Tom Scholz

Tom Scholz
Donald Thomas "Tom" Scholzis an American rock musician, inventor, engineer, and philanthropist, best known as the founder of the band Boston. He is also the inventor of the Rockman portable guitar amplifier. He has been described by Allmusic as "a notoriously 'un-rock n' roll' figure who never enjoyed the limelight of being a performer," preferring to concentrate almost exclusively on his music, and in more recent years, spending much of his time working with charities...
NationalityAmerican
ProfessionRock Singer
Date of Birth10 March 1947
CityToledo, OH
CountryUnited States of America
The studio work is the nasty, tedious, hard and nerve-wracking part, interrupted by moments of exhilaration. Playing live is the chance to actually have some fun and get on a stage.
Fun is when you're writing a song and you're trying a rough shot at a demo and... it works. That's when it's fun. After that, it's work.
Someone will say, 'Well, that's good enough.' As soon as I hear 'Good enough,' it really bothers me. I spend as much time as I think I can on anything I do. I try to do that with the people that work with me. I try to get the best out of them.
'Life, Love & Hope' is... I'm thinking 'larger picture.' I'm not trying to preach to anyone. We all get lost and caught up in our everyday problems. Your cellphone doesn't work or you got a parking ticket, you had a bad day at work. You can lose sight of the really important things in life; that's what the song is about.
There aren't a lot of cover bands that do Boston material or do it well, and the reason for that is that they are hard to play. So we put a lot of work into it. The musicians that I've managed to surround myself with after all of these years are individuals who really excel at what they do.
I don't work out a lead section and practice it for a day and then lay it down. I don't do that. The first time I do something I think is expressive or really cool, that's what's actually on the recording.
I'm never too ambitious when I go into the studio. I always know that I'm just going into the studio to work on or try to develop an idea that I have for a song.
The lyrics are always the last thing I do. I always have a recording of basic tracks and maybe some of the lead work. I'll sit back and listen to it, and I'll just concentrate on what kind of feeling it gives me. My goal writing the lyrics is to not disrupt that feeling.
The pressure is all self-imposed, and it's to live up to the expectations of people who are going to shell out their hard-earned cash to listen to the music. It's actually more than that, though. I wouldn't want to make a record that didn't live up to my expectations.
When I first started recording, I was told by all of the experts in the business that the kind of music that I was doing was never going to sell. That disco was the coming thing and it was going to take over and what I was interested in was a minor sideline.
I would be involved with music whether I had a career or not. I'm always going to be writing songs and recording them.
No one was more surprised that that first Boston record took off than the record company itself.
There are an awful lot of people out there that don't want to see Boston go away, and I'm one of them.
The problem is that once I start on a song and get a rough idea of where I might go with an arrangement, I try dozens, sometimes hundreds, of different things on a song. The bass, the backing guitars, the lead guitars, the keyboards. It's a long process. It's like 100 steps forward and 99 steps back.