Articles
Scholz And Boston Rock To Perfection For A Cause
Tuesday, December 13, 1994

By Steve Morse
Boston Globe


BOSTON
At: the House of Blues, Monday night


Usually when the band Boston performs, it's a high-pressure gig in a packed-to-the-gills arena. Remember, this was the band that made its New York debut by playing three nights at Madison Square Garden in the late '70s. No other band has done that before or since. And Boston still holds the record for most Worcester Centrum shows in one engagement -- a whopping nine nights back in the late '80s.

So it was a treat to see the reconstituted Boston -- still with eternally boyish, sonic-guitar whiz Tom Scholz -- scaling down to the play the House of Blues last night. They had never played a club in town before (their local debut was Boston Garden), but they delivered the goods musically and played for a good cause. Before the two-hour benefit show was done, Scholz handed checks of $5,000 to Globe Santa and another $5,000 to Operation Christmas in Fall River.

The famously lush, vocal-heavy Boston sound was administered with note- perfect flair, almost as if you were listening to the records. Scholz is a notorious perfectionist (to the point of asking the House of Blues to rewire its sound for the occasion), but his fussiness paid dividends. The sound quality was downright spectacular -- and not too decibel-heavy, either, unlike the recent, ear-blasting Black Crowes show at the Paradise.

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Rebuilding Boston
Friday, December 09, 1994

Band Founder Tom Scholz Puts Troubles Behind Him

By Steve Morse
Boston Globe

Boston is trying to salvage a lost year. Not the city, but the band. The band experienced a year from hell, fighting with its record label, fighting a former manager in court, scrapping a summer tour and watching in horror as a new album sold only 1 million copies. That's a dream figure for most bands, but was only 25 percent of what any of Boston's three previous discs had sold.

"One million sales is not a total embarrassment," says Boston producer/ guitarist Tom Scholz. "And it got extremely good reactions from the people who actually managed to find out there was an album released. It was a very well-kept secret."

Scholz has reason to fume -- he lost his battles with MCA Records, which did little to promote the album; and lost his court case with former manager Paul Ahern, who won a half-million dollars for alleged breach of contract. But Scholz is determined to be optimistic, so he's booked two shows at the House of Blues on Monday (a Globe Santa benefit) and Tuesday. They're Boston's first local shows since selling out the Worcester Centrum for a record nine nights in 1988.

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Lawyer's Dilemma
Monday, November 07, 1994

Top L.A. music attorney Don Engel faced a no-win situation when a Boston court ordered him to testify.

By Di Mari Ricker
California Law Business

For San Francisco music attorney David Phillips of [Phillips & Erlewine], it was "an attorney's dream."  For Los Angeles music attorney Don Engel of Engel & Engel, the same experience ranged from "weird" to "devastating."

What they were describing were the events of a recent trial in Boston involving the rock group of the same name.  Mr. Engel, who defended the group's guitarist, Tom Scholz, found himself in a litigator's Twilight Zone: on the witness stand being questioned by the plaintiff's counsel.

The case centered on a common refrain in the music industry: royalties.  Paul Ahern - who began his involvement with the group Boston as its original personal manager and went on to manage the careers of Mr. Scholz and others - sued Mr. Scholz over royalties he claimed were owed him from Boston's third album, "Third Stage," which was released by MCA Records in 1986 and sold more than three million copies. Ahern v. Scholz, 91-10586-H.

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Young Guitar Exclusive: Tom Scholz
Thursday, June 30, 1994

Young Guitar Magazine

Everyone forgot about Boston until they released the Third Stage album in 1986. Eight years later, the 4th Boston album (Walk On) was released this month. Boston has become a legend for releasing an album only every 8 years. So who knows, maybe the next album won't be out till the year 2002! Even if it's sooner, Boston still only has 4 albums out in 18 years. That makes them the slowest band in rock history. But any way you cut it, a true fan can take any part of this album and say, "Yep, that's Boston." But, Tom Scholz's guitar work is much more aggressive than on earlier albums, with a veteran guitarist feel. As on the Third Stage album, Tom uses his Rockman technology in the studio to get that perfect tone. This point should appeal to those young listeners hearing Boston for the 1st time.

"I've been working on the development of the Rockman for the past 8 years."

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Leader of Boston Wins Lawsuit
Wednesday, March 21, 1990

From Times Staff and Wire Service Reports
Los Angeles Times

WHITE PLAINS, N.Y. -- Tom Scholz, leader of the rock group Boston, did not breach a contract with CBS Records when the group failed to deliver a record album, a federal jury has ruled.

Ending a seven-year court battle, the U.S. District Court jury also ruled Tuesday that CBS Records did not engage in a conspiracy against Scholz when it tried to stop other record companies from signing him.

CBS Records sued the entire band in 1983, charging it with failing to deliver the requisite number of albums under a 1976 contract. Charges against other band members were dismissed.

The band's first two albums, released in the 1970s, "Boston" and "Don't Look Back," went platinum.

CBS expected a third album by 1981. Despite promises by Scholz to CBS executives and rock magazines that the third album was imminent, no record was made. CBS suspended Scholz's royalties in 1983, then sued.

Lawyers for both sides said the jury apparently believed Scholz's argument that the delay in producing the third album was rooted in the creative process.

"I feel great," said Scholz, the group's founder. The jury "somehow picked up that I didn't care about the money."

 
The Activist Member Of Boston
Monday, September 26, 1988

By Steve Morse
Boston Globe

When it comes to rock 'n' roll philanthropy, there may be no greater believer than Tom Scholz of the band Boston. His group headlines an AIDS benefit tonight at Boston Garden -- the second part of the "AID & Comfort" series which began last night with a performance by Joan Rivers. Scholz has already given $1.5 million to help various social programs in the last two years, from supporting hospices to fighting for animal rights.

"I had a manager whose father died of AIDS," Scholz said recently from his home in Boston's western suburbs. "Right now, AIDS is the most obvious tragedy that needs our attention."

Scholz is upset that most other rock bands have avoided the AIDS issue. ''There are a lot of people who don't have the guts to get involved with it," he said. "It will probably stir up some adverse reaction in some circles of the public, but I can only guess why. Whatever it is, it's a poor excuse."

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Boston Exhilarated By Centrum Triumph
Wednesday, August 26, 1987

By Steve Morse
Boston Globe

WORCESTER --To commemorate Boston's historic nine-night run at the Worcester Centrum, Boston Mayor Flynn recently sent a proclamation to the band. It read: "Boston's appeal spans all generations of music lovers --and the band will go down in the city of Boston's history as being as famous as Paul Revere, Faneuil Hall and the Old North Church."

"The mayor didn't give it to us in person but sent a proxy who actually read those words with a straight face," guitarist Tom Scholz laughed after Monday's final show.

Whether the band will stay as famous as Paul Revere remains to be seen, but the group set a variety of records at the Centrum. Their nine shows dwarfed the previous record of four shared by Van Halen and Journey. They drew nearly 120,000 fans during the nine nights --enough to fill Foxborough's Sullivan Stadium twice. And they even set a mark for "the biggest balloon drop in the history of the Centrum," according to administrator Pat Lynch. About 3,000 balloons were freed from the rafters after a tumultuous half-hour of encores on Monday.

"This was the best show I think we've ever played," Scholz said, overcome by emotion in the dressing room. "The crowd and just everything about it was the best. The only trouble is that it will never be this good again!"
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Boston Home Is 9 Nights At The Centrum
Thursday, August 13, 1987

By Steve Morse
Boston Globe

Boston is coming home. After setting attendance marks around the country --including a record 82,000 fans at the Texxas Jam in June --the band tonight begins an unprecedented nine shows at the Worcester Centrum. That is five more nights than any group has ever booked during a single stretch there. And it is only one shy of Bruce Springsteen & the E Street Band's record 10 shows at the Meadowlands in New Jersey two years ago.

"The Centrum dates are without a doubt the high point of the tour --and I think I could say with relative accuracy the high point of the careers of all six musicians," states Boston's lead guitarist and producer, Tom Scholz.

"The Centrum is it," he says. "It's been a while trying to pick the right place, but after a lot of consideration we decided that's a facility that everybody likes. And it's a perfect size. It's big enough to house our production and to have a crowd I think you need for a rock 'n' roll show like this. At the same time, it's tight enough so everybody gets a good view. It's the smallest facility that we're playing, but if they were all that size, that would be perfect with me."

Was Boston Garden ever considered?

"No," Scholz says during a recent phone interview. "Have you ever been to any of those 98-degree games they played there last year? Imagine what it could be like this time of year."
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A Normal Life
Wednesday, July 01, 1987

By John Stix
Guitar for the Practicing Musician

Sometime after the pilgrims landed at Plymouth Rock and before the great collapse of last year's World Series, Boston was discovered by Tom Scholz. Here's how it happened.

"Rock 'n' Roll Band,' was written because Jim (Masdea), always the hopeless dreamer, was playing in bands in Hyannis, like it says in the song," Tom said. "He was always saying how so and so was going to come to see them. I had heard it so many times before. All these kids playing in bars thought some record guy was going to come in and discover them. You're a rock 'n' roll band and it's something special. That's what you like to think about when you're playing in a bar. I finally thought, I'm going to write a song about everybody who dreams about that. It's what I dreamed about. But that's not what happened with Boston.

"Here is the true story. I did a lot of demo work starting in about 1969.1 worked for about a year and bought a twelve track tape deck with my savings. I had to keep working full time through the whole thing to make the money to cover all the expenses. On some of the earlier demos there were other people involved. Barry Goudreau played on some of them. Epic became interested on the basis of six demo songs. Jim helped with the drum arrangements and playing the drums, Brad (Delp) did all the vocals and I did the instruments. That was it. All six of those songs eventually appeared on record.

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Boston Opens Three-Night Stand
Friday, June 26, 1987
By David Hiltbrand
Philadelphia Inquirer

In terms of rock history, last night was an eagerly awaited occasion, when Boston, performing in Philadelphia for the first time in nine years, opened a three-night stand at the Spectrum. Musically, it was pretty ho-hum, as Boston ran through a medley of early hits before playing Third Stage, their latest album, in its entirety.

Tom Scholz, the creative force in the band, writes airy little pop songs with formal choruses. Onto these flimsy structures, Scholz grafts imposing guitar textures. Singer Brad Delt carmelizes this odd mixture with his high piercing voice.

Visually, it was far from exciting. The spotlight kept seeking out Scholz, who stood listlessly hunched over his guitar. But he did give a few displays of feedback sorcery. The use of props, like a monstrous antique pipe organ that loomed above the stage during "The Launch," was uninspired.
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