Rock And Roll Band

@law4 <br /> Interesting. <br /> I always heard it as "car radio"...

Not true, although it is something any band can relate to. The 1st album was almost all Tom Scholtz. He did jam with bands in the club scene in Boston durhng the 60's, but there wasn't a "Boston" yet. Did have some people that flowed in and out before the band that toured on the album. <br /> He played everything on it except the drums, which he brought in someone (and not the one on the album cover) to do so. Most of that album was done on his home studio over the course of several years. <br /> <br /> There was also some contention between the producers in the studio in L.A. and Scholtz as to the 'professional' level...So, while Brad was in L.A. recording vocals and working some new material (like "Let me take you home tonight), Tom was in Mass, remixing. From Wiki: Boston was primarily recorded at Scholz's own Foxglove Studios in Watertown, Massachusetts in "an elaborate end run around the CBS brain trust."[3] Epic 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 work[ed] alone, and that was it."[5] Scholz took a leave of absence from Polaroid, and was gone for several months to record the band's album. "I would wake up every day and go downstairs and start playing," he recalled. Scholz grew annoyed reproducing the parts, being forced to use the same equipment used on the demo.[5] The basement, located in a lower-middle-class neighborhood on School Street, was described by Scholz as a "tiny little space next to the furnace in this hideous pine-paneled basement of my apartment house, and it flooded from time to time with God knows what."[5][6] There was a Hammond organ and a Leslie speaker stuffed in the corner of the room alongside the drums; whenever it was time to record the organ parts, they would tear the drums down and pull out the Leslie.[5] Boylan felt that while Scholz's guitars "sounded amazing," he did not understand how to properly record acoustic instruments, and flew in engineer Paul Grupp to instruct him on microphone technique.[6]<br /> <br /> Boylan's own hands-on involvement would center on recording the vocals and mixing,[6] and he took the rest of the band out to the West Coast, where they recorded "Let Me Take You Home Tonight".[7] "It was a decoy," recalled Scholz, who recorded the bulk back home in Watertown without CBS's knowledge. While Boylan arranged for Delp to have a custom-made Taylor acoustic guitar for thousands of dollars on the album budget, Scholz recorded such tracks as "More Than a Feeling" in his basement with a $100 Yamaha acoustic guitar.[2][3][7] That spring, Boylan returned to Watertown to hear the tracks, on which Scholz had recut drums and other percussion and keyboard parts.[6] He then hired a remote truck from Providence, Rhode Island to come to Watertown, where it ran a snake through the basement window of Scholz's home to transfer his tracks to a 3M-79 2-inch 24-track deck.[6] The entire recording was completed in the basement, save for Delp's vocals, which were recorded at Capitol Studios' Studio C with Warren Dewey engineering the overdubs.[5][6] All vocals were double-tracked except the lead vocal, and all the parts were done by Delp in quick succession.[6] 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."[5] Instead, Scholz felt they were backwards in their approach, and lacked knowledge he learned. "These people were so swept up in how cool they were and how important it is was to have all this high-priced crap that they couldn’t see the forest for the trees," he said.[5] Boylan found 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 assisting.[6] Scholz pushed guitars too high in the mix, rendering vocals inaudible at times.[6]<br /> <br /> The entire operation has been described as "one of the most complex corporate capers in the history of the music business."[6] With the exception of "Let Me Take You Home Tonight", the album was a virtual copy of the demo tapes.[3] The album was recorded for a cost of a few thousand dollars, a paltry amount in an industry accustomed to spending hundreds of thousands on a single recording.[2]

@ye-interpreter <br /> Less is more.