BOSTON: THIRD STAGE (1986)
1) Amanda; 2) We're Ready; 3)
The Launch; 4) Cool The Engines; 5) My Destination; 6) A New World; 7) To Be A
Man; 8) I Think I Like It; 9) Can'tcha Say / Still In Love; 10) Hollyann.
With all his perfectionism, delayism, disrespect
for deadlines, and contempt for record labels, Tom Scholz ended up waiting for
the most uncomfortable time to
release Boston's third album — 1986, the Doom Year for Classic Rockers (just to
remind you, Alice Cooper's Constrictor
and Chicago 18 came out in the exact
same month). Not that this should have derailed Scholz, who rarely trusted
anybody's nose but his own: yes, you can sense that the Eighties are upon us
from the production, but Scholz himself was responsible for the production in
many ways, not the least of which was his own self-designed Rockman guitar
processor.
So the bad news about Third Stage is not really its year of release, but rather the
stylistic choice of its maker. As some of the old guys, such as second
guitarist Barry Goudreau and bass player Fran Sheehan, eventually quit because
they couldn't take the waiting any more, Scholz began sliding further and
further into lyricism and sentimentality — the typical song on Third Stage is not a revved-up
power-pop-rocker, but rather a heartfelt ballad, power or no power. In the
place of ʽMore Than A Feelingʼ and ʽDon't Look Backʼ, songs that had an aura of
cheapness but could still be a great way to kick-start your day, we now have
ʽAmandaʼ — a song that must have permanently ruined the life of every single
Amanda on US soil. Just imagine yourself being a 12-year or so old girl called
Amanda in 1986 and having to walk to school while all the radio stations for
miles around blast "I'm gonna take you by surprise and make you realize,
Amanda..."... oh, the horror. Hope they all hid in the basements while the
heat was on.
Not only ʽAmandaʼ, though, but just about every
other of these ballads is almost unbelievably lame — without the thunderous
riff-blasts of his rockers, Scholz is reduced on the spot to pompous schlock
where even the trademark Boston guitar tones do not redeem the material that
rides on exhausted balladeering clichés all the way through. ʽMy Destinationʼ,
ʽTo Be A Manʼ, ʽHollyannʼ — I am not even sure I can properly distinguish one
from the other. The only good thing about them is the band's stubborn
reluctance to use synthesizers or strings, which does give them a
Boston-exclusive flavor. But the contrast between the primitively uninventive
melodies and the immense atmospheric pomp is just too much to bear.
Unfortunately, the few rockers on the record do
not redeem the situation. The album's loudest and brawniest track, ʽCool The
Enginesʼ (formally the last part of a space-related trilogy), is a glam
extravaganza, with Brad Delp screaming his head off and Scholz getting to play
Zeus the Thunderer. Is it my fault, though, that the final result sounds
stylistically similar to Aerosmith's ʽLove In An Elevatorʼ? With the same
overloud, sleazy guitar assault as everything gets driven to eleven?
Hilariously, even if Scholz never wanted to make a pop-metal anthem, he
unintentionally produced one along the same stylistic lines as Aerosmith or Bon
Jovi in their big hair days. I admit that it is catchy — but it is also rather
silly, adding this «macho» edge to their cosmic music (yes, I know that
«cooling the engines» is just a metaphor, but I don't even want to remember explicitly
what for). At least ʽI Think I Like Itʼ manages to combine the album's lyrical
sensitivity with a strong, but delicate pop-rock rhythm, and arguably comes out
as the best track and the only one that I can currently imagine myself wanting to
revisit.
Bottomline: tech savviness is one thing,
understanding of how to juice up an already catchy hook is another thing, and a
good sense of taste and measure is the little devil whose absence can mess you
up even if you got the other two quite right. With Third Stage, Scholz shows us one and one thing only — namely, that
he himself does not seem to quite understand what it is that used to make him
so good. Yes, there are quite a few things in common between ʽMore Than A
Feelingʼ and ʽAmandaʼ, but there is also a wide gap. For Scholz, what really matters
is what they have in common. For myself — and I hope to be speaking for quite a
few other people, too — what really matters is the gap, and I hate this particular gap. Thumbs down
with a vengeance, even if, on the whole, this is quite far from the worst
record of 1986.
Brilliant summary of a pretty bad (not awful, though) record.
ReplyDeleteMay I say that, for whatever reason, 1986 was the worst year to proudly announce "No Synthesizers" on the cover? But it was a pretty good year to say that you are a Greenpeace supporter.
Ah, so you skip Barry Goudreau's solo album of 1980. That's not exactly a loss, but it loses something.
ReplyDeleteIn the first place that solo album is Boston without Tom Scholz. So if you think TS the best think since the invention of powdered milk (yup, that's an unsubtle hint) you can neglect it. If you dislike Boston in the first place you can neglect it as well. But if you like Boston casually, like me and apparently GS, it's worth a try. Regarding "sliding further and further into lyricism and sentimentality" it sits comfortably between Third Stage and Don't Look Back. A good example is Mean Woman Blues - technically a blues indeed, but stripped off of anything even slightly offensive. If you think Peter Green's Fleetwood Mac boring you haven't heard that song yet.
But there are also two pretty good songs: Sailing Away and Cold, Cold World. Neither is a classic, not even according to Boston standards, but they are definitely better than the filler on the two previous regular albums. Sailing Away is a simple, short ballad, with a string quartet added and as such a welcome anomaly in the catalogue. Cold Cold World is a typical Boston song with a decent riff and one or two decent hooks.
As such it becomes clear that it's not technology that matters - what matters is what you do with it. At his best Tom Scholz did some interesting things; Barry Goudreau quickly and predictably descended into the blandness so typical of AOR. Try the two good songs though.
Ah, so you skip Barry Goudreau's solo album of 1980. That's not exactly a loss, but it loses something.
ReplyDeleteIn the first place that solo album is Boston without Tom Scholz. So if you think TS the best think since the invention of powdered milk (yup, that's an unsubtle hint) you can neglect it. If you dislike Boston in the first place you can neglect it as well. But if you like Boston casually, like me and apparently GS, it's worth a try. Regarding "sliding further and further into lyricism and sentimentality" it sits comfortably between Third Stage and Don't Look Back. A good example is Mean Woman Blues - technically a blues indeed, but stripped off of anything even slightly offensive. If you think Peter Green's Fleetwood Mac boring you haven't heard that song yet.
But there are also two pretty good songs: Sailing Away and Cold, Cold World. Neither is a classic, not even according to Boston standards, but they are definitely better than the filler on the two previous regular albums. Sailing Away is a simple, short ballad, with a string quartet added and as such a welcome anomaly in the catalogue. Cold Cold World is a typical Boston song with a decent riff and one or two decent hooks.
As such it becomes clear that it's not technology that matters - what matters is what you do with it. At his best Tom Scholz did some interesting things; Barry Goudreau quickly and predictably descended into the blandness so typical of AOR. Try the two good songs though.
As for Third Stage I kind of like Amanda and Cool the Engines. Sue me for my bad taste of blame Uriah Heep or whatever. For me it's the gap with hair metal that counts. Sure, Amanda is cheesier than the product of Edam, The Netherlands, but it's catchy and the übercheese of "I love you", suddenly toned down as it is, is a hook. Cool the Engines has that nice turn at the end of the song, when the entire band restricts itself again.
ReplyDeleteThe rest is crap afaIc.
you like two moments on it? out of how long an album?
DeleteTwo songs. That's what compilations are invented for.
DeleteA perfect review! (and the only song I ever revisit on this album is the chuggin', atmospheric rocker that is 'I think I like it').
ReplyDelete