Toto: The Band, Not The Dog! (eBook)

Chapter 1:
Toto (1978)

Favorite Song: “Takin’ It Back”

“Child’s Anthem”

A band typically self titles its debut project to make a statement. The first album is an introduction, almost a preface to a book — if not the first chapter in what they hope is a long story.

For Toto, it’s been a long story, indeed. (Consider: They will yield a new chapter called Toto XIV in March 2015.) Tracing back to 1978’s Toto, we find a perfectly constructed and musically all-encompassing introduction to five extremely talented musicians and a singer. The name Toto came from the working title co-founding drummer Jeff Porcaro gave their demo tapes. It stuck once bassist David Hungate pointed out that Toto means “all encompassing.”

Their moniker would become apropos for this album, as well, as Toto explores rock, R&B, jazz and progressive rock. That journey begins with the opening track “Child’s Anthem,” a bold statement. The song, which served as a B-side to Toto’s jazzy third single “Georgy Porgy” could not be more different than the latter. “Child’s Anthem” is a spirited instrumental, starting with the driving grand piano of composer David Paich.

Paich, the son of music legend Marty Paich, knows how to compose and arrange a song, having already been a major writing and arranging contributor to Boz Scaggs’ Silk Degrees. After the staccato intro, which finds Jeff Porcaro arriving with David Hungate in rapid succession, Toto switches to a strict shuffle rhythm which would make Jeff’s drum idol Jim Keltner proud. At the same time, Tom Knox’s engineering and mixing effectively capture the nuanced playing of Steve Porcaro on synthesizers, even as he’s doubled on “Child’s Anthem” by guitarist Steve Lukather.

Clearly beyond your standard radio fare from 1978, “Child’s Anthem” is progressive rock with a precise and emotional driving beat — something with a sort of Steely Dan quality, in that the song initially seems deceptively simple. Listen for Jeff Porcaro’s tambourine, or Steve Porcaro’s synth stabs. As they build out “Child’s Anthem,” piece after precise piece, it serves as a lasting illustration of this band’s talents at both conception and execution.

And they were just getting started. What’s next for Toto? Well, vocals for one thing, and a good chunk of solid rock, as we continue toward “I’ll Supply The Love.”

“I’ll Supply The Love”

Child’s Anthem” gave listeners of Toto’s 1978 eponymous debut album intriguing insight into this new band. The song almost overwhelms with touches of progressive rock, stellar musicianship by all the players, balanced and sharp production by the band and hooky writing by cofounder David Paich.

What was missing was Toto’s vocal element, which was subsequently introduced with “I’ll Supply the Love” — the Bobby Kimball-sung second single from Toto.

Formerly of S.S. Fools, Kimball was sort of an outsider to the core of Toto, as he was a few years older than most of the band — and didn’t share their studio pedigree. What he brought was a soulful high tenor to the vocal mix. Yet, some critics in the early days wrongly claimed Toto lacked a distinctive vocalist among the four who shared the microphone. Clearly, they hadn’t listened closely to “I’ll Supply The Love.”

The David Paich composition jumps out of the speakers, with Steve Lukather — in full rock-hero mode — striking power cords quickly, followed by Jeff Porcaro’s two-handed snare work and a swooping bass line from David Hungate. By the time Kimball starts the song with the oft-repeated chorus, “I’ll Supply the Love” has presented as a tightly crafted bit of conventional AOR — but don’t be fooled.

Paich’s lyrics are instead cryptic, almost prog in nature: “I see a horseman in the sky; it makes me turn and wonder why,” Bobby Kimball sings “I hear the same old 14 reasons; must be the changing of the season”

The song’s bridge quickly takes a deeper dive into progressive waters, with Steve Porcaro’s dramatic synthesizer flourishes and swirls supporting a chorus-like guitar break from Lukather’s Les Paul. (Or was he using an Ibanez back then?) Add into this a slightly behind the beat, and hopelessly funky bass part from David Hungate. “I’ll Supply the Love” sounds like two great tracks of different styles thrown together, with an end-of-the-song synth and piano rev up thrown in for good measure.

Is Toto’s “I’ll Supply the Love,” which reached No. 45 on the Billboard Hot 100, pop-music perfection? Add into the mix Lenny Castro’s guest bongo work and strong background vocals from David Paich and Steve Lukather, and you have your answer.

“Georgy Porgy”

We are only three songs into Toto’s history, and we hit another classic. The Steve Lukather-sung single “Georgy Porgy” didn’t burn up the charts for Toto, peaking on the Billboard 100 at No. 48 but the song made a dint elsewhere. “Georgy Porgy” reached No. 18 on the R&B chart — and even made the dance chart.

Not too shabby for a band which was equally at home in the MOR and prog rock worlds.

Toto’s success with “Georgy Porgy” was due to some obvious factors, namely Steve Lukather’s stellar vocal delivery and understated slide guitar solo — as well as Jeff Porcaro’s ability to execute a fantastic shuffle amid dramatic stop-time passages. Both elements are widely recognized, but there’s much more than meets the eye: Toto’s funk secret weapon turns out to be bassist David Hungate.

Hungate, a key part of Boz Scaggs’ Silk Degrees sessions, brings a distinctive and driving reinforcement to Porcaro’s backbeat. On “Georgy Porgy,” his impact is evident. Musicians don’t get more versatile than Hungate who, after his stint with Toto, moved to Nashville to become an accomplished session player and stellar producer.

For most bands, these elements would be enough but Toto’s production added subtle elements of conga from Lenny Castro, a string arrangement from Marty Paich composer David Paich’s father — and a soulful background vocal from then-up and comer Cheryl Lynn. Lynn also benefited from David Paich’s production and songwriting acumen, with his contribution of her debut album.

“Georgy Porgy” also seems to have had more than a passing influence on “Chinatown,” a song on the Toto XIV album which saw its foundation from this early period of the band. Considering the basis of “Georgy Porgy” was a child’s nursery rhyme, this song’s reach remains pretty impressive.

Girl Goodbye

Side Two of Toto’s 1978 self-titled debut starts off with one of Bobby Kimball’s high points. “Girl Goodbye” is a sharp contrast to how Kimball ended side one with “You Are the Flower,” though just as stellar.

“Girl Goodbye” starts with a Steve Porcaro-constructed synthesizer ensemble then quickly gathers steam has guitarist Steve Lukather and bassist David Hungate propel the main theme with Jeff Porcaro’s straight-ahead rock rhythm. Kimball initially explores his lower register, giving the song an urban grittiness. In pleasing Toto fashion, Kimball then shifts to his higher register for the chorus, “…it’s so hard to see the truth with the sun in your eyes…”

Don’t let the seemingly simple time signature fool you. There is plenty of Toto goodness in “Girl Goodbye.” Steve Porcaro’s synthesizers fit perfectly with the minimalist horn charts, and David Paich’s piano and organ. Paich’s cryptic, almost progressive-rock lyrics keep the listener guessing: “Oh there’s smoke in the air, and there’s blood everywhere, but I’m hoping that the white man don’t recognize me…” sings Kimball.

What is he running from? Why is he running? Those questions are never really answered but, after Steve Lukather’s guitar enters, you won’t care. His solo builds the intensity to a fevered pitch. It’s one of his best on the group’s debut album, which is saying something. The frenzied coda has Jeff Porcaro and David Hungate matching Steve Lukather’s intensity.

“Girl Goodbye” was a concert staple during Bobby Kimball’s two tenures, and it’s hard to imagine another Toto vocalist tackling it with the same impact. There is a live version on 1999’s Livefields, but Kimball may have actually outdone himself with the update on Toto’s 2003 release Live in Amsterdam.

“Takin’ It Back”

It’s difficult to believe, but keyboardist Steve Porcaro has made only three official vocal contributions to the Toto catalog. (There are four if you are lucky enough to own the Japanese version of Toto XIV, which includes the Porcaro gem, “Bend.”) Of course, Porcaro contributed mightily Toto’s song arrangements and sonics — but his vocals are rarely heard, even in the background.

The first turn at the mic, for those intrigued by Steve Porcaro’s terrific work on Toto XIV, dates back to the band’s self-titled 1978 debut: the classic “Takin’ It Back.” The song starts with a repeating synthesizer lead, quickly followed by a grand piano counterpoint. Immediately, the listener is thinking of progressive rock — but drummer Jeff Porcaro and bassist David Hungate throw down an insanely funky backbeat, punctuated by a Tom Scott-type brass flourish.

Steve Porcaro’s double-tracked vocals work perfectly, conveying longing and regret over the wash of string synthesizers. “Takin’ It...