- This copy of Toto’s debut boasts Shootout Winning Triple Plus (A+++) sound or very close to it from the first note to the last
- Toto’s albums have the kind of analog sound we love here at Better Records – they’re rich, huge and present, with tons of Tubey Magic and wall to wall spaciousness
- 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
- 4 stars: “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” made the charts, and “Hold the Line” hit the Top Ten.”
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!
Our Recent 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?)