Our first shootout from way back when [2010?] 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, however, seem a tad more modern, which is a good thing, right?