Toad
Dreams

1975: the Toad release their last LP, Dreams. 

The group, now established as a trio, features the soul of the band Vic Vergeat on guitar and vocals, Cosimo Lampis on drums, and Werner Froehlich on bass. We can immediately notice a certain change in their sound, closer to pop compared to the past, although the essence of the band remains imbued with blues and the hard rock of their beginnings.

Apart from the music, the way the songs are constructed also changes, with a shorter duration. The long guitar rides present in the two previous albums are no longer found, although some quality solos are still provided by good old Vittorio from Domodossola. In compensation, the vocal parts increase significantly, which seem to amuse the singer quite a bit, equipped with an expressive and versatile voice, which knows how to adapt very well to the atmospheres of the music.

The album, composed of 8 tracks, opens with "Keep On Movin'", a vaguely funky, bouncy piece (as the title suggests), musically well-played and with a decent rhythmic section, emphasized by the bass. Not a masterpiece, but not to be thrown away either...
The title track is better, a pleasant song with melancholic tinges, where we can also hear the use of a synth, presumably played by the all-rounder Vergeat. Definitely well-executed with a relaxing melodic section. The vocal rendition is also good, accompanied by backing vocals.
We change theme with the boogie of "Let's Get Hi", a piece without many pretensions, where the band seems to just focus on having fun, and succeeds.
"Electric Rider" is more varied, with hard parts and others decidedly soft, especially in the vocals. A sort of return to the origins, particularly in the final part, where a guitar solo rises to remind those who might have forgotten Vergeat's skills with the instrument.
Still rock, largely seasoned with blues in "Because You're Not", a piece marked by the guitar riff and a brief yet fierce solo from the usual six-string.
Next is "You Know Who I Am", perhaps the most representative track of the album, a kind of follow-up to the already appreciated "Dreams". Here the vocals take the lead, laid over a thin instrumental layer of strings, classical guitar, and piano.
We change scene with "Boogin' on Saturday Night", whose emblematic title leaves no room for further comment. Overall well-played, but not an outstanding track.
The work closes with "Break Down", another lively and colorful piece, with a central part reminiscent of Voodoo Child. It's no coincidence that Vic Vergeat was a great admirer of Hendrix. Evidence of this is the fact that in the remastered version of the album, a reinterpretation of Purple Haze can be found.

Thus ends the album and the career of Toad, a band unfortunately trapped in the most total darkness of rock's depths. Highly recommended are their self-titled (an absolute masterpiece) and Tomorrow Blue.