TOTO
TOTO XIV

Despite the title, this is the thirteenth studio album by the illustrious AOR band, but this genre is limiting since it mainly pertains to Progressive Rock from Los Angeles. Firstly, it's noteworthy that keyboardist Steve Porcaro has returned to the band for all the tracks, while the talented drummer Simon Phillips has left, replaced by the excellent Keith Carlock. Also significant are the returns of singer Joseph Williams, who sings a total of four tracks, and the veteran bassist David Hungate, following the unfortunate worsening health conditions and subsequent death of Mike Porcaro a few days ago, gracing three of the eleven tracks with his performance. Meanwhile, the remaining bass duties are "handled" by Steve Lukather, the talented and attractive, which doesn't hurt, Tal Wilkenfeld, and the talented albeit bearded Leland Sklar (oh my, these names... and to think there are still people, especially in Italy, who "complain" about my...). In addition to other collaborations on some tracks, the formation is completed, of course, by the great and funny (I met him in Los Angeles) already mentioned Steve Lukather (guitar-vocals-bass) and the ever-present co-creator David Paich (keyboards-vocals). The first thing that "jumps out" during the listening is, fortunately, the return to the band's "classic" sounds and musical themes which, paradoxically, despite seeming rather anachronistic in 2015, make you grateful that you're not absorbing an album similar to the tedious "Falling In Between" of 2006, an absolute low point for the writer here, followed by "Kingdom Of Desire" from 1992 in their entire production. Although resembling "Toto IV" not just in the title, another pleasant and notably successful album but still not the best according to me, borrowing its musical style in some tracks, "Toto XIV" diverges in others closer to "Fahrenheit" and "Isolation." After all, if Toto, regardless of whether people like them or not, were to completely "revolutionize" their style, I'm certain they would not convince anyone. Unfortunately, artists who have had a lot of success are rarely "accepted" when they experiment, and the Toto, great professionals and session men, know this well... The standout songs are at least three: "Running Out Of Time," an opening track that musically seems to be "extracted" from any of the virtuoso guitarist now Deep Purple, Steve Morse's solo albums, but with the addition of lyrics and vocals that make it effective and surprising. Very "Toto" and beautiful "Holy War" with suitable but somewhat outdated choruses and political intentions in the lyrics, and the single "Orphan" which, despite "standing" on a beautiful but not very original guitar arpeggio, holds its own with great arrangements making it progressively very rock. The rest is composed of respectable tracks very "Toto IV oriented" and enjoyable ballads that "our" guys have "baked" several times before... A notch above these is the concluding track, even though the Japanese edition also includes the song "Bend," "Great Expectations," a long, complex track reminiscent of the inimitable "Home Of The Brave" and "Better World." Williams, in the songs where he sings alone, surprises as he maintains a fresh and clear vocal timbre despite advancing age, unlike what was heard in the not exciting latest work released simultaneously with this one by the somewhat "similar" Europe, from Joey Tempest, whose voice unfortunately "thickened" with time. A similar discussion to that of Tempest, even worse, must unfortunately be made for David Paich's now aged voice which, while remaining a fantastic musician, insists on singing some solo parts but doing so now with a timbre similar to an old man with dentures (listen to the beginning of "Great Expectations" to believe it...). Lukather's vocal parts are decent and in their "standard." Another small downside of the work, always according to me, and many will find this out of place (and let the insults commence...), is the production, musically excellent but entrusted to the very snooty and unpleasant "characters" of the "Frontiers" in Naples who, somehow (I might have an idea but I'll keep it to myself...), hold almost the entirety of the "old glory park" of international prog and Hard Rock. Classic example of people without any talent (which is common to almost all record companies), who live and get rich, although it would be better to say got rich, on others' talent without maintaining a modicum of humility and class... Producing music in my opinion is not just about "making sounds fit," and there's much to discuss on that as well, but also about maintaining respect and humility with anyone who creates music, especially if they do it well. In their case, and to make matters worse, they snub and completely disregard any musical proposal from Italy, showing, if needed, how far this "Country" is from its People even when it comes to Art. That bands like Toto, Yes, Boston, and many others have to "come" to Italy to get produced remains a mystery... In conclusion, a good work, certainly not a masterpiece, but Toto, a band I have always loved, taken as an example and among my absolute favorites, still deserve in my opinion an excellent rating; continuing to make good music after so many years of career deserves attention even from those who may have forgotten them or who don't know them at all.