Those reading this must know who Toto are: world class musicians, session players to the great & the good (and Michael Jackson), and multi-grammy award winners. This is an interesting album, in that it was made over 10 months, with no label involvement. So some might say it's a bit self-indulgent. OK, but aren't bands best when they're not trying to please everyone? This time they've pleased themselves - and made a fantastic album in the process. Production is also excellent There are 10 tracks, which show past influences but add something extra. Steve Porcaro (keys, arrangements) is back for this one after nearly 20 years, and other guests include Lenny Castro (percussion, played on Toto IV) and Ian Anderson (flute, Jethro Tull). Falling In Between kicks things off - the heaviest number on the album, almost Dream Theater in places. A seriously powerful vocal from Bobby Kimball, and a de-tuned metal-ish groove with some odd time signatures. The final section… more »
Those reading this must know who Toto are: world class musicians, session players to the great & the good (and Michael Jackson), and multi-grammy award winners. This is an interesting album, in that it was made over 10 months, with no label involvement. So some might say it's a bit self-indulgent. OK, but aren't bands best when they're not trying to please everyone? This time they've pleased themselves - and made a fantastic album in the process. Production is also excellent There are 10 tracks, which show past influences but add something extra. Steve Porcaro (keys, arrangements) is back for this one after nearly 20 years, and other guests include Lenny Castro (percussion, played on Toto IV) and Ian Anderson (flute, Jethro Tull). Falling In Between kicks things off - the heaviest number on the album, almost Dream Theater in places. A seriously powerful vocal from Bobby Kimball, and a de-tuned metal-ish groove with some odd time signatures. The final section is a complex guitar/keys/orchestral theme, very progressive (!). Dying On My Feet starts off quite laid back and jazzy, then the bridge/chorus doubles the pace, big harmonies, and some heavy guitar stabs, into a spaceous orchestral/guitar melody interlude, then mellow again, with a tasty guitar solo (nice trem bar use). Big band jazz to finish. Bottom Of Your Soul is the first ballad. Reminds me of Mushanga (Seventh One) meets I Will Remember (Tambu). Some African percussion thrown in later on, and Joseph Williams guesting on vocals. Great stuff. King Of The World is a more straight-forward commercial rocker, with a David Paich verse and a Kimball chorus. Vague memories of Isolation-era. Hooked reminds me of some of the slower stuff on Mindfields, with a guitar-led riff, some sampled percussion, a big Kimball chorus plus some gang vocals, horns, and a great guitar break, before Ian Anderson flutes over an instrumental break complete with what sounds like a Steve Porcaro synth solo. Simple Life is a gorgeous ballad piano lead, passionate chorus - but much too short. Always leave 'em wanting more... Taint Your World reminds me of...Van Halen! Sort of "Hot for Teacher"-ish, but bigger chorus harmonies, a percussion - dominant instrumental break, and guitar solo to end. Let It Go gives new boy Greg Phillinganes (keys) a chance at the mike, and very soulful he is too. There's a R&B/funk feel to the track, with jazzy chords, a neat guitar riff, drums very Jeff Porcaro (rip)-like, and a big Toto chorus (half-time). Early album influences show up here. Atmospheric guitar lead, with some flash moments. Spiritual Man is a ballad that "builds" - Paich takes the lead vocal, over a quiet keys + drums verse, adding guitar stabs, building to a Kimball high with sax lead, and an almost gospel ending with choirs and a guest lead from Tom Scott - very spiritual. No End In Sight starts slow, with a Lukather vocal, and really gets going for the chorus (Kimball again, great singing). A clever all-band mid section adds an extra bit of interest, and a rousing final chorus to close. Overall, a very vaired album, which I guess might put some people off, but personally I think this is the best album the band have done for ages, certainly since "Kingdom of Desire", with a fantastic mix of old influences and new ideas, and superb playing/singing/writing. It deserves to do well.
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