Toto’s Debut and Copy Number Three

More Toto

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  • This superb pressing of Toto’s debut studio album boasts outstanding Double Plus (A++) sound from first note to last
  • Lukather’s overdriven guitar adds so much power to the music – the perfect combo of Grungy guitars and Rock Star vocals makes Hold the Line a staple of rock radio to this day
  • Exceptional vinyl throughout – Mint Minus to Mint Minus Minus – they didn’t press them any quieter
  • “Toto had already influenced the course of ’70s popular music by playing on half the albums that came out of L.A. All they were doing with this album was going public.”

This is analog, make no mistake about it. Those smooth sweet vocals, open top and rich full bottom are a dead giveaway that you are playing a record and not a CD. (I understand the CD for this title is awful; bright, thin and downright painful. This is the problem with the CD: if they do a bad job making it, and you no longer own a turntable, what are your options? Squat, pretty much.)

Pop production techniques were very advanced by 1978, providing plenty of natural sounding roomy reverb around the vocals and guitars. Lukather’s overdriven, distorted guitar has near-perfect tonality; it adds so much power to the music.

Just like the Hot Stampers for Aqualung, when the guitar sounds this good, it really makes you sit up and take notice of the guy’s playing. When the sound works the music works, our definition of a Hot Stamper in seven words or less.

Turn up the volume? You better believe it!

What the best sides of Toto’s debut have to offer is not hard to hear:

  • The biggest, most immediate staging in the largest acoustic space
  • The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1978
  • Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
  • Natural tonality in the midrange — with all the instruments having the correct timbre
  • Transparency and resolution, critical to hearing into the three-dimensional studio space

No doubt there’s more but we hope that should do for now. Playing the record is, of course, the only way to hear all of the above.

Our Latest Shootout

This shootout got off to a very rocky start; we were on the verge of giving up after playing two very bad, sub-generation side ones, cut at The Mastering Lab just like all the rest, but so bad even the CD might be better. If you have an awful copy, we feel your pain.

But Copy Number Three showed us the real Toto sound: the kind of sweetness and warmth we had been hoping to hear and fearing might not exist. Sure, Toto IV has killer sound, but that’s no guarantee that the first album would be recorded (or mastered or pressed) as well. In the world of audio — vinyl, equipment, what have you — there are no guarantees. The average 180 gram remastered audiophile pressing should be all the proof you need. Good intentions don’t count for much in this business or anywhere else for that matter.

Enough about bad audiophile records. Copy number three also had jump-out-of-the-speakers presence without being aggressive, gritty or strident, no mean feat for a pop record from this era. Like all the best rock records, the good ones make you want to turn up the volume; the louder they get the better they sound. Yes, some copies of Toto IV are so rich and sweet you would think they were recorded ten years earlier. (The clarity and tremendous dynamics seem a tad more modern, which is a good thing, right?)

TRACK LISTING

Side One

Child’s Anthem 
I’ll Supply The Love
Georgy Porgy
Manuela Run
You Are The Flower

Side Two

Girl Goodbye
Takin’ It Back
Rockmaker
Hold The Line
Angela

AMG Review

Toto’s rock-studio chops allowed them to play any current pop style at the drop of a hi-hat: one minute prog rock, the next hard rock, the next funky R&B. Singles like “I’ll Supply the Love” and “Georgy Porgy” (featuring Cheryl Lynn) made the charts, and “Hold the Line” hit the Top Ten and went gold. The members of Toto had already influenced the course of ’70s popular music by playing on half the albums that came out of L.A. All they were doing with this album was going public.