The lack of success of the comeback album for the band Boston has lead to the band taking legal action against their record company.

Donald Thomas Scholz (Tom Scholz) of Boston has filed with the County of New York claiming Artemis Records failed to market and promote their last album 'Corporate America'. The album was Boston's 5th album and their first in 8 years.

Scholz claims he signed with Artemis after they promised him the highest priority for promoing 'Corporate America' and hands on attention that other labels would not or could not provide.

After signing he says the label fired key staff members necessary to fulfill the label's obligation to the band. The suit suggests Artemis then assigned A&R staff who made no experience to look after the band.

The suit claims Artemis failed to execute the agreed marketing plan and their failure to abide by their contractual obligations threatened the success of the tour and continued success of the band.

As a result of the action of Artemis, Boston claim to have suffered damages of at least $4,000,000 plus interest, legal costs and further damages yet to be determined as a result of the combined complaints.

The debut album by Boston from 1976 is the 11th biggest selling album of all-time in America. It has sold more than Guns 'n' Roses 'Appetite For Destruction', Bruce Springsteen 'Born In The USA', Led Zeppelin's 'Physical Graffiti' and Pink Floyd's 'Dark Side of the Moon'.

In the USA, Boston has sold more albums than Pearl Jam, Ozzy Osbourne, Dixie Chicks, The Police and Paul McCartney.

'Boston' contained the hit single 'More Than A Feeling'.

By Paul Cashmere

By Dan Daley
Mix Online

In 1976, mainstream American rock was making the transition from blues-based proto-metal to what would become a decade-and-a-half's worth of power pop. It was an era when the recording of the pistons of rock - guitars and drums - made the transition from a crude craft to a true science, as guitar sounds began to receive the kind of data processing heretofore reserved for NASA telemetry.

"More Than A Feeling," the first single from Boston's eponymous debut album, hit the airwaves that autumn (making it to Number 5), and acted as a pivot in this transition, combining some of the ebullience of the rock era's early days with the precision and technology that would mark rock record productions from then on. That song and album also set benchmarks for the record business. Boston became the best-selling pop debut effort in history, a title it held for a decade before it was supplanted by Whitney Houston's first album. It ultimately sold 16 million copies in the process of creating a reference point for production values and studio technology that would stand for years.

By Larry Lange
EE Times

The rock band Boston is familiar to just about anyone with a radio. But few fans may realize that the creative force behind Boston's distinctive sound is an engineer.

Indeed, Tom Scholz' engineering acumen helped propel Boston to se emingly instant stardom back in 1976, and it's keeping the band's signature sound vital as Scholz prepares a new Boston recording for release later this year.

"Tom Scholz is a modern-day Renaissance man — an engineer's engineer," said D.C. Williams, a Carson City, Nev.-based electrical-engineering consultant and Scholz fan who runs a Web site devoted to Boston .

Songwriter, guitarist and keyboardist Scholz is both the creator of and techno-brains behind the Boston phenomenon. He's a producer, sound technician and inventor, with nearly 35 patents in his portfolio. Indeed, Scholz' innovations have earned him renown among audiophiles and recording professionals: His unique Rockman line of guitar amplifiers and effects boxes revolutionized the way professional music has been re corded over the past two decades.

By Larry Lange
EE Times

Though the creative force behind the rock group Boston, Tom Scholz had an engineering problem. Because of the limitations of mid-1970s guitar-processing equipment, he couldn't quite get the majestic rock music sound swirling around in his head to translate easily to tape.

In order to get the distorted, overdriven power-rock sound out of a guitar amplifier, technicians were saddled with recording then-state-of-the-art tube amps at maximum volume to achieve the desired "heavy" effect. Scholz found that technique to be less than elegant, so in true engineering form, he addressed the problem with an ingenious end-around.

Placing a series of resistors between the output of a high-level (100-W) tube amp and a speaker cabinet, Scholz found a way to "soak up" an amp's output — though it could still be pinned at maximum volume, for full distortion effect. He had created what he called the Power Soak.