Articles
New England Reunion In Texas
Monday, June 22, 1987

Boston, Aerosmith And Farrenheit Play For 82,000 At Cotton Bowl

By Steve Morse
Boston Globe

DALLAS -- Bostonians stood tall in the Lone Star State this weekend. The 10th annual Texas Jam -- played in 96-degree heat before a recordsetting 82,000 fans at the Cotton Bowl on Saturday -- was a crowning moment for Boston's rock 'n' roll community.

Three of the six bands at this all-day swelterfest call the Land of the Cod their home. Farrenheit, Aerosmith and the headlining act Boston, gave the Texas Jam an unprecedented Yankee flavor.

"Between us, Boston, Aerosmith and all our crews, it feels like a New England reunion!" beamed Charlie Farren, sitting gratefully in an airconditioned trailer behind the stadium.

Farrenheit had just opened the event with a jolting set of rock that went well beyond their mild pop image. "We got more than 80,000 human beings here. We got to play it LOUD!" Farren yelled to a young audience filled with shirtless men and bikinied women who had fought through traffic snarls of up to five miles to get there.

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Boston's Scholz Looks Ahead To Tour, Video
Saturday, March 21, 1987

Billboard Magazine

When Boston's "Third Stage" album finally surfaced toward the end of 1986, it rocketed to No. 1 on the Top Pop Albums chart. Now the group is gearing up for its first live dates since the 1979-80 tour to promote its second album, "Don't Look Back. "During a recent interview with Billboard talent editor Steve Gett, bandleader Tom Scholz spoke at length about a variety of topics, including Boston's new deal with MCA and its ongoing legal battles with CBS. For its part, CBS had no comment on the issue.


Q: How on earth does anyone spend six years making an album?

A: Well, the first one took me seven years to get together, and this one only took six. So I see it like I cut a year off. What do people expect? I actually had to do this one in the face of a lawsuit. I had to make money on the side to make the record, so this one was actually tougher.

Q: Did a lot of the recording funds end up coming from your Rockman amplifier company?

A: Yes. There was a point in 1982 when CBS -- Walter Yetnikoff, I guess -- pulled the rug out from under me and withheld all the royalties. I was using that to make a record. I didn't have an advance or anything. It costs plenty of money to record an album, not to mention staying alive for all those years. When he pulled the plug on the royalty money, I ran out of finances. So I had to go into this company, SRD [Scholz Research & Development], that makes the Rockman, on a full-time basis. I did that in 1982, right after I got wind of what was going on. I knew these guys weren't going to play fair and square with me, and I knew I was gonna need a source of cash, just to do the record. It turns out I also needed a lot of cash to continue to fight their lawsuit.

Q: How much of the album was recorded at that stage?

A: One-half was in existence. The first side was complete, right through. And there wasn't anything that would stop me from completing that record. Nothing was going to make me compromise and do a half-baked job.

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Boston's Slam-Dunk
Monday, December 01, 1986

Tom Scholz turns a hobby into platinum

By: Michael A. Lerner
Newsweek

Most rock stars have a weakness for ostentation. When their albums hit the Top 10, and the millions start pouring in, they do things like buy Rolls Royces and Caribbean islands. Not Boston's Tom Scholz. When Scholz found out that his band's last album had gone platinum the very day it was released, he and his manager, Jeff Dorenfeld, tore off to their favorite soda joint in northeastern Massachusetts and bought chocolate malts. "It was really great news," said Dorenfeld about "Third Stage." "Tom thought we'd go out and celebrate." An MIT graduate with a degree in engineering, Scholz, 39, heads his own multi-million-dollar high-tech company: Scholz Research & Development. Despite three phenomenally successful albums, he and his family still live in the small suburban house outside Boston he bought while he worked at Polaroid; he drives a beat up Datsun pocked with rust holes. Although he wrote most of the songs, played most of the instruments and recorded and produced his albums all in his tiny basement, he doesn't consider himself musician first and foremost. "Above all, I'm an engineer." He says. "Music started out as a hobby, and I really try to keep it that way."

It has been eight years since Boston's last album. Despite a near-total absence of publicity, no video clip and not even a cover photo of the band on the album jacket, "Third Stage" has been the top album in the nation for the last four weeks, selling more than 4 million copies so far. It is the first album ever to go gold in compact disc. A single, "Amanda," has also topped the charts. As a result of all the airplay, the band's previous two albums are having strong resurgence. "Boston isn't a success. It's a phenomenon." says Liz Heller of MCA, Boston's label.

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6 Years in Seclusion and Scholz Has an Album
Sunday, October 12, 1986

By Steve Morse
Boston Globe

Tom Scholz of the band Boston nearly became an inmate of his basement studio in the Boston suburbs, laboring over guitar parts, melodies, harmonies, lyrics and sound mixes. He often worked from dusk until dawn --twisting recording knobs in an obsessive-compulsive dance of which only he knew the choreography.

The days turned to weeks ... the weeks to months ... the months to years and years.

The former MIT engineering student, who admits he's been a "slow-speed thinker" since his college days in the late '60s, ultimately took six years to produce Boston's new "Third Stage" album. He estimates he worked 10,000 hours, punched the recording button nearly a million times and used 100 reels of tape --10 times more than a typical album requires. He even jokes in the album's liner notes that "175 light bulbs burned out in the studio before I did."

"Right now, I have six years of personal life to catch up on. The rust holes in my car are going through the interior; the gutters are falling off my house; and the back rim is falling off my backboard ... . Everything just got spaced during all this," says Scholz, 39.
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Boston Back Strong After 8 Years
Saturday, September 27, 1986

MCA Album Here; CBS Suit Unresolved

By Fred Goodman
Billboard Magazine

Despite an eight-year gap between releases and a still undecided breach-of-contract suit by CBS Records, time -and tastes - have apparently stood still for megaplatinum group Boston. The long - dormant band is being greeted warmly by both radio and retail.

"Amanda," the lead single from its debut album for MCA, "Third Stage," is the most-added single at radio this week, garnering reports from 144 of Billboard's 225 radio panelists and debuting at No. 51 on this week's Hot 100 Singles chart.

With the album slated for a Sept. 26 release, Boston is also being received with open arms at retail. "You'd think they were coming off a No. 1 album based on the calls we've been getting from stores," says Norman Hunter, album buyer for the 127 -store Record Bar chain, based in Durham, N.C. A spokesman for MCA characterized initial sales as "far exceeding our expectations."

The feeling of optimism is shared by the band's management.

"Radio has received the single like we never left," says Jeff Dorenfeld, manager for the group. "We feel like we're coming off our first album."

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Lawyer Files Suit vs. CBS
Saturday, November 16, 1985

Billboard Magazine

Charging malicious prosecution, local industry attorney Don Engel seeks $106 million in cumulative damages in Federal District Court here from CBS Inc. and a New York lawyer and his firm, claiming they wrongfully accused him in the legal hassle involving the group Boston.

CBS originally filed suit against Thomas Scholz and Boston in October, 1983, demanding $20 million in damages for the act's failure to deliver a third album (Billboard, Nov. 12, 1983). Scholz denied the allegations through Engel, his attorney, counterclaiming breach of contract and cumulative damages of $15 million.

Engel's complaint, filled last Monday (4), alleges that CBS and Moses & Singer and an attorney with that firm, Stanley Rothenberg, misrepresented to the New York Federal District Court Engel's actions in the suit in an attempt to disrupt Engel's work on behalf of Scholz. CBS would not comment on the charges.

CBS filed a second action in August, 1984, charging breach of contract and copyright infringement against Scholz, Engel, Boston's manager Jeff Donenfeld and MCA Records, the latter for allegedly trying to make a deal for Boston.

The presiding New York judge lashed out against the plaintiffs in the second action in February, saying he was outraged by what he felt was an attempt to "immobilize" Engel from representing Scholz. Final action in the second suit favored Engel.

 
Settlement Agreement with Barry Goudreau [1983]
Monday, May 09, 1983

Please note that this is a rendering from a scanned document. As a result, there may be some inaccuracies in the character recognition, changes to formatting, or other errors. To see the originating document, click here (PDF format). The copy of the Agreement used here is attached as Exhibit A on the 2009 suit between Tom Scholz and Barry Goudreau.


SETTLEMENT AGREEMENT

AGREEMENT made as of the 9th day of May, 1983 by and between "BOSTON", a Massachusetts oral partnership, consisting or which has consisted of Donald T. Scholz, Brad Delp, Sib Hashian, Barry Goudreau and Fran Sheehan ("Boston"), BOSTON WORLD TOURS, INC., a California corporation ("BWT")' and BARRY GOUDREAU ("Goudreau").

WHEREAS, Goudreau is and has been an equal partner in that Massachusetts oral partnership known as "BOSTON;

WHEREAS, Goudreau is and has been a one-fifth (1/5) shareholder in BWT;

WHEREAS, Goudreau became involved in disputes with the other members of "BOSTON", resulting in Goudreau's having commenced litigation against said members, which litigation Goudreau is now willing to discontinue with prejudice in consideration of this Agreement;

WHEREAS, Goudreau now wishes to retire from "BOSTON", and to cease performing with the group professionally known as "BOSTON";

WHEREAS, Goudreau now wishes to sell all his interest in BWT;

WHEREAS, the parties hereto wish to facilitate said retirement and interest sale by enumerating the compensation, rights and interests of Goudreau;


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Boston's Goudreau: On the Record
Sunday, August 31, 1980

By Steve Morse
Boston Globe

Life has been good to Barry Goudreau, the rhythm guitarist for the platinum-selling band, Boston. His modern, split-level home rests high on a hill overlooking the ocean, while outside his huge living room picture windows are the more immediate pleasures of a sun deck and swimming pool. Downstairs he has a well-stocked, temperature-controlled wine cellar, and when he leaves home he steps into one of his three automobiles -a Mercedes, Porsche or 1965 Corvette.

The son of a Lynn auto body worker, Goudreau, 28, still resides on the NorthShore, in the next town to Lynn, Swampscott. He's come a long way from his high school days 10 years ago when he played in live bands in Boston's seedy Combat Zone -seven sets a night, seven nights a week. "Those were the days when they didn't have strippers, but go-go dancers in cages," he says. "It was a real learning experience. Talk about paying your dues."

Relaxing at home last week, a guitar draped across his lap, Goudreau was eager to discuss his new solo album, self-titled "Barry Goudreau," which is the first solo LP from any member of the group Boston. The album comes at a time when Boston has been off the road for close to a year and shown no signs of recording another disk, prompting a rash of rumors that something is wrong and that Goudreau may be taking steps to break away.

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Boston's Sonic Mystery Tour
Monday, September 25, 1978

By Jay Cocks
Time

On the second pass Tom Scholz's crew still flies high

Enough of this overnight sensation business. Or course, no one had heard of Boston before their first album came out two years ago. Not even heavy corporate types around the record company who got interested when this virtually unadvertised debut by an unknown group sold its first million albums. Interest grew keener when Boston doubled those sales, then doubled them again.

Nearly 6.5 million copies have now been sold. The success of Boston was so left field--as abrupt, decisive and cleaving as one of Leader Tom Scholz's guitar breaks--that the group came to be treated as if it had been freshly cloned for stardom. When Boston went back into the studio to make their second album, much hope was raised, but many doubts lingered. The new album, out a little more than a month, could settle the score. Don't Look Back shot to the upper regions of the charts; the album's title track, released as a. single, is staking out heady territory in the Top Ten.

Boston does not make the kind of music that moves writers to darken the page with excerpted lyrics that snake through the columns like trenches. Scholz himself admits, "I never thought I was too good with lyrics," and the results of his struggles are at best serviceable (And it gets harder every day for me, To hide behind this dream you see, A man I'll never be"). It's the music that is, well it not wholly memorable, at least for the moment unique.

A typical tune will start with a strong melodic hook--sometimes tough, sometimes close to lilting-- then build in volume and intensity, the instruments laying under and layering on one another until the song shatters around your ears like a sheet of glass falling off a fast-moving truck. This is heavy-metal music with easy-listening inflections, rock fierce enough for the FM stations, flighty enough to fit right into Top 40 AM radio.

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Overnight Success

August, 1977
Guitar Player

Surely, it would have made a great ad for the back pages of some fan magazine:

"Now you too can become a rock 'n' roll star in just your spare time. Record tomorrow's hit songs right in your own basement. Millions of records sold almost overnight."

A rock and roll fairy tale? Sure, but one that has come true for Tom Scholz, the lanky (he's well over six feet) guitarist and spiritual motivator of the rock group Boston. His band has sold over three million copies of their first LP, Boston [Epic, PE 34l88] constructed almost entirely from tapes recorded in Scholz' 4-and then 12-track basement studio. For massive popularity, Boston rivals such established stars as Peter Frampton, Fleetwood Mac, and Stevie Wonder.

Equally out of character with the usually off-center lifestyle of a rock star on his way to the top is Scholz' background. It's not every hell-fire rock guitarist that graduates from the Massachusetts Institute of Technology and goes on to high-level work in Polaroid's research and development labs. Married and living in a Boston suburb, Scholz was, up until quite recently, a model white-collar, upper-middle class executive. But while his fellow execs would go off to play canasta with the neighbors, Scholz, who had always dreamed of stardom, would retire to his basement and doggedly work on his, studio and musical ideas.

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