I was very familiar, as no doubt are many other people, with the two most famous tracks from Boston's eponymous 1976 debut album, "More Than A Feeling" and "Peace of Mind". My appreciation of these two songs led me to seek out the album in its entirety.
The opening track is indeed the timeless FM radio staple "More Than A Feeling", a song seemingly revered by musicians of all genres for its sheer aesthetic and melodic beauty. It begins with some faded-in acoustic guitar, a hint of the "light and shade" approach which permeates much of the album. The lyrics appear to centre on the ability of music to transcend peoples' everyday woes, and the semi-ethereal music complements this perfectly. Then of course there is the central guitar riff, which supposedly influenced Nirvana, amongst others. Around this fulcrum we are also introduced to Tom Scholz's distinctive guitar harmonies, which float airily above everything else. Rarely can a debut album by any artist have commenced with such a majestic piece of work.
Track two is "Peace of Mind", a track worthy of scrutiny lyrically as well as musically. The words tackle the issue of "work/balance", a popular topic with American musicians in the 1970s. Once again one is struck by the fresh production, and the ability of the band to achieve separation between instruments in the context of a hard-rock backing. This facet is one of the things which separates "Boston" from many of its subsequent imitators, and which makes it still sound relevant today. Also featured is a stirring guitar part which underpins everything else. Stunning vocal harmonies complete the melodic picture.
Next up is "Foreplay/Long Time", which possesses a protracted organ-led introduction, one of the few concessions to "progressive rock" on the entire album. The central verses and melody strongly presage the AOR which followed in the early 1980s, but once again Boston's melodic sensibilities and invention win the day. Good use of acoustic guitar is made, and some parts of the track reminded me of the Who's middle-period work, in terms of the vocal harmonies and general atmosphere. These factors, together with the organ/guitar interplay and Brad Delp's confident and restrained lead vocal, make this track a real gem.
Tracks 4 and 5, "Rock & Roll Band" and "Smokin'" show the rawer, rockier side of Boston, but still exhibiting the appealing vocal and guitar textures. This song appears semi-autobiographical, and serves as an ideal balance to the more profound opening numbers. "Smokin'" is in a similar vein, with an insistent guitar riff, and frantic vocals courtesy of Delp. More intricate organ work on show too!
The LP's sixth track, "Hitch A Ride", displays more subtlety, with acoustic guitar again to the fore. Delp excels, and variety is injected by an organ-driven middle section, matters being concluded by a stunning and glistening guitar solo, ideal for "air guitar" enthusiasts!
This is followed by "Something About You", which features a brief and futuristic introductory passage, leading into more beautiful guitar harmonies, and a complex verse, founded on a stirring base. More credit here is due to Delp for his phrasing and power. Scholz's contributions are endearing and inventive, as ever.
The album closer is a semi-acoustic ballad, "Let Me Take You Home Tonight", which is notable for being slightly different in tone, and to some degree in instrumentation, to most of the other songs. Acoustic guitars are more consistently prominent, and the vocal harmony parts less pronounced in their intensity. Matters accelerate markedly with a frantic finale.
Overall, "Boston" was a revelation to this listener, and there can have been few more confident and coherent debut albums in rock history.
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