This review was published in the April 2015 issue of Classic Rock magazine, no. 201.
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They’re back with more of the same, fourteenth time round.
Toto invariably exemplify professionalism, and XIV maintains the tradition. Harmonies are tight, production slick. Running Out Of Time‘s energetic opening anticipates a developing melodic structure comfortingly reminiscent of their earlier work. It’s great to hear Joe Williams – the sing
er most identified with the band through their various incarnations – back on vocals. So far, so predictable. However, the mellow 21st Century Blues adds a jazzier edge that sweeps through its chorus, making it hard to believe that it doesn’t belong on Donald Fagen’s The Nightfly, due to its interjections of smooth harmonies, synth and unadulterated funk. Just as 1986’s Fahrenheit had I’ll Be Over You, XIV has The Little Things – a perfectly positioned, engagingly melodic, relaxing ballad to effortlessly delight the AOR mainstream. Chinatown is the track which smacks most of the band’s 80s work – with vocals switching between Lukather and Williams, the prominent piano interludes and the recognisable Toto harmonies, it’s a lost track from The Seventh One. The album is drawn to a close by Great Expectations, a surprising number; somehow combining a folk sound with distorted AOR, it should sound wrong, but somehow sounds right. Probably because it’s executed by several top quality session musicians. No problem there.
Toto have always showcased world class drumming (Jeff Porcaro, Simon Phillips) and in Keith Carlock they’ve secured the services of yet another well-seasoned session veteran. Despite a style less distinctive than that of Porcaro, Carlock brings the groove to XIV, particularly in Holy War and Orphan – challenge yourself not to tap your foot. Carlock is an adequate addition to the band’s back catalogue of drummers. Not surprising considering a percussive CV that includes Diana Ross, Steely Dan and Paula Abdul. Lukather still remains at the forefront of most of the tracks; producing an intrinsic infusion of distorted charm over the combination of blues and rock, his playing is just as recognisable as always. The pillars of Toto lie in Paich and Porcaro. As long serving Toto members and providing backing vocals and synth sound which has given the band their most recognisable sound, the two keyboard gurus tie the band’s new album together. However, it’s the distinctive vocals and production sheen of XIV that ultimately serves to reinforce the impression that Toto remains a by-word for quality, musicianship and pizazz.