By: Brian Ives
radio.com

Boston are one of the quintessential bands of '70s classic rock, possibly because they released two LPs in that decade, a feat of prolific album recording that they have yet to top. We're not kidding: they debuted with their 1976 classic self-titled album and followed it up with lightning speed (for them, anyway) with 1978′s Don't Look Back. But each subsequent decade has seen Tom Scholz and company release just one album. Like the Paul Masson Winery who sell no wine before its time, Scholz spends a lot of time working on Boston albums before they reach the public. A lot of time. He spoke Radio.com about why it takes so long to finish an album, the possibility of a Boston box set (don't hold your breath) and more seriously, the matter of using vocals by Boston's late singer Brad Delp on the band's brand new album, Life, Love & Hope.

By: Mike Ragogna
Huffington Post

Mike Ragogna: Hi, how are you Tom?

Tom Scholz: Fine Michael, how are you?

MR: I'm pretty good. I was looking very forward to this interview because I've been such a ridiculous Boston fan for a very long time.

TS: Well, thank you.

MR: [laughs] Okay, let's jump into Life, Love, And Hope. This album has taken a long time to put together. As you were creating it, was there a theme?

By A.J. Wachtel
The Noise

Tremendously talented artists like Tom Scholz seldom appear in music markets today. But when they show up and make their voices heard we all stop and listen. BOSTON is back with a new full-length release, Life, Love & Hope, and is better than ever. This occurrence couldn't have happened at a better time. Listen to what Tom Scholz has to say:

Noise: It's been 11 years since Corporate America came out. What have you seen change in the music industry during those years?

Tom Scholtz: Two things:  1) Music buyers have embraced the worst sounding method of music reproduction since Edison's original wax phonograph cylinders, the MP3 file, which has actually forced a small segment of listeners to revert to 1960's technology vinyl records just to hear decent audio. 2) According to some industry observers, nine out of ten songs downloaded are stolen files.

My theory is that these two facts are the principle cause of the precipitous decline of the music biz, and with it, the end of world class rock music recording.  It seems that most of the good studios that were available in the Northeast are now gone.

By Jeb Wright
Classic Rock Revisited

Boston vocalist Tommy DeCarlo has had a few years to get his feet back down on earth since going from a regular guy working at Home Depot to singing Boston's greatest hits on the band's 2008 tour. Fairytales do happen and dreams do come true and no one knows that more than DeCarlo, who sent a chance email to Boston offering to sing at Brad Delp's tribute concert and ended up becoming the band's lead singer.

During Boston's downtime, DeCarlo produced two singles and released them on the Internet. One song he wrote for his wife and the other he wrote about Brad Delp. In fact, it was the Delp tune that began the process of Tommy's incarnation from home repair guy to rock singer. The tune is titled "A Man I'll Always Be" and Tommy wrote the song only days after Delp's tragic suicide.

Oddly enough, several years prior DeCarlo met Delp after a Boston show in Florida. Neither man knew then the connection that would one day link them together forever.

The interview that follows is an inspiring look into the past, present and future of Tommy DeCarlo.

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

By Mike Mettler
Sound & Vision
July/August 2008

ImageWhy did you decide to remaster the Boston Greatest Hits CD (Epic/Legacy)?
For one thing, the other Greatest Hits CD [from 1997] was horrible-sounding — not as bad as Third Stage [chuckles], but it was an older CD, back from the days when Pro Tools was still a fledgling thing, and a lot of that mastering was done in 16 bits. I knew it was substandard, and I really wanted to redo it and get it right. This gave me the opportunity to put the same kind of care into it that I put into the [2006] remastering of the first two albums, Boston and Don't Look Back. We dug out the analog tapes, baked them, transferred them, and started from scratch. And I'm really ecstatic about the way it sounds now.

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 . . .