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Latest NewsBoston Hyper Space Tour

Have you ever wondered how the unearthly sounds that you hear on a BOSTON album actually happen? See for yourself this summer at a live show on BOSTON's Hyper Space Tour!  Always a huge crowd pleaser with their high-energy stage show, other-worldly sound, and exceptional musicianship, BOSTON prides itself on performing a totally live show, delivering an extraordinary experience.

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  • 2017 Tour

    The trucks are getting loaded up!
    Visit the tour section for the latest updates to show dates and venues. This information will be updated often as dates are confirmed.

    Special offers such as advance presale tickets and fan meet and greets will be announced in our community.
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  • Concert Photos

    You have front row and center seats get your all access photos of Boston.
    Unprecedented ALL ACCESS photos take you close-up to all the action on stage and backstage.
    Our photo library spans from the 2016-2008 Tours.
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  • Unprecedented Access

    You have front row and center seats get your all access photos of Boston.
    All of our photographs are printed on archival quality paper with your option to frame and print sizes up to 30" X 45".

    Choose from a large selection of prints, books, albums, greeting cards, specialty items and memorabilia.
    All orders are shipped directly from the printer within 24-48 hours.
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BackTalk: Tom Scholz of Boston

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The ace guitarist/producer/wizard of all trades on remastering his band's Greatest Hits, the misnomer of "perfect" sound, and why analog rules.
Tom Scholz
Tom Scholz

What did you have to do to make Hits a better release?
We fixed things like drums that weren't right, or vocals that were too screechy. In terms of sequencing, depending on what comes before and after, we had to make minor EQ changes song to song so that the perception was consistent with the rest of the recordings. It's a very difficult line to walk. The hardest judgment to make is figuring out where something is wrong because it's rough, and where something is right because it's rough. And I had to be careful not to eliminate what made something human and gave it feeling versus going for "perfection." Mathematically perfect music really sucks. [both laugh] You have to know when to leave it alone.

Did you initiate the project, or did you have to step in on something that was going to happen anyway?
No, I wanted to do it. I started working on this back in March 2006, or a little before that. I think I had sent Sony some proposals to do it, and they liked the idea. I was almost done with it right before [singer] Brad [Delp's] suicide [in March 2007], which, you know, stopped the project. And, basically, I wasn't able to pick it back up again until almost a year later.

Did your song choices change at all during that time?
I had "I Had a Good Time" for the opening song, which was the last, lead-off single released from [2002's] Corporate America . . .

I have to interject here  that song came up on my iPod yesterday in a purely random situation, out of 33,000 songs. So I took that as a good sign.
[laughs] That is a good thing! Well, I ebony porn wanted to have everything sound right and make sense for Greatest Hits, so they agreed that it should have the lead singles from each of the albums, which it now does. "I Need Your Love" [from 1994's Walk On]  that was a difficult one. That took a lot of work. I think there were some problems in the original mix. But I think we did it, and I'm really happy with it.

Real music is really strange. There are a lot of places where a singing part is out of tone, or a note is flat or sharp, or whatever, but that's what sounds good. This project has been an educational experience.

Let's say you and I are listening to something completely "perfect"  the vocals are autotuned, the drums are timed exact, everything's precise. Are we subconsciously thinking, "There's something wrong here? It's too good." What's missing?
It's not that  there's no heart or feel in it. People aren't mathematically perfect, and they don't necessarily want to hear or see things that are mathematically perfect. There's lots of it out there. That was all the rage for a while  people sequencing everything in the world and putting it right on the money. It wasn't that great.

Any music that's mathematically perfect lacks a certain level of emotion and soul.
I don't think you can get emotion by cutting and pasting. That's my theory, anyway. And the only thing I can about in the music is the emotion. That's what I'm after. In the work that I did, I just had to make sure that emotion came through.

Emotion sure comes through in the work that you guys  or, in your case, you guy  do.
[laughs] There are certainly other people who help, but . . .

Yes there are, but your basement studio is the kingdom.
Well, that's where it all started, and I couldn't see any reason to change that once we got a record deal, even though the record company wanted us to and thought that we were changing it. I knew that the only reason Brad and I got that shot with Epic was that I had gone into the basement and gotten away from bands and everybody  except Jim Masdea, my good friend who helped with the drumming and arrangements. I knew that I had to sit there and figure out how to do it myself. I could experiment and get the sound I was looking for and the feeling I was looking for, and I knew that if Brad did the same thing with the vocals all himself. And he did. He experimented, and we would work until all hours. I would push the button, and he would try part after part, and what we came out with was basically what a couple people can do if they're willing to spend lots and lots of time experimenting with their own perceptions of the music.

Five of the songs we worked on were on the first album. And that's what made it work, and I wasn't going to be so stupid as to ignore that and go off into some fancy studio some place and try to do it the way everybody else in the world did it. That's not what made it work.

You would have lost the honesty on Don't Look Back.
It would not have worked, and I could not do it. It came down to [producer] John Boylan standing on my front porch on a freezing cold February day saying, "Look, if you insist on recording this in your basement, then I'm going to have to walk," and me saying, "Well, I hate to see you walk, but I can only make this kind of music in my own space." And as he was turning around, he said, "Ok, record it here, bring it to LA, and we'll mix it and put in vocal overdubs, and we'll split the producer's royalty." And I said, "You're on!" [laughs]

Good negotiation there.
It was really cold, so it made it go really fast. [more laughter]

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