25 July 2006

For those who came of age in the 1970s, they might recall the convoluted nature of music in the latter part of the decade. The landscape resembled a deep sea feeding frenzy, with an array of genres and bands jockeying for the public’s attention and disposable income. As America’s Bicentennial unfolded, punk had taken root on UK and US soil, glam was in its death throes, disco was in its infancy, Frampton came alive, and lumbering rock behemoths Led Zeppelin and the Who continued to bask in their respective glows as the planet’s biggest concert draws.

Similarly, KISS and Ted Nugent had proven to be formidable musical forces, while teen heartthrobs from Leif Garrett to the Bay City Rollers garnered headlines and enjoyed massive popularity. Lynyrd Skynryd led the southern rock movement (albeit only a year before meeting its tragic fate) and Elvis had not yet left the building. As diverse as the musical offerings of the mid-’70s were, it shouldn’t have been a surprise that an M.I.T. graduate (and guitarist/technical wizard) could record a handful of songs in his basement studio, and spawn the pop-rock sensation Boston. Yet it was surprising, as Tom Scholz, in the guise of nearly-one-man-band, unleashed the debut album Boston on the mainstream, thereby cementing his legacy as one of music’s most awe-inspiring success stories. Thirty years after the album’s release, Boston (and its 1978 successor Don’t Look Back) have been digitally remastered with Scholz at the helm, affording nostalgic boomers and curiosity seekers the opportunity to revisit the phenomenon of Boston.

As a result of three decades of radio airplay, there are few song intros as recognizable as Boston‘s lead track, “More Than a Feeling”. Scholz’s breezy guitar rings out for less than 20 seconds before Brad Delp’s vocals step to the forefront and seize control of the song. What made the track so powerful in ‘76 was its uniqueness: Scholz’s guitar sound was unlike anything else at the time, and Delp’s voice resonated with little, if any, points of reference. Additionally, “More Than a Feeling” embodied the model for flawless pop rock; it was sensitive without being sappy, and it was anchored by strong guitar riffs without being too heavy. Whereas bands like the Eagles gravitated toward lighter, less muscular content, Scholz pointed Boston in the direction of a decidedly tempered rock sound, one that could be played on prom night as easily as on an FM station.

Since Scholz’s technical and production skills were so strong, Boston‘s material segues seamlessly from one song to the next. The closing notes to “More Than a Feeling” have barely faded when Scholz’ guitar introduces “Peace of Mind”. Once again, Delp’s vocals takes center stage, supplanted by wave upon wave of meaty riffing. The two are equally strong components, yet never intrude upon one another. “Foreplay/Long Time” follows suit, with its 2:45 frenetic instrumental opening that invites Delp to join the fray at exactly the right moment. Scholz alternates guitar parts, from soaring solos to melodic strumming, and the song ebbs and flows its way to just under the eight-minute mark. 

Boston retains a noticeable balance within its remaining songs; “Rock and Roll Band” incorporates a generous amount of Scholz’s best six-string work, while “Smokin’” ambles along to its own rollicking tempo, thanks in large part to the give-and-take between guitar and organ, making both tracks tasty pop rockers. Conversely, “Hitch a Ride” approaches early power ballad status, though Delp avoids crossing into tear jerker territory by following Scholz’s guitar from start to finish. “Something About You” and the Delp-penned “Let Me Take You Home Tonight” are multi-textured gems which feature crisp layers of vocals and instruments. The latter merits special mention, as it is the album’s lone song in which Scholz does not participate on guitar, manning the organ while leaving Barry Goudreau to the fretboard filler. When revisiting the eight tracks, it’s somewhat surprising to realize that Boston is an entirely (and expertly) guitar-driven record, no different than the heavier offerings of ‘70s hard rockers like Deep Purple and Aerosmith. However, Delp’s engaging vocal style is what stabilizes the album in a radio-friendly, pop-rock realm.