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Whats Up With the Cover Art to Bostons First Album

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"Hitch a Ride" redirects here. For the practice of soliciting unpaid rides from strangers, run into hitchhiking.

1976 studio anthology by Boston

Boston
BostonBoston.jpg
Studio album by

Boston
Released August 25, 1976
Recorded October 1975 – April 1976
Studio
  • Foxglove (Watertown, Massachusetts)
  • Capitol (Hollywood)
  • Record Plant (Los Angeles)
Genre Difficult rock[1]
Length 37:41
Label Epic
Producer
  • John Boylan
  • Tom Scholz
Boston chronology
Boston
(1976) 		Don't Look Back
(1978)
Singles from Boston
  1. "More Than a Feeling"
    Released: September eighteen, 1976
  2. "Long Time"
    Released: January 7, 1977
  3. "Peace of Mind"
    Released: April 1977

Boston is the eponymous debut studio album by American rock band Boston. Produced past Tom Scholz and John Boylan,[ii] information technology was released on August 25, 1976, by Epic Records. Scholz studied classical piano in his childhood and became involved in the Boston music scene in the late 1960s. He subsequently started to write and record demos in his apartment basement with vocaliser Brad Delp; they had received numerous rejection letters from major tape labels in the early 1970s. By 1975, the demo tape had fallen into the hands of CBS-owned Epic Records, who signed them.

Epic wanted the band to record in Los Angeles with a tape producer, just Scholz was unwilling and wanted to record the album in his basement studio, so he hired Boylan to run interference with the label. In an elaborate ruse, Scholz tricked the label into thinking the band was recording on the West Coast, when in reality, the majority was existence tracked solely by Scholz at his Massachusetts dwelling. The album's contents are a complete recreation of the ring'south demo tape, and incorporate songs written and composed many years prior. The album'due south style, often referred to every bit the "Boston sound", was developed through Scholz's dearest of classical music, melodic hooks and guitar-heavy rock groups such as the Kinks and the Yardbirds, besides as a number of counterpart electronic effects adult by Scholz in his home studio.

Besides Scholz, who played almost of the instruments on nigh all of the tracks, and Delp, other musicians appear on the album. Drummer Jim Masdea worked extensively with Scholz during the writing, arranging, and demo procedure and plays drums on i vocal on the concluding album, "Rock & Roll Band". Sib Hashian plays drums on the remainder of the tracks. Guitarist Barry Goudreau and bassist Fran Sheehan, who joined the ring subsequently virtually of the tracks had been recorded, contribute some overdubs to "Foreplay/Long Time" and appear in the final track on the album, "Let Me Have You Home Tonight", which was recorded separately from the rest of the album.

The album was released by Epic in August 1976 and broke sales records, becoming the best-selling debut LP in the US at the time, and winning the RIAA Century Award equally best selling debut anthology.[three] The anthology's singles, nearly notably "More than Than a Feeling" and "Long Time", were both AM and FM hits, and nearly the entire album receives constant rotation on classic rock radio. The album has been referred to equally a landmark in 70s' rock and has been included on many lists of essential albums. It has sold at least 17 million copies in the U.s.a. alone and at least xx million worldwide making information technology one of the greatest debut albums of all time.[4] [v]

Background [edit]

In the late 1960s, Tom Scholz began attention the Massachusetts Institute of Applied science (MIT), where he first began writing music.[half dozen] Later graduating with a chief's caste, he began working for the Polaroid Corporation in the product evolution division.[7] By night, he played keyboards for bands in the Boston bar and club scene, where he collaborated with keyboardist/drummer Jim Masdea.[8] The 2—who shared a concept of the perfect rock band, 1 "with crystal-articulate vocals and bone-crunching guitars"—viewed themselves equally only part-time musicians.[7] Despite this, the duo built a small studio near Watertown, Massachusetts to record ideas. Scholz recorded for hours on end, frequently re-recording, erasing and discarding tapes in an endeavor to create "a perfect song".[7] Both musicians later joined Female parent's Milk, a band featuring guitarist Barry Goudreau, that vied for recognition in the Boston music scene. Scholz speedily went from keyboardist to lead songwriter, and the band went through dozens of pb vocalists before Brad Delp auditioned.[7] Delp, a sometime factory worker at a Danvers electric curlicue company, spent much of his weekends in encompass bands. Delp drove to Revere Embankment, where the 3-piece were performing at a club named Jojo's.[7] Delp was impressed that the ring had recorded a demo tape and were notwithstanding recording, and earned his position in the ring after auditioning the Joe Walsh song "Rocky Mount Manner". Mother's Milk became an early version of Boston, with Goudreau on lead guitar.[7]

By 1973, the band had a six-song demo tape set for mailing, and Scholz and his married woman Cindy sent copies to every record company they could discover. The songs on the demo were "More than Than a Feeling", "Peace of Listen", "Rock & Roll Band", "Something About Y'all", "Hitch a Ride" (nether a unlike title) and "Don't Exist Agape" (which would exist eventually released on Don't Expect Dorsum).[9] The group received rejection slips from several labels—RCA, Capitol, Atlantic and Elektra among the almost notable—and Epic Records rejected the record flatly with a "very insulting letter" signed by company caput Lennie Petze that opined the band "offered zero new".[7] [10] The record that received the most attention contained embryonic renditions of future songs that would appear on Boston's debut anthology. Fiscal reality encroached the dream for Delp, who departed shortly thereafter because "there just wasn't whatsoever money coming in".[vii] By 1975, Tom Scholz was finished with the society scene, concentrating exclusively on the demo tapes he recorded at home in his basement. Scholz was renting the business firm and spent much of his funds on recording equipment; at 1 point, he spent the money he had saved for a down payment on a hereafter home on a Scully 8-runway.[vii] He called Delp to provide vocals, remarking, "If yous can't actually afford to join the band or if yous don't want to join the band, maybe you lot'd just desire to come downwardly to the studio and sing on some of these tapes for me." Scholz had given the Female parent's Milk demo to a Polaroid co-worker whose cousin worked at ABC Records (who had signed one of Scholz's favorite bands, the James Gang). The employee forgot to post the record out and it sat in his desk-bound for months until Columbia began contacting Scholz, later which he sent the record to ABC.[7] [eight]

Charles McKenzie, a New England representative for ABC Records, first overheard the record in a co-worker'southward office.[7] [11] He called Paul Ahern, an independent record promoter in California, with whom he held a gentleman's agreement that if either heard anything interesting, they would inform the other.[8] Ahern had connections with Petze at Epic and informed him—even though Petze had passed on the original Mother's Milk demos. Epic contacted Scholz and offered a contract that beginning required the group to perform in a showcase for CBS representatives, as the label felt curious that the "band" was in reality a "mad genius at work in a basement".[7] [11] Masdea had started to lose interest in the project past this time, and Scholz called Goudreau and two other performers who had recorded on the early demos, bass player Fran Sheehan and drummer Dave Currier, to complete the lineup. In Nov 1975, the group performed for the executives in a Boston warehouse that doubled as Aerosmith's practice facility.[7] [8] Mother'due south Milk was signed past CBS Records ane calendar month afterward in a contract that required 10 albums over six years. Currier quit before he knew the band passed the audition, and Scholz recruited drummer Sib Hashian in his identify. Epic had signed an agreement with NABET, the union representing electrical and broadcast engineers, which specified that any recording done outside of a Columbia-owned studio just inside a 250-mile radius of one of those studios required that a paid union engineer be present.[xi] As such, the label wanted the ring to travel to Los Angeles and re-record their songs with a different producer. Scholz was unhappy with being unable to be in charge, and John Boylan, a friend of a friend of Ahern, came on board the project.[11] Boylan'due south duty was to "run interference for the characterization and go along them happy", and he made a crucial suggestion: that the ring change their proper name to Boston.[vii] [8]

Recording and production [edit]

"We didn't actually tell them that we were transferring the tapes. What they didn't know wouldn't hurt them. We told them we were working on the album with Boylan, that was all true – Tom still had stuff to do back habitation. A lot of bands were signed and get put in with a producer, and then of a sudden it'due south the producer's project. Before you know it, it doesn't resemble anything of what you were doing. Nosotros were very fortunate that that didn't happen to united states. Boylan had the ears to know that Tom knew his way around a studio. We gave them a consummate tape, and they thought, 'Man, these guys work fast.'"

—Brad Delp[7]

Boston was primarily recorded at Scholz'south ain Foxglove Studios in Watertown in "an elaborate end run around the CBS brain trust."[7] Ballsy wanted a studio version that sounded identical to the demo tape, and Scholz decided he could not work in a production studio, having adapted to home recording for several years, stating "I piece of work[ed] alone, and that was it."[10] Scholz took a leave of absence from Polaroid, and was gone for several months to record the band's album. "I would wake upwards every day and go downstairs and start playing," he recalled. Scholz grew annoyed reproducing the parts, being forced to utilise the same equipment used on the demo.[10] The basement, located in a lower-eye-class neighborhood on School Street, was described by Scholz as a "tiny trivial infinite next to the furnace in this hideous pino-paneled basement of my flat house, and it flooded from time to time with God knows what."[ten] [11] In that location was a Hammond organ and a Leslie speaker blimp in the corner of the room alongside the drums; whenever it was fourth dimension to record the organ parts, they would tear the drums down and pull out the Leslie.[10] Boylan felt that while Scholz's guitars "sounded astonishing," Scholz did not sympathise how to properly record acoustic instruments, and flew in engineer Paul Grupp to instruct him on microphone technique.[eleven]

Boylan'southward own hands-on interest would middle on recording the vocals and mixing,[xi] and he took the rest of the band out to the Due west Declension, where they recorded "Let Me Take You Dwelling Tonight".[12] "It was a decoy," recalled Scholz, who recorded the bulk back home in Watertown without CBS'southward knowledge. While Boylan arranged for Delp to have a custom-made Taylor acoustic guitar for thousands of dollars charged to the album upkeep, Scholz recorded such tracks equally "More Than a Feeling" in his basement with a $100 Yamaha acoustic guitar.[half dozen] [vii] [12] That spring, Boylan returned to Watertown to hear the tracks, on which Scholz had recut drums and other percussion and keyboard parts.[11] He then hired a remote truck from Providence, Rhode Island to come up to Watertown, where it ran a snake through the basement window of Scholz's home to transfer his tracks to a 3M-79 ii-inch 24-track deck.[11] The unabridged recording was completed in the basement, save for Delp'due south vocals, which were recorded at Capitol Studios' Studio C with Warren Dewey engineering the overdubs.[x] [11] All vocals were double-tracked except the atomic number 82 vocal, and all the parts were done by Delp in quick succession.[11] When Scholz arrived in Los Angeles for mixing, he felt intimidated and feared the professional engineers would view him as "a hick that worked in a basement."[10] Instead, Scholz felt they were backwards in their arroyo and lacked knowledge he had obtained. "These people were so swept up in how cool they were and how important it was to take all this loftier-priced crap that they couldn't encounter the forest for the copse," he said.[10] Boylan encountered his only real confrontation with the autocratic Scholz during the mixing stage, in which Scholz handled the guitar tracks, Boylan the drums and Dewey the vocals, with Steve Hodge profitable.[xi] Scholz pushed guitars as well high in the mix, rendering vocals inaudible at times.[11]

The entire operation has been described as "one of the most circuitous corporate capers in the history of the music business organization."[11] With the exception of "Permit Me Accept You lot Home This evening", the album was a virtual copy of the demo tapes.[seven] The album was recorded for a toll of a few thousand dollars, a paltry amount in an industry accustomed to spending hundreds of thousands on a single recording.[6]

Music [edit]

Boston is mainly composed of songs written many years prior to their appearance on the album.[eight] Scholz wrote or cowrote every vocal on the first album (with the exception of "Let Me Take You lot Dwelling house Tonight," written by Delp), played about all of the instruments and recorded and engineered all the tracks.[6] The "Boston sound" combines "large, behemothic melodic hooks" with "massively heavy, classically-inspired guitar parts."[12] For Scholz, the idea of beautiful vocal harmonies was inspired by The Left Banke, and the guitar-driven aspect was influenced past the Kinks, the Yardbirds and Blue Cheer.[12] Another signature element of the "Boston sound" in terms of product involves the balance between audio-visual and electric guitars. To this end, Scholz was inspired past his childhood listening of classical music, noting that the "bones concept" of setting the listener upward for a change that is coming in the music had been explored for hundreds of years in classical compositions.[12] The tape as well makes use of multiple-part harmonized guitar solos and bizarre melodic devices known as mordents.[12]

"More Than a Feeling" is an ode to daydreaming, and contains a guitar solo reminiscent of "Telstar".[eight] The track was inspired by a love thing that Scholz had years prior while in school.[12] "Walk Abroad Renรฉe" past The Left Banke was popular at the time, and it caused Scholz to pine miserably over the girl. "More than a Feeling" unintentionally incorporates a chord progression from that detail song following the line "I see my Mary Ann walking away."[12] Scholz initially felt it was his best shot at a lead single, but became depressed when doubts got the best of him. Ahern, however, loved the track and was sure it would receive maximum airplay.[8] "Peace of Mind" was penned about Scholz'south Polaroid superiors, and recorded around the fall of 1974.[7] "Foreplay," the extensive introduction to "Long Time," was really composed many years prior in 1972. "Stone & Curl Band", a track that dated back to the ring'south Mother'south Milk demo, was inspired by Masdea's experiences performing in various bar combos, and was written just as "pure fantasy."[6] The album version still features Masdea'south drums from the demo record.[7] "Smokin'", was written and recorded in 1973, and chosen "Shakin'". "Hitch a Ride" was originally titled "San Francisco Day", with lyrics starting in New York City and and so planning to hitch a ride to "head for the other side". This was the showtime song Delp re-recorded afterward the original Mother's Milk vocalizer left.[7] To create the special issue of a aptitude note on the rails's organ solo, Scholz slowed downwardly one of the recording reels with his finger.[7] "Something About You" was originally "Life Isn't Easy" and was written around 1975, and as the terminal demo, information technology was put as the second to last rail.

The trademark sci-fi theme of the record encompass was Scholz' concept: "The idea was escape; I idea of a 'spaceship guitar.' "[6] The original spaceship was designed in 1976 by Paula Scher and illustrated by Roger Huyssen with lettering past Gerard Huerta for Epic Records.[xiii]

Release [edit]

From left: Barry Goudreau, Tom Scholz, Sib Hashian, Brad Delp, Fran Sheehan, in 1976.

Boston was released past Epic Records on Baronial 25, 1976.[fourteen] The album broke out of Cleveland offset, and the following week, it had been added at 392 stations.[8] Had the record been unsuccessful, Scholz, then 29, planned to abandon his stone and roll dream; he still worked at Polaroid during the first few weeks of the tape's success.[12] Scholz felt pessimistic well-nigh the success until the album sold 200,000 copies. "And suddenly I realized I was in the music business concern," he told Rolling Stone. "I got give-and-take on what the sales figures were while I was withal at Polaroid full-time. It wasn't easy staying at that place two more weeks."[8] Critics were kind to Boston; Rolling Stone wrote that "The group's analogousness for heavy stone & roll provides a sense of dynamics that coheres magnetically with sophisticated progressive structures."[15]

The album was certified aureate two months afterward its release, and sold another 500,000 copies within 30 days, going platinum for the start time in November 1976. Past January 1977, the debut disc sold two million copies, making it one of the fastest selling debut albums in rock history.[7] "More Than a Feeling" became a striking single on both AM Top 40 stations (with its 2nd poetry deleted for time constraints), and on FM "AOR" stations (with the 2nd verse left intact).[vii] "I was at Polaroid when I first heard 'More than A Feeling' on the radio," said Tom Scholz. "I was listening to somebody else's radio. The beginning week the album came out, it did better than I expected."[7] Ballsy Records was pleased with their new conquering—Boston and another new ring, Wild Cherry, were among Ballsy's biggest success stories of 1976.[seven] The album was afforded several accolades, including a Grammy Award nomination for Best New Creative person. Boston sold 6 million albums, 8-tracks and cassettes past December 1977.[seven] For massive popularity, Boston was considered to rival established stars such equally Peter Frampton, Fleetwood Mac and Stevie Wonder.[16]

By 1986, the album had been certified for over nine million sales domestically, and Boston went diamond in 1990. By November 2003, the album was certified past the Recording Industry Association of America for sales of 17 million.[17] Worldwide, the anthology has sold twenty meg copies.[18] The album is the second best-selling debut album of all time in the The states, after Guns N' Roses's Appetite for Devastation,[19] and it is the joint eighth acknowledged anthology in U.s. history.[19] [xx] Boston, along with the band'southward 1978 follow-up Don't Look Back, was remastered in 2006 by Scholz.[10]

Reception [edit]

Professional person ratings
Review scores
Source Rating
AllMusic [1]
Encyclopedia of Popular Music [21]
PopMatters [22]

The album soared, with three singles condign Top forty hits. All eight of the songs on the album receive regular airplay on classic rock radio decades later on. Taking a mere three weeks to earn an RIAA Gold Record Laurels (500,000 in unit sales) in 1976, and a Platinum Laurels (1,000,000 in unit sales) after three months on November eleven, 1976, it was the fastest selling debut album for any American group. Information technology has continued to sell very well, accumulating 9 million in sales by the 10th anniversary in 1986, reaching diamond in 1990, and 17× platinum past 2003.[17]

Touring [edit]

The offset tour in support of the album was a brusk half-dozen-week promotional club bout throughout the Midwest. Boston before long found themselves on a nationwide bout that lasted 10 months. "We started playing the Agoras in Cleveland and Columbus," said Delp. "500–k seat clubs. The response was great, I was amazed that people were singing along with all the songs. Information technology really impressed upon me the ability of radio, the fact that wherever nosotros went, they were just playing the tape and people just came, and it was bully."[7] Still, several bands that the group opened for were less than enthusiastic to meet them. At one point, they were opening for Foghat, but lost the gig when a Milwaukee disc jockey introduced Boston, non headliner Foghat, as the best stone and coil band in the earth.[7] While the band were apprehensive about opening for Black Sabbath, the experience was pleasant. "The peachy thing about Black Sabbath was that they didn't do soundchecks," remembered Delp. "So we were afforded all the time we wanted on stage, Ozzy Osbourne would say, 'Ahh, you wanna go upward and play some songs, go ahead.' They couldn't have been nicer."[7]

Boston eventually began headlining shows in 1977, and sold out iv Southern California concert halls within a i-week bridge. Bob Seger and the Silver Bullet Band opened for Boston in Detroit. On their swing back to the Northeast, they sold out 2 nights in the Philadelphia Spectrum—and in their New York City debut, 3 sold-out shows at Madison Square Garden.[7] "I sold out arenas with this group in four cities from Lincoln, Nebraska to Louisville, Kentucky," said concert promoter Bob Bagaris to Billboard. "I've never seen such universal penetration of cardinal secondary markets past whatever major grouping. Even the biggest acts commonly don't practice so well in every market."[7]

Legacy [edit]

Boston has been described as a pivot in the transition of mainstream American rock from blues-based proto-metal to power pop, "combining some of the ebullience of the rock era's early on days with the precision and technology that would mark rock tape productions from then on."[xi] All eight songs—most commonly the album'south A-side—are in constant rotation on classic rock radio.[vii] Boston's success ushered in the next moving ridge of "producer" stone sound. Following the album's success, its sound became imitated by several other prominent rock bands of the era.[ten] The record created a reference signal for production values and studio engineering that would stand for years.[11] The album is hailed every bit one of the greatest in rock history, with an inclusion in the book 1001 Albums You Must Hear Earlier You Dice.[23] The album was also ranked No. 43 on the Rock and Coil Hall of Fame'south "Definitive 200" list.[24]

Rail listing [edit]

All tracks are written by Tom Scholz, except "Smokin'", co-written with Brad Delp, and "Allow Me Take You Domicile Tonight", written solely by Delp[ commendation needed ].

Side one
No. Title Length
1. "More than Than a Feeling" 4:46
ii. "Peace of Mind" 5:02
3. "Foreplay/Long Time" vii:47
Side two
No. Title Length
4. "Rock & Roll Band" 3:00
v. "Smokin'" four:20
six. "Hitch a Ride" 4:12
7. "Something Nigh Y'all" 3:48
8. "Allow Me Take You Home Tonight" 4:44

Personnel [edit]

Charts [edit]

Certifications [edit]

Run into too [edit]

  • List of best-selling albums
  • List of best-selling albums in the The states
  • List of diamond-certified albums in Canada
  • Boston discography

References [edit]

  1. ^ a b Iyengar, Vik. Boston at AllMusic. Retrieved March 28, 2016.
  2. ^ Boston (CD liner). Boston. Epic Records/Legacy Recordings. 2006 [1976]. p. 11. 69699 86322 2. Archived from the original on 2017-04-26. Retrieved 2017-04-25 . {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  3. ^ http://www.ra17.com/kbh/info/beatlesriaa-2-htlm [ permanent dead link ] .
  4. ^ Rolling Stone (2013-10-13). "100 All-time Debut Albums of All Time". Rolling Stone . Retrieved 2022-04-07 .
  5. ^ "The All-time Debut Albums Ever - Top40Weekly.com". top40weekly.com. 2013-01-07. Retrieved 2022-04-07 .
  6. ^ a b c d e f Larry Lange (1998). "Boston's Scholz Engineers a Stone Dynasty". EE Times.
  7. ^ a b c d eastward f yard h i j m 50 m n o p q r s t u v w x y z aa ab air conditioning ad ae af ag Chuck Miller (May 22, 1998). "Heaven Is a Reel-to-Reel Tape". Goldmine.
  8. ^ a b c d e f yard h i j Cameron Crowe (Baronial 10, 1978). "The Band from the Platinum Basement". Rolling Stone.
  9. ^ Aledort, Andy (September 1997). "The Rock Human". Maximum Guitar . Retrieved 2017-05-17 .
  10. ^ a b c d e f g h i j "Boston: Feelin' Satisfied". Guitar World. October 2006. Archived from the original on 2013-09-27. Retrieved August 14, 2013.
  11. ^ a b c d e f g h i j 1000 50 m n o p Dan Daley (September 1, 2000). "Boston's "More a Feeling"". Mix.
  12. ^ a b c d due east f g h i Andy Aledort. "The Rock Human". Maximum Guitar.
  13. ^ Heller, Steven (2015-03-26). "More than an Album Encompass". The Atlantic. The Atlantic. Retrieved 21 November 2015.
  14. ^ Zito, Tom (December xiii, 1976). "Boston Group and How It Grew". Los Angeles Times. p. F20. On Aug. 23, 1976, their first LP simply titled "Boston" was shipped to record stores.
  15. ^ Nicholson, Kris (October vii, 1976). "Boston". Rolling Stone. No. RS 223. Straight Arrow. ISSN 0035-791X. Archived from the original on 2007-03-17.
  16. ^ "Overnight Success". Guitar Player. Baronial 1977.
  17. ^ a b "American album certifications – Boston – Boston". Recording Industry Clan of America.
  18. ^ "THE TUBES THE TUBES". Classic Rock. September 2010. p. 60. Archived from the original on 2012-01-08. Retrieved 2012-06-27 .
  19. ^ a b "Ask Billboard: Best Selling Debut Album, Dido, Australian Acts Trying To Crevice The U.S. Market". Billboard.
  20. ^ "Tiptop 100 Albums". Recording Industry Association of America. Retrieved 20 March 2012. .
  21. ^ Larkin, Colin (2011). The Encyclopedia of Pop Music (fifth concise ed.). Coach Press. ISBN978-0-85712-595-8.
  22. ^ "Boston: Boston / Don't Look Back, PopMatters". 25 July 2006.
  23. ^ Robert Dimery; Michael Lydon (7 Feb 2006). 1001 Albums Y'all Must Hear Before You Die: Revised and Updated Edition. Universe. ISBN0-7893-1371-5.
  24. ^ "Archived re-create". www.listsofbests.com. Archived from the original on thirty March 2012. Retrieved 12 Jan 2022. {{cite web}}: CS1 maint: archived copy equally title (link)
  25. ^ Jeb Wright. "Feelin' Satisfied: An Interview with Tom Scholz of Boston". thirdstage.ca.
  26. ^ Kent, David (1993). Australian Chart Book 1970–1992 (illustrated ed.). St Ives, North.Due south.W.: Australian Chart Book. p. 19. ISBN0-646-11917-six.
  27. ^ "Meridian RPM Albums: Issue 5146a". RPM. Library and Athenaeum Canada. Retrieved 27 Apr 2018.
  28. ^ "Dutchcharts.nl – Boston – Alpha" (in Dutch). Hung Medien. Retrieved 22 April 2018.
  29. ^ "Offiziellecharts.de – Boston – Boston" (in German). GfK Entertainment Charts. Retrieved 26 April 2018.
  30. ^ Oricon Album Chart Book: Consummate Edition 1970–2005 (in Japanese). Roppongi, Tokyo: Oricon Entertainment. 2006. ISBNiv-87131-077-9.
  31. ^ "Charts.nz – Boston – Boston". Hung Medien. Retrieved 22 April 2018.
  32. ^ "Swedishcharts.com – Boston – Boston". Hung Medien. Retrieved 22 April 2018.
  33. ^ "Swisscharts.com – Boston – Boston". Hung Medien. Retrieved 22 April 2018.
  34. ^ "Boston | Creative person | Official Charts". UK Albums Nautical chart. Retrieved 22 April 2018.
  35. ^ "Boston Chart History (Billboard 200)". Billboard. Retrieved 22 April 2018.
  36. ^ "Top 100 Album-Jahrescharts" (in German). GfK Entertainment Charts. 1977. Archived from the original on 24 October 2021. Retrieved 2 April 2022.
  37. ^ "Canadian album certifications – Boston – Boston". Music Canada. Retrieved 27 June 2012.
  38. ^ "British album certifications – Boston – Boston". British Phonographic Industry. Retrieved 27 June 2012.
  39. ^ "American album certifications – Boston – Boston". Recording Manufacture Association of America. Retrieved 27 June 2012.

External links [edit]

  • Album online on Radio3Net a radio channel of Romanian Radio Dissemination Company

patelhices1952.blogspot.com

Source: https://en.wikipedia.org/wiki/Boston_(album)

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