How Toto held the line

As a lifelong fan and admirer of Toto, I find myself both amused and saddened by the internal strife that seems to be plaguing this iconic band. On one hand, it’s disheartening to see such musical geniuses embroiled in legal battles and disagreements. On the other, I can’t help but chuckle at Steve Williams’ witty remark about their need for concert revenue to fuel their lawsuits.

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Steve Lukather has resided in his Studio City home since 1979 – a longer tenure than one might assume, considering he purchased the property prior to Toto’s band becoming famous with their fourth album “Toto IV” (1982), which was quadruple-platinum and garnered Grammy Awards for Album of the Year and Record of the Year. The album also produced a number one hit single, the emotional, luxurious, and evergreen tune “Africa.”

Lukather expresses that he doesn’t lead an extravagant or lavish lifestyle, instead preferring his simple abode in the hills. He finds no need for surprise at not upgrading when given the opportunity, as he cherishes his modest dwelling. With a chuckle, he notes that he acquired it before both of his divorces and managed to retain it.

On a recent afternoon, Lukather is relaxing at home, barefoot and sipping a non-alcoholic Corona alongside his bandmates David Paich and Joseph Williams. The walls are adorned with plaques recognizing the millions of records sold by Toto, as well as numerous acts that Lukather has collaborated with in the studio. Stacks of books about the Beatles and iconic album covers fill the fireplace neatly.

Right in the heart of a humble living space, a shining Steinway grand piano is placed. As Lukather explains, this very instrument was used to compose two of Toto’s most famous ballads, “I Won’t Hold You Back” and “I’ll Be Over You”, as well as “Turn Your Love Around”, which reached number one on Billboard’s R&B chart in 1982, when George Benson took it to the top.

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Yet Lukather isn’t living in the past. On Sunday night, nearly four decades after the band last grazed the Hot 100, Toto will headline the Hollywood Bowl for the first time. The hometown show is part of a broader resurgence for a group of guys in their 60s and 70s who currently boast 30 million monthly listeners on Spotify — more than the Rolling Stones, Bruce Springsteen or Eric Clapton — and who’ve survived long enough to see their once-derided yacht-rock vibe come back into vogue.

Additionally, it’s worth noting that Toto currently has two original members, guitarist Lukather and keyboardist Paich, touring together. This is quite remarkable since many classic rock groups can barely count a sole original member these days (a round of applause for Foreigner).

One way to rephrase the given text in a more natural and easy-to-read manner could be:

Besides the tunes, it’s worth mentioning – some of these tracks have really resonated with listeners as per Williams, who took over as Toto’s lead vocalist in 1986. Specifically, he references “Hold the Line,” their chart-topping hit with heavy guitar riffs, and the sophisticated “Rosanna,” which won the Grammy for Record of the Year over Willie Nelson’s “Always on My Mind” and the “Chariots of Fire” theme. However, what he is particularly referring to is “Africa,” a song that has become an internet sensation, featuring in shows like “South Park” and “Stranger Things.” It has also been covered by Weezer humorously, leaving many baffled. On Spotify alone, the song has garnered close to 2 billion streams.

As Williams states, these hits have “outlived the band’s own understanding,” in his words.

As a film enthusiast, I recall an instance during a hotel stay on tour, when I found myself sharing an elevator with two pairs of companions. One female companion posed the question to another, “So, what are your plans for tonight?” The response was intriguing: “We’re off to catch that band Africa tonight.”

“Imagine their disappointment when we walked out,” Lukather says.

As for the members of Toto, they’ve sparked intrigue, particularly among music enthusiasts, due to their unique approach in maintaining a balance between the band and their thriving side careers as session musicians. They played significant roles in crafting the polished yet soulful sound that defined ’80s pop music. The brothers Jeff and Steve Porcaro, on drums and keys respectively, were among the founders who contributed to this intriguing dynamic.

Michael McDonald’s song “I Keep Forgettin’,” Don Henley’s hit “The Boys of Summer,” and Michael Jackson’s iconic album “Thriller” all included contributions from the musicians Lukather, Paich, and/or the Porcaros. In addition, a framed platinum disc of Olivia Newton-John’s “Physical” and another of Jackson’s “Beat It,” both contributed by Lukather, can be found hanging in his dining room.

According to David Foster, a seasoned record producer who once worked alongside session musicians like Paich, these individuals could usually perform it flawlessly in their initial attempt. This is evident if you listen closely to “Turn Your Love Around,” where both Foster and Paich can be heard with Benson. Later on, he was the one who recruited Toto’s members for hit records such as Chicago’s “Hard to Say I’m Sorry.”

He also noted that they were simply outstanding musicians, and David Paich stood out among all the piano players he’s encountered due to his exceptional sense of rhythm.

Toto’s unique, L.A.-specific style struggled to remain relevant during the ’90s and early 2000s, a time when rock music leaned towards grunge and garage sounds; even at their peak, Toto was often criticized as being overly technical musicians rather than genuine artists. (Rolling Stone’s famous critique: “All skill but no intellect.”)

A fresh crop of artists such as Haim, Bon Iver, the War on Drugs, Mk.gee are admirers of the meticulous artistry that Toto embedded in their albums. Although their individual session work may not have been widely recognized during the initial, no-lyric-notes period of digital music, their contributions are now closely monitored on platforms like Discogs and showcased in documentaries like “The Greatest Night in Pop” (2021), which focuses on the recording of “We Are the World,” another iconic ’80s hit that included Paich and Steve Porcaro on keyboards.

“Ethan Gruska, a young L.A. musician and producer, states that while everyone may recognize Toto, one truly appreciates them when they understand the other projects they’ve worked on and how ill they were in various situations. Gruska, being Williams’ nephew, is biased but he mentions that his musical friends have always found what Toto achieved to be impressive.”

It’s not implying that Lukather, the mindful guide of Toto, is entirely free from common complaints among veteran rock stars. Among these issues include:

• the term “yacht rock” (“We deserve a yacht, don’t you think?” he asks)
• the fact that Toto hasn’t been inducted into the Rock & Roll Hall of Fame (“It’s not based on stats — it’s based on the taste of 80-year-old men”)
• clueless record execs (“Walter Yetnikoff knew nothing about music,” he says of the late CBS Records boss)
• Weezer frontman Rivers Cuomo’s unwillingness to meet Toto after its hit “Africa” cover (“The guy just iced me”)

Still, asked whether he identifies a bitterness within himself, Lukather scoffs.

“F— no,” he says. “How could I be bitter with a career that’s almost 50 years old?”

Toto originated from friendships developed at Grant High School located in the Valley. Back then, no one labeled each other as ‘nepo babies’, but the members of Toto were all interrelated: David Paich’s father was Marty Paich, a well-known arranger and conductor who worked with artists like Ray Charles and Barbra Streisand; the Porcaro brothers were sons of jazz drummer Joe Porcaro; Steve Lukather’s dad was involved in TV production on shows such as “I Dream of Jeannie.” It is not surprising that when they needed a new singer after their frontman Bobby Kimball left the band, they found a good fit with Williams, son of the acclaimed film composer John Williams.

Before recording Toto’s self-titled debut in 1978, which included the top 10 hit “Hold the Line”, the players had already established their skills as versatile session musicians, with Boz Scaggs’ “Silk Degrees” serving as a significant platform. For the following albums, “Hydra” and “Turn Back”, they ventured into a Dungeons & Dragons-like approach, but these releases failed to resonate. However, with “Toto IV”, the band struck the perfect balance between rhythm, melody, and texture, maintaining this sweet spot for several successful years.

Did Toto’s famous perfectionism in the studio ever suck the joy out of making music?

Occasionally, as he shook his head under a black cowboy hat, Williams expressed that there were moments when I was confined within a pane of glass, and the happiness seemed to have vanished from me.

Lukather, in particular, enjoys delving into the intricacies of recording, and despite knowing that he wouldn’t earn any money from it, he put out an album with new songs under his own name last year. The income and recognition he’s come to expect from performing live is what he values most, which is why he felt quite distressed during the pandemic when live music essentially ceased to exist.

Today, the guitarist isn’t delving deep into that topic. However, in an interview last year with Bob Lefsetz on his podcast, Lukather opened up about his past struggles. Specifically, he mentioned dealing with depression and a subsequent issue with ketamine use. But when Toto resumed touring with Journey two years ago, he expressed that it revitalized his love for life like never before.

The tour significantly boosted the vitality of Toto’s live performances as well. As Lukather put it, “The audience responded with, ‘Wow, they’re really talented!'”

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It seems that Toto’s members have learned about Jonathan Cain’s recent lawsuit against Neal Schon, accusing him of misuse of Journey’s corporate credit card – all while they are currently performing concerts together? Williams chuckles, commenting, “I guess they’re using the earnings from these shows to fund their legal battles with each other.”

“Lukather remarks, ‘We’re almost there,’ but he stresses it’s not a comfortable situation.” (Did you know? Lukather’s son is wed to Cain’s daughter in a fun classic-rock trivia fact.)

Lukather refrains from mentioning specific individuals in relation to the impending lawsuit. However, when asked why his solo project wasn’t credited as a Toto album given that both Paich and Williams are heavily involved, he replied, “I don’t want to get into arguing over technicalities.” Susan Porcaro Goings, widow of the late Jeff Porcaro (who passed away in 1992), has filed a lawsuit against the band regarding her share of Toto’s royalties; Steve Porcaro parted ways with Toto in 2019. The reason behind Steve Porcaro’s departure from the band is not explicitly stated.

According to Lukather, during his last tour, he felt unhappy and miserable each day. However, when contacted, Porcaro disputes this claim, asserting that he was extremely content on the road and simply required a rest.

Recently, Porcaro disclosed that he had transferred the ownership of his music, which encompasses both the Toto tracks he contributed to and the iconic Michael Jackson song “Human Nature” that he co-authored with lyricist John Bettis, in a contract with the Jackson estate and Primary Wave. (According to The New York Times, this deal, one of numerous catalog transactions involving established pop and rock artists, is believed to be valued in the lower range of eight figures.)

Lukather questions, “Alright, is it around 10, 11, or 12 million?” However, I haven’t discussed this with him yet. Most individuals who have sold have expressed remorse about their decision. He has been approached and declined each time. In Lukather’s opinion, it’s wiser to decline a one-time payment because “In California, they immediately take 50%, straight away.” Instead, he prefers to receive royalty checks periodically, stating that he gets them a few times per year.

Additionally, once you’ve transferred the ownership of your tracks, you no longer hold control over decisions such as using one of your songs for a toilet paper advertisement. Essentially, that music piece represents my life and creative expression. It holds a personal significance to me.

Due to various factors, Lukather functions as Toto’s manager, a role that typically keeps him occupied with calls and computer work for approximately four hours each morning, prior to any musical tasks the day may bring. Just like other potential management prospects, Lukather has been attempted to be courted by Toto.

He mentions that there have been numerous individuals, quotation marks around “fabulous”, and each one of them has twenty tasks yet still manages to play golf daily, according to him. They claim they can perform miracles for the band, he notes further. This is much like dating, he continues, where you’ll say whatever comes to mind in an attempt to win over someone’s affection.

“Given Toto’s robust condition, it just leaves me chuckling. If we were scraping the very last bit of energy, this discussion might be different. But here we are, headlining a stadium show in Amsterdam in February. We’re playing for 80,000 people at a festival in Mexico City alongside Paul McCartney and Green Day, and our name is prominently displayed. It’s mind-blowing to me, truly.”

“This is getting bigger, not smaller. I’ll take the ride for a while.”

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2024-08-31 13:32