Tom Scholz’s Secret Plan to Save Boston

Tom Scholz’s Journey to Boston’s ‘Third Stage’

Tom Scholz, the mastermind behind Boston’s iconic sound, revolutionized recording techniques from his basement. By the early 1980s, his meticulous approach and dissatisfaction with the music industry led to a standstill with CBS Records, particularly with its head, Walter Yetnikoff.

In an exclusive excerpt from Power Soak: Invention, Obsession and the Price of the Perfect Sound, journalist Brendan Borrell explores a pivotal meeting between Scholz and Yetnikoff regarding the delayed release of Boston’s third album, Third Stage. Borrell’s research included interviews and extensive document reviews from archives and personal collections.

Most musicians don’t achieve the legendary status of Bob Dylan or Paul McCartney. Typically, they have one standout album or song. To sustain a career, leveraging early success is crucial.

Boston’s contract with CBS Records demanded one to two albums annually, a pace nearly impossible to maintain. Scholz, however, was particularly notorious for missing these deadlines.

Challenges with Boston’s Third Album

The third album was three years overdue under the initial agreement, even with extensions. In May 1981, Scholz sent a Western Union message to Yetnikoff, attributing the delays to various issues beyond his control:

MANY PROBLEM AREAS HAVE COME UP CONCERNING THE RELEASE OF THE NEW RECORD. SOME HAVE BEEN UNSUCCESSFULLY PURSUED THROUGH THE EPIC STAFF. OTHERS REQUIRE YOUR DECISION AND AUTHORIZATION. IT’S OBVIOUS YOU DON’T HAVE TIME TO CONSIDER THESE PROBLEM AREAS AT THIS TIME … THE ALBUM DELIVERY WILL BE POSTPONED.

A Tense Meeting

When Scholz visited Black Rock months later, Yetnikoff was frustrated. Whether fueled by a Screwdriver or something else, Yetnikoff was ready to make his point clear.

He shared a story about another band, Cheap Trick, who faced a $52 million lawsuit from CBS for delaying their new material. Yetnikoff emphasized, “CBS can be a real prick when it wants to be,” repeating it for emphasis.

Scholz’s Response

Yetnikoff asked about the album’s progress. Scholz explained that despite recording challenges, he was moving forward after resolving issues with his manager, Paul Ahern. He envisioned Third Stage as a thematic album reflecting his personal growth. The ballad “Amanda” was nearly complete.

Could the album be ready by year-end? Possibly, Scholz said, as he continued recording with drummer Sib Hashian and bassist Fran Sheehan.

Yetnikoff inquired about guitarist Barry Goudreau’s departure and whether Brad Delp would still contribute vocals. Delp’s voice added emotional depth to Scholz’s compositions and was a fan favorite for his engagement post-concerts.

An Unexpected Revelation

Scholz admitted Delp’s involvement was uncertain. Delp had participated in studio sessions, but his future touring was unclear.

While human relations might not have been Scholz’s forte, solving problems was. He presented Yetnikoff with a tape of an old song.

As “A Man I’ll Never Be” played, Yetnikoff listened to the blend of piano, organ, and guitars. Scholz then revealed the surprise: the voice wasn’t solely Delp’s.

The Solution

After Goudreau’s solo release, Scholz launched a nationwide search for a vocalist matching Delp’s sound. He advertised anonymously in Rolling Stone, offering $50,000 for a suitable singer. Thousands applied.

Scholz found Mark Dixon, a cover band singer from Niagara Falls. In Scholz’s recording, Delp and Dixon’s voices alternated seamlessly.

Decisions and Outcomes

Neither Yetnikoff nor Scholz could distinguish between the two voices. Scholz intended to feature both singers on the album, with Dixon ready to tour if needed. Yetnikoff approved, advising discretion regarding Dixon’s involvement.

This agreement remained a private understanding between them.

READ MORE: How Boston Reached New Chart Heights With ‘Third Stage’

Excerpt from Power Soak © Brendan Borrell