Word: guitar
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Dates: during 1970-1979
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Nearly 6.5 million copies have now been sold. The success of Boston was so left field-as abrupt, decisive and cleaving as one of Leader Tom Scholz's guitar breaks-that the group came to be treated as if it had been freshly cloned for stardom. When Boston went back into the studio to make their second album, much hope was raised, but many doubts lingered. The new album, out a little more than a month, could settle the score. Don't Look Back shot to the upper regions of the charts; the album's title track...
...guess the sound is three things," says Scholz. "Power guitars, the harmony vocals and the double-guitar leads." He was heavily influenced by "raunchy stuff, like Cream and Led Zeppelin." He first heard a dual-guitar harmony on an old Zep cut, How Many More Times, and expanded the Boston sound from there. But Scholz slips his music through so many acoustical refinements that the result is one part raw energy, another part applied science. "I was really annoyed about the first album," Scholz told TIME's Jeff Melvoin. "My primary love of the sounds of rock...
...circle began in the dusty hamlet of Abbott, Texas, where Willie and his sister Bobbie, now the pianist in his band, were raised by gospel-singing grandparents; their parents had drifted off in opposite directions shortly after Willie was born. Willie was five when he got a guitar and a few rudimentary lessons from his grandfather, a blacksmith who had taken mail-order music courses. Soon Willie was pressing his ear against an old wooden Philco radio to hear Grand Ole Opry. At 13 he formed his own band-with his father, then living in a town 40 miles away...
Wherever he wandered, Willie sang and played guitar in local honky-tonks, at times performing behind a chicken-wire screen set up to protect musicians from flying beer bottles. Out of this harsh apprenticeship came one of his earliest and best songs, a neon-lit lament called Night Life...
...four grandchildren that stem from his first marriage). But Willie knows the touring will never end. First and last he is a honky-tonk troubadour. To see him on a bandstand is to see a man truly in his element. He is hunched over his battered Martin acoustic guitar, nodding and smiling as the applause of recognition washes over the opening bars of each number; singing to a shouted obbligato of "You said it, Willie! Sing it!"; swigging a beer between phrases or cheerfully knocking back the shots of booze passed up to him from the audience; remaining unperturbed even...