” … For the first half of the ’80s, Boston were the ghosts in the corporate-rock machine … When Boston’s third album did come out … the lead single from that third album gave Boston their first and only #1 hit … By 1986, Boston were men out of time,” (Stereogum). “Scholz was still conjuring symphonies of antiseptic harmony out of his guitars, and (vocalist) Brad Delp was still wailing out Scholz’s melodies with a high-pitched fervor. “Amanda,” Boston’s only chart-topping single, came out late in 1986, but it was so perfectly ’70s that the song didn’t even have a music video.
… Scholz made guitars sound like keyboards and violins. Boston took crunching riffage from the Grand Funks of the world, the huge-selling and arena-ready boogie bands. They took crystalline harmonies from British prog and art-rock bands. They took at least a bit of melodic charge from the Beatles and the Beach Boys. These were disparate influences, but Scholz made them sound as sealed-off and airtight as the spaceships that he always put on his album covers.
… Before any of his peers, Scholz had figured out how to remove all the grit and grime from rock records, and that ultra-clean sound persisted, largely unchanged, into the mid-’80s. Scholz was playing with synths, and with guitars that sounded like synths, long before most other rockers, so he sounded relatively comfortable in the ’80s synth-rock zeitgeist. And “Amanda” came out at just the right time to capitalize on the growing backlash against the arty British synthpop of the early MTV era. Boston’s sound was a distant ancestor to the big pop sound of the mid-’80s, and that sound, combined with whatever nostalgic affection people had for those first two Boston albums, presumably helped drive “Amanda” up the charts.”
Built in G major overall, this power ballad shifts upward to a I/v progression in E major for its short bridge at 2:59. The key change is compelling enough that the chord progression majestically unwinds not once but twice, unaccompanied by a vocal or an instrumental solo — just a gentle, minimal guitar hook! The lead vocal eventually rejoins, followed somehow by a sneaky broad-daylight reversion to the original key while the bridge is still in effect (3:30).
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