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March 21, 2014 - Los Angeles K-EARTH 101

Guitarist Gary Pihl, known for his work with Boston and Sammy Hagar, joined The K-EARTH 101 Morning Show today to talk about bringing Boston’s ‘Heaven On Earth’ tour to the Forum this summer with special guests Cheap Trick!

Gary first got his start in music playing guitar in Sammy Hagar’s band in the early ’70s, which he remembers as some of his fondest memories in music.

“What you see is what you get. He is a fun-loving guy, always in a good mood and it was a pleasure working with him, because he was our cheerleader,” Gary said of playing with Sammy.

It was through Sammy that Gary first got hooked up with Boston later on because their manager oversaw both acts. They were added to open for Boston’s first tour in 1977 and was later extended through their second tour, and that’s where Gary met the founder of the band, Tom Scholz.

“In ’85 when Sammy had left for Van Halen, I had kept in touch with Tom, and he said ‘oh too bad Sammy’s leaving your band,’ ” he explained, adding that Tom was “finishing up [Boston's] ‘Third Stage’ album…there’s one more song to be recorded” so he invited Gary to record with them.

After his last gig with Sammy, Gary flew directly over to record with Boston and he’s “been there ever since.”

Throughout their career, Boston’s album covers have included an iconic image of a guitar-shaped spaceship bearing their name that is now just as synonymous to the band as their many hits. But where did the band get that idea for the spaceship logo in the first place?

“That was just an artist that had worked for Epic Records at the time. And Epic had a couple ideas for Boston, one for the first Boston album cover they sent to Tom was a pot of Boston baked beans, and then there was something called Boston cabbage,” he laughed. “Then somebody sent this idea, the concept there was you see the earth exploding behind and all these cities are escaping…only you don’t see the names on the other spaceships that are escaping the exploding earth, but you assume that it’s Chicago and Atlanta and L.A…”

The spaceship theme proved to be a hit with fans from the start. The Boston spaceship has appeared on albums including Boston, Don’t Look Back, Third Stage, Walk On and more. It also serves as the artwork for the band’s upcoming Heaven On Earth tour poster.

“It was such an iconic thing and people seemed to love that concept that obviously we just kept it going,” he added.

You can catch Boston flying into LA at the Forum on July 29th with special guest Cheap Trick. Tickets go on sale on Saturday, March 22nd at 10am on You can also win tickets to the show from K-EARTH 101 when you enter online here.

Listen to our complete conversation with Gary Pihl!


om Scholz' band BOSTON will embark on a highly anticipated summer tour following the successful release of their latest album, Life, Love & Hope. The tour will kick off on June 5 at the Seminole Hard Rock Live in Hollywood, FL. Always a huge crowd pleaser with their high-energy stage show, out-of-this-world sound, and remarkable musicianship and singing, BOSTON will feature the personnel and music from their highly acclaimed 2012 tour with some exciting additions. The band prides itself on performing a totally live show without the use of prerecorded music or technical enhancements, delivering the exceptional sound that is faithful to their studio recordings.

BOSTON burst onto the music scene with their eponymous best-selling debut album in 1976, and never looked back. With over 17 million copies sold, Boston generated hits such as "More Than a Feeling," "Peace of Mind," and "Smokin'," rock staples that are still in heavy rotation today. Their second effort, Don't Look Back was another chart-topper that confirmed their place in rock history, followed by Third Stage, which hit #1 on the charts, with the top single of 1986, "Amanda." With over 31 million albums sold to date, their music has stood the test of time, as evidenced by live BOSTON audiences that span generations.

Last December, BOSTON released their newest studio album, Life, Love & Hope on Frontiers Records. More than a decade in the making, Life, Love & Hope features 11 tracks embodying the classic and beloved BOSTON sound, as well as the latest in the evolution of Tom Scholz' musical artistry.

Scholz has been a longstanding advocate of the vegetarian lifestyle, and prevention of cruelty and suffering to animals both nonhuman and human. This summer, at selected concerts on the tour, there will be a promotional sale of the BOSTON CD, Greatest Hits. Every CD sold comes with a chance to win an Epiphone guitar signed by Tom Scholz. The winner from each show will be announced later that night. Net proceeds of the guitar contest will be split between Sea Shepherd Conservation Society and the Shriners Hospitals for Children.

Sea Shepherd Conservation Society's mission is to end the destruction of habitat and slaughter of wildlife in the world’s oceans in order to conserve and protect ecosystems and species. "What greater legacy can you leave than because of you a species survived, because of you a habitat was protected," said Sea Shepherd Conservation Society founder, Captain Paul Watson.

The Shriners operate a network of 22 Hospitals for Children specializing in orthopedic, cleft lip and palette, spinal cord injury and burn care regardless of the patients’ ability to pay.

SiriusXM will broadcast an exclusive special on the making of BOSTON's 6th studio album, Life, Love & Hope, to its listeners across North America this week. “BOSTON’s Life, Love & Hope Album Track-By-Track Special” with Tom Scholz and SiriusXM host Meg Griffin will air on SiriusXM’s Classic Rewind channel on March 10 at 6pm ET, with replays scheduled throughout the week. In addition, SiriusXM's U.S. subscribers will have the chance to win a trip to Las Vegas to see BOSTON's concert at The Joint at Hard Rock Hotel & Casino. For more information, visit

BOSTON is also offering a variety of VIP packages on their upcoming tour. Packages include premium tickets, pre-show party, exclusive merchandise & more. For more detail, visit

For the latest confirmed tour dates, please visit the official website: To receive updated tour information and interact with BOSTON fans, please join our FaceBook page at

Boston, MA (March 14, 2014) – Multiplatinum rock band BOSTON is conquering the radio airwaves as "Heaven on Earth," the lead single from Life, Love & Hope, captured the #1 spot on Mediabase’s Classic Rock chart this week. Written and produced by Tom Scholz, “Heaven on Earth” features David Victor on vocals with special guest Louis St. August. Additionally, Life, Love & Hope, released in the U.S. and Canada on December 3, 2013, debuted at #2 on Billboard’s Top Independent Albums chart, as well as #5 on Billboard’s Rock charts.

Scholz said, "Working for so many years in relative isolation, I had no idea how these songs would be received. It's amazing to see a BOSTON song at #1 again! I want to thank Frontiers Records, Azoff Music Management, and my wife Kim for believing in this record and for their extraordinary efforts. l'm also grateful to the many other performers and individuals who contributed to completing this album and making its release possible. All of us in BOSTON thank our fans for being so supportive over the years."  

More than a decade in the making, Life, Love & Hope, the collection of brand new tracks, recorded at Scholz’s very own Hideaway Studio II,was produced, arranged, and engineered by Scholz and is BOSTON’s first release since 2002’s Corporate America. Brad Delp, BOSTON singer Tommy DeCarlo, David Victor, Kimberley Dahme and Scholz himself, contribute vocals on the new album. Diverse yet cohesive, the long-awaited album has something for everyone and will fulfill the expectations of existing fans, while exposing a new generation to one of rock and roll’s great acts. 

A beautiful full-color booklet with notes from Scholz and detailed song credits accompanies Life, Love & Hope, available now for purchase at Amazon and iTunes.  Additionally, albums purchased at Best Buy contain a bonus track titled “Te Quiero Mia.”


The “Heaven on Earth Tour” will feature appearances from Doobie BrothersCheap Trick and 38 Special on select gigs.

For the latest confirmed tour dates, please visit the official website: To receive updated tour information and interact with BOSTON fans, please join our FaceBook page at


Boston 2014 Heaven on Earth Tour Dates.

Visit the Tour Calendar for show details and for updates.

Special Presale and VIP Information Available at GonnaHitchaRide forums.

Boston Heaven On Earth Tour VIP Packages

We've got your chance to get some of the best seats in the house to see Boston perform live!

For a limited time, you can choose between two exclusive VIP packages for your ultimate concert experience! See below for full package details.

BOSTON FRONT ROW VIP PACKAGE Includes (Available in Select Markets Only):

- One FRONT ROW reserved floor ticket (distributed day of show)
- Parking (1 parking space per order)
- One entry to Official Boston Preshow VIP Party, which includes,
- Priority VIP check-In
- Preshow refreshments (includes beer & wine)
- Raffle for exclusive Boston tour items
- Crowd free merchandise shopping
- Preshow party music playing your favorite Boston selections
- Exclusive Boston VIP Merchandise, which includes:
- One specially designed Boston ring (exclusive to VIPs)
- One exclusive Boston lithograph
- One commemorative Boston VIP laminate & lanyard
- One commemorative Boston VIP ticket
- Dedicated On-Site VIP Hosts


- One reserved floor ticket within rows 2-10 or Priority GA Ticket (Distributed day of show). Seats for Hollywood, FL show will be in rows 2-15.
- One entry to Official Boston Preshow VIP Party, which includes,
- Priority VIP check-In
- Preshow refreshments (includes beer & wine)
- Raffle for exclusive Boston tour items
- Crowd free merchandise shopping
- Preshow party music playing your favorite Boston selections
- Exclusive Boston VIP Merchandise, which includes:
- One specially designed Boston ring (exclusive to VIPs)
- One exclusive Boston lithograph
- One commemorative Boston VIP laminate & lanyard
- One commemorative Boston VIP ticket
- Dedicated On-Site VIP Hosts

To purchase a VIP package, find your event and look for the VIP package option of your choice!
VIP Package Availability may vary by market. VIP Package elements may vary by market. BOSTON FRONT ROW VIP PACKAGE and BOSTON VIP PACKAGE

You will receive an email from On the List Presents approximately 5 days prior to the performance date with VIP check-in instructions. Tickets & exclusive VIP merchandise items will distributed at the venue on day of show ONLY. Please note that all VIP tickets are to be picked up at the VIP check-in location, on the day of show ONLY, except for events occurring in the state of New York. All VIP packages are NON-TRANSFERABLE ; NO NAME CHANGES will be permitted under any circumstances. To redeem all elements of your VIP order you must present your receipt and picture ID at the VIP check-in location. Please note this offer is not valid for tickets purchased via TM+.


By Russell Hall |01.21.2014

Beginning with Boston’s mega-selling 1976 self-titled debut, the pioneering guitarist has always insisted on creative autonomy, hunkering down in his basement studio, often for years, to craft the songs, sounds and arrangements that meet his exacting standards. Seemingly interminable gaps between albums have been common, but the musical riches on each Boston release have always been worth the wait.

Life, Love & Hope , Boston’s first album in 11 years, offers perfect proof of that fact. Rife with Scholz’s majestic guitar work—distinguished by one of the most recognizable tones in rock—the album hews close to the classic style that first put Boston on the map all those years ago. Roiled by the tragic death of lead singer Brad Delp in 2007, Scholz settled on a vocalist-by-committee approach for the disc, even stepping up to the microphone to sing one song himself. And, as always, he turned exclusively to his legendary ’68 Les Pauls to produce those glorious guitar sounds.

“These are all songs from the heart,” he says, “each of them taking many months of effort to write, arrange, perform and record, always up to the demands of Boston's harshest critic, me. They have all been meticulously recorded to analog tape on the same machines and equipment used for Boston's hits for the past 35 years.”

Scholz spoke with us recently about the making of the album, his distinctive guitar sound, and why he regards the guitar as a “symphonic” instrument. He also talked at length about the new Tom Scholz 1968 Les Paul signature guitar--#10 in Gibson’s Collector's Choice™ series—which he and Gibson worked together to produce last year.


Did you approach making this album any differently from previous Boston albums?

Actually I approached this album in the same way I made all the albums except the last album, Corporate America. I’ve always worked pretty much alone in the studio, which gives me the freedom to go in whatever direction my musical ideas take me. But with Corporate America there were other players, other writers, and even other people working in production. It was an experiment, and it just didn’t work. After that album was released, I immediately went back to work on one of the songs, “Someone.” I wasn’t happy with it, and I was bound and determined to re-record it, with the idea that someday it would be re-released. For this new album, I went back to what has worked for me for all these years, which is doing it as a DIY project, working in my basement.

Your songs go through lots of permutations and arrangements before they see the light of day. How do you know when you’ve gotten it right, when it’s time to stop?

One of two things happens. Either I become so burnt out on the song that I just can’t work on it anymore, or I’m afraid that if I change anything else I’ll ruin what I’ve got. That’s when I stop. Sometimes when that happens I’m really thrilled with how it’s turned out, and other times I’m not so sure. In the latter case I put it on the shelf, and come back and listen to it months later. Anything can happen at that point, when I listen to it again. The one that sticks in my mind most is “The Launch,” from Third Stage, back in the ‘80s. After it was finished I thought it was just a piece of junk, that it had been a waste of my time. But when I put it on the shelf, and listened to it six months later, I was shocked. I thought, “My God, how did I get all these sounds? It’s amazing.” So that can happen, but the opposite can also happen. Many times I’ve spent six months working on a song, and then I go back and listen and think, “Yep, I was right. This is crap.” And so I throw it away.

Does that process not drive you nuts?

Well, it would be nice if everything always worked out, if everything I did turned to gold. But that’s not the world we live in. Everybody has their successes and failures, and I’ve had lots of failures. I’m just thrilled when something actually does work out.

You’ve always used your ’68 Les Pauls for recording. Was that true for this album as well?

That’s right. That’s basically the guitar I use. I rarely use any other guitar on a recording.

The story behind how you came to own those guitars is fascinating.

I still can’t believe it happened the way it did. The first one I bought just happened to be a ’68 reissue, which was made for only a short period of time. And then, even more amazingly, I just happened to see another one when I was passing by a used guitar store. I bought it, and it was virtually identical to the first one. It turned out that the second guitar was another ’68 reissue. It was statistically almost impossible that that would happen. By pure coincidence I stumbled onto these two guitars, not knowing they were any different from any other Les Paul. In fact, I was shocked when I found out that the neck on those guitars was completely different from the neck on the ones that were being made later in the ‘70s. I discovered that when I went to buy a backup. I was also surprised to find that those ’68 Les Pauls were made from parts left from the ’59 production run. I bought one of the ’68 Les Pauls for $300, and the other for $350. It still amazes me.

Tell us about the process of making the Signature model?

Gibson went to a lot of trouble to get it right. My original Les Paul has a blond finish—I had the gold removed at one point. It’s known as my Mighty Mouse guitar, because it has the “Mighty Mouse” swoop across the front of it. Gibson first measured that guitar very carefully, which took quite a while. And then they built a “first shot” prototype and sent it to me. I played it to see how it felt, and went back to them and told them it was very close, but not exactly right. And then I got out my tools and made all sorts of corrections to the dimensions. I checked everything—not just fret height and obvious things, but details about the shape of the neck, all up and down the neck. Then I went back to Gibson a second time. The guitar came back many months later, and it was exactly like my original guitar, so much so that I couldn’t distinguish the prototype from the original. I also sounded almost exactly like the original.

What initially made that particular model Les Paul so special for you personally?

It was simply the sound of the guitar. I bought the first one because I heard it being played in a performance, and was immediately struck by its tone. And as luck would have it, that particular guitar came up for sale and I jumped on it. I was pretty shocked the first time I played it. Up to that point, I had a pretty cheesy practice guitar with a neck that was completely different. It took me about six months to get used to the shorter scale of the ’68 Les Paul, and the different size neck. Now, of course, it’s more or less the only guitar I can play.

Does it give you comfort knowing you’re no longer limited to your two originals?

(laughs) Of course every guitar has its own unique audio characteristics, but the [Collector's Choice™] guitar is very close—just surprisingly close to the original.

Looking back, how surprised were you by the success of the first Boston album?

I was shocked. I was expecting abject failure. In fact, I had been warned by people in the industry—people who were supposed to know about these things—that I shouldn’t expect too much. They said disco was what was happening, and the kind of music I was doing had nowhere to go. After I finished mastering that album I actually went back to work full-time at Polaroid. The first time I heard “More Than a Feeling” on the radio was when someone at the company came running into my office shouting, “They’re playing your song! We’re listening to it in the drafting department!” (laughs) I was like, “Really?” I didn’t even resign from work when I went on the first Boston tour. I just took a leave of absence. I was sure that this would all blow over and I would once again be working a regular job, like everyone else.

Are you surprised that no one has successfully mimicked your sound, that it remains so distinctive after all these years?

I don’t know the reason for either of those things—why it hasn’t been exactly copied, and also what makes it unique. Whenever I go into the studio, each time, I don’t have that sound set up, or cast in stone so that it never changes. It’s true that I always plug into the same equipment, but I’m always changing the sound, and I’m never quite satisfied with it. It’s always a new challenge. Still, somehow I always seem to end up sort of in the same place, with the sound. It’s interesting. Whenever I walk into a place where rock and roll is being played in the background, I can tell if it’s a Boston song even before I know which song it is. I can’t explain it, but I do feel very lucky things turned out that way. It probably has something to do with working alone, with working in isolation for such a long time. Being left completely to my own devices, I suppose I gravitate toward that same sound every time, as I’m dialing things in. It also doesn’t hurt that I use the same two Les Pauls every time I record.

You’ve often said one goal you have, with your guitar playing, is to elicit emotions in the listener. Can you elaborate?

I think that’s the job of a musician, to get the most feeling out of the music and create emotion in the listener. Certainly all types of music can do that. My first experience with that was in childhood, listening to big symphonies. Most of the time that was on an early high fidelity record player, but I was also taken several times to see a symphony orchestra in Toledo, Ohio. I remember being thrilled with the power of that experience. I realized you don’t necessarily need lyrics—or anything of that sort--to create emotions in people. You just need the right person putting the sounds together in the right way. That’s always my goal when I’m working on a song.

What pushed you toward the guitar as the instrument to accomplish that?

I heard that same symphonic power in the guitar when it was played by the right people. The first time I heard it was in The Kinks, The Yardbirds and Iron Butterfly. I’m not talking about “In-A-Gadda-Da-Vida”—I’m talking about Iron Butterfly’s first album. There was a cut on that album called “Iron Butterfly Theme” that was in a weird time signature. That song got me turned onto the whole idea of playing guitar. The power that was at your fingertips was extraordinary. And of course that hasn’t changed. A guitar player, with modern equipment set up the right way, has phenomenal power on-hand for anything he or she wants to do.

You have lots of live recordings of Boston, many with Brad Delp on vocals. Is there any chance a live Boston album might soon see the light of day?

That’s a project that’s always in the back of my mind. That’s why I make the live recordings, and I do have a lot of them. But every time I think, “Well, I think it’s time to start putting that together,” something happens and life gets in the way. I’m concentrating on the new studio album for now, and the next thing on the agenda is a tour, for this year. A live album will have to wait a little longer.

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