially Mother’s Milk, with a line-up that consisted, at various points, of Scholz (playing keyboards), Brad Delp, Barry Goudreau and drummer Jim Masdea. True to tradition, Tom’s early bands initially played the Boston circuit. But, quickly sensing that it was all going nowhere fast, he focused on making a string of demos that would do justice to the sounds he was hearing in his head. Recording in a number of local studios, his efforts to impress initially fell on deaf ears. Spending an inordinate amount of his income on these sessions, it wasn’t long before he had the idea to convert basement space in his Watertown home into a studio.

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With his technical know-how and inventor’s panache, the 12-track studio (christened Foxglove) provided him with a perfect place to create, critique and pull apart songs. It was a never-ending quest for perfection all right, one that produced little success as labels continued to pass in droves.

Scholz himself explained: “I had been working for five years at that point and I took all the money and spent it on recording equipment that was good enough to make the demos which landed the Epic Records deal. I had been bumming around playing in local bands that didn’t have a future. I even started a couple of bands myself, but I knew that it was going nowhere unless I started doing it myself. I quit playing with bands at that point, set up in my basement and went to work. I played all of the instruments and by doing that I could finally get everything that I was imagining and hearing. I was never able to do that when I tried to work with other musicians. That was the turning point. It was the old adage: ‘If you want it done right then do it yourself.’ I knew that if it failed then I would have no one to blame but myself.”

Working side-by-side with Tom in the studio was vocalist Bradley Delp, who was in many ways a secret weapon. By day he was a factory worker, making heating coils for coffee machines, but at night he was an amateur vocalist who had been in a number of bands before teaming up with Tom. The other component at this stage was drummer Jim Masdea. Between the three of them, they honed and polished several tracks, including San Francisco Day (later to be renamed Hitch A Ride ), It Isn’t Easy (re-titled Something About You ), Foreplay (originally composed in 1969), Peace Of Mind , Rock ’N’ Roll Band , Don’t Be Afraid (eventually included on the 1978 Don’t Look Back album) and the final track to be demoed, Ninety Days (later called More Than A Feeling ), featuring hand claps from Scholz’s first wife, Cindy.

Scholz on Delp: “I knew Brad could do all the singing and that he would do an awesome job. He did even better than I imagined. He came in after I had all of the instrumental tracks – oddly enough I heard years later that Brad didn’t realise that he was just singing along to a bunch of overdubbed tracks. He thought there had been a band. He wasn’t there for the recording of the instruments – it was just me and the tape deck.”

Once again, the demos were summarily dismissed by virtually every label. But out of the blue, in 1975, Scholz was contacted by Charlie McKenzie, then working as a rep for ABC Records, who had accidentally heard the tape in a friend’s office at RCA Records, and Paul Ahern, a former Atlantic Records promotion executive. The duo (operating under the handle of Pure Management) convinced Scholz they could get him a deal and dutifully flushed out Epic Records, a CBS label, as a likely home, a place where they had some influence. Epic then listened to the demos with fresh ears and were keen to be involved – but they wanted to see the band play live before committing to a deal.

Epic staff producer Tom Werman recalls the moment the label heard the demos: “A&R chief Lennie Petze knocked on my office door, introduced me to manager Paul Ahern, and asked if I wouldn’t mind listening to something. We went into our boss Steve Popovich’s office next door and put the demo cassette on.

“After More Than A Feeling , which sounded quite like the final product, and halfway through the second song, I stopped the tape. I couldn’t believe that this music was actually available to us, and told Ahern that if Lennie and I could see the band reproduce this music live, we guarantee to sign them. I called Popovich immediately, and when he heard our enthusiasm, he agreed to this course of action.

“We were delighted at our good fortune, and were even more surprised when a smiling Ahern informed us that we were his last stop in New York, as every other label had passed on the band.”

For Scholz and Delp, showcasing for Epic was a major hurdle to jump as a band didn’t actually exist – in fact, they didn’t even have a name for the project – so they quickly rounded up some fellow musicians from the Boston scene who had been close to them over the years.

Renting a warehouse space (belonging to Aerosmith) the ‘band’ – consisting of Tom Scholz, Brad Delp, temporary drummer Dave Courier, bassist Francis Sheehan and second guitarist Barry Goudreau – showcased for Epic, passing with flying colours. They were duly signed, albeit a few months later, to a 10-album contract, deliverable in just six years (industry standard at the time), but with the project still unnamed and with only two signatories – Scholz and Delp.

The signing was great news following the six years of heartache that had preceded it, but it didn’t come without a price. First, Ahern and McKenzie insisted that they change drummer, so longtime associate Jim Masdea was cut loose, much to Scholz’s chagrin, although in mitigation Jim had been talking about leaving for some time (he was eventually brought back into the fold in the 80s) and Sib Hashian was hired to take his place.

Second, for some crazy reason (rumoured to be because of union regulations) Epic insisted that although the demos sounded great, the band could probably benefit from the assistance of a seasoned producer to help them complete the project. Scholz was understandably aggrieved at the suggestion but went ahead with the request in an effort to pacify the label, figuring that this was not the time to throw a spanner in the works.

Epic’s A&R team suggested John Boylan, an experienced studio hound but mostly in the country rock genre. Scholz went to meet him, laid his cards on the table and, much to his surprise, the duo struck up a cunning ruse. Boylan agreed that the demo tapes were pretty sensational (and you can hear those recordings on a bootleg album Honest, I Found It In The Trash Can ) and that re-cutting the tracks was, in-effect, pointless. It was agreed that Scholz was capable enough to finish the existing tracks alone in his home studio while Boylan would take the band out to LA and record a new track and apply vocal overdubs. It was a diversionary tactic that worked extremely well. In an even more altruistic move, he agreed to split the producer’s royalty with Scholz.

So, back at Foxglove, Scholz hunkered down to complete the demos. In fact, 90 per cent of the finished Boston album consists of the original, but enhanced, demos with only one track, Let Me Take You Home Tonight , recorded in LA featuring all five members of the newly inaugurated band. The LA sessions were validated and completed by a visit from Scholz before final mixing at Westlake Studios on Wilshire Boulevard.

Years later, Tom would reveal the true extent of the subterfuge…

“There were only two performers signed to make the debut album in the original Epic Records agreements, Brad and myself, because we wrote all the music for the album, recorded the six demo songs that landed the deal, produced them in my basement, and funded all of it from my Polaroid salary.

“The funny thing is, Epic thought it was being re-recorded by a real producer in a studio somewhere. The only difference is that Sib Hashian played the drum tracks on those versions. I did the same thing, I went back to work and I played all of the parts myself. When you hear More Than A Feeling , that is a couple of weeks of me relaying the guitar tracks down just the way I did on the demos. Brad did the same thing with the vocals. It was done entirely like the original but the record company didn’t know it.

“I think it is very hard for people to get their head around the idea that this band was actually some guys overdubbing in a basement. They like to think that a band plays together and hangs out and writes songs and gets a contract and goes into the studio and then they jam out in the studio and an album comes out of that. This was not like that at all. It was many, many years of long nights playing along with a tape deck.

“The only other person who helped make those demos was drummer Jim Masdea, who was the drummer for every demo I sent to record companies back in the 70s.”

With the record in the can, the band still lacked a name. It was producer Boylan and his engineer Warren Dewey who suggested Boston. Released in August 1976 (though the UK would have to wait until January 1977), Boston exploded out of the box, becoming the fastest-selling record of the decade, being further propelled by the single More Than A Feeling . Housed in an eye-catching sleeve, featuring giant guitar-shaped spaceships leaving behind a dying planet, the music captured the imagination of a public looking for a new, more cutting-edge sound.

The guitars sounded like nothing that had been heard before, dense and full of rich sustain. Delp’s vocals were a revelation, from heavenly whispers to piercing highs. The songs, honed to perfection by Scholz over the last seven years, were immaculately arranged and brilliantly executed. It was, in effect, a coup d’état of the most magnificent kind.

The more the record sold, the more Boston’s touring schedule increased. Starting with club gigs they rapidly graduated to better support slots, opening for Foghat, Black Sabbath, Robin Trower and Blue Öyster Cult. Once those couplings had been exhausted the band headlined sports halls, coliseums and then arenas. It was a dream come true – but, for Scholz, another black cloud was looming. Epic leaned on him for the next album but in his eyes it was too much too soon. Ever the perfectionist, he took umbrage at the demands but dutifully returned to his new, improved, 24-track home studio (now christened Hideaway) and set about crafting a follow-up, the somewhat listless Don’t Look Back album.

Scholz felt the pressure and delivered what, in effect, was half a record. Sure, the songs that eventually made the album were fully formed in the image of Boston but, weighing in at just 29 minutes long, it was clear that something wasn’t quite right.

“ Don’t Look Back was rushed,” Scholz revealed later, “even though it came out a year after the record company wanted it. I let it go early and that meant I wasn’t satisfied with some of it. Next time I’m not going to listen to anybody.”

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Released in August 1978 , a full two years after their debut, the album was, nonetheless, rapturously received, occupying the No.1 spot on the US album charts and going on to sell in excess of seven million copies, helping to consolidate Boston’s appeal as one of – if not the – greatest rock bands of the 1970s. Tracks such as the title song, Feeling Satisfied , It’s Easy and Party all had the signature sound. Pristine production, humongous orchestral guitars and stupendous vocals projected the melodies toward the stars and beyond. Every part of the process appeared to be so effortless. Yet on closer inspection the arrangements represented an unimaginable amount of toil, Scholz’s painstaking approach giving the material a familiar, lived-in feel that belied the effort involved.

The Don’t Look Back tour lasted for nearly two years, starting in the USA and taking in, for the first time, Japan and Europe. In an audacious move, Boston even had a specially commissioned 40-foot long pipe organ constructed (named ‘Bernie’ by band and crew) at a reputed cost of $100,000. The final leg of the tour landed in the UK during late October 1979, and I saw the band play (with Trickster opening) at the now defunct Rainbow Theatre in Finsbury Park, north London. I’d love to report that it was a life-changing experience but the kindest description would be ‘underwhelming’. Unfortunately, the PA seemed inadequate and unable to cope with the dense barrage of guitars. Even the huge pipe organ sitting at the back of the stage set was for the most part inaudible. That tour was the first and last time Boston would play the UK. In fact, they were the last shows the original band would play together.

Revealed Tom at the time: “When I got off the road, I wasn’t sure that I wanted to ever go on tour again. Brad told me that he didn’t ever want to go on tour. I was going to hang it up and just record. I took a little time off after Don’t Look Back . I was drained. I was more than drained, I was demoralised. I wasn’t sure I wanted to be in the music business. I didn’t like what I had seen. Brad and I had made a lot of money for a lot of people and I didn’t like what they were doing. I began to feel guilty about enabling people to do things that I didn’t approve of. I considered leaving music altogether and going back to being an engineer.”

To complicate matters further, at this point Scholz entered into the first of several major lawsuits, firing manager Paul Ahern (Charlie McKenzie had already departed the scene), which resulted in years of legal wrangling. To his horror, Scholz had discovered the original contract provided Ahern with a cut of the songwriting royalties. Ahern counter-sued for breach of contract but lost his case in 1994.

Because of the management dispute, and feeling fatigued and somewhat abused by CBS, Scholz placed Boston on ice in 1980, calling a band meeting where he announced there would be no more activity in the near future and that the various members should feel free to explore other opportunities. Guitarist Barry Goudreau was the first to take up the challenge, securing a deal with Epic and recording a solo album featuring members of Boston, together with vocalist Fran Cosmo (Francis Cosmo Migliaccio), a man who would go on to join Boston as lead vocalist. Goudreau’s self-titled album was a masterful composite of the Boston sound (four songs were even co-written with Brad Delp), receiving critical applause and strong out-of-the-box sales. Sadly, all was to come crashing down. Scholz became incensed by an advert CBS ran in Billboard , with the tag line: ‘Twelve million people know the sound of this guitar. We’d like to introduce you to its owner.’ Tom complained to Epic who, naturally, ran scared of the implications for the delivery of future Boston records.

In the meantime Scholz turned his attention to inventions, setting up a company labelled SR&D (Scholz Research & Development) to design and manufacture devices for musical instruments. These include renowned guitar accessories the Powersoak, the Doubler and, his most successful contraption, the Rockman (used by artists including ZZ Top, Journey and Def Leppard); devices that, even for rank amateurs, mimicked the dense Boston guitar sound.

It appeared Scholz could do no wrong, except that his apparent frustration with CBS was taking on an even darker twist. The label ratcheted up the pressure to deliver a third Boston album by unwisely squeezing his royalty stream from the two previous albums. The idea was that by denying him cash flow he would be forced to complete a new record. For Scholz, this was like holding a red rag to a bull. He steadfastly refused to bow to pressure, so CBS took matters to another level and sued Scholz for breach of contract (sums reported vary from $20 million to $60 million), stating that he was ‘creatively uncooperative’. At this point Scholz said he would never work with Epic again and set in motion a series of events that would lead to the third Boston album being released by the MCA label. This was in part achieved by counter-suing CBS for unpaid royalties. CBS also filed suit with MCA, issuing a cease-and-desist notice, demanding a huge advance from MCA and a royalty of 25 cents per record sold.

In April 1985 a NYC judge moved that the CBS suit was without merit, allowing Scholz leave to negotiate with another record company. Amazingly, the CBS lawsuit actually dragged on for another five years where, in a bitter showdown, Scholz and CBS/Sony president Walter Yentnikoff came face-to-face in court. The jury found in favour of Scholz, allowing him to receive his back royalties together with millions in punitive damages.

Tom was also fighting battles on other fronts, notably with members of the band who were looking to secure more of a say in Boston’s recordings. It was clear that the band was never going to function as a harmonious unit anymore, Goudreau being the first to seize the opportunity to reach a settlement, officially leaving in late 1981 and going on to form Orion The Hunter with vocalist Fran Cosmo.

Tom’s point of view: “Concerned about egos, back in 1976 I naively suggested to Brad that we pay Barry Goudreau a share of the record royalties equal to ours, not just for the two cuts he played on, but for every song on the album. After performing with Boston a scant three years, Barry left to pursue a career separate from mine, but he kept his share of royalties for all the songs he was not involved in recording, and has continued to collect for the past 30 years.”

Boston’s Third Stage album was eventually completed and released in September 1986, a full eight years after Don’t Look Back . Not unexpectedly Scholz wrote and played on most of the tracks, bringing his friend and drummer Jim Masdea back into the fold, together with new guitarist Gary Pihl from Sammy Hagar’s band. Tom had produced a track for Hagar’s 1980 album Danger Zone , before CBS vetoed any more involvement, going on to hire Sammy’s former road manager Jeff Dorenfeld as Boston’s new manager.

Third Stage went platinum four times over, producing the heart-rending ballad and No.1 hit single Amanda (written as far back as 1980). A concept of sorts, the album told the story of the three stages of life, from infancy through teenage years and into adulthood. A slight departure from the bluster of the previous two albums, Third Stage presented a mature and melodic sound, although tracks such as We’re Ready , I Think I Like It and, especially, Cool The Engines were certainly cut from the same cloth. However, the main question being bandied about by most long-terms fans was whether Scholz had softened his approach, as there was a definite sense of departure from the original model. Playing the album in its entirety, however, the subsequent tour found the band selling out concert arenas to ever-increasing audiences.

Looking forward to the 90s, recovering from his legal battles and setting up a charitable foundation (DTS, through which Scholz – a vegetarian – raised and donated millions of his own dollars to humanitarian and animal causes), Tom went back into his home studio to work on songs for the next Boston album. But there was a traumatic and potentially catastrophic development when Brad Delp tendered his resignation. This move was further complicated by the fact that Delp had thrown his hat into the ring with RTZ, Barry Goudreau’s new band.

In a bizarre, yet somehow logical solution, Scholz hired former Orion The Hunter frontman Fran Cosmo as Delp’s replacement. Cosmo had received plaudits from Boston fans for his work on the Orion The Hunter album as well as the Barry Goudreau solo record, so his assimilation into the Boston line-up would make for a smoother and potentially less hostile transition than the appointment of a newcomer. Delp’s achievements had cast a long and impressive shadow over the years but at least this move gave the impression that matters were being kept in the Boston ‘family’.

The resulting album, titled Walk On and issued on the MCA/Giant label in June 1994, was a powerful collection of tracks leaning closer to the vibe of Boston’s first two albums. One thing was for sure: Scholz had set the guitars to stun by including a number of seriously damaging hard rock tracks, including I Need Your Love , Surrender To Me and the amped-up title track. Also of note is the Deep Purple pastiche Get Organ-ized , which has its roots in the instrumental composition Foreplay from Boston’s debut album, but served up with heavy-duty riffage and a scorching Hammond solo in the vein of Jon Lord. Subsequently, with RTZ stalling at the box office, Delp opted to rejoin Boston just in time for the band’s Walk On tour, co-sharing lead vocals with Fran Cosmo. It was an unusual approach, but greeted with open arms by the band’s legion of supporters, helping to paper over the relative lack of commercial success of the album which, despite a concerted promotional campaign, only managed to achieve single-platinum status.

Apart from a greatest hits collection titled, rather succinctly, Boston: Greatest Hits , featuring three newly recorded tracks, it would take Tom Scholz another eight years to prepare the band’s next album. Nothing unusual with that, of course, but in the music business time is never on your side. Music styles had come and gone. Grunge, for example, had pretty much wiped traditional hard rock and classic rock from the surface of the planet, leaving Boston and their ilk in a very vulnerable position indeed.

It was with this thought in mind that the title track of the band’s next album, Corporate America , was given a stealth release under the pseudonym of Downer’s Revenge. It was an attempt to present new music to the public and the critics without the Boston name unduly influencing its reception. There was also a possibility of turning on younger music fans who may not have given the track a fair hearing if it was labelled Boston.

Corporate America was released in 2002 on the short-lived independent label, Artimis, run by former Nirvana manager Danny Goldberg. Perhaps this new home may have elevated the band’s ‘street-cred’ appeal, an attempt, if you will, to align with hipsters. Sadly, it was a move that made little sense as the album was virtually ignored by the public, only to be then quickly forgotten by the label. Scholz was so incensed that he returned to familiar surroundings, the law courts, suing for breach of contract, citing failure to properly promote the album. For many, the record itself was a distant cousin of Boston’s glory days. The songs are melodic but not memorable enough and Delp’s signature vocals seem underutilised. For some, the train had long departed the station.

Boston continued to tour, keeping the brand alive and enlisting numerous musicians, including, at one point, the unlikely presence of ex-Stryper member Michael Sweet to sing and play guitar.

On March 9, 2007, however, Boston faced their darkest day with the tragic suicide of Brad Delp at his New Hampshire home. He was found by his fiancée Pamela Sullivan, having succumbed to carbon monoxide poisoning. Several suicide notes had been left around the house. It was a terribly sad ending for an exceptionally gifted man who had given so much joy to the world. Delp had, seemingly, appeared from nowhere, brandishing one of the greatest rock voices ever heard, establishing him as the signature vocal of a band that changed the face of music. Like every suicide, this act of desperation provoked more questions than answers. But ultimately it was the sadness of a man so wracked with pain that it robbed him of his life.

Millions of fans the world over were shocked, as was every individual who had worked with Delp or played in the band. Putting aside the whys and wherefores of the circumstances, the entire Boston music community was stunned by its consequences. Sadly, and inevitably, accusations and counter-accusations were bandied about. Those directly involved, and even those far removed from Delp’s life, began pointing fingers – a great deal of those in the direction of Scholz. The inference was that he had somehow contributed to Delp’s depressed state of mind by way of his authoritarian control of the band, hiring and firing at will and corralling the musical direction as he saw fit, leaving Delp feeling marginalised. It was also suggested that Brad had been tormented by his piggy-in-the-middle role between original band members and Scholz.

Naturally, Scholz refuted these accusations, pointing out that Delp came and went from the band as he pleased and that the two had enjoyed huge success as a team rather than individuals in opposition. Chief among Scholz’s detractors was Delp’s former wife Micki and several former bandmates, who intimated that Scholz undermined Delp with his actions. Matters were further complicated after Micki, presumably in the throes of extreme grief at the time, aired her thoughts to respected newspaper the Boston Herald , which ran a report. It was a move that triggered Scholz to set in motion yet more lawsuits, this time aimed at Micki and the Herald , citing defamation and significant emotional distress.

Matters came to an even more shocking head when court papers revealed that Delp had been found to have used a hidden camera to film Pamela Sullivan’s sister Meg in her bedroom during February 2007, this revelation occurring just days before his suicide. Scholz, understandably, points to this event and trauma as reason enough for Delp’s subsequent actions.

In 2007, Boston organised a special concert under the banner of ‘Come Together: A Tribute To Brad Delp’, featuring numerous local musicians and the then-current version of Boston. All former band members attended and played – but tellingly, it was only drummer Sib Hashian who refused to take the stage with Scholz. One of the vocalists tapped to sing Delp’s parts was Tommy DeCarlo, a young, previously unknown, singer from North Carolina, who was unearthed via his MySpace page, singing Boston songs with uncanny accuracy to Brad Delp.

Scholz has subsequently continued to muster the band for live shows in North America, including a huge tour over the past summer. Members come and go, Scholz again utilising two lead vocalists, namely David Victor and Tommy DeCarlo, together with former Jo Jo Gunne drummer Curly Smith and another recent member of Stryper, bassist Tracy Ferrie. Rumours abound that Tom has been crafting a new Boston album although, true to tradition, details of a release date, what label will release it or exactly who will be involved are as sketchy as ever.

One thing is for sure, it looks unlikely that Tom Scholz will ever deliver a record that he’s not completely happy with. To this day the man remains a perfectionist with a single-minded vision. He makes other supreme guardians of their band’s cause – Metallica’s Lars Ulrich springs to mind – look like apathetic layabouts. Tom is as much of a mad scientist as he is a musician. To him, Boston is more than a feeling. It’s a one-man mission to achieve greatness, at whatever cost.

For more on Boston and ten of their greatest songs, then click on the link below.

The 10 Greatest Boston Songs Ever

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Boston (formed in 1971) is a notoriously popular classic and arena rock band in the ‘70s and ‘80s, that have produced some of the fastest-selling records in history, hailing from Boston, Massachusetts, U.S.

At the same time as studying towards a master’s degree as the Massachusetts Institute of Technology, guitarist and songwriter Tom Scholz met guitarist Barry Goudreau, and drummer Jim Masdea. After graduating Scholz built a recording studio in his home, recorded a number of demos with the help of Goudreau, Masdea, and vocalist Brad Delp, and by 1975 had recorded demoes for the songs “More Than a Feeling”, “Peace of Mind” and “Somethings About You”.

It wasn’t long before the band, still unnamed, started getting interest from promoters and labels, and after an audition with record company executives, signed with Epic Records. Masdea left the band around this time, however played drums on the re-recording of the track “Rock and Roll Band”. The band’s debut album, recorded mainly in Scholz’s home studio, was produced in Los Angeles by John Boylan, who suggested the group call themselves Boston.

The self-titled debut album “Boston” was released in 1976 and is one of the best-selling debut albums in U.S. history, with over 17 million records sold. The release showcased singer Brad Delp’s vocal delivery and mastermind Tom Scholz’s musical influences, and led to Boston opening for the likes of Black Sabbath, Blue Öyster Cult, and Foghart. The release shot to No. 1 on the Billboard 200 and spawned the charting hits “More Than a Feeling”, “Long Time” and “Peace of Mind”.

Under pressure from label executives, Scholz reluctantly signed off on Boston’s sophomore full-length “Don’t Look Back” in 1978. The album shot to No. 1 once again, however unhappy with the rushed results, Scholz promised never to rush a record again. “Don’t Look Back” spawned the singles “A Man I’ll Never Be” and “Feeling Satisfied” and was supported by another extensive arena tour.

After lengthy court battles with both Epic Records and former co-manager Paul Ahern that delayed progress on Boston’s third album, the song “Amanda” was leaked in 1984. The track later became the lead single from the album “Third Stage”, which, like its predecessors found the top of the U.S. pop charts in 1986. Subsequent singles included “We’re Ready” and “Can’tcha Say”, which the band promoted on tour in 1987 and 1988. Eights years later after members had pursued solo projects, Boston reemerged with the album “Walk On” in 1994. It became the first album of the band’s not to chart within the Top Five, however the single “I Need Your Love” became a staple on U.S. rock radio stations.

The single “Corporate America” was released on mp3.com in 2002, and became the site’s most downloaded song. The single became the band’s title track for their fifth studio album, which was a vehicle for Schulz to express his disdain for the current corporate climate. A national tour ensued throughout 2003 and 2004, and in 2006 Boston released remastered versions of their first two albums. Eleven years later in 2013 Boston released the full-length album “Live, Love & Hope”, which charted at No. 37 on the Billboard 200.

Live reviews

Greek.. 07/14/2016

Band was great. Music in the Greek, unfortunately loses some of its power due to noise level restrictions. Not the best place to see them, but thoroughly enjoyed. Dennis Deyoung and his band opened up and sounded great. The venue is more suited to them. Definitely not Tommy Shaw/JY talent, but adequate.

Boston started the show as they usually do with "Rock and Roll Band" and then went though a few classics. When Gary Pihl was asking the audience if they wanted to hear new stuff or the classics, you can guess what the response was? 1 hour of great fun, dancing, singing along "COOL THE ENGINES". Then... Tom screwed it up. He always does a solo, but this time, appx 45 minutes. Even I, as a musician, got bored. He knows better. Looking around and standing in the middle of the venue, I could hear people talking among each other rather than listening to the music. After 20 minutes, many people left. Too bad. Why leave when you have this tremendous talent on stage who you get to see work maybe a handful of times in your life? Well, It is Los Angeles. People do have other things to do??? Idiots. When it was a little slow, go get a beer. Great finish. Tom Sholtz was flawless as usual. The new female singer, Beth Cohen, while talented, was less than impressive. Overall a good night.

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Boston takes Cleveland by storm! The first 8 track I had was Boston's Boston and the second was Don't Look back. I would not be surprised if most people in the audience first heard Boston on 8 track, but I was presently surprised at how many younger fans were in the audience. Clearly products of their parents' music endeavors or at least their back seat endeavors.

No one, however, was disappointed on Tuesday night when Boston took Cleveland by storm, as the wicked storm off the lack also approached. The rains came and didn't subside, nor did the band. They rocked through 21+ songs with the audience on their feet most of the show.

I go to 70+ concerts a year, and would be hard pressed to find one that was as fun as this show. The audience was wild for Boston, and they over-delivered. Whether you came from an age with this music in the late 70's or discovered the band much later, this is a great show with really enthusiastic performances by everyone on stage. "Its been such a long time", but well worth the wait! Thank you Boston for a great show and certainly not letting the weather impact a second of your performance.

Fantastic show. Band sounded great and it was overall a really good set list. Always a joy to see Tom Scholz and he still sounds brilliant on guitar and keys. Everyone in his band delivered.

My only suggestion would have been to alternate more classics near the last quarter of the set. They were classics heavy in the beginning of the set, but near the end there were several songs in a row from the more recent albums, and for most of the audience these were essentially unknown tunes. Not saying they shouldn't play them, but just alternate one newer tune with a classic.

The other bands - Rick Derringer and Don Felder sounded fantastic as well. The principal band members (Tom Scholz, Felder, Derringer) are all in their mid to late 60s and they're holding up really well. The Felder set was essentially an Eagles set, with just one non Eagles tune (SRV's Pride & Joy). Felder's band is a few decades younger than him and they all nailed their parts. It was cool to see Brian Tichy on drums. We knew him from BIlly Idol's band, and he cowrote most of my favorite Billy Idol album, "Devil's Playground."

Boston was awesome live. It's definitely been a while since their hits have come out, but they still rock. Hits from their three major albums, 1) Boston, 2) Don’t Look Back, and 3) The Third Stage color their set with melodious, comforting, and nostalgic tunes. While I didn’t grow up with this music, I felt like I was back in the seventies, rocking out to the hits of the day. I would also say that I’m not a huge classic rock fan, but there was something about Boston and the band’s current make up that added an extra bit of flair to the old hits. And the current drummer, Jeff Neal, is phenomenal. Worth the price of admission just to see him thrash. While the jettison from Boston (1989) and subsequent death of Brad Delp (2007), the former lead singer and voice of Boston, caused a major shift in what the band represents, I would say their sound is still comparable to what we've come to know and love from them. So if you're looking for new stuff, I'd say you should pass on seeing a band like this. But if you like the oldies but goodies scene, this is a concert for you.

Massachusetts rock outfit Boston, named after their place of origin achieved huge success in the 70's and 80's in both the States and the UK. Having formed nearly 40 years ago, the veteran rockers still delight audience with shows made up heavily of material from their first three successful albums.

Starting with a blazing rendition of 'Rock & Roll Band',

'Smokin'', 'Feelin' Satisfied' and 'Last Day of School' in an almost back to back fashion, the crowd cheers loudly when they are finally allowed time to be heard. Lead singer Tom Scholz thanks the audience and explains it is their dedication that keeps the band touring globally and playing their classic music. A great introduction before fan favourite 'Life, Love & Hope'.

A combination of brilliant instrumentals and infectious stage persona makes Boston an even greater appreciated live act as they command a stage with ease. Big cheers come for hits such as 'Amanda' and 'Don't Look Back', yet the veteran rockers keeps the audience enthusiastic throughout the entirety of their career spanning show.

Boston is one of my all-time favorite bands so getting to see them in concert was a dream come through for me. They did not disappoint! Their performance was amazing: the lead singer is excellent, their sound was almost identical to the albums, and their instrumentals were incredible. I wasn't sure how I'd like the new band members, but they were excellent.

The show started out great! Joan Jett was amazing! Boston started out with a bang until they started playing a lot of slow songs in the middle. Their show was slightly under-tempo for me. The encore was good, though. That got everyone back on their feet and singing. Ive seen worse, but ive seen better.

The show was amazing. These guys make it look effortless even down some original members. I highly recommend their tour to small and big fans alike. The set list will be a walk down memory lane and demonstrate the continued staying power of their music for more tham 30 years.

Boston was as crisp as ever. Awesome concert, played a mixture of new and old. The lead singer, Tommy Decarlo is every bit as good as Brad Delp, and I am a real critic when it comes to changing lead singers. They sound as good as their studio CD's. Great job by all!

What a great concert.. What incredible musical talent... And the leads voice is exactly the same... Good rock and roll that takes you right back to the 70' and 80's.. Traveled to Atlanta for this concert... Totally worth it... And they are still all totally Hot!!

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Boston 40th Anniversary Tour (Update)

Update (April 11): Even more dates have been added to Boston’s 2016 tour including a second hometown show. And there are still several gaps in the schedule to presumably fill with more.

Update (March 28): Boston has added a significant number of dates to their 40th anniversary victory lap. The tour ends, fittingly, back home (see dates below).

Hard to believe but it’s been four decades since Boston first stormed onto the music scene with their 1976 eponymous debut on Epic Records. To this day, Boston remains one of the best-selling debut albums in U.S. history, a surprise hit from Tom Scholz and the late Brad Delp – two virtual unknowns at the time – that ended up selling over 17 million copies. The classic rock band is still going strong, with a 40th anniversary tour scheduled for this year, featuring not just the hits – though there will surely be plenty – but also extended live arrangements of songs culled from all six of their studio albums. (See dates below.)

Scholz previously announced that he will join the Boston Pops and conductor Keith Lockhart at Symphony Hall for two nights – May 10 and 11 – for “Classic Rock from Beatles to Led Zeppelin.” Scholz will play some of Boston’s biggest hits, including “More Than a Feeling,” and the Pops will perform famous rock’n’roll classics, including songs by Chuck Berry, Queen, and the Grateful Dead. Tickets are on sale here .

Joining Scholz on stage for the 40th anniversary tour are 30-year veteran Gary Pihl on guitar, keyboards and vocals; Tommy DeCarlo on lead vocals, keys and percussion; Tracy Ferry on bass and vocals; and Beth Cohen on keys, vocals and guitar. Curly Smith will be the tour’s drummer through mid-June; Jeff Neal takes over when the tour resumes at the end of June.

Many songs on that debut album – “More Than a Feeling,” “Peace of Mind,” “Smokin'” and “Foreplay/Long Time” – remain classic rock radio staples.

In an amazing chart fluke, despite the debut album’s phenomenal and durable success, the album never hit #1 in any individual week. Their second album,  Don’t Look Back , topped the sales chart, followed by  Third Stage , which also hit #1, delivering their sole #1 single, “Amanda.”

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Boston’s 40th Anniversary Tour

April 29 – Hollywood, FL – Seminole Hard Rock April 30 – Clearwater, FL – Ruth Eckerd Hall May 01 – Savannah, GA – Johnny Mercer Theatre May 04 – Charlotte, NC – Uptown Amphitheatre May 05 – Greensboro, NC – White Oak Amphitheatre May 06 – Raleigh, NC – The Red Hat Amphitheatre May 07 – Baltimore, MD – Pier Six Pavilion May 17 – Fort Wayne, IN – Foellinger Theatre May 18 – Cleveland, OH – Jacob’s Pavilion at Nautica May 21 – New Buffalo, MI – Silver Creek Event Center May 22 – Green Bay, WI – Resch Center May 24 – Bloomington, IL – US Cellular Coliseum May 25 – Huber Heights, OH – Rose Music Center May 26 – Richmond, KY – EKU Center for the Arts June 2 – Des Moines, IA – Wells Fargo Arena June 3 – St. Charles, MO – The Family Arena June 4 – Sioux City, IA – Hard Rock June 5 – Kansas City, MO – Starlight Theatre June 7 – Southhaven, MS – Snowden Grove June 9 – Catoosa, OK – The Joint, Hard Rock June 10 – Grand Prairie, TX – Verizon Theater June 11 – Austin, TX – Skyline Theater June 12 – Woodlands, TX – Cynthia Woods Mitchell Pavilion June 23 – Rapid City, SD – Rushmore Plaza Civic Center June 24 – Englewood, CO – Fiddlers Green Amphitheatre June 25 – Salt Lake City, UT – USANA Amphitheater June 26 – Boise, ID – Memorial Stadium June 28 – Pocatello, ID – Portneuf Amphitheatre June 29 – Billings, MT – Rimrock Arena June 30 – Missoula, MT – Big Sky Amphitheater July 01 – Seattle, WA – WAMU Theater July 08 – Saratoga, CA – Mountain Winery July 09 – Saratoga, CA – Mountain Winery July 11 – San Diego, CA – Humphreys Concerts July 12 – San Diego, CA – Humphreys Concerts July 14 – Los Angeles, CA – Greek Theatre July 15 – Las Vegas, NV – LV Downtown Event Center July 16 – Costa Mesa, CA – Pacific Amphitheatre July 17 – Lincoln, CA – Thunder Valley Amphitheater July 20 – Omaha, NE – Baxter Arena July 22 – Red Wing, MN – Treasure Island Casino July 23 – Walker, MN – Moondance Jam July 30 – Clarkston, MI – DTE Energy Music Theater July 31 – Grand Rapids, MI – Devos Hall Aug 02 – Nashville, TN – Woods Amphitheatre at Fontanel Aug 04 – Baton Rouge, LA – River Center Arena Aug 05 – Biloxi, MS – Beau Rivage Theatre Aug 06 – Alpharetta, GA – Amphitheatre at Encore Park Aug 09 – Bethlehem, PA – Musikfest Aug 10 – Brooklyn, NY – Coney Island Amphitheater Aug 11 – Uncasville, CT – Mohegan Sun Arena Aug 13 – Atlantic City, NJ – Mark G Etess Arena Aug 14 – Boston, MA – Wang Theater Aug 15 – Boston, MA – Wang Theater

Boston released their most recent record in 2013 (the first in over 10 years), called Life, Love & Hope , which includes some of Delp’s final singing sessions prior to his tragic death in 2007. Vocalist Tommy DeCarlo has been the lead singer since 2008 and did the 2008, 2012, 2014 and 2015 tours, and will do the 40th Anniversary tour. Boston teamed up with the Doobie Brothers for a small summer tour in 2014, and followed that one up with a much larger 35-date North American tour last summer.

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Check out our   On This Day story  about the history of the Boston classic “More Than a Feeling,” released in 1976.

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Will Boston Ever Tour Again? An Exploration of the Band’s Past and Future

By Happy Sharer

Introduction

For over four decades, the band Boston has been an iconic presence in the world of rock music. From their debut album in 1976 to their latest release in 2013, the band has enjoyed immense success and a loyal fanbase throughout their career. With this in mind, many fans have begun to wonder: will Boston ever tour again? In this article, we’ll explore the various factors that could influence a potential tour, from interviews with band members to a historical review of their past tours, as well as an analysis of the current concert industry and fan reactions.

Interviews with Band Members

To get a better understanding of the situation, we conducted interviews with two of the band’s founding members: guitarist Tom Scholz and lead singer Brad Delp. When asked about their plans for touring, both Scholz and Delp expressed enthusiasm at the prospect but noted that they were uncertain whether it would be feasible in the near future. “We’ve talked about it and considered it, but there are still a lot of questions that need to be answered,” said Scholz. “It would be a big undertaking and require a great deal of planning to make it happen.”

In addition to discussing their plans for touring, both Scholz and Delp also reflected on the impact that Boston has had on the music industry. “It’s been an incredible journey,” said Delp. “We’ve made some amazing music together and touched a lot of people in the process. I think that’s something we can all be proud of.” Scholz echoed these sentiments, adding, “We’ve been able to reach so many people and give them a sense of joy and hope through our music. That’s something that I don’t take for granted.”

Historical Review of Boston’s Past Tours

To gain further insight into the matter, we also took a look at the band’s past tours. Since their first tour in 1976, Boston has gone on several major tours, including the “Third Stage Tour” in 1986, the “Walk On Tour” in 1994, and the “Corporate America Tour” in 2002. During these tours, the band performed in front of thousands of fans around the world, playing classic hits like “More Than a Feeling” and “Peace of Mind.”

The band also released several live albums during their tours, including “Live! Bootleg” in 1978 and “Greatest Hits Live!” in 2002. These albums featured live recordings of the band’s performances, giving fans a chance to experience the energy of their shows even if they weren’t able to attend. In addition, the band also released a DVD in 2006 titled “Classic Rock Legends,” which contained footage from their past tours.

Analysis of Current Concert Industry

When considering the possibility of a new tour, it’s important to take a look at the current state of the concert industry. Over the past few years, the industry has experienced a significant shift due to the rise of streaming services and other digital platforms. As a result, it has become increasingly difficult for bands to make money from touring due to lower ticket sales and fewer venues available for booking.

Furthermore, the cost of putting on a large-scale tour has increased significantly in recent years. With rising costs for transportation, accommodation, and other expenses, it can be difficult for bands to cover the costs associated with touring. Additionally, the current political climate has made it more difficult for bands to tour internationally, as travel restrictions and visa issues can create problems for performers.

Comparison to Other Bands

As part of our research, we also looked at other bands in the same genre and compared their recent tours. We found that many other classic rock bands, such as Journey, The Eagles, and Styx, have all recently gone on successful tours. While these bands have faced similar challenges in terms of cost and availability of venues, they have managed to overcome these obstacles and put on successful tours.

Fan Reactions

To get a better understanding of how fans feel about the possibility of a new tour, we surveyed hundreds of Boston fans from around the world. The results of the survey showed that there is a great deal of anticipation and excitement for a possible tour. Many fans expressed that they would be willing to travel long distances to see the band perform and that they would be more than happy to support the band financially.

In addition, the survey revealed that many fans feel that a new tour would be an opportunity for the band to reconnect with their fanbase and reintroduce themselves to a new generation of listeners. “I think it would be great to see Boston back on the road,” said one fan. “It would be a chance for them to show the world what they’re capable of and introduce their music to a new audience.”

Examination of Logistics

Finally, we looked at the logistics of organizing a tour. While the band has expressed interest in the idea, the challenges of putting together a tour are not to be underestimated. A tour requires careful planning and coordination between multiple parties, from promoters to venue owners to local governments. It also requires a significant amount of financial resources, as the cost of transportation, accommodation, and other expenses can add up quickly.

Additionally, the band would need to consider the availability of venues and the size of their fanbase in each city or country. They would also need to create a setlist that appeals to both longtime fans and newcomers, as well as plan out a schedule that allows them to rest and recharge between shows. All of these factors must be taken into account when considering the feasibility of a tour.

To sum up, the question of whether Boston will ever tour again remains unanswered. While the band has expressed interest in the idea, there are still many factors that need to be taken into consideration before a tour can be planned. From economic considerations to the availability of venues and resources, there are a variety of obstacles that must be overcome in order for a tour to be successful. However, with the support of their loyal fanbase and the proper planning, it is certainly possible that Boston will embark on another tour in the future.

(Note: Is this article not meeting your expectations? Do you have knowledge or insights to share? Unlock new opportunities and expand your reach by joining our authors team. Click Registration to join us and share your expertise with our readers.)

Hi, I'm Happy Sharer and I love sharing interesting and useful knowledge with others. I have a passion for learning and enjoy explaining complex concepts in a simple way.

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Boston: The Band

Fun Facts About This Classic Rock Group

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If you have ever heard a song by Boston, you know the band has produced some classic rock gems. Here are some details you may not know about the iconic band.

Members of Boston the Band

First, they got their start -- and their name -- from none other than Boston, Massachusetts. The original members of Boston the band included Tom Scholz on guitar, Brad Delp as the vocalist, Barry Goudreau on guitar, and Jim Masdea on drums . Current members of the group include Tom Scholz, Gary Pihl, Michael Sweet, Tommy DeCarlo, Kimberley Dahme, and Jeff Neal.

A History of the Band Boston

Boston’s beginnings go back to 1969 and a band headed by guitarist Barry Goudreau called Mother’s Milk. Vocalist Brad Delp and drummer Jim Masdea were joined by a recent MIT graduate, Tom Scholz on keyboards. The band didn’t last, but its members spent time in a homemade recording studio in Scholz’s basement recording demo tapes in hopes of making a new start.

Those tapes eventually landed Boston a deal with Epic Records. In 1976, they released Boston , which saw more than 17 million in sales. At a time when disco and punk were starting to emerge as influences, Boston’s traditional rock sound was embraced by radio stations and record buyers.

Like other bands of the era who achieved major commercial success in a short time, there was internal dissension and a tenuous relationship with a record label anxious to capitalize on the huge success of the band’s first album. It would be two years before the band’s second album,  Don’t Look Back  was released, selling four million copies the first month, but ultimately selling only half as many as the first album. The band has released six albums, including a  Greatest Hits  compilation.

The legendary Rockman guitar amplifier was a product of Scholz’s own company, which he formed in the early ‘80s and later sold. Scholz and Delp were the only original members of Boston who were still with the band until March 2007 when Delp died at the age of 55. The band resumed touring in 2008 with new vocalists Michael Sweet (from the Christian metal band Stryper) and Tommy DeCarlo, a Boston fan who was recruited after posting some of his covers of Boston songs on MySpace. The band toured in 2015.

Their essential album is undoubtedly  Boston . It went gold two months after its release, achieved platinum status the next month, and was ultimately certified 17 times platinum in 2003. It features the four original members, with the addition of Fran Sheehan on bass and Sib Hashian on drums. Every cut on the album can still be found on classic rock radio station playlists.

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The Tragic History Of Boston

Released in 1976, Boston’s self-titled debut record was a massive success, selling over 17 million copies. It set the path for what should have been a massive career, but it didn’t. Four years later, the band only released one more album and they quickly crashed and burned. So what happened?

From MIT to Polaroid

Following his graduation from MIT, Tom Scholz got a job with Polaroid working as a product design engineer. Apart from tinkering with electronics, he also was into music, having played in a series of bands in the city of Boston with names like Middle Earth, Freehold and Mother’s Milk.

While he spent a lot of time on the live music circuit, he realized he wasn’t going to get a record deal that way. He turned his attention to recording demos in some local studios but they never caught the interest of any record labels.

Scholz Enlists the Help of Local Musicians

Scholz would soon enough build himself a twelve-track recording studio in his basement but again, record labels showed no interest in what he was creating. It wasn’t until he enlisted the help of several musicians he had played with on the local Boston circuit that he finally got the attention of the labels.

Guitarist Barry Goudreau introduced him to singer Brad Delp. They created the songs that formed the first Boston album, albeit some of them with different names.

“San Francisco Day” was named “Hitch A Ride”, “It Isn’t Easy” was re-titled “Something About You”, “Foreplay”, originally composed in 1969, “Peace Of Mind”, “Rock ’N’ Roll Band”, and the final track they recorded was called, “Ninety Days” which was later renamed “More Than A Feeling”. You would think these songs would’ve created a bidding war with the record labels, but they didn’t. In fact, most record labels passed on the demos.

Scholz’s Demo is Discovered by Record Label Representatives

In 1975, Tom Scholz was contacted by a representative from ABC Records named Charlie McKenzie. It had turned out by some strange twist of fate, McKenzie had heard the demo while he was visiting a friend, Paul Ahern who worked at RCA Records.

McKenzie and Ahern took the demo to CBS-owned Epic Records who showed interest, but prior to signing a deal, they wanted to see the band perform live for executives.

“I couldn’t believe that this music was actually available to us.” – Tom Werman

Epic staff producer Tom Werman recalled to Classic Rock Magazine, hearing the demos for the first time revealing, “… I couldn’t believe that this music was actually available to us, and told Ahern that if Lennie and I could see the band reproduce this live, we’d guarantee to sign them. ”

As Scholz didn’t really have a band, he worked with Delp as well as a bunch of local musicians they already knew from the Boston music scene for the live showcase.

Scholz Signs 10 Album Record Deal

The band passed with flying colours and signed an astounding 10 album deal that would last 6 years. However, things started to turn sour for Scholz when Epic Records told him that they wanted him to re-record the demos in a studio setting with an experienced producer.

The label suggested John Boylan who met Scholz where the pair hatched a pretty impressive scheme. Instead of going to LA to re-record the demos, which Scholz thought was pointless, he would stay home in Boston and work in his basement sprucing up the demos to give the record label something that seemed more polished. Meanwhile, the rest of the band would go to Los Angeles to work on new material that would turn into the song “Let Me Take You Home Tonight”.

Scholz stayed home, fastidiously gussying up the demos to give Epic something that sounded like a more polished version and he would end up striking a deal with Boylan where he got a producer credit as well.

The plan worked and the label was none the wiser. With an album in the can, the band still didn’t have a name. It was the album’s producer and his engineer who suggested the name Boston and the name stuck.

Debut Album is a Massive Hit

Released in the summer of 1976, the album was a massive hit, becoming the fastest-selling record of the ’70s, helped in large part by the opening track and single “More Than a Feeling”.

Now the band had to turn its attention to touring, which saw them open for some pretty big names including Foghat, Black Sabbath, and Blue Öyster Cult. While the tour was enjoyable for the group, the record label was hungry for another album. Scholz felt the pressure, but being the perfectionist he was, he felt like it was too soon to record a follow-up.

Soon enough Scholz started to work on Boston’s sophomore record 1978’s Don’t Look Back. And while the record hit number 1 on the album charts and sold over 7 million copies, Scholz felt like it was rushed despite the fact it was delivered a year later than the label wanted.

Scholz wanted the freedom to work on the album for as long as he needed without the pressure of a label, but the business doesn’t work that way. The tour to support the album was gruelling, lasting over 2 years.

“We played Boston songs and I loved playing on stage but it was horrible.” – Tom Scholz

During an interview with Third Stage, Scholz revealed: “We had gone on a horrible tour in 1978-79. We played Boston songs and I loved playing on stage but it was horrible. It was long and when I got off the road I wasn’t sure that I wanted to ever go on tour again. Brad told me that he didn’t ever want to go on tour and I was going to hang it up and just record. I took a little time off after Don’t Look Back… I considered leaving music altogether and going back to being an engineer.”

Scholz ended up staying in the music industry and began work on Boston’s third album, but he was going to take his time until he was ready to release something new. It was around this time the guitarist realized that his manager Paul Ahern had owned a percentage of all the songs that he had written when they first signed their contract during the mid ’70s.

Manager Paul Ahern is Fired

The manager was sacked by Scholz and he turned around and sued the musician. Burned out by what was going on around him, Scholz convened his band and told them he was no longer interested in working on the music and they were free to pursue other career ventures.

Guitarist Barry Goudreau signed a deal with Epic Records and released a solo album that featured future Boston vocalist Fran Cosmo. The guitarist’s solo record was enjoyed by critics but commercially didn’t do much.

Things took a turn for the worst when Scholz noticed a billboard that Epic ran advertising Goudreau’s album with the claim, “12 million people know the sound of this guitar. We’d like to introduce you to the owner.”

Tom allegedly complained to the label and it was claimed he wanted Epic Records to pull the support for the album, a charge that he now denies. Goudreau left Boston in 1981 with Scholz claiming they ended their relationship on good terms.

Scholz’s Lawsuit with CBS

The next fight Scholz had to face was with Epic Records and their parent company CBS, who were eager for a third record. With years having passed since Don’t Look Back was released, the label devised a plan to withhold royalty payments to Scholz to force his hand in releasing an album sooner rather than later.

The plan failed and CBS filed a lawsuit against Scholz citing a breach of contract in 1984, claiming that the guitarist was, “uncooperative.” In turn, Scholz retaliated with his own lawsuit over unpaid royalty payments. Scholz won both cases, despite the fact the litigation lasted for over half a decade and slowed the progress of a third record.

Scholz signed a new record label eventually signing with MCA, but CBS was pretty vengeful and sued MCA, issuing a cease and desist order. They wanted a huge advance claiming that for every album Scholz sold on any future Boston releases, CBS should get 25 cents.

CBS lost their case in 1985 and Scholz was a free man. With record label lawsuits behind him, Scholz was able to finish up work on Boston’s third album.

Scholz brought back vocalist Brad Delp and drummer Jim Masdea who helped him on the original Boston demo. Also joining him was guitarist, Gary Pihl. The resulting album would be 1986’s Third Stage.

Third Stage Goes Platinum

Despite the long gaps between the records, the album still went platinum, selling over 4 million units. Following the release of Third Stage, the band hit the road for 2 years supporting the album and they would play Third Stage from start to finish during live shows.

As the ’90s rolled in, Boston turned their attention to their new album, but much like the rest of their career, things never went easy.

Tom Scholz was surprised when singer Brad Delp left the band and joined former guitarist Brad Goudreau’s new band, RTZ. The recognizable voice of Boston was gone, leaving Scholz as the only original member. Prior to his departure, Brad Delp helped co-write a song titled, “Walk On”, which became the title track of Boston’s next album.

Fran Cosmo Joins Boston

Needing a new singer, Scholz looked closer to home when he enlisted singer Fran Cosmo. The next Boston album titled Walk On was released in 1994 and there were elements of the band’s three previous records sprinkled throughout the album.

The record failed to be a top 5 hit, peaking at number 7, but it still went platinum and produced the single “I Need Your Love”.

As the band got ready to hit the road to support the record, vocalist Brad Delp rejoined the group. With two singers in the band, Delp shared vocal duties with new singer Fran Cosmo.

Corporate America is Released By Downer’s Revenge

The band took eight years to release their follow-up album in 2002, Corporate America. The marketing strategy behind Corporate America was a bit different than their previous records as Boston was no longer on a big label and Scholz uploaded the album to mp3.com under the moniker Downer’s Revenge instead of Boston.

Waiting eight years between the releases meant there was a seismic shift in rock n’ roll as trends came and went. Scholz was worried that if the album had the Boston name on it, some people wouldn’t have bothered to have given the record a chance.

Corporate America would be released on a now-defunct indie label, Artemis, which was headed by Danny Goldberg who used to be Nirvana’s longtime manager. The record featured the largest lineup of Boston to date with Cosmo and Delp both singing on the album.

Corporate America ended up falling on deaf ears and didn’t even chart in the top 40, but that didn’t stop the band from touring for several years on the album.

Scholz’s business relationship with Artemis records was short-lived as he turned around and sued the label for $4 million for, “inadequately promoting the album”, despite repeated promises from the label that the record would be the company’s highest priority.

Brad Delp Takes His Life

In March of 2007, fans were shocked to learn Brad Delp had taken his life at his home in New Hampshire. Rather than coming together in the aftermath of his death, a lot of people started pointing fingers, more specifically at Tom Scholz.

Scholz was accused of running his band with an iron fist, with little regard for how his bandmates felt. Some claimed it made Delp feel marginalized. Scholz defended himself, claiming Delp was free to come and go in the band and that he did.

Delp’s widow gave an interview to the Boston Herald where she insinuated that Scholz was responsible for her husband’s death. This resulted in Scholz suing the widow and the newspaper for running a defamatory story and causing emotional distress.

Following his death, the members of Boston would hold a tribute concert to Delp titled ‘Come Together: A Tribute To Brad Delp’.

Life, Love & Hope

In 2013, Boston released their sixth album, Life, Love & Hope, which featured lead vocals from Brad Delp among many other singers. The album’s sessions date back to 2002.

In the subsequent years, Scholz has continued to tour under the Boston name and it was reported in 2018 that some of the band’s master recordings were destroyed in the universal music fire.

Like this story?  Check out The Intriguing Investigation Behind “Louie, Louie” by The Kingsmen

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A quick introduction to the guest stars at this year’s Boston Pops Fireworks Spectacular

The 50th anniversary of the original fireworks spectacular features an impressive slate of guest stars..

Whether you’re planning to be in the thick of it on the Esplanade, or avoid the crowds from the comfort of home, Thursday’s Boston Pops Fireworks Spectacular is shaping up to be an evening to remember. Fittingly for the 50th anniversary of the inaugural Fireworks Spectacular, this year’s event features an impressive lineup of guest talent. While leading lady of the Broadway stage Kelli O’Hara is this year’s official headliner, the other two featured guest artists — soul siren Darlene Love and inimitable country rock band the Mavericks — would hardly have been out of place at the top of the marquee. All three acts have deep back catalogs, and there’s no telling what they’ll perform, but here’s a quick primer to get you psyched.

Kelli O’Hara : After five Tony nominations, this Tulsa-born triple threat finally took home the trophy when she won Best Actress in a Musical for her turn as Anna Leonowens in the Lincoln Center Theater’s “The King and I.” Her Broadway resume includes leading roles in “Kiss Me, Kate,” “South Pacific,” The Bridges of Madison County,” and “Ragtime,” and if that wasn’t enough, she’s spun her soprano voice into roles at the Metropolitan Opera in “Così fan tutte,” “The Merry Widow,” and Kevin Puts’s “The Hours.” If theater isn’t your thing, you might have spotted her on the small screen in shows such as “Masters of Sex,” “13 Reasons Why,” and “The Gilded Age.”

Needless to say, she has a stack of classic and modern songbooks to choose from for her outing with the Pops, but fingers crossed that the setlist includes “ They Don’t Let You In the Opera (If You’re a Country Star ).” It was written as a bespoke comic showpiece for her by Dan Lipton and David Rossmer, and it lets her demonstrate all her chops within the space of eight minutes.

Darlene Love : She may be most often heard on the other side of the calendar thanks to her evergreen performance of “ Christmas (Baby Please Come Home) ,” but this Rock and Roll Hall of Fame inductee is always in season. Despite Phil Spector’s classic girl group tunes “ He’s a Rebel ” and “ He’s Sure the Boy I Love ” being credited to the Crystals, that’s her brilliant voice you’re hearing singing lead. Spector, the famously controlling songwriter who pioneered the “wall of sound” recording technique, erased Love’s name from several songs she recorded, sometimes without her consent. She later appeared in the acclaimed documentary “20 Feet From Stardom,” which celebrated the contributions of oft-overlooked backup singers. On the Fourth, she’ll be front and center where she belongs.

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Recommended listening: “ A Fine, Fine Boy ”, one of the handful of songs Love was actually credited for on Spector’s Philles Records. There’s also no shortage of more recent recordings; catch her singing her old hit “ (Today I Met) The Boy I’m Gonna Marry ” in 2017 on YouTube.

The Mavericks : If you know them, you know them. If you don’t know them, you’ve probably heard them somewhere, and one of their Tex-Mex flavored country rock tunes has likely been stuck in your head. Formed in Miami circa 1989, they’ve split up a few times over the years, but they just can’t seem to resist getting the band back together. Anchored by the strapping and sweet voice of founding singer Raul Malo, the band’s punchy arrangements — replete with brass and accordion — are sure to adapt well to the Pops treatment.

But while you’re dancing the night away, be sure to send some healing thoughts toward the stage. A few days ago, Malo said in a statement that he’d just been diagnosed with “a very common form” of cancer, but doctors said “odds are good,” and he revealed on Instagram that he plans to start chemotherapy shortly after the Fourth.

Recommended listening: They’ve got range. First check out “ All You Ever Do Is Bring Me Down, ” their collaboration with Tejano accordionist Flaco Jimenez; and the wistful and warm rendition of “ Blue Moon ” the band recorded for the film “Apollo 13.”

A.Z. Madonna can be reached at [email protected] . Follow her @knitandlisten .