Fans refer to many commercially successful rock bands who became widely popular in the ’70s and early ’80s as “classic rock bands”. When someone says “classic rock” (though these days the term became a little bit vague), what’s the first band that comes to your mind? To me, that band has always been Boston for certain. Not so much because it falls under the umbrella of a certain “term” or “radio format” but because Boston has the most classic, universally-beloved, timeless, evergreen sound that just doesn’t grow old.
We all know the significance of Boston‘s 1976 self-titled debut album; I bet there’s not a single rock soul in the world who has never sang along with radio hit songs like “More Than a Feeling”. I have a whole publication about this album, which you can check here -> Why is BOSTON’s Debut Album One Of The Greatest Albums Of All Time
Boston’s smashing debut album was followed up by a long list of unexpected but widely-welcomed circumstances including becoming the second best-selling debut album of all time (first one being “Appetite for Destruction”, of course), turning into one of America’s most appreciated rock albums and establishing absolute dominance over all radio stations. Topping an era-defining album with such a strong impact is certainly an obstacle many rock bands can’t really overcome. Not Boston, though.
2 years after the release of “Boston”, the band came back with “Don’t Look Back”. As it was expected, the sophomore album didn’t really match the commercial strength of the debut one; however to many critics and fans (me included), “Don’t Look Back” still remains one of the most worthy sophomore comebacks of all time. Also, getting certified 7x Platinum is certainly something to consider.
“Don’t Look Back” wasn’t exactly released in the most pleasurable industry environment as the band or should I just say, Mr. Everything – Tom Scholz kicked off a legal battle with their record label.
Still, “Don’t Look Back” turned out to be equally impressive and received a well-deserved place among the ultimate classics of the era. One unfortunate thing about it is of course, its length. “Don’t Look Back” spreads over 8 songs only, 2 of which are under 3 minutes. That’s a little bit short for an album and turned out to be one of the reasons why Tom Scholz went on a war with the record label.
Whether it was rushed or not, the essence of the album, however, is what’s important here. I try to stay informed about the background stories and environments under which rock albums were crafted and released, but ultimately, it’s the sound, the music, the songs are all that’s left 30, 40, 50+ years later.
Three songs were released as singles – “Don’t Look Back”, “A Man I’ll Never Be” and “Feelin’ Satisfied”. Don’t think these songs need an introduction or fancy musical descriptions – they are way above that. Especially, “A Man I’ll Never Be” which has to be in my Top3 Boston songs of all time and certainly one of the most gentle and emotional rock ballads of all time.
“A Man I’ll Never Be”
“Feelin’ Satisfied”
“Don’t Look Back”
The 2-minute instrumental “The Journey” is often forgotten, despite its pivotal role in the album. To some, it may be a bit difficult to absorb but the way I see it, it’s a pretty well-placed musical piece that divides the two harder rocking songs “Don’t Look Back” and “It’s Easy”.
“The Journey”
Ultimately, Boston is…well Boston. I do like the first album a little bit more than this one, despite critics claiming that “Don’t Look Back” was indeed a solid musical progression. I agree that Boston do sound more confident and the sophomore release does possess a more joyful vibe but I have an emotional attachment to the first one, so don’t listen to me, really.
There’s also this little part of me that cannot (or maybe doesn’t want to) divide those first two albums. I consider them just two parts of one bigger whole – maybe even as just one album. “Don’t Look Back” is like a side2 to “Boston” and I just love playing them one after the other.
Share your memories of “Don’t Look Back” below the publication or on Twitter; I would love to know what you think of this album and which is your favorite song:
I have never felt a connection so instant and so strong as the one I had when I first heard those opening riffs. I didn’t know about the long and painful story behind the song and of course, that famous love triangle but I could feel that there’s just so much going on…”Layla” is not just your regular romantic tune; it’s a 7-minute long epic ballad that features two highly impressive parts – a speedy blues-oriented assemble, followed by a gentler piano and side guitar instrumental. I was young but I could truly understand why “Layla” is referred to as one of the most important songs rock songs of the ‘70s and Eric Clapton’s most outstanding work. For me, it all started with “Layla”; I needed to hear it just once to know that Eric Clapton will become a huge part of my life…Years later, I cannot even imagine my life without his music.
My progressive rock journey started with ELP and in particular the song “Still…You Turn Me On”. I will always remember how immensely captivated I was by the bizarre, but gorgeous instrumentation, stunning lyrics and of course, Greg Lake’s vocals that just sent me to another dimension. I felt so attracted to this song; my body, my mind instantly reacted and by the time I knew it, I was already listening to their entire discography. ELP opened a new chapter of my life and for that I will always love them.
“More Than a Feeling” is probably the main reason why Boston and their debut record became one of the most popular rock acts of the late 70s. Each and every second of this song was designed to instantaneously crawl under your skin, inject its blessing and leave you in a state of trance. I wasn’t an exception. This song was never just an opening track to a classic rock record from many many years ago. “More Than A Feeling” turned into my ultimate relaxation outlet and a way for me to experience sweet comfort right from the very second I heard those guitars. I guess Brad Delp’s killer vocals, relentlessly playing with your senses were another reason why this song grabbed me right form the beginning.
One of my biggest musical obsessions is hard rock power ballads from the ’80s. Everyone who follows my blog and 
There are rock ballads and then there’s Scorpions’ “Send Me an Angel” – a song that brings tears to my eyes every time I play it. I remember my first moments with this track back in the day very distinctively because the sincere, so powerful and expressive vocal delivery of Klaus Meine left me speechless. I played that song over and over till I finally learned the lyrics by heart. I couldn’t interpret the words but I just knew how honest they were. I had the chance to witness the song materialize on stage during their 50th anniversary tour and I will never forget that magical experience…
Def Leppard
It was basically do or die for Dokken after the minimal success of their 1983 NWOBHM debut, “Breaking the Chains”. The label barely agreed to give them a second chance but thank God they did, otherwise this brilliant smoking-hot second release, titled “Tooth and Nail” would’ve never happened. The band’s crave for success and recognition are quite obvious on this record, hence the title.
rather unfulfilling start of the album, “Tooth and Nail” still impressed fans and critics with unique qualities, such as mean guitar solos (courtesy of George Lynch, of course), memorable vocals (thanks to Don Dokken) and a fantastic hard rock (but not too hard) atmosphere. The most important song on “Tooth and Nail” has to be the power ballad “Alone Again” which actually became the reason why Dokken’s name finally reached the surface. The playful “Just got Lucky”, the intense “Into the Fire” and of course that rough and dangerous Judas Priest sounding title song “Tooth and Nail” are some of the others worthy rockers you can find on this album. Overall, “Tooth and Nail” turned out to be а perfect mixture of heavy/speed metal and pop rock (getting more towards the heavy metal). I cannot put Dokken or this album in a category with other “hair metal” bands like Winger or Motley Crue despite popular opinion. If you are looking for something that goes beyond the lighter pop (hair) ‘80s metal, make sure you check out “Tooth and Nail”.
1992 was a marvelous year for rock music, if the last one to be perfectly honest. Grunge was knocking on the door and fans were letting it at the expense of hard rock. Firehouse was one of those bands that got the boot way too early. Imagine if they released their strong self-titled debut album and their even stronger sophomore album in the early ‘80s…!?
Many people refer to Cinderella’s “Long Cold Winter” as their finest release and they are probably right. I couldn’t let go of my adoration for “Night Songs” but “Long Cold Winter” is a more than a worthy successor in my book. Cinderella made a little shift from a signature glam metal to more blues-oriented rock, reflecting Tom Keifer’s influences and childhood adoration for the blues.
Giant’s sophomore album, “Time to Burn” became reality in the early spring of 1992. The follow-up to their successful 1989 debut, “Last of the Runaways” didn’t get the attention it deserved, despite the band’s obvious musical growth. From the fiery opening track “Thunder and Lightning” to one of the most emotional power ballads of all time – “Lost in Paradise”, the whole album showcased Giant as everything but your ordinary AOR band. With his beautiful voice, Dann Huff brought so much color to the spring of 1992. “Thunder and Lighting” and “Stay” are some of the other gems from “Time to Burn” which received some considerable time on the classic rock radio stations. Overall, this album remains highly underrated, despite being one of the best sophomore releases and one of the finest releases of 1992, in my opinion. It took Giant 9 years to come back with “III”, which is also worthy of checking out by the way.
This right here has to be one of the most special sophomore releases in my book of rock. ASIA debuted in 1982 with a monstrous self-titled album which not only celebrated the perfect music partnership of legends Steve Howe, Carl Palmer, Geoff Downes and John Wetton but also became one of the essential AOR albums that ruled the 80s. With radio-friendly classics like “Heat of the Moment”, “Sole Survivor” and “Time Again”, the album was destined for commercial success. One year later, however, ASIA released a worthy sophomore album, titled “Alpha”, which in its own way became a valuable ‘80s classic. The second date with ASIA was definitely less tense and more familiar, more sensitive even. Unfortunately, “Alpha” couldn’t meet the industry’s expectation and despite its platinum status, critics often refer to it as somewhat a failure. Sadly, this album turned into one of the most underrated ‘80s rock records of all time, despite the wonderful playlist it offers. “Alpha” may not be as strong or as important as “Asia” but it still holds a place in our heart and once you hear songs such as “Don’t Cry”, “The Smile Has Left Your Eyes” or The Beach Boys sounding “Open Your Eyes”, you will most certainly fall under the magic of the album. There are great and good songs on this record, but the level doesn’t go below that. The album is a festival of romance, under a sky of gorgeous lyrics and touching music. I often referred to “The Smile Has Left Your Eyes” as one of the most beautifully written ballads of all time, for instance. 
It’s a mission impossible to try and top Boston’s 1976 self-titled debut album. That groundbreaking release, featuring the classics “Peace of Mind” and “More Than a Feeling” is the ultimate classic rock staple and the greatest milestone in Boston’s career. Nevertheless, the 1978 follow-up, “Don’t Look Back“ is definitely not an album to ignore. I will skip the comparisons with that enormous first release, though they seem to be inevitable when we talk about Boston. Instead, I will jump right into the music talks to remind people that Boston DO have other great albums other than their debut.
In 1987, the British-American AOR/Melodic rock band Strangeways released arguably their finest work, titled “Native Sons”. The follow-up to their respectable 1984 eponymous debut also proved that the right singer can make all the difference in the world. Original vocalist Tony Liddell was replaced with Terry Brock – a renowned back-up singer for some of the biggest names of the era, including Foreigner and Journey. What followed after he stepped in as the new frontman, could easily be described as pure musical magic. “Native Sons” is a brilliant melodic rock record that guarantees you nothing but delight and feelings of great pleasure. The album carries all the best genre elements of the era, including colourful keyboards, splendid guitar playing and glittering hooks. Add Terry’s powerful vocals, the edgy hard-rock vibe and the A-level songwriting and you end up with a melodic treasure that could effortlessly stand on its own two feet against the big AOR titles of the late ‘80s.![doublevision]](https://thatmixtapewillrock.files.wordpress.com/2017/04/doublevision.jpg?w=279&h=279)
I will be very brief with this one because when we talk about Foreigner and this album in particular, no words are needed. After their highly influential 1977 debut, arena rockers Foreigner came back with what is often referred to as one of the finest albums of the genre and one of Foreigner’s best, most critically-acclaimed works. We can undoubtedly conclude that they did wrap up the ‘70s with quite the style, setting up the mood for the changes that were about to come in the ‘80s.
Last but not least, I just had to include Cream’s finest, most precious work of art, titled “Disraeli Gears”. Not only did this album introduced the holy trio of Eric Clapton, Ginger Baker and Jack Bruce to the American audiences but it also showcased how a band can achieve success if only they dare to dig deeper and fearlessly experiment with their music. “Disraeli Gears” showcased the band’s shifting interest from blues, to psychedelic rock. Moreover, it was on this album that Eric Clapton perfected his guitar skills and cemented his position as one of the finest guitarists of his time.
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Bad Company’s glorious 1974 debut achieved much more than critical and commercial success; the self-titled album of the supergroup brought good old-fashioned rock&roll back into the music scene. Filled with catchy straightforward classics, “Bad Company” is the perfect example of album oriented blues rock, showcasing the band’s biggest selling point – their moody but quite soulful signature sound. Loaded with classic rock staples like “Can’t Get Enough”, “Rock Steady” and “Ready for Love”, the record was destined for success. I have always found an immense attachment to “Ready for Love” (original by Mott the Hoople) – Paul Rodgers’ vocals absolutely did it for me. If you want to get into Bad Company, this is the record you should start with. Play it as loud as possible if you want to experience the ageless magic of pure hard solid rock&roll.
I don’t think Cinderella could’ve made a better debut album! Cinderella were everything BUT your ordinary glam rock band. Unfortunately, their image was what often confused people, though their talent goes above and beyond the big hair, tight leather pants and leopard shirts. We also have to consider their secret weapon – Tom Keifer who is one of the most unique voices of rock music and one of my favorite vocalists of all time. “Night Songs” offers an excellent selection of blues-oriented explosive metal riffs of guitarist Jeff LaBar, flavored by the scratchy fierce voice of Tom Keifer, all cloaked under dark, mysterious and quite intriguing character of the record. “Shake Me”, “Nobody’s Fool”, “Night Songs”, “Somebody Save Me” – there’s just no weak song on this debut album; all are among the greatest glam rock tunes ever released!
Giant’s outstanding debut album, “Last of the Runaways” deserved so much more than it actually got. Unfortunately, the time wasn’t right for it – by 1989, the heydays of album-oriented rock were long gone. Despite its high production value, melodic quality and outstanding vocals and riffs by Dann Huff, “Last of the Runaways” somehow got lost in the transition period from the ‘80s to the ‘90s.“I’m a Believer”“Innocent Days”, “Can’t Get Close Enough” and “No Way Out” are just a few of the dangerously obsessive rock tornadoes that could be heard on this album. “Last of the Runaways” gives us three of the greatest power ballads ever written – “Love Welcome Home”, “It Takes Two” and of course their most commercially successful song, “I’ll See You in My Dreams”. How Dann and the rest of the guys wrote such powerful and emotionally-charged pieces of art is beyond my understanding. This is a gorgeous rock piece and I can’t recommend it enough!
Album Oriented Rock emerged as a phenomenon in the 70s, but it wasn’t until the ‘80s, when it became a global trend. Originally, the term was used to describe the works of bands like Pink Floyd, YES, King Crimson, The Beatles even in the late ‘60s which were meant to be listened as a whole, rather than just one single. Simply put, each song from the album was connected to the following, either thematically or musically. Therefore in order to get the ultimate experience from the record, one must listen from start to finish. For instance, let’s take The Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band”, which many believe is one of the first good examples of AOR; it would be illogical and unadvisable to just listen to one or two songs and stop right there. Same goes with “The Dark Side of the Moon”. Of course, songs have individual strengths and characteristics, but ultimately the album should be considered as one whole unit. Progressive rock bands were in general following the concept of AOR in the ‘70s. Those bands were usually played on Album Oriented Radio stations where song duration was not an issue and DJs could exercise their freedom and play longer songs and entire albums, even. In fact, before bands, like The Beatles established the album format with albums like “Sgt. Pepper’s Lonely Hearts Club Band”, for instance, it was the early FM radios and their DJs who would use the term to describe their approach to programming – it was all about focusing on album tracks or whole albums, rather than just playing one hit single for 2 minutes.
Things changed a little bit by the end of the ‘70s, when the term AOR became associated with popular American rock bands, such as the Eagles and Boston.Those bands still followed the album format, according to which an album is much more important and valuable than just one single. However, their music was very different – it was more melodic, inoffensive, pop-influenced, radio-friendly and easily-absorbed by listeners (compared to progressive rock). Due to such characteristics, the music of bands, like Boston and Kansas, for instance, received a lot of radio air play which consequently sky-rocketed their careers. Those bands and their music are referred to as Adult Oriented Rock which is different than Album Oriented Rock. Album Oriented Rock is after all a radio-centered idea, a programming direction; white Adult Oriented Rock refers to bands, like Boston and Asia, whose sound was, as I said friendlier, layered, synthesizer-driven.
Eventually, the term AOR evolved and people started calling those immensely popular “safe”, melodic rock bands AOR bands, mainly because their music received a heavy rotation on the radio stations. Whether we refer to it as a broadcasting term or more like a general style or approach to music production, ultimately AOR is associated with the mainstream appeal of rock music. In the ‘80s, bands like Journey, Toto, Bon Jovi, Foreigner, Survivor and many more, became synonymous with AOR. Their melodic, rather familiar approach to songwriting, granted them tons of radio recognition and ultimately, fame. Some albums we must mention are Journey’s “Escape”, Asia’s “Asia”, Toto’s “4”, Kansas’ “Leftoverture”, Foreigner’s “Agent Provocateur”, Survivor’s “Vital Signs”, REO Speedwagon’s “Hi Infidelity” and many more similar blockbusters. This phenomenon was observed in all genres and styles of music, not just rock. In the late ‘80s that trend continued with hair metal bands, such as Europe, Cinderella, Poison, Slaughter, Bad English, Giant, Winger, Firehouse, White Lion and more.
This particular tendency is still present and adopted by many rock acts even nowadays. Bands like Pride of Lions, Treat, (Jack Russell’s )Great White, Pretty Maids, Last in Line, Sixx:AM., Def Leppard, Kansas, Scorpions, Metallica even, are still going for that contemporary sound, wrapped under a strong consistent album, played on AOR FM stations. It’s all related, spreading across diverse genres and bands. Ultimately, it applies to rock bands with strong albums, full of songs, all suitable to be aired on radio stations and listened by everyone.
It’s a cold November morning and I am sitting here, at my university, waiting for my next classes to come. My headphones are on because well, music is basically the only thing besides the warm coffee in my hands that actually gets me going through the day. You can find all sorts of treasures on my music player – mostly ‘70s and ‘80s hard rock and the occasional new wave/pop retro tune. After a series of glam rock favorites, suddenly I hear the stunning intro of Boston’s “More Than a Feeling” and just like that, a little smile appears on my face as I silently start singing along with the haunting vocals of Brad Delp. It was this gorgeous song that introduced me to Boston and their debut album. I had no idea who they were as musicians or what they did – all I wanted was to listen and dive as deep as I can into the album, I was simply entranced… The song was over way too soon, but my thoughts kept on sending me back to that glorious year – 1976. I, of course, wasn’t born during the ‘70s but that doesn’t mean I can’t appreciate or truly feel the magic and impact of such brilliant music.
Who could’ve thought that Tom Scholz – a MIT graduate who worked at the Polariod Corporation would come up with the perfect sonic formula and craft rock music that will change history? It all started as a mere fascination but it didn’t take him that long to realize that his connection with music goes way beyond a simple hobby. He assembled a little cozy record studio in his basement where he would spend countless of sleepless nights in an attempt to create the perfect song. Tom was a persistent, goal-driven visionary who knew his way around the studio and didn’t let anyone else take that away from him. Even when the band was finally signed to EMI and the album was about to be released, Tom always stayed true to himself. He wrote or co-wrote (with the exception of “Let Me Take You Home Tonight,” written by Delp) all the songs on the debut album, played all the instruments, recorded, engineered and pretty much did everything by himself. Mad genius, working in a basement or not, it was his demons that changed the rules of the game at the end.
After they changed the name of the band from Mother’s Milk to Boston, it was time to come up with a revolutionary album artwork that could perfectly represent the concept of the album. Again, the idea was given by Scholz who wanted a “spaceship guitar”, symbolizing “escape”. Three people participated in the design, illustration and lettering, before we were finally presented with the final product. The eye-catching and highly intriguing sci-fi logo became an absolute landmark and one of the most instantly-recognizable album covers.
![[ Playlist ] Weekly MIXTAPE](https://thatmixtapewillrock.files.wordpress.com/2016/05/mixtape-mondays-www-thatmixtapewillrock-wordpress-com.png?w=373&h=256&crop=1)
MY ROCK MIXTAPES 