George Lynch and Jeff Pilson go way back to when they were bandmates in Dokken from 1983-1989. There is nothing good to say about this release. There might be a song or a performance that is enjoyable, but that is it.Ģ.0 – 2.9: Very weak! There might be a light at the end of the tunnel, too many flaws.ġ.0 – 1.9: This release gives the word “terrible” new meaning.Ġ.1 – 0.9: Awful! Avoid at all cost. Good outweighs bad by just a little.Ĥ.0 – 4.9: Just below average, bad outweighs good by just a little.ģ.0 – 3.9: Mediocre. Everyone knows what it looks like.10.0: Cannot be improved! Perfect, instant classic! Essential in any record collection.ĩ.5 – 9.9: Fantastic, spectacular and outstanding!ĩ.0 – 9.4: Amazing release! It just lacks that little extra spice to make it perfect.Ĩ.5 – 8.9: Exceptional release! Will likely rank among top ten albums of the year.Ĩ.0 – 8.4: Great release! It has many different qualities.ħ.5 – 7.9: Above average! It is an enjoyable release.ħ.0 – 7.4: It is not brilliant, but has many strong points.Ħ.0 – 6.9: It has its moments, but is not that strong.ĥ.0 – 5.9: Slightly above average, does not stand out. “They only talk about this one, and continually! It is a total vernacular item. “But no one talks about them,” Scher says. Three other Boston albums, all with similar space ships, have been produced since that first one-all with strong designs by real science illustrators. "And its color scheme of many warm colors certainly enhanced the lighting of the bong.”īut does the image have more resonance than the band and the song it accompanied? The cultural significance of the art for Boston lives on: Just last year on NPR’s Wait, Wait, Don’t Tell Me, when host Peter Sagal did a bit about the earth blowing up and space ships leaving the planet, he made the connection: "You, know, like the Boston cover.” "Surely one could read just about anything into it," he said. "It allowsed you to imagine what and who was behind the music." Kaye concurred. ![]() “There was something special and risky about albums that did not show the band," said Joe Butler, the drummer for The Lovin' Spoonful. ![]() To rockers at the time, the ambiguity of the design worked in its favor. Yet the cover art "gave it a science-fictional feel, as if Martians had landed and took over Earth using a particularly post-apocalyptic guitar tone and frequency." The cover would have become iconic anyway, says Lenny Kaye, the guitarist, author, and Patti Smith collaborator, since the album was an out-of-box success. So we came up with the Earth-blowing-up idea,“ she said. “The first space ship cover idea we showed Scholz had a Boston invasion of the planet, but Scholz said that space ships should be saving the planet, not attacking. She and Epic Records product manager Jim Charney compromised with a guitar-shaped space ship. ![]() Take the cover for Boston: Tom Scholz, the band's guitarist and songwriter, wanted a guitar on the cover, which in Scher’s artistic lexicon was a cliché. Yet the album has endured: The guitar-ship has been repeated on subsequent records and as backdrops on concert stages.Īlbum images don't always turn out as planned-their popularity is often a matter of timing.
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