Toto - Turn Back (1981)

If reviews could be crystallized into single words "ambivalence" would likely be the most appropriate word to describe Turn Back.  The material is considerably more consistent in its quality than on 1978's Hydra.  However the production is somewhat muddy and at least one of the performances is a bit of a head scratcher.

Having heard a live bootleg of A Million Miles Away from 1996 sung by Steve Lukather not by Bobby Kimball as was done on this album, Lukather's voice was much better suited to the song leaving this listener wondering why Kimball was given the nod on the vocals on the studio release all those years ago. 

There really is a lot to like about the music on this album, however given the muddiness of the mix (at least on the US released versions of the CD) it makes the album largely unlistenable and thus it makes the album largely frustrating.  Here are eight songs of quality varying between merely good and thoroughly enjoyable but being mixed so poorly the listener really has to struggle to enjoy the songs. 

Given better production and mixing this album really could have been much much more and considerably better than it ended up being.  Luckily Toto would work out the kinks in the studio for their multiple grammy winning smash follow-up, IV, just a couple years later.

Kimball's vocals are easily better than they had been on Toto's first 2 albums and arguably even better than on IV, Lukather's guitar work and vocals are also easy on the ears the keyboard tandem of David Paich and Steve Porcaro is in top form and the rhythm section-- Dave Hungate on bass and the late Jeff Porcaro on drums-- fuhgeddaboutit. 

Some of the standout tracks include If It's The Last Night, English Eyes, and the rather unusual love song I Think I Could Stand You Forever (note to the lads having trouble with the lasses-- this is NOT a line to use on a girl you may be interested in and thus this is not a song to be used to try to woo the object of your affections). 

I've read that the Japanese release is a considerably better/less muddy mix but I've not heard it so I can't vouch for that.  If you find or get your hands on a better mix of this album chances are you'll thoroughly enjoy it.  And heck if you can get past an album sounding like it was recorded in one of the bathrooms in Grand Central Station you might even enjoy the sub-par US released mix of the album.

Related Links
Toto (official site)
TotoNetwork.com
Toto (wikipedia)
Steve Lukather (official site)
Steve Lukather (wikipedia)
David Paich (official site)
David Paich (wikipedia)
Jeff Porcaro (wikipedia)
Steve Porcaro (wikipedia)
Bobby Kimball (official site)
Bobby Kimball (wikipedia)
David Hungate (wikipedia)

Maxus - s/t (1981)

On the heels of the success of Toto in the late seventies, another group of LA session cats decided to form a band in a similar tradition.  Vocalist, Jay Gruska; keyboardist, Robbie Buchanan ; guitarist, Michael Landau; bassist/vocalist, Mark Leonard; and drummer Doane Perry formed Maxus.

Where Toto's sound was more on the rock end of the spectrum, Maxus decided to lean slightly more to the jazz fusion side.  Gruska had released a solo album in the seventies; had married Jennifer Williams (daughter of famous film score composer, John Williams); produced his brother-in-law, Joseph Williams, debut album; and had co-written the lead off single from Chicago 16 (What You're Missing).  Buchanan had played the piano player in the Bette Midler film, The Rose, and toured with Midler in support of the soundtrack album.  Doane Perry hadn't done much work prior to his time with Maxus, but following the band's split he played with the likes of the Fairport Convention, Stan Getz, Lou Reed, Dweezil Zappa, Todd Rundgren, Pat Benatar, and Dragon before inevitably being invited to be the drummer for Jethro Tull in 1984.  Prior to his brief stint with Maxus Michael Landau was competing with high school classmate, Steve Lukather, to become the guitarist for Toto and since his time in Maxus he has literally played on thousands of albums for hundreds of different artists.

All 9 songs on Maxus one and only Michael Omartian produced album are enjoyable and imminently listenable.  However, nearly 20 years later they all sound quite dated with that early eighties over-synthesized vibe dripping from every song. 

If one can forgive the over-synthesized sound (and given the era in which the album was released, one should at least consider forgiving the band's love affair with synths) the music is an excellent snapshot of that era.

Gruska's voice is pleasant but somewhat unremarkable and given the other vocalists popular in the early eighties having a pleasant voice was not quite good enough to push Maxus to that next level nor to bring them greater success than they inevitably found.

If you're looking for an interesting musical relic and a musical snapshot of a long past era this fits the bill.  But listening to the album it's also easy to understand how and why this band only spawned a single album before their dissolution and the later success of some members.  The promise of their talents is certainly audible but those talents never quite gelled the way the talents of their contemporaries in Toto did.  For the sub $10 download price from Amazon.com it's certainly a worthy investment although I wouldn't recommend paying much more for this release.

Related Links
Maxus (wikipedia)
Robbie Buchanan (wikipedia)
Michael Landau (official site)
Michael Landau (wikipedia)
Doane Perry (wikipedia)
Michael Omartian (official site)
Michael Omartian (wikipedia)

Forgotten Music Thursday: Level 42 - World Machine (1985)

If you had a pulse and an FM radio in 1985 chances are you are at least peripherally familiar with Level 42’s Something About You. Peaking at #7 on the US Billboard Charts. It was and remains Level 42’s most successful US single.

But Level 42’s story is one of much greater success in their own country than in the United States. All but the most die-hard of fans in the US would be hard pressed to name any of their other songs. World Machine, the album that really made the US sit up and take notice of Level 42 only peaked at #18 on Billboard’s Top 200 album charts here in the US, whereas in the UK not only did the album peak at #3, it remained on the charts for 72 weeks!

Besides the ever familiar, Something About You, World Machine features several thoroughly listenable and enjoyable songs like Lying Still, World Machine, Coup d’Etat, Leaving Me Now, and Physical Presence The cornerstone of Level 42’s sound is the contrast between bassist/vocalist Mark King and the high falsetto of keyboardist Mike Lindup. Their vocal and instrumental stylings are further augmented by brothers Boon Gould on guitar and Phil Gould on drums. World Machine would be the last of Level 42’s albums to feature their original line-up as the Gould brothers, disenchanted with the more pop-friendly direction of the band opted out.

All of the songs have a relaxed jazz/fusion vibe—largely thanks to the Gould brothers and funk influenced bass grooves compliments of Mark King. What is undeniable throughout the album is the superlative musicianship of the entire band. These guys were and are musician’s musicians.

As this is Level 42's most commercially successful release, it is also an excellent album to start with when delving into their catalog.  A 2009 re-release included a 2nd CD with dance remixes and live versions of many of the songs from the album which, while nice, are a bit unnecessary for those who are merely casual listeners of the band.

But in the end, the best thing about Level 42 is their fusion of pop with jazz and funk created a sound that was rather uniquely their own.  Few other bands have been able to pull off such an interesting blend of styles with such aplomb.  If you enjoyed or were a fan of Steely Dan or possibly of some of Toto's more jazz-oriented songs, chances are you'll thoroughly enjoy Level 42 as well.

 Related Links & Media
Something About You video

Level 42 (official site)
Level 42 (official Facebook)
Level 42 (official Myspace)
Level 42 (wikipedia)
Mark King (wikipedia)
Mike Lindup (wikipedia)
Boon Gould (wikipedia)
Phil Gould (wikipedia)
Wally Badarou (wikipedia)
Gary Barnacle (wikipedia)

Lindsay Aline - Illusion (2009)

I was recently approached by the management of Lindsay Aline requesting that I review her debut album, Illusion. 

Upon first listen I'll be the first to admit this is not normally the kind of music I would listen to.  It's generally a bit too light for my tastes.

That being said there's no denying Ms. Aline's talent her voice is reminiscent of Evanessence's Amy Lee.  Her style is closer to My Immortal than to Wake Me Up Inside. 

There's a haunting yearning in her vocal delivery on most songs.  While there is some variance of style from song to song there's a bit too much similarity for my tastes.  All of the songs are relaxing and easy to listen to and could easily stand on their own.  But the sum of the whole does show a lack of variety.

All of that aside, this is Ms. Aline's debut album and as far as debut albums it's certainly a worthy outing.  I can't help feeling that she's holding back though.  As I listen to songs like What Would It Be Like (easily my favorite on the album or Pop My Collar with its beautiful muted trumpet backing her hauntingly beautiful voice. I can't help but feel Lindsay is giving but a glimpse of herself...  She's giving just enough of herself to whet the listener's appetite.  There is an undercurrent of untapped potential that resonates under each song.  Even if that talent is never FULLY realized Lindsay is talented enough that she'll have a respectable career.  But if she ever really taps into her full potential she will be a force to be reckoned with.

If you're looking for a relaxing Sunday afternoon CD, Illusion should certainly fit that bill, but I do challenge Ms. Aline dig deeper, the talent is undeniably there.  She's given us a taste of what she's capable of, next time I hope she feeds us the meal. (7 out of 10)

Related Links
Lindsay Aline