Pre-Order Thread

Indymisanthrope said:
Right. Real Gone implies that Scholz left Boston to recorded a solo album not under the Boston name, and that this move was somehow notable enough to be referred to as a “Scholz of Boston-style maneuver” as shorthand for recording your solo album apart from your band, which is not what Scholz actually did (nor is his name shorthand for anything at all in my brain).

Also, isn’t every album shopped to a label as a take it or leave it deal? Genuine question, does this mean something other than what it appears to mean? I don’t get it.
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doubtful... unless you got clout. also from Tom's wiki:
Eventually the demos attracted the interest of Epic Records, who signed Scholz and singer Brad Delp to a recording contract. Scholz believed his demos were good enough for release as Boston's debut album, but Epic told Scholz to re-record the demos. Most of the guitar, bass, and keyboards were performed by Scholz, although other players were involved sporadically throughout the recordings, most notably drummer Jim Masdea. Epic did not want the album recorded entirely in Scholz's home as Scholz had intended (the label suggested using a recording studio), but most of what ended up on the album had indeed been recorded by Scholz in his basement. While the album was being completed, Scholz and Delp added three additional local musicians to round out the band, who played little if anything on the record itself: bassist Fran Sheehan, guitarist Barry Goudreau and drummer Sib Hashian.
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The first record basically was a solo album and the label said nah, add stuff. It sold well. Lots of nonsense with the second record.... boom "do what I say bitches"
 
I mean like that early Guns N Roses stuff doesn't sound like Appetite, because they didn't have the money to make it sound like that until they were signed.
 
yukbon said:
which part was confusing?
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Lee Newman said:
Sentence does spin both stories a little different then the way they happened.
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It’s a deep cut reference at best. Most folks don’t know Boston’s history let alone that Tom Scholz (who was not the lead singer) was the mastermind behind the band, which sorely underrates Brad Delp’s vocal contributions early on.

When I read it at first I was thinking they meant Scholz made a solo album apart from Boston, similar to Owsley breaking away from his prior engagements. Some might consider the later Boston albums to be Scholz solos, but regardless, as someone familiar with the background it felt like a reach in comparison.
 
Melt Face Molly Drop said:
It’s a deep cut reference at best. Most folks don’t know Boston’s history let alone that Tom Scholz (who was not the lead singer) was the mastermind behind the band, which sorely underrates Brad Delp’s vocal contributions early on.

When I read it at first I was thinking they meant Scholz made a solo album apart from Boston, similar to Owsley breaking away from his prior engagements. Some might consider the later Boston albums to be Scholz solos, but regardless, as someone familiar with the background it felt like a reach in comparison.
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I just figured Storf wrote it.
 
Indymisanthrope said:
Right. Real Gone implies that Scholz left Boston to recorded a solo album not under the Boston name, and that this move was somehow notable enough to be referred to as a “Scholz of Boston-style maneuver” as shorthand for recording your solo album apart from your band, which is not what Scholz actually did (nor is his name shorthand for anything at all in my brain).
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Oh I see the misunderstanding. The popular mythos around Boston is that (at least the first album) was almost entirely a Tom Scholz solo affair, at least musically. He got a buddy to do the drums and he and Brad (vocals) did the rest of the album in his basement. "Scholtz (of the band Boston) recorded the Boston album solo, and Owlsley did the same thing, then shopped the record around as a take it or leave it affair" is how I read that sentence.
 
Lee Newman said:
I mean like that early Guns N Roses stuff doesn't sound like Appetite, because they didn't have the money to make it sound like that until they were signed.
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Scholtz had a leg up in that he had training (and I think was working as,) an electrical engineer and so he was doing stuff like making his own equipment. I only know this stuff because I am a guitar dork, but in guitar circles his electronics work is well regarded; at least some of that is because of how good those Boston records sound. I'm not a huge fan of the music, but the recordings are impeccably done.
 
yukbon said:
Scholtz had a leg up in that he had training (and I think was working as,) an electrical engineer and so he was doing stuff like making his own equipment. I only know this stuff because I am a guitar dork, but in guitar circles his electronics work is well regarded; at least some of that is because of how good those Boston records sound. I'm not a huge fan of the music, but the recordings are impeccably done.
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The Boston records do fucking sound good. Makes up for the um... generic classic rock of it all.
 
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