Boston Guitar Solo (Hitch A Ride)

Boston s/t reminds me of summer. To all you older guys driving around in your Cameros, blasting Boston out of your Jensen coaxial speakers back in the 70s, I say "thank you."
You're welcome!

Though... I have to admit I didn't get the Camaro until 1986 (an '81 Z28 4spd), the speakers were Alpine, and I was mainly blasting early Genesis and Yes.
 
77 Olds Cutlass, decent factory 8-track was all it had. Mom bought the car off the showroom floor, it had the biggest engine & best suspension that they offered. Dad just shook his head, less than a year later she handed me the keys and bought a Delta 88. Boston was "Go Faster" music in that car.

Mark Gosdin
 
Who cares, it's all flyover territory anyways. :D
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77 Olds Cutlass, decent factory 8-track was all it had. Mom bought the car off the showroom floor, it had the biggest engine & best suspension that they offered.

My first car was a '77 cutlass.
Black with tan interior.
Unfortunately it had the 3.8L 6 cylinder engine.
It was so slow it couldn't get out of it own way.
 
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I had a 1972 Grand/prix .. lets not forget the boost amp to go with the Jensen's
Now that I look back at some of the pic. it was a pimp ride.:smoke:

Best-

Boozehound
 
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I remember the first album vividly. I went to an audio store to purchase a Phase Linear 400 amplifier(with wood case.) The store had some newly released albums. I loved the front cover so I picked up the album that day. The rest is history, so they say.
 
What I mean by low tech is;
All of the recording and production of this album was done manually and often the sounds your hearing aren't necessarily "produced" they are literally created.

For example, the outro of the Hammond organ solo on hitch a ride finishes with a pitch modulation of the organ similar to a tonewheel of a modern keyboard.
The thing is, Hammond organs don't have a tonewheel and their wasn't pitch bending effects yet invented!
The effect was done by dragging his hand on the tape reel as he was simultaneously playing and recording the part!
Other things like guitar sounds were of his own creation.

I've got news for you. This is how we all did things in the studio in the late '70's - mid-'80's before digital effects became available. That's why the effect is called "flange". It gets its name from the flange on the reel of tape where you'd put pressure to make that effect. Although it was more commonly done in the mix. And not being snarky, but you do know that "produce" and "create" are synonyms, right? (Ok, maybe that was a little snarky)
 
I've got news for you...SNIP...(Ok, maybe that was a little snarky)

Not news to me.
I interpret your snarkyness as enthusiasm which means we share a common interest in recorded music.

I do realize produce and create have similar meanings.
I think when people say produce they are inferring something artificial or less than authentic.
I'm just trying to pint out that although the overall sound of this album is of polished professional production, it was completely created in the basement of one mans home in his spare time with no(zero) digital effects or pedals. Well maybe an eq pedal and a wah pedal...

Anyway,
I understand this album has its critics and I am not saying they are wrong, I'm just trying to add clarity and put it in perspective.

I love this album no matter how often I hear it.
And Tom Scholz is a genius in my estimation.
 
It was a guitar through all his effects pedals directly plugged into the mixing board. No amp was used.
You sure about that? I don't know for sure, I'm asking is that fact or a guess? I was told a lot of the first album was a Marshall. Into the second album he got more into designing rack gear and such. Who told me that was Tom.
 
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