Reprinted from yesterday's late editions

The act it would be hardest for Boston to top would be Boston, whose debut album is headed toward an unprecedent 5-million mark. By the time the group's second album was released earlier this year, even band members feared they might never catch up to their meteoric first effort.

But Boston, who sold out (20,000 tickets) the Capital Centre Sunday and added a second show there last night, proved to be a tight, balanced band the equal of any veteran rock 'n' roll aggregate. With little more in the way of stage props than the colored lights, and seeming almost empty-handed to audiences grown accustomed to the mountain of key-boards and guitars of other groups, Boston nearly blew the roof off with a full spectrum of sound that makes you wonder just what Yes is doing with all that equipment anyway.

The Gray Eminence of the group is Tom Scholz - writer, composer, crack guitarist, keyboards flash, and MIT whiz-kid who recorded and mixed the original "More Than a Feeling" in his basement. It was Scholz who, in that first, now trademark single, so perfectly matched Brad Delp's falsetto into the scream of the guitar.

The one theatrical moment in Sunday's show spotlighted Scholz and the giant organ pipes that rose from the rear of the stage. Shrouded in a cape with his back to the audience, Scholz began playing the eerie opening section of "Toccata in D Minor" (the theme from "Phantom of the Opera") while dry ice fog rolled across the stage. Somehow, by the time he was through Bach was transformed into rock.

Beyond Scholz's electronic wizardry, what makes Boston is a blend of rich vocal harmonies, soaring double-guitar leads not unlike the Clapton-Allman work on "Layla" and a curious gentleness of lyrics: "I understand about indecision . . . all I want is to get my peace of mind."