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145 of 151 people found the following review helpful
5.0 out of 5 stars Great remaster!!!!!!!!!!!!!!!
Below is a letter from Tom Scholz posted on Boston.org regarding the remastering of this album and the follow-up, Don't Look Back, but before I get to that I have a few comments.

I have loved this album since it's debut in 1976 and I have always felt that the last song "Let Me Take You Home Tonight" sounded different from the other songs and now the liner notes...
Published on June 15, 2006 by Chi Fan

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49 of 57 people found the following review helpful
3.0 out of 5 stars Two-channel SACD seems second-rate
Don't get me wrong: I think this is one of the best albums of the mid 1970's. I own it on vinyl and CD -- but the SACD is disappointing. For one thing, it's a two channel mix. Not that stereo SACD's are a bad thing per se, but given the other excellent 5.1 mixes of albums of the same era (for example, "Hotel California" on DVD-Audio and "The Stranger"...
Published on July 30, 2003 by Robert Kennedy


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145 of 151 people found the following review helpful
5.0 out of 5 stars Great remaster!!!!!!!!!!!!!!!, June 15, 2006
This review is from: Boston (Audio CD)
Below is a letter from Tom Scholz posted on Boston.org regarding the remastering of this album and the follow-up, Don't Look Back, but before I get to that I have a few comments.

I have loved this album since it's debut in 1976 and I have always felt that the last song "Let Me Take You Home Tonight" sounded different from the other songs and now the liner notes of the remastered "Boston" verify that belief. On all of the other songs, with few exceptions, Tom Scholz played all instruments except drums. Barry played a lead here and Fran played a bass there, but that is about it. That is, except for "Let Me Take You Home Tonight" where Tom only played the organ. I mention this because I remember folks complaining about "Third Stage" and "Walk On" stating that they could tell a difference between these latter albums, which noted Tom as the player of most of the instruments, and the earlier ones where Boston was "a band." Little did they know that it was the same method.

A letter from Tom Scholz regarding the newly remastered Debut album and Don't Look Back!

What the Deuce IS UP With Boston?

My apologies to you all for the unintentional silence about Boston activities and plans, especially concerning a reissue of the first two Boston albums. Oddly enough I was just beginning a letter like this, when that topic jumped onto my computer, forcing me to drop everything, including communicating with all of you.

So now you know I do see postings on these sites! Not all of them, but enough to know your collective feelings about Boston, and btw, thank you.

Even though half of what I read is dead wrong and the other half I disagree with (you knew I was hard to please...), it's really gratifying to know that so many people appreciate this music and the message behind it. Those of you who just write to say encouraging things, please believe that you have saved me from giving up many times!

So, after the 2004 Boston tour ended, I set about recording some new material. Some of it sounds more like old Boston, some sounds more like later albums, all of it has me excited. Unfortunately I was hampered from working effectively in the studio by complications from a back injury in 2003.

It seems I may have been the victim of something my doctor referred to as acetaminophen poisoning. I used Tylenol regularly on and off the tours for some time, and as I have since read about, this apparently may have wreaked havoc with the health of some important organs. No, I don't mean the Hammond or the pipe organ, I mean mine.

Fortunately I'm now doing much better and back to full strength, and full speed in the studio...OK, I know what you're thinking, just keep it to yourself!

I had to hold up recording for a couple of weeks last year for some overdue studio repairs; three months later I was nearly finished soldering, drilling, and banging when I discovered the announced Sony Legacy Boston reissue on line. (Funny how ex-band members who haven't played in Boston for 25 years knew about these plans ahead of time...) I was mildly surprised to find out that two albums embodying all of my writing, performing, producing and engineering work from the 70's had been "remastered" by someone I didn't know, with added live recordings mixed by someone else I didn't know, and I hadn't even heard it! When I finally did hear it, I wished I hadn't.

Although I got used to getting screwed royally by business types in the music world, the audacity of this particularly inconsiderate liberty with my art got my attention very quickly.

Although I was pretty sure there had been a violation of my rights using the name Boston for this abomination, I decided to try the diplomatic, peaceful approach, averting another war and creating something really valuable in the process: A comprehensive remastering of the two oldest albums to bring the old mixes up to the standards of 21st century recordings.

Fortunately my real manager did a great job of quickly getting Legacy to see my point of view, and change their plans.

Now I know there are those of you who would go out and spend good money (oxymoron) for anything that says "new unreleased Boston," but before you go off on me for committing new releasus interuptus, I want you to know you owe me BIG TIME! The so called new material consisted of two Philly KBFH (despite what you may have read elsewhere) not-our-best-night renditions of Smokin' and FPLY/LT, plus a trashy discard I used to toss in on the first tour 'cause we didn't have enough music for a full set! They didn't even have the name right!

These "bonus" track mixes were obviously not made by Boston. Hearing the huge stereo Boston mix style suddenly disappear when the live cuts started was a little scary (even our live sound is carefully mixed in wide stereo, as most of you know first hand). But the real kicker was a technical problem with Brad's vocal track that showed up as a very distracting constant, weird phasing.

And that wasn't the worst part: the studio recordings were just transfers to digital using the same EQ moves I prescribed for mastering them 30 years ago when everything had to be done manually, and not very precisely by modern standards. Not only could I hear no improvement, the overly hot sibilant portions that were listenable on vinyl and tape were now nails-on-blackboard piercing. Anyway, if you haven't figured it out yet, I didn't like it.

One good thing though, thinking about live Boston made me realize I have to dig out some tapes and put together some high quality mixes of our tour arrangements; some of them were totally cool. Dude.

So, we got Sony to retransfer from the original stereo analogue mix tapes (not the EQ'd 2nd gen copy companies tend to use) to 24 bit digital, and went to work in Protools going over every second of those mixes til we were nearly batty. It took Bill Ryan and me eight straight LONG days of work, which btw was precisely when I was supposed to be in the FL Keys celebrating my birthday. Finally we made the final adjustments with Toby Mountain at Northeastern Digital, then I joined Kim Hart and Gary Pihl working on the photos and booklet layout revisions. I think you'll like the new pics.

Somewhere in between I wrote a little bit about the famous demo and the making of the first album I call "Make Extra Money Working at Home in Your Own Basement," and also clarified and expanded the credits sections. David Wild of Rolling Stone fame also wrote an excellent piece from a fan's perspective for each album.

But the exciting story is what you're going to hear when you put this CD in your player. The difference is amazing to me. The guitars jump out of the speakers on those power chords, Brad's voice is full and warm in the mix like it should have been, the bass is tight and now you not only hear it, you feel it! I never liked these old mixes on 16 bit CD; now they sound great.

Hopefully most of you will listen to this directly from the CD, not an MP3! Don't get me started....Now exactly when that will be possible via actual release Sony is not saying, but they were in enough of a hurry to ruin my b-day vacation, so presumably it will be very soon. Most recent rumor: mid May.

Btw, lest you think I'm trumpeting here to get sales up, be assured Brad and I don't get treated any better financially from this than we did form the original release. You don't think that just because we wrote it, performed most of the tracks, and produced it we get most of the money do you?

But it was worth taking the time for this. I've always wanted to make those albums sound good on CD, and the chance arrived. It's good to work on your birthday.

Tom Scholz
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225 of 240 people found the following review helpful
5.0 out of 5 stars A 70's touchstone, perfectly remastered., June 23, 2006
By 
M J Heilbron Jr. "Dr. Mo" (Long Beach, CA United States) - See all my reviews
(VINE VOICE)    (REAL NAME)   
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This review is from: Boston (Audio CD)
You are reading this, I hope, in order to decide whether or not to purchase this CD.

You are probably inordinately familiar with the album. It is an album, like "Rumours" or "Saturday Night Fever" or "Frampton Comes Alive", which captures and defines the best and worst of an era. It sounds like nothing else of the time.

Sure, it has a little Queen, a little southern boogie, a little ELO even...but it's a "Boston" sound, through and through.

There's no need to address the individual songs.

You know them. You love them. You have them memorized.

You know that the end of the album gets a little weak, but you probably kept replaying that one side anyways. Or at least MOST of the time.

So, the BIG question is...how well is the remastering done?

Well, you know how some remastering cleans things up with such detail and precision you feel like you are in the studio?

Or they expand the soundstage that you can "see" the players in their respective position?

Or the studio trickery comes alive inside your headphones, making your eyeballs swirl?

Not here. Which is perfect.

What Scholz and company have done is restore and preserve the original warm sound. No more pops, clicks or scratches. No more tape hiss from your old 8-tracks or cassettes.

The album never sounded "live" to begin with. There are no dramatic swoops, no bizarre effects.

The songs are mixed as a whole. Vocals are overdubbed, guitars are processed...this is not an attempt at reality, this is rock and roll fantasy.

And as such, it works phenomenally well. The instruments are warm and clear. The vocals soar operatically.

You'll sing along in your car or on your iPod in embarrassing fashion, and you'll air-guitar about half a dozen times. You won't be able to resist.

You'll recall all the fun you had in the seventies, and none of the bad fashion or haircuts.

Time to buy now. Have a nice day!
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38 of 41 people found the following review helpful
5.0 out of 5 stars An enduring classic for all time, May 12, 2005
This review is from: Boston (Audio CD)
Classic 70's albums bring into mind Fleetwood Mac's Rumours, Led Zeppelin's fourth album, and Blondie's Parallel Lines, to name a few. Add to that Boston's debut album, which sold 16 million copies in the US and was in the album charts for two years. Much of the success was due to the intelligent songwriting of Tom Scholz and rock vocals of Brad Delp, who by the time of their third album Third Stage, were the only two from the original lineup left.

The remembrances of summers past and a girl named Marianne is embodied in their first single "More Than A Feeling," one of the best known rock singles of the 70's. Reaching #5 in 1976, it featured all the components that made Boston a force to be reckoned with. Delp's soaring vocals, accompaniment from other members, and Tom Scholz's distinctive squealing and revved guitars, particularly during the chorus.

"Peace Of Mind," the third single, which barely showed its face in the Top 40 (#38), is more a rocker throughout. It's a song showing the wisdom of not getting caught up with the fierce competition in the music world: /Can'tcha you see there'll come a day when it won't matter/Come a day when you'll be gone/ I sometimes find myself liking this song more than "More Than A Feeling." Why didn't this get into the Top 5 as well?

The second single, "Long Time," has as an accompanying prelude "Foreplay," with its rambling organ solo and snarling guitars. After 2 mins 23 seconds, "Long Time" begins with a squealing guitar and Brad singing. This #22 song has the long-term dream or vision, much like "Peace of Mind" and the need to move on from one place to another to find it. The "got to move on" dynamic is also explored in "Hitch A Ride," only on a more cosmic level, where hitching a ride to the other side and leaving for the last time is the final departure.

"Rock N Roll Band" is an autobiographic song of how the band made it from local gigs till their discovery. Just as engaging if not more than "Peace of Mind." There are some nods to old-fashion R&R in the verses of the jamming "Smokin'." Jamming, or should I say smoking?

All the songs are singleworthy, due to a consistent strong guitar, heavy bass, drums, in other words, the forerunner of what would later be termed arena rock. Corporate rock is another term that comes to mind, although later, Boston's most recent album would be named Corporate America in denunciation of the type of music his band had been a part of.

Not many artists have a best-selling pop debut album like Boston, although two that come to mind are Whitney Houston and Hootie & The Blowfish. An enduring classic that still hasn't lost its touch all these years.
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49 of 57 people found the following review helpful
3.0 out of 5 stars Two-channel SACD seems second-rate, July 30, 2003
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This review is from: Boston (Audio CD)
Don't get me wrong: I think this is one of the best albums of the mid 1970's. I own it on vinyl and CD -- but the SACD is disappointing. For one thing, it's a two channel mix. Not that stereo SACD's are a bad thing per se, but given the other excellent 5.1 mixes of albums of the same era (for example, "Hotel California" on DVD-Audio and "The Stranger" on SACD) this disc falls short. Imagine the Boston guitar lines swooping in from your surround speakers. It's not happening here.
More than that, for me the disc didn't add much in clarity or impact compared to the original. The soundstage has more depth which serves to isolate the vocals a bit, but there are very few "aha!" moments. The quiet passages are the ones that shine -- for example the intro to "Foreplay". Perhaps this is all a result of the original mix, which lacked subtlety in favor of a "wall of sound" approach. I recommend the disc only for diehard Boston fans.
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15 of 16 people found the following review helpful
5.0 out of 5 stars Hard rock, December 10, 2003
This review is from: Boston (Audio CD)
In the 1970's, their where many hard rock/heavy metal albums that defined the genre during that decade. This was one of the best. This album's quality is the only real reason Boston is remembered so well today, as they have had a spotty career.
The band put together clean, fresh melodies and created some of the best sounding hard rock in history. Most bands had one or two hits per album, and then a few album track gems. Boston's entire debut was exciting and fresh. It was the best hard rock album of 1976, and there was some stiff competition. Aeromsmith released "Rocks" that year, often seen as their best album. Kiss put out "Destroyer", which has also been hailed as their greatest piece of work. Boston however, beat them all out this year. Every song on this record was a radio hit, and is still on classic rock radio today.
If you love hard rock and heavy metal from the 1970's, you will worship this album. It is not overrated in the least. This is a fine album, and Boston, while they would have a decent following album, would never reach this status again.
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18 of 20 people found the following review helpful
5.0 out of 5 stars Influential and definitive rock MASTERPIECE!, March 9, 2007
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This review is from: Boston (Audio CD)
Today is a sad day for 'Boston' fans. The magical voice behind the band, Brad Delp, passed away at age 55. Another rock great taken from us way too soon. The rawness and emotion of Delp's vocals, the melodic dual guitar interplay between Barry Goudreau and Tom Scholz as well as the novel sounding, spaced-out guitar crunch effects of Scholz, put Boston in a class of their own. This first Boston album was an absolute milestone in rock history (1976), and easily one of the top, definitive releases of the 70's. I was in high school in New Jersey at the time, and remember the utter frenzy created at the local record stores when it was released, following the success of 'More Than A Feeling' and 'Peace Of Mind' on the radio. There was a huge line going around the block, with police barricades just to get the debut album! I'll never forget it. In addition, whether many realize it or not, it was bands like Black Sabbath, Rush, Led Zeppelin, UFO, Boston, early Scorpions, etc. that spawned and influenced the Heavy Metal genre afterwards, and prompted many a pimply faced teen to pick up a guitar.

R.I.P. Brad Delp... you were a consummate rock star amongst STARS!!!!
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14 of 15 people found the following review helpful
5.0 out of 5 stars An All-Time Rock'n'Roll Classic, September 12, 2002
This review is from: Boston (Audio CD)
What can we really say about BOSTON (1976) that has not already been said before--That it's a great rock 'n' roll album; in fact, one of the greatest of all time? That it transformed the music forever by totally revolutionizing electric guitar technology? That both sides of the vinyl version ARE 'perfect album sides'? That it sounds even greater on CD? That it all sounds even more incredible on the 24k Gold Remastered Edition? That, at 15 million units sold & counting, it is still the biggest-selling debut rock release of all time? That Boston, as a band, could never live up to it afterwards, despite some quality recordings over the years? It is all this, and much, much more. :)
Boston the band, and BOSTON the album, was Tom Scholz's brainchild. The story is all told in the CD liner notes (just as it was on the vinyl album backcover), so there's nothing more to add to this, except that his real genius was forming his hard rock/heavy metal band with such talented members: Lead singer Brad Delp, whose six-octave vocal range has rarely been matched since, even by himself and fellow lead & rhythm guitarist Barry Goudreau, whose style worked so well in tandem with Scholz. Also, bassist Fran Sheehan (any relation to Billy Sheehan of Talas & Mr. Big?) and drummer Sib Hashian provided one tight rhythm section. This band was never better than on this one, glorious album.
Yes, I'm still kind of sick of "More Than A Feeling" which was a great tune that became way overplayed in the years that followed--but there's no denying that it is still a great song. "Peace Of Mind" is also such a 1976 classic, but it is the album's centerpiece, "Foreplay/Long Time" that remains the single most compelling track on the entire album. From the heavy bassed-up 'Foreplay' intro to the smooth, high-pitched Brad Delp vocals that follow (not to mention the incredible Scholz/Goudreau guitar solos), this song still gets my blood pumping and is still one of my 100 favorites of all time. �Rock & Roll Band� still rocks, while very nicely summarizing Boston�s rise to stardom. �Smokin�� does just that; one of the greatest driving songs of all time, it features the most killer opening riff, and the best Hammond organ solo this side of Deep Purple. �Hitch A Ride� is another classic; starting out with soft, acoustic guitars, it suddenly whips itself up into a magnetic frenzy of swirling electric guitars and keyboards at about the minute-and-a-half point, and then only gradually calms itself down to end with a masterful guitar solo. �Something About You� is that �Gotta have ya, have ya� song that we all remember as one of the FM staples after �More Than A Feeling� had worn itself out of airplay. And, of course, the unforgettable album closer �Let Me Take You Home Tonight� which, sadly, still does not do itself justice to this day; the sped-up final minute and a half always sounded out of place to me in contrast to the song�s first three minutes. But the first three minutes are a magical acoustic/electric mix that shows off Boston's soft side.
This entire album is still one of the best 37 musical minutes you're likely to spend. BOSTON is simply one of the greatest rock'n'roll albums ever; it's one of those coveted 'desert island discs'. Buy it on CD--and just remember to turn it *up*!!!! MOST RECOMMENDED
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21 of 24 people found the following review helpful
5.0 out of 5 stars Classic album receives remaster it deserves, July 22, 2006
This review is from: Boston (Audio CD)
Contrary to some other comments about Tom Scholz not liking the remastering job he did on the first two albums (he was referring to the Canadian release which also had bonus tracks and was NOT remastered by Scholtz), Scholz is pleased with the latest re-release. The Canadian release has some bonus live tracks. Scholz was pretty horrified with the sound on the re-release and after hearing them he contacted Sony (he hadn't been contacted before the re-release. They agreed to let him remaster the material himself.

"Boston" sounds terrific correcting issues with the sound. The result is that the drums have more punch, the vocals are up front and there's better depth, definition. The artwork has also been updated with two brief essays one by Scholz discussing the recording of the album and another by Rolling Stone writer David Wild. The credits for who played on what appear for the first time correcting a lot of myths about the album.

The packaging is nice with a booklet and the CD sitting in a digipak holder. A great debut album finally gets a worthy CD release.
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13 of 14 people found the following review helpful
5.0 out of 5 stars hitch a ride, November 13, 2003
By 
Kyle W. Elsbernd (Janesville, WI United States) - See all my reviews
(REAL NAME)   
This review is from: Boston (Audio CD)
It's fitting that this album was on the epic label! It truly is epic in every sense of the word. To me the magic is in the contrasts: clean, pure vocals and massively overdriven guitars. Soaring, almost violin-like lead lines and power cords. Beautiful melodies with polished, evocative lyrics--lyrics that don't call too much attention to themselves, but allow the voice to act as basically an additional guitar! An "angry" distortion sound, but tamed: the rockman sounds like a wall of marshalls pumped through a transistor radio. Harmonically rich, like blue steel with little sparkles breaking on the surface.
And Brad Delp's voice! The man can sing. Nobody wails like that anymore. It feels like he wraps the lyrics in layers of silk. There is a certain "fabric" to his vocals--that's the only way I can describe it. He seems like a working man who happens to open his mouth, and out comes an angel's voice. I played "Long Time" for a dear friend from Africa once, just to see what he thought about American music. A very sensitive, poetic soul in his own right. He heard Brad Delp's "Ahhhhhhhhhh-aiiii!" in the break, shook his head, and knowingly said, "The cry of freedom." That's what it is. It's so American. Anyone in the world would recognize it. It's like Whitman's barbaric yawp! It says, "Listen to us! We're alive and we f'in' rock!" One of your reviewers says that Boston reminds him of the bicentennial year, and makes him feel patriotic. How fitting that it came out when it did - 1976. How fitting that the revolution began in Boston; the music neatly summarizes and caps a revolution, in a sense. It is a product of the times, times that probably can't be recaptured. The music reminds of a happier, carefree era, when American music was still the envy of the world.
The album for me has two bookends. The first is the opening riff of More Than A Feeling. It repeatedly rises and tumbles back down, finally resolving itself as Brad Delp's voice soars up and takes flight as a singing guitar. "I turned on my music to start my day/and lost myself in a familiar song/I closed my eyes and I slippped away." And "So many people have come and gone/Their faces fade as the years go by."
The other "bookend" for me is in the staggering solo in "Hitch a Ride." Right after "Carry me away for the last time." Words fail me in describing it. And just at its highpoint, its fever pitch and frenzy, listen real close, and you will hear a scream. The magnetic guitar pickup actually caught someone screaming "yeah!" in a kind of ectasy. It's there--listen real close. A happy mistake, but telling. Carry me away for the last time.
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23 of 27 people found the following review helpful
5.0 out of 5 stars Well worth it!, September 11, 2002
This review is from: Boston (Audio CD)
SACD, as a format, is a stunning breakthrough in both realism and sonic integrity. This SACD, though only a remaster of the original 2 track master, does well to illustrate the formats potential. Yes, Tom's original mix is still intact, although the dynamic range has increased a tad. Upon first listening, I felt like I was listening to the album again, as the CD never really carried the impact for me that the original LP did. Upon closer scrutiny, however, I began to realize the depth in the recording that I had never heard before. Indeed, it is a very slick, very well produced recording. SACD, however, lends increased dynamics and punch, as well as a much warmer bottom end, and as mentioned above, depth.
A must buy, in my opinion, as it is one of the all time great albums, and it really shows some of the capabilities of the SACD format. Now, if someone would remix it in 5.1, (Come on, Sony!), I'd be ecstatic!
(As for the 24 bit comment in an earlier comment, 24bit, 96kHz DVD-A would not lend itself any greater clarity or impact, as bit depth has no relevance to the SACD format. And In my professional experience, as far as formats go, SACD exceeds the capabilities of DVD-A in an A-B comparison shootout. Now we just need more new titles recorded and mixed for DSD-SACD from the start. Then, we will really experience a truely unique and unapproachable by any other format musical experience.)
Hey Sony, don't let this format go the way of the Betacam, ok? It's a winner, if you'll really support it.
Just my $0.02.
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Boston by Boston (Audio CD - 2006)
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