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DISCID=8008890a,81088d0a,84088e0a,8d08900a
DTITLE=Boston / Third Stage
DYEAR=1986
DGENRE=Rock
TTITLE0=Amanda
TTITLE1=We're Ready
TTITLE2=The Launch
TTITLE3=Cool The Engines
TTITLE4=My Destination
TTITLE5=A New World
TTITLE6=To Be A Man
TTITLE7=I Think I Like It
TTITLE8=Can'tcha Say (You Believe In Me) + Still In Love
TTITLE9=Hollyann
EXTD=Originally Released October 1986\nMFSL Gold CD Edition Released J
EXTD=uly 13, 1993\n\nAMG EXPERT REVIEW: After rushing their second alb
EXTD=um Don't Look Back, Boston took eight years to complete the album
EXTD= Third Stage. The long delay is even more surprising considering 
EXTD=that their sound didn't change at all; even though only songwrite
EXTD=r/guitarist Tom Scholz and vocalist Brad Delp remained from the o
EXTD=riginal lineup, they were the ones responsible for Boston's sound
EXTD=. As such, it is difficult to avoid comparisons with their landma
EXTD=rk debut. Third Stage has some strong moments, especially the num
EXTD=ber one hit "Amanda" where the band blends acoustic and electric 
EXTD=guitars to complement the layered vocals. However, the songs are 
EXTD=not as strong as those on their debut, and the album is marred by
EXTD= the presence of instrumental fillers and an attempt to cling to 
EXTD=a theme of "journey through life's third stage." Thus, rather tha
EXTD=n focusing on universal topics such as the exuberance and uncerta
EXTD=inties associated with youth, the mature lyrics are lost on most 
EXTD=of their young rock audience. Given the time between albums and t
EXTD=he changes in the pop landscape, it was a little disappointing to
EXTD= find Boston stuck in the same sound. The album still sounds grea
EXTD=t when it works on all cylinders ("We're Ready," "Cool the Engine
EXTD=s"), but the album is not filled with enough satisfying moments. 
EXTD=This may be nostalgic pop rock of the '80s, but casual listeners 
EXTD=should start with their debut. -- Vik Iyengar\n\nAmazon.com Custo
EXTD=mer Review\n4.5 stars - Boston's comeback, March 25, 2005 \nRevie
EXTD=wer: Darth Kommissar (Las Vegas, NV (USA))\nIn the mid-late seven
EXTD=ties, Boston fast became one of the most popular classic rock gro
EXTD=ups of the day. Their 1976 debut album held the record for the be
EXTD=st-selling debut album of all time (the record wouldn't be broken
EXTD= for many years), and their follow-up album, 1978's Don't Look Ba
EXTD=ck, was also well-received. And then, Boston faded away. The musi
EXTD=cal mastery of guitar genius Tom Scholz and the awesome vocals of
EXTD= Brad Delp became forgotten, amidst a sea of hair metal and new w
EXTD=ave. The fact that they hadn't released an album in years didn't 
EXTD=help things either. But little did people know, the band was work
EXTD=ing on a new record. By the time Third Stage hit stores in 1986, 
EXTD=it was a project EIGHT YEARS in the making. Many legal issues, as
EXTD= well as Tom Scholz's perfectionistic production style, caused th
EXTD=e delay. How does the band's comeback measure up? Read on for my 
EXTD=review of Third Stage. \n\nUltimately, Third Stage was a good alb
EXTD=um. The band's third record features that forgotten classic rock 
EXTD=sound they had used earlier, but at the same time throws just eno
EXTD=ugh new elements into the mix that it sounded fresh, even in the 
EXTD=eighties when bands were attempting innovations around every corn
EXTD=er. The band scored a huge charting hit with the classic Amanda. 
EXTD=The song continues to get plenty of classic rock airplay, even to
EXTD= this day, and it remains this album's most popular song. But lik
EXTD=e with most albums, there are a plethora of underrated songs that
EXTD= are not to be missed. The classic power rock of songs like We're
EXTD= Ready and Cool The Engines will certainly appeal to those who en
EXTD=joyed the group's classic albums. There are also some excellent, 
EXTD=melodic rockers, including Hollyann and Can'tcha See - both of wh
EXTD=ich are excellent songs that never got the proper credit. Admitti
EXTD=ngly, I don't particuarly think this album was worth an eight yea
EXTD=r weight (that's not to say it's not a good album), but most of t
EXTD=hat weight was due to legal troubles, so I can't really blame the
EXTD= band there. This isn't my favorite Boston album (I'll always lik
EXTD=e the debut best), but it's very close to the top. No fan of the 
EXTD=group should be without it. \n\nBoston's albums really need to be
EXTD= remastered and rereleased. They were only released on CD once, a
EXTD=nd these older issues are fading away and becoming tough to find 
EXTD=in stores. Only the band's greatest hits compilation seems to be 
EXTD=readily available. Since these records are so good yet so unavail
EXTD=able, they are in desperate need of reissuing. \n\nThird Stage is
EXTD= a damn good album from start to finish. Tom Scholz is often crit
EXTD=icized for being somewhat of a perfectionistic producer (one of t
EXTD=he big delay-causers between Boston albums), but ultimately his t
EXTD=aking so long to produce this one paid off - it sounds great. Fol
EXTD=lowing 1978, an unofficial Boston tradition started - ten years b
EXTD=etween each studio album. This meant that they didn't release a f
EXTD=ollow-up to Third Stage until 1994! This means Boston albums are 
EXTD=a rarity, but when they come out, they're great (most of them.) N
EXTD=ew to the band? Start with the band's self-titled debut and get e
EXTD=very album in order (they don't have many albums, so it's worth i
EXTD=t to buy them all.) Third Stage is a great addition to the catalo
EXTD=gue, but newbies should start at the beginning.\n\nAmazon.com Cus
EXTD=tomer Review\nGuilty pleasure, October 31, 2000 \nReviewer: Brian
EXTD= Rubendall (Oakton, VA) \nBy the mid 1980s, most of the 70s arena
EXTD= rock bands (Foreigner, Journey, Styx, Kansas, etc.) had called i
EXTD=t a day. Then along comes Boston's ever unpredictable Tom Shultz 
EXTD=to reemerge from wilderness with his band's third album to breath
EXTD=e a little life into the genre. Listening to the album, one would
EXTD= have no idea that in the eleven years since Boston's first album
EXTD= became a smash success that punk, the new wave and music videos 
EXTD=had revolutionized rock, managing to alter the formulas of even s
EXTD=uch dinosuars as Yes and ZZ Top. Instead, here comes Shultz with 
EXTD=such 1975 FM radio ready fare as "Amanda," "We're Ready" and "Coo
EXTD=l the Engines." And some of us, at least, discovered that we were
EXTD= not to cool to take a trip down memory lane after all.\n\nAmazon
EXTD=.com Customer Review\nTom's first use of synthesised sounds, Octo
EXTD=ber 7, 2005 \nWhy does Tom Scholz brag in "Third Stage"'s liner n
EXTD=otes that he doesn't use synthesisers? When Tom recorded these so
EXTD=ngs, he used his guitar as a synthesiser. Synthesised sounds are 
EXTD=all over this record from start to finish. Tom made his guitar so
EXTD=und like a frigging violin for gods sake. And he thinks thats not
EXTD= a synthesised sound? \n\nNow, on to the music. If you've worn ou
EXTD=t your copy of "Don't Look Back" or the debut, Third Stage is pra
EXTD=ctically interchangable with those two records; multi octave teno
EXTD=r vocals, layers of heavilly reverbed guitars, and lots of fancy 
EXTD=studio wizardry all around. \n\nAnd lets not forget the incredibl
EXTD=e amount of synthesisers Mr. Scholz used. Sure he SAYS there were
EXTD= no synthesisers used, but we all know better than that. This rec
EXTD=ord is LOADED with synthesised sounds. When the listener hears a 
EXTD=violin that is actually a guitar, than that is a synthesised soun
EXTD=d, weather Tom wants to admit it or not. So yes Tom, your record 
EXTD=DOES use synthesisers. Only in your case they're modified guitars
EXTD= as opposed to keyboards.\n\nAmazon.com Customer Review\nNot The 
EXTD=Old Boston - 2.5 stars, July 14, 2005 \nReviewer: New Kiddintoun 
EXTD=(Someplace Elsewhere)\nNOTICE: If you do not have this record, do
EXTD= not buy it without finishing reading this review. \n\nTHIRD STAG
EXTD=E is not near as good a record as the band's previous two (DON'T 
EXTD=LOOK BACK and BOSTON). The main reason for this is more than like
EXTD=ly that the band is gone. Brad Delp (mainly lead and harmony voca
EXTD=ls) and Tom Scholtz (mainly guitar) were the only band members le
EXTD=ft at that point, leaving Boston in a dark spot; Tom Scholtz cove
EXTD=red most of the music (shining a light on his almost overly-appar
EXTD=ent talent), but he overdid it - far too many overdubs (even for 
EXTD=Boston) were added, and more than 80% of the record's drums are r
EXTD=ecreated through keyboards (drum simulators, if you may). There i
EXTD=s hardly any natural sound; the acoustic twelve-string guitars ar
EXTD=e essential to the album. Without them, this album would be blow-
EXTD=dried, air-conditioned claustrophobia wrapped into a circle......
EXTD=.in other words, a record. \n\nTHIRD STAGE gets an overall 3 star
EXTD=s from me, the result of disappointment and a reverse effect: cer
EXTD=tain things can 'grow on you' over time, but this seemed to 'grow
EXTD= off me' over time. It might seem great when you buy it, but that
EXTD= will change. \n\nDO NOT EXPECT THE BOSTON FROM THE 70'S - YOUR E
EXTD=XPECTATIONS WILL FAIL YOU! \n\nAmazon.com Customer Review\nThe Gr
EXTD=eat Comeback, June 27, 2005 \nReviewer: erictheb "erictheb" (Bost
EXTD=on)\n1986 was the year of two major comebacks from two totally di
EXTD=fferent musical beasts- The Monkees and Boston. While The Monkees
EXTD= resurgance was spurred by endless airing of their old show on MT
EXTD=V, Boston's was built on a foundation of 7 years of great anticip
EXTD=ation and hope that they someday would return, from the millions 
EXTD=of people who had become fans of the band's melodic hard rock. \n
EXTD=\nBased on the perfectionist ways of Tom Scholz's production and 
EXTD=guitar skills, and the multi-layered harmonies of Brad Delp's soa
EXTD=ring vocals, Boston had come virtually out of no where in 1976 to
EXTD= define a genre- AOR- with one of the biggest-selling debuts ever
EXTD=. This debut set the standard for rock production at the time. \n
EXTD=\nThey were also known as being part of the wave of American "fac
EXTD=eless corporate rock" with bands like Styx, Foreigner, Kansas, To
EXTD=to, and REO Speedwagon. Hey, if great melodic guitar-based music 
EXTD=is what you want to call faceless and corporate, fine. Just becau
EXTD=se it wasn't punk, California soft rock, singer/songwriter or New
EXTD= Wave doesn't mean it was invalid. \n\nFollowed up in 1978 by the
EXTD= rushed if still attractiv Don't Look Back- an album that honorab
EXTD=ly aped their debut- Boston toured into 1979 then took a break. \n
EXTD=\n1980 saw the release of guitarist Barry Goudreau's solo album w
EXTD=hich was really a Boston album in all but name, lacking only Shol
EXTD=z's production and guitar. In the meantime, Scholz and CBS locked
EXTD= heads in court, CBS demanding an album, Scholz claiming CBS was 
EXTD=forcing him to release unworthy and unfinished material, as well 
EXTD=as holding back on royalties as punishment. \n\nWhen finally sett
EXTD=led, Scholz set about signing a new record deal with MCA and fina
EXTD=lly releasing the 3rd Boston album, appropriately titled Third St
EXTD=age. This album has some great songs on it- the tender #1 ballad 
EXTD=Amanda is extremely beautiful; #9 hit We're Ready and Cool The En
EXTD=gines are good rockers with rocket ride imagery; I Think I Like I
EXTD=t and #20 Cantcha Say are decent pop rock; and Holly Ann is a wis
EXTD=tful, nostalgic look back for Scholz to his youth in the peace an
EXTD=d love 60s. \n\nBut this album is not without its flaws. As other
EXTD= reviewers have mentioned, this (and the first 2 albums as well) 
EXTD=really needs a remaster. I would also do a re-mix. The production
EXTD= is a victim of its mid-80s vintage as well as Scholz's blind fai
EXTD=th in 80s technology. The sound is a bit cold, drenched in echo. 
EXTD=Even if the debut album itself has a certain sterile perfection, 
EXTD=it still sounds much warmer than Third Stage. The 80s electronic 
EXTD=drums should be replaced by the real deal. And Brad Delp's voice 
EXTD=should be brought more to the fore. The liner notes should also b
EXTD=e updated, and maybe some unreleased tracks added. \n\nLead by th
EXTD=e Amanda single, Third Stage shot to number one and sold millions
EXTD=, and Boston would go on an extremely succesful arena tour with o
EXTD=nly Delp and Scholz left from the original band. I had the pleasu
EXTD=re of seeing them on their home turf in 1988 at a benefit show at
EXTD= the old Boston Garden, and it was a blast. Even got to meet Brad
EXTD= and Tom by the artist entrance in the back of the Garden after t
EXTD=he show, and they were really cool. As a 19 year old college soph
EXTD=omore heavily into classic rock and WZLX at the time, it blew my 
EXTD=mind to actually stand face-to-face and meet the guys behind this
EXTD= great music. Boston, thanks for the memories!\n\nAmazon.com Cust
EXTD=omer Review\nIt took 6 years to write the same song twice?!?, Apr
EXTD=il 22, 2005\nReviewer: Greg Brady "columbusboy" (Capital City) \n
EXTD=The worst tragedy of this album isn't so much that it's resolutel
EXTD=y awful. I've certainly heard worse albums. It's that clearly Tom
EXTD= Scholz believes he's made a significant artistic statement. \n\n
EXTD=He proudly boasts (twice!) that "it took nearly six years to conc
EXTD=eive and complete this album" (in his home studio in his garage).
EXTD= He spends a full page of the liners explaining exactly how it wa
EXTD=s recorded (all-analog), with what instruments (he goes so far as
EXTD= to tell you type of pickup on the guitars), what effects ("No th
EXTD=ose aren't violins, they're electric guitars through a Rockman") 
EXTD=and when he wrote them (he was scrounging as far back as 1972 for
EXTD= material). There's another full page of acknowledgements. If tha
EXTD=t doesn't convince you of Scholz's self-importance, how about lec
EXTD=tures on vegetarianism and animal rights? It's easier to forgive 
EXTD=a little conceit when it's backed up with great art, but that's i
EXTD=n little evidence here. \n\nHIGHLIGHTS: \n"Amanda", the album's o
EXTD=nly hit, was a deserved one. It's a catchy well-produced hummable
EXTD= ballad. Outside of that, the only other one that really made me 
EXTD=take notice was rocker "Cool the Engines". \n\nLOWS: \n"My Destin
EXTD=ation" is completely derivative of "Amanda". Compare them and tel
EXTD=l me they're not the same song with different lyrics. (And you ca
EXTD=n't get away with telling me it's a "reprise" as part of a concep
EXTD=t album. You don't change lyrics on a reprise. This is Scholz try
EXTD=ing to pull a fast one.) "The Launch" was an overblown attempt at
EXTD= creating the sound of a "liftoff" as a pre-amble to "Cool the En
EXTD=gines". It doesn't work. It's nowhere near as great a lead-in as 
EXTD="Foreplay" was for "Long Time". "Hollyann" is a self-congratulato
EXTD=ry backslap to aging hippies.("Hollyann/We made the dark into the
EXTD= light/We saw the wrong and the right/We were for life/And we wou
EXTD=ld never concede it") It leaves a bad taste in your mouth. \n\nBO
EXTD=TTOM LINE: \nThe songs are mostly faceless. I hope during the 6 y
EXTD=ears Scholz spent in the garage he was able to find time to tuneu
EXTD=p the vehicles and clean up the room in general. If not, he prett
EXTD=y much has nothing to show for all that time.\n\nAmazon.com Custo
EXTD=mer Review\nScholz's Last Masterpiece, November 5, 2004\nReviewer
EXTD=: Gregory S. Standard (Manassas, Va United States)\nMost Boston f
EXTD=ans would agree that Scholz takes much too long to put out an alb
EXTD=um - 8 years on average. However, if it were not for this fact, B
EXTD=oston's Third Stage (released in 1986) would probably not have be
EXTD=en the great album that it is. Here's my reasoning: \n\nTom Schol
EXTD=z's song writing ability was probably depleted by the beginning o
EXTD=f the 1980's. Most of the songs on the Third Stage album were con
EXTD=ceived of during Tom's "period of creativity", which spanned the 
EXTD=entire decade of the 70's. For example, Amanda was really an old 
EXTD=song, first conceived of in late 1978. Likewise, most of the song
EXTD=s from the debut album were written years before their release da
EXTD=te as well. \n\nTherefore, although the album was a "modern" 1986
EXTD= work of art, it still sounded a lot like the "old" Boston of the
EXTD= 70's. The only thing that changed at all was the electronic tone
EXTD= of Tom's guitar (still the best sound in electric guitar history
EXTD=). Of course, we'll ignore the fact that the only other original 
EXTD=member of the band that was left was Brad Delp. \n\nSo, what we h
EXTD=ave are old songs that took eight years to record. This is a good
EXTD= thing, because once Scholz starting writing material in the mid 
EXTD=1980's, it is clear that he had tapped out his well of musical cr
EXTD=eativity. \n\nJust look at the Walk On CD (his last gasp) and the
EXTD= latest Corporate America CD (mostly written by other people). \n
EXTD=\nI look at Third Stage as the final sequel to a great Trilogy. G
EXTD=ood things seem to come in threes. \n\nIt's a shame it had to end
EXTD= there, even though Scholz's "Boston" is still alive and kicking.
EXTD= \n\nI guess original members like guitarist Barry Goudreau were 
EXTD=pretty important after all, eh Tom? \n\nFor those who would like 
EXTD=to hear an example of the importance of the original members, che
EXTD=ck out Barry Goudreau's solo album from 1980 "Barry Goudreau", wh
EXTD=ich features the entire Boston line up, minus Tom Scholz and see 
EXTD=if you think Tom was the "sole" creative force behind Boston. \n\n
EXTD=Half.com Details \nProducer: Tom Scholz \n\nAlbum Notes\nBoston: 
EXTD=Brad Delp (vocals); Tom Scholz (acoustic & electric guitars, pian
EXTD=o, organ, bass, drums).\nAdditional personnel: Gary Pihl (guitar)
EXTD=; Jim Masdea (drums, percussion).\n\nDuring the eight-year hiatus
EXTD= between DON'T LOOK BACK, Boston's sophomore release, and 1986's 
EXTD=THIRD STAGE, every member left the band, save guitarist/leader To
EXTD=m Scholz and singer Brad Delp. And while many other '70s rock mon
EXTD=sters struggled to stay afloat in the '80s, Boston had no problem
EXTD= making the transition. THIRD STAGE was another big hit, powered 
EXTD=by the Top-10 power ballad "Amanda." \nBoston doesn't stray from 
EXTD=its classic sound here. THIRD STAGE standouts such as "We're Read
EXTD=y," "Cool the Engines," and "Hollyann" pick up right where DON'T 
EXTD=LOOK BACK left off. Fans hoping that they wouldn't have to wait a
EXTD=s long for their next Boston fix were let down again. It would be
EXTD= another eight years before 1994's WALK ON hit the racks. YEAR: 1
EXTD=986
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