COURTESY PHOTO
Barry Goudreau’s Engine Room: from left, Tim Archibald, “Old” Tony DiPietro, Barry Goudreau, and Brian Maes.
By PHYLLIS KARAS
SWAMPSCOTT — For Barry Goudreau, who played lead guitar on the band Boston’s first two albums, this is like coming full circle.
Forty-one years ago, Goudreau was a 25-year-old kid from Lynn who was in a brand new band whose debut studio album became at the time the best-selling new album in rock history. Goudreau was lead guitarist on “Foreplay/Long Time” and “Let Me Take You Home Tonight.” Goudreau and the band toured extensively, presenting the music to screaming fans throughout the world.
Today Goudreau lives in Swampscott and is playing with another brand new band, Barry Goudreau’s Engine Room, which is about to release its debut album, “Full Steam Ahead.” The CD release party will be at Lynn Auditorium April 22.
Goudreau’s songwriting talent, which had produced more than 100 songs in the past 40 years, had been pretty much dormant since his last album, 2003’s “Delp and Goudreau.” Brad Delp, Boston’s lead singer, had been Goudreau’s writing partner for 25 years.
“I wrote the music and Brad wrote the lyrics,” Goudreau said. When Delp died in 2007, Goudreau lost not only his brother-in-law/close friend/creative partner, but the spirit to write.
He continued playing guitar in different venues, performing alongside blues titan James Montgomery, the American Vinyl All Star Band and other musicians. But Goudreau wasn’t inspired to write a single song.
The last song he was involved with was “Rockin Away, ” which he had written in 2006 with Delp, both as a nod to fans for Boston’s 30th anniversary as well as a failed attempt to reconcile with the band’s founder Tom Scholz. Goudreau performed the song, with Brian Maes, another Lynn native, on vocals, at Brad Delp’s Memorial Concert, Come Together, in Boston on Aug. 19, 2007.
Everything changed, unexpectedly, last March at the Hard Rock in Hollywood, Fla., when Goudreau was invited to sit in by blues/rock guitarist Jonny Lang who was part of the Hendrix Experience Tour band. The evening turned out to be a life-altering experience.
“I looked around and everyone was younger than I was, and I had this epiphany,” Goudreau said. “We were playing blues-rock, which had been my original love, and we got a standing ovation. After the show, I was walking through the hall and so many people recognized me and were enthusiastically high-fiving me. It was then I realized this is what I should be doing. I left like an older statesman, but I also felt like I had finally come home.”
Indeed, Goudreau had fallen in love with blues-rock music in 1966, when he saw Michael Bloomfield playing guitar in the Paul Butterfield Blues Band. “That introduced me to the blues, and I learned how to play lead guitar blues based on that band,” Goudreau said.
“Later in the ’60s and early ’70s, a bunch of different British acts took traditional American blues and turned them around with big drum sounds and big guitar sounds. Groups like Jeff Beck and Led Zeppelin were re-inventing that music, and that style of playing was exciting. With Eric Clapton and Cream, most of their music was traditional blues that they redid in their own style, and that kicked up things for me.”
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Goudreau was 17 when he first saw Cream and heard Eric Clapton playing his Gibson SG guitar through a Marshall amp. “I knew that moment that I had to have that guitar,” he recalled. “And within a matter of months, I had bought my first Gibson SG, which is the guitar people still link me to. The amplifier was expensive, so I had to wait a bit and finally got a used one for $1,000, which was a lot of money. But that is still the equipment I use today.”
When Goudreau played with Boston, however, he had gone off in a different direction, playing more straight-ahead rock. But after his appearance in Florida with Lang and the Hendrix Experience, he was suddenly back where he felt he had always belonged.
As soon as he got back home, Goudreau called Maes, a successful vocalist and keyboard player in Lynn and his former bandmate in two of his bands with Delp, Orion the Hunter and RTZ.
“It just seemed like the path of least resistance to go to the people I knew and had worked with, to see if this would work,” Goudreau said. “When I called up Brian and told him that I wanted to start a new band in the style of the records we loved in the late ’60s and early ’70s, like with Jeff Beck, Led Zeppelin and Humble Pie, he immediately said it sounded great and he was in.”
When Maes phoned to say they should get together the next week and get it going, Goudreau felt pure exhilaration. “But then I realized I did not have one note of music written,” he said. “So I sat down with my iPhone and thought about what songs I enjoyed playing in the past, and the feel of those songs, and put a bunch of ideas on the phone.”
By the end of the week, Goudreau had successfully enlisted another of his former bandmates, Tim Archibald, a bassist who had played with Maes in Peter Wolf’s Houseparty Five and had been a member of RTZ. He also had come up with a bunch of ideas. There had been no whole songs when Goudreau had met with Maes, there was an abundance of kernels of ideas for songs, along with a bunch of rhythmic feels and chord changes and guitar riffs.
When the three former bandmates got together, joined by “Old” Tony Dipietro on drums, it didn’t take long to know they were onto something. For Goudreau, it was especially powerful.
“Brad had been my only writing partner and everything I wrote was with him,” he said. “But right away I saw that Brian was able to fill that void. He wrote the lyrics and I wrote the music. I couldn’t have been more surprised that I could come up with so many ideas for songs so quickly.”
It was full steam ahead for Barry Goudreau’s Engine Room. Maes recorded tracks in his home studio while Goudreau recorded all the guitar parts in his home studio. Using a late ’60s style, the band added three female vocalists (MaryBeth Maes, Terri O’Soro and Joanie Cicatelli) singing backup on nine of the 11 songs on the album.
One of the most powerful songs on the album is the last one, “Keeping the Faith.” “I wrote that song in the fall of 2016, during a particularly trying time in my professional life,” Goudreau said.
Goudreau admits he never expected the album to come together so quickly, especially given Maes’ crazy-busy schedule. “The main songwriting was done in the first couple of months but Brian’s a full-time musician who gives lessons every day and is busy with kids’ groups as well. Most nights he plays out as solo or in different bands,” Goudreau said.
Goudreau and his mates are ready to share the new music with fans at Lynn Auditorium on April 22. John Cafferty and the Beaver Brown Band and Charlie Farren will open.
“The concert will be really exciting for me, since for the first time in a decade I will be playing music from all the different projects I have done,” Goudreau said. “Some songs are from Boston, as well as from my solo record in 1980, from Orion the Hunter and ‘The Rhythm Won’t Stop’ from Delp and Goudreau.”
After performing in Lynn, Goudreau said the band will play small theaters and venues throughout New England. Compared to the Boston tours, which played stadiums and huge concert halls in America, including a sold-out concert in Madison Square Garden, and London, Japan, Sweden, Norway, France, Denmark and Germany, this is quite a change.
But to Goudreau, it is a welcome change.
“At this stage of my life, having been through a lot personally and musically, I feel quite seasoned. Right now, I feel as if I have come back to my roots, and am exactly where I want to be, doing exactly what I want to be doing. Playing my new album at the Lynn Auditorium couldn’t be more perfect.”
Ticket information is available at lynnauditorium.com or by calling 781-599-SHOW.