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Segue Myle's Descent Into Self-Indulgence: My Top Ten Favourite Albums Of All Time (As Of 2014)


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Ok, so this is my review thread for my favourite albums of all time. I have limited this list to just one album per artist, as my taste is varied and I desire to have this list reflect that.

 

Also, it just so happens that my ten favourite albums are by ten different artists, so that goal worked out for me anyway regardless!

 

So, ten albums have to be mentioned first that missed out:

 

20. Beyonce- Dangerously In Love

19. Michael Jackson- Dangerous

18. Mineral- End Serenading

17. Paramore- Paramore

16. Various- Dreamgirls OST: Deluxe Version

15. ABBA- Voulez Vous

14. The Beatles- The Beatles

13. No Doubt- Tragic Kingdom

12. Buckingham Nicks- Buckingham Nicks

11. Alter Bridge- ABIII.5

 

So, here goes the self-indulgent thread of mine!

Nice, I really love Paramore's self titled release. Good mix of stuff on that. I have also been meaning to get to Tragic Kingdom for sometime now.

 

No Doubt are a very special band to me, I love their creativity, look and especially sound. I think Gwen is a real artist, and a quirky performer. I could have put any ND album on this list, as I am a big fan of all of them!

 

As for Paramore, their self-titled album took me by complete surprise last year, and I genuinely think it is as close to perfect as pop rock can possibly get!

Agreed, the variety of pop styles covered, as well as the catchy yet risky songs create a nice flow to the album. Favorites for me are Fast In My Car and Part II
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Ok, so this is my review thread for my favourite albums of all time. I have limited this list to just one album per artist, as my taste is varied and I desire to have this list reflect that.

 

Also, it just so happens that my ten favourite albums are by ten different artists, so that goal worked out for me anyway regardless!

 

So, ten albums have to be mentioned first that missed out:

 

20. Beyonce- Dangerously In Love

19. Michael Jackson- Dangerous

18. Mineral- End Serenading

17. Paramore- Paramore

16. Various- Dreamgirls OST: Deluxe Version

15. ABBA- Voulez Vous

14. The Beatles- The Beatles

13. No Doubt- Tragic Kingdom

12. Buckingham Nicks- Buckingham Nicks

11. Alter Bridge- ABIII.5

 

So, here goes the self-indulgent thread of mine!

Nice, I really love Paramore's self titled release. Good mix of stuff on that. I have also been meaning to get to Tragic Kingdom for sometime now.

 

No Doubt are a very special band to me, I love their creativity, look and especially sound. I think Gwen is a real artist, and a quirky performer. I could have put any ND album on this list, as I am a big fan of all of them!

 

As for Paramore, their self-titled album took me by complete surprise last year, and I genuinely think it is as close to perfect as pop rock can possibly get!

Agreed, the variety of pop styles covered, as well as the catchy yet risky songs create a nice flow to the album. Favorites for me are Fast In My Car and Part II

 

I was not expecting to love this album, as prior to its release I was only a casual fan. Even now I cannot say Paramore are one of my favourite bands, but the self-titled is the best album of its type outside of No Doubt. Even then i will say i prefer it to a couple of ND albums.

 

Fast In My Car, Daydreaming and Hate To See Your Heart Break are my favourites. But i actually love the whole thing, which i cannot claim for any other Paramore release.

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7. Toto- Fahrenheit (Columbia, 1986)

 

http://3.bp.blogspot.com/_6tJHBv82MIM/TRa-KEXvQ2I/AAAAAAAABHw/ADRVQF2JW-0/s1600/Toto_Fahrenheit.jpg

 

US Chart Position: No. 40

UK Chart Position: No. 99

 

So this is the part of my review project where the majority of those who have actually bothered to check out my thread roll their eyes and turn back a page. But wait a moment please, I may sway you too the bright side!

 

Well, I actually doubt that but never mind. Not my loss.

 

At the end of the day, Toto fulfil all of my pop rock needs and more. I love music, whether it be pop, rock, jazz, country, metal: if it sounds good to my ears then I immediately stop caring if it is considered cool or hip. That attitude saw me lose out on loads of great bands/musicians in my high school years, so I made a promise to myself to never again worry about what others think: if I like it, I like it. But even I have to admit that there is nothing cool or hip about Toto. If they decided to venture into the dairy farm industry, Toto would fast become the premier choice for fine cheese, because if the music they make is anything to go by, Toto absolutely love cheese.

 

While there are a couple of Toto albums that do very little for me (see: Hydra (Columbia, 1979) and Mindfields (Sony BMG, 1999)), when the band are on top form, they blow every other band out of the water. Even at their very worst the hooks are constant, the playing second to none, and vocally Toto always impress (although Bobby Kimball has never really been my cup of tea). And this is where this album enters the discussion: Fahrenheit is by far Toto's best album for vocals, musicianship and catchy hooks. Only Tambu (Sony BMG, 1995) comes close to matching it as far as I am concerned.

 

Joseph Williams, the son of the highly acclaimed composer John Williams, (he of Star Wars, Jurassic Park and, ahem, Hook fame) is blessed with a warm, soulful voice that I swear contains more than a trace of smooth butter to go with the rest of the bands cheesy excess. His voice on 'Til The End, Can't Stand It Any Longer and the wonderful and completely of its time title track really help keep the album on the right side of the Cheese-o-Meter, and I think it is fair to say he is far more entertaining than Bobby Kimball has ever been. Williams also has a better sense of control than the bands previous vocal lead, the late Fergie Frederiksen, who appeared on the similarly wonderful Isolation. Why he only lasted two full albums is going to forever be a mystery to me, but to the bands credit he has been restored to the groups line-up in recent years, and will feature dominantly on the upcoming album, which I will surely devour whole next year in much the same way I do the finest Cornish brie (okay, I am now done with the cheese puns)!

 

However, despite my fervent praise for the talents of Williams, it is almost ironic that for me the two best lead performances on Fahrenheit belong to not only another singer, but also to a world famous guest musician (more on him later). Vocally Steve Lukather, one of the most prolific session guitarists in history, does an exemplary job on the hauntingly beautiful ballad I'll Be Over You. Unlike the majority of classic 80's ballads, there is nothing cheesy or over the top about this stunning album highlight. Here, Lukather pens a sad, moving lyric that in the hands of many other singers could very well have come across as maudlin rubbish, but in his hands becomes almost poetic. "As soon as forever is through, I'll be over you". Sure, this is hardly Shakespeare, but it certainly packs a more emotional punch than anything by contemporaries Foreigner or even Fleetwood Mac, who during the eighties faired better musically with their upbeat crowd-pleasers having already immortalised their legacy the previous decade with their very own magnificent break-up anthems. And to give Toto their due, losing Joseph Williams as a lead vocalist to Steve Lukather for the next two albums was hardly the worst thing that happened to them (I would say that award goes to Kimball rejoining over a decade later, not counting the tragic death of Jeff Porcaro, the legendary drummer).

 

So, who else overshadowed Williams? Have a guess. (Pause) No, guess again! (Pause) Okay, drum roll please!

 

None other than jazz legend Miles Davis. Yes, you read that correctly: Miles. Davis.

 

Nefertiti (Columbia, 1967), Bitches Brew (Columbia, 1970), Sketches In Spain (Columbia, 1960): three of my favourite albums of all time, and yet my favourite of all the albums he has appeared on belongs to none other than Toto. So how did this collaboration come about? Was he desperate for money?

 

No. Davis loved Lukather's playing, and was also stunned by the quality of this song in its early stages. So much so that Lukather actually had the privilege to be able to turn down an opportunity to join his band! And considering how beautiful the track in question Don't Stop Me Now turned out, I can only imagine that this collaboration was a dream come true for both parties. It really is the most perfect ending to any pop album I have ever heard. As Steve Lukather said himself regarding this splendid tune: "After you hear Miles what's going to come after that?". To this day, the track remains a firm fan favourite, and although I think it is such a shame that it has been so largely overlooked, the reason for why is very honourable. Luthaker put it this way: "It was never released as a single because it was such a strange song. It was like we were a rock band but jazz radio didn't want to touch us, even though we had Miles. It was too jazz for any rock station. So it was like this cult kind of tune. People know it and they love it and we sometimes play it live and the crowd sings the melody, even though there are no words. We felt it would be disrespectful to draw out the fact that Miles Davis was playing on our record and we promised not to do that, and so we just put a small credit on the record." Would, say, U2 have been as discreet as this back in the day? I thought not. Toto are a band of real gentlemen, a rarity in the world of rock. After all, Fahrenheit could very well have shifted more copies had they tried to cash in on Miles Davis' name.

 

And yet I love every song on Fahrenheit. It doesn't meander in quality even for one second in my humble opinion. But if it wasn't for I'll Be Over You and Don't Stop Me Now, this review would have been for the masterful Tambu. I love these two songs that much.

 

I could go on and on all day about why I love this album, but I won't. But for me, Toto bested a huge number of highly acclaimed eighties releases with this shining gem. When it comes to pop rock of this ilk, Toto have always been one of, if not the, leaders of the pack.

 

Just you try and tell me I am wrong. I will rip your opinion to shreds and set fire to your soul.

 

Only kidding!

 

Additional credit goes to: http://www.thelastmi...ve-lukather.php

Edited by Segue Myles
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Go Segue go... :cheers:

 

Thanks dude!

 

Wasn't sure if anyone was reading this haha

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Go Segue go... :cheers:

 

Thanks dude!

 

Wasn't sure if anyone was reading this haha

I have been. I even quoted you in the spam thread, page 170-something :P

 

Aww shucks dude!

 

I also noticed someone gently mocked my signature. haha...i aint changing it for no one!!

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Another reader here, yes...I had no idea about the Steve Lukather/Miles Davis connection.

 

I learn something new every day!

 

Two of my favourite musicians on one track: delicious.

 

Only colab that rivals this in my affections is Lacuna Coil's Cristina Scabbia duetting with Myles Kennedy on the single release of Alter Bridge's Watch Over You.

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6. Rush- Moving Pictures (Anthem, 1981)

 

http://upload.wikimedia.org/wikipedia/en/4/4a/Moving_Pictures.jpg

 

US Album Chart Position: No.3

UK Album Chart Position: No.3

 

And so I finally make it to the end of the first half of my ten part review! Phew! This has been surprisingly easygoing...at least it was until now.

 

There are three perfectly reasonable reasons for why I feel this way, especially on a Rush forum:

 

1. I am not 100% certain I have a favourite Rush album.

 

2. I am certain I will receive some flack (if anybody even cares) for not having Rush enter my top five at the very least.

 

3. My review for Bruce Springsteen hasn't arrived yet. And no, he is not at number five.

 

Moving Pictures is on this list for two reasons, the first being that if I had picked any other Rush album for my first listen, I doubt I would have become a fan as soon as I did (it remains one of only two Rush albums that I have enjoyed from the first listen). And secondly, Caress Of Steel (Anthem, 1975), A Farewell To Kings (Anthem, 1977), Grace Under Pressure (Anthem, 1984) and Hold Your Fire (Anthem, 1987) were all very close calls. After all, Rush are one of those bands who have released too many great albums to count off the top of one's head, and for these reasons I finally settled on including the universally adored Moving Pictures.

 

It all began in 2011, when I was twenty years of age. I was going through a bit of a lull in my interest in music. Most of the bands I had grown up with were either releasing disappointing efforts, or I had outgrown them, and all the while I was becoming disillusioned with the state of modern music. Where is the talent? I asked myself.

 

So I popped onto Amazon, and a thought struck me: why not research some bands you know of, bands that have inspired many of your favourite artists, and give them a shot? After all, I had recently found myself a new fan of Bruce Springsteen and The Beatles, so I knew I had at least a passing interest in classic rock.

 

So, all on the same day, I bought these titles at bargain prices:

 

Pink Floyd- Dark Side Of The Moon (Harvest, 1973)

Kate Bush- The Kick Inside (EMI, 1978)

Fleetwood Mac- Rumours (Warner Bros., 1977)

Radiohead- OK Computer (Parlaphone, 1997)

Chris Rea- Auberge (Atco, 1991)

 

And out of genuine curiosity, I also chose some album by a band called Rush. No prizes given for anyone who guesses correctly which album I picked.

 

So my order arrived (the very next day I will have you know). Was I excited? Yes, but also apprehensive, I had spent some money on a few pretty random choices. To this day, I have yet to truly immerse myself into the music of either Pink Floyd or Radiohead, but I did quite enjoy Kate Bush (and still do), and I at least liked Fleetwood Mac (that obsession came much later). As for Chris Rea, well, let's not go there...

 

But I had got it absolutely right with Moving Pictures: Tom Sawyer blew me away the from the very second it started, and I literally stopped breathing during YYZ, for fear of missing a single beat. But it was Limelight that sucked me in completely. That chorus is a stunner, and the lyrics are just perfection. I mean, of all the songs in all the world that could have connected me to the heart of a band so abruptly at that particular moment in my life, it had to be Limelight.

 

And the rest, as they, is history.

 

Now over the course of the next few months I bought two more Rush albums: 2112 (Anthem, 1976), and then Permanent Waves (Anthem, 1980). Neither of these blew me away the way Moving Pictures did, at least not at first. But neither did they halt my growing interest in the band either. Meanwhile, I started to pay more attention to other bands around that time, and although I cannot say I ever forgot about Rush (hello, I am here!), it wasn't until Clockwork Angels (Roadrunner, 2012) came out over a year later that I really became a Rush addict. Now that album blew me away! I could not get my head around the fact that any band forty years (roundabouts) into their career could ever sound so energetic, inspired, and adventurous without sounding at least a little laughable. And yet Rush did, and in doing so they rocked hard! Not even pop stars sound so fresh, even after five or six years, and they rarely have to rely on their own songwriting for goodness sake! But Rush did write Clockwork Angels, and at the time I felt it had to be close to the best of the band's whole catalogue!

 

So that is a potted history of how and why I became one of the Rush faithful.

 

But there have to be other reasons as to why of all the albums Rush has released, I chose this one?

 

Well, of course there is! From start to finish, Moving Pictures is great. Every song is killer, and more than any other Rush album, this one has perhaps the best balance between variety and quality. Even if there are a couple of songs that don't completely match my tastes (Vital Signs and, I hate to say it, YYZ), I cannot deny that I love all of them very much in my own way.

 

But one song in particular raises the bar so high for this album, the rest of the bands discography would faint from vertigo at the mere sight of the halfway point: Red Barchetta.

 

"My uncle has a country place, that no one knows about". Everytime I hear these opening words, my mind is taken to a faraway place and I become as one with this song. Of all of the epic Rush songs (and yes I include this one on that list), only Red Barchetta takes me on a complete journey. Sure, I get lost in the wonders of 2112's storytelling, yes I do enter the mystical realms contained within the beauty The Fountain Of Lamneth and the peerless Xanadu, and of course I have come to thoroughly enjoy and appreciate my frequent trips into space with the two parter Cygnus X-1. But I merely listen to those songs, even if it is true I enjoy them more than most. But I live and breathe the same air as the protagonist of Red Barchetta. In fact, I will go as far as to say that I truly believe in the hearts of every Rush fan their lies the fond memories an uncle with a country place. Who of us can say that this song fails to capture them to that distant land, a land that suffers from the terrible outcome of the abominable Motor Law? I doubt any fan can. And best of all, because the lyrics are written splendidly in the first-person, we are all invited to see through another's eyes. Genius, Professor Peart, simply genius!

 

Coming to the end of this review, I find myself wanting to also speak at length about my love for the underrated The Camera Eye and one of my all time favourite songs Witch Hunt, but I would hate to send all of you to sleep with my incessant rambling. But Mr's Geddy Lee, Alex Lifeson and Neil Peart should be proud of their achievements with this divine collection of songs. The fact that this wasn't even their last great album, or arguably even their best effort altogether, is a testament to just how great a band Canada's mighty Rush truly are.

 

But of course, you all knew that already.

 

Long live Rush.

 

And long live our rebellion against the Motor Law.

 

Amen.

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I have writers block, and I am desperate to edit every review I have done so far.
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5. ABBA- The Definitive Collection (Universal Music, 2001)

 

http://www.freecodesource.com/album-cover/51PmfBNgS1L/Abba-The-Definitive-Collection.jpg

 

US Chart Position: No.186

UK Chart Position: No.17

 

For those who find it hard to swallow that I have Toto sitting alongside Yes and Rush in my Top Ten, I give you this: ABBA: The Definitive Collection. Perhaps this is to be seen as blasphemy in the eyes of the more dedicated Rush fans on this forum, who have felt the need many a time to poke a little innocent fun in my direction for my, let's be frank, offbeat music taste, but the truth of the matter boils down to this simple fact: if ABBA never existed, music never would have mattered to me.

 

I was about seven years old when out of boredom I started to play my dad's barely touched cassette copy of ABBA Gold (PolyGram, 1992), and I can recall my immediately being floored by just how exciting and fun the music was. Bouncy melodies, crystalline vocal harmonies, contagious wordplay: to this seven year old boy, ABBA were to become his major gateway into an exciting and varied world of art, music, and time wasting. For around four years, I slowly collected all the ABBA albums (helped along the way by my uncle who gave me all his vinyl copies), and encouraged by my father, I delved into the history of the Swedish Fab Four by obtaining a weighty biography of the band, ABBA: The Book (Jean-Marie Potiez, Aurum Publishing, 2000). So by the time I was eleven years old, I had developed my first musical relationship: I knew all the songs, I knew the meaning behind the majority of the lyrics, I had read and absorbed, meditated and digested, every single possible piece of information one could possibly get of this band. And thus I set the precedent for how I would come to regard all my future interests: with obsessive fanaticism.

 

Of course, ABBA are not the only band or artist that I have been so head over heels in love with: Bruce Springsteen, Lacuna Coil and The Beatles have over time received very similar all-star treatment by myself (Lacuna Coil getting more of it than any other band, but that is for a later time), and yet still in many ways, ABBA have been perhaps the most important band of my life. Through them I learned to appreciate music as an art form. Although it is true everything the band released is touched by that all too distinctive ABBA sound, I came to develop an open mind due to the fact that the band were open to experimenting with many different styles: folk, reggae, rock, metal, disco: you will be hard pressed to find a genre left untouched by this lot. Of course, not everything they tried and tested was a success, but more often than not they excelled.

 

More than anything else, however, I came to appreciate the beauty and soul of the human voice. Even now I can forgive a song for absolutely everything if the person singing has a voice that can carry me to the heavens, and bearing in mind ABBA wrote many an embarrassing lyric, I think it is fair to say Agnetha "Anna" Fältskog and Anni-Frid "Frida" Lyngstad are the saving grace of this band. After all, if me or you sang a song entitled Bang-A-Boomerang with even half the passion these two girls did, our nearest and dearest would be sending out for the men in white coats. But in the hands of the ABBA ladies, the most cringe worthy songwriting moments approach the level of what some may view as being High Art.

 

Before I go on, I must ask you this: despite being regarded as a pure pop band why is it that the only decent cover versions of ABBA songs are metal? Whenever I hear a pop band try and do justice to an ABBA song, I find myself wanting to fling rocks at them. But I have heard so many metal covers over the years that do justice to the power of the bands music it is now verging on ridiculous.

 

ABBA may be remembered more for their sugary melodies by the masses, but for those who dare to take a serious look at the work of this quartet discover this simple truth: ABBA were artists. Those who try to cover these songs with a view to making money more often than not produce what I can only describe as being saccharine filth. But those who understand the artistry of ABBA know that the power of this music lies, not in mere formula, but with the love of invention. These songs may sound effortless to the average human ear, but the recording process for each and every album could almost be viewed as a harrowing ordeal of late nights, hard work, extreme self doubt and an almost inhumane desire to attain aural perfection. Which is all very well and good until you remember that after a long days work, for a good portion of the bands time together they would end by going home as two couples. You can only imagine what kind of friction went on behind closed doors after such laborious studio hours, and no I am not referring to what happens between the sheets!

 

Pay close attention to Dancing Queen, the signature ABBA song, and ask yourself: how many singers can you think of who have the power and ability to change key and octave with such ease? Try The Winner Takes It All or One Of Us: Agnetha is the first and foremost leader of the pack when it comes to tackling a ballad. Her's is the voice of pure heartbreak: considering these divorce anthems were penned by her fellow bandmate, by then ex-husband, and the father of her two children, she channelled every ounce of emotion that she could muster, and in the process she bared her soul, revealed her intense vulnerability, and proved that she was not just another very pretty pop-star, but a bona-fide legend the likes of which we have rarely seen. And her flaxen-haired vocal companion, Anni-Frid, was every bit her equal! To have two era-defining vocalists in one band is unheard of, and to choose one over the other is tantamount to heresy.

 

So what of Björn Ulvaeus, the man behind most of the bands lyrics? Through his words he showed that it really is possible to be a man and show a tender, compassionate, and mostly non-sexual view of women, something which is sorely lacking from the vast majority of popular music, both past and present. Consistently and (I like to think) effortlessly he displayed a sincere respect and love for the often fragile and sensitive nature of the fairer sex without even once writing a demeaning or patronising line. The fact that women the world over connect with these songs is a remarkable testament to the talent of this one man, who was arguably the very heart and soul of ABBA (although an argument could also be made in favour of the bands principle melody maker, Benny Andersson). In my humble and honest opinion, his finest moments will be what ultimately cements this bands legacy for generations to come.

 

Want proof? Take a closer look at The Winner Takes It All: no man could truly do this song justice vocally, which makes it all the more amazing that the person behind the words was, not the lead singer Agnetha herself, but Björn, who must be not only a true gentleman, but also a man of great intellect and deep empathy. Take another look at some of those words of his:

 

"I was in your arms

Thinking I belonged there

I figured it made sense

Building me a fence

Building me a home

Thinking I'd be strong there

But I was a fool

Playing by the rules

 

The gods may throw the dice

Their minds as cold as ice

And someone way down here

Loses someone dear

 

The winner takes it all

The loser has to fall

It's simple and it's plain

Why should I complain?

 

But tell me does she kiss

Like I used to kiss you?

Does it feel the same

When she calls your name?

Somewhere deep inside

You must know I miss you

But what can I say?

 

Rules must be obeyed."

 

Honest, thought provoking, heartbreaking. And he gave these words to his first wife to sing! Brave man indeed! Not many lyricists, especially those whose first language is not English, can claim to have written so convincingly from the heart as Björn did here.

 

So here is where I cut to the chase regarding my choice of album: ABBA defined my childhood. I cannot choose one album over another, because the bands entire body of work is of the highest quality, as well as being of great sentimental value to me. Only the finest career overview can do them justice. And this 2001 compilation compiles a very generous selection of the bands singles from just under ten years (1973-1982) of music history on two discs. Every side of ABBA is shown: the silly, the sexy, the romantic, the lonely, the fun, heck, even the annoying! Voulez Vous (Polar Music, 1979), Super Trouper (Polar Music, 1980), and The Visitors (Polar Music, 1981) all deserved to be on this list, but nothing can take away from the fact that ABBA deserve to be recognised, not for just one song, or even for one album, but for their astonishingly prolific yet short career that saw not just a before unheard of level of success worldwide (a Swedish band making big bucks in Britain? A number one smash in the US? Inconcievable!), but also for leaving behind a wonderful catalogue of records that in terms of pop music history may have been bettered only by The Beatles themselves.

 

And the hearts of millions worldwide will bear witness to these truths in a way that no hater could possibly fathom.

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Great.

 

Heading for my top four albums and I just realised I made a mistake: I have five beloved albums left! Arg...I am so stupid sometimes!!

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7. Toto- Fahrenheit (Columbia, 1986)

 

http://3.bp.blogspot.com/_6tJHBv82MIM/TRa-KEXvQ2I/AAAAAAAABHw/ADRVQF2JW-0/s1600/Toto_Fahrenheit.jpg

 

US Chart Position: No. 40

UK Chart Position: No. 99

 

So this is the part of my review project where the majority of those who have actually bothered to check out my thread roll their eyes and turn back a page. But wait a moment please, I may sway you too the bright side!

 

Well, I actually doubt that but never mind. Not my loss.

 

At the end of the day, Toto fulfil all of my pop rock needs and more. I love music, whether it be pop, rock, jazz, country, metal: if it sounds good to my ears then I immediately stop caring if it is considered cool or hip. That attitude saw me lose out on loads of great bands/musicians in my high school years, so I made a promise to myself to never again worry about what others think: if I like it, I like it. But even I have to admit that there is nothing cool or hip about Toto. If they decided to venture into the dairy farm industry, Toto would fast become the premier choice for fine cheese, because if the music they make is anything to go by, Toto absolutely love cheese.

 

While there are a couple of Toto albums that do very little for me (see: Hydra (Columbia, 1979) and Mindfields (Sony BMG, 1999)), when the band are on top form, they blow every other band out of the water. Even at their very worst the hooks are constant, the playing second to none, and vocally Toto always impress (although Bobby Kimball has never really been my cup of tea). And this is where this album enters the discussion: Fahrenheit is by far Toto's best album for vocals, musicianship and catchy hooks. Only Tambu (Sony BMG, 1995) comes close to matching it as far as I am concerned.

 

Joseph Williams, the son of the highly acclaimed composer John Williams, (he of Star Wars, Jurassic Park and, ahem, Hook fame) is blessed with a warm, soulful voice that I swear contains more than a trace of smooth butter to go with the rest of the bands cheesy excess. His voice on 'Til The End, Can't Stand It Any Longer and the wonderful and completely of its time title track really help keep the album on the right side of the Cheese-o-Meter, and I think it is fair to say he is far more entertaining than Bobby Kimball has ever been. Williams also has a better sense of control than the bands previous vocal lead, the late Fergie Frederiksen, who appeared on the similarly wonderful Isolation. Why he only lasted two full albums is going to forever be a mystery to me, but to the bands credit he has been restored to the groups line-up in recent years, and will feature dominantly on the upcoming album, which I will surely devour whole next year in much the same way I do the finest Cornish brie (okay, I am now done with the cheese puns)!

 

However, despite my fervent praise for the talents of Williams, it is almost ironic that for me the two best lead performances on Fahrenheit belong to not only another singer, but also to a world famous guest musician (more on him later). Vocally Steve Lukather, one of the most prolific session guitarists in history, does an exemplary job on the hauntingly beautiful ballad I'll Be Over You. Unlike the majority of classic 80's ballads, there is nothing cheesy or over the top about this stunning album highlight. Here, Lukather pens a sad, moving lyric that in the hands of many other singers could very well have come across as maudlin rubbish, but in his hands becomes almost poetic. "As soon as forever is through, I'll be over you". Sure, this is hardly Shakespeare, but it certainly packs a more emotional punch than anything by contemporaries Foreigner or even Fleetwood Mac, who during the eighties faired better musically with their upbeat crowd-pleasers having already immortalised their legacy the previous decade with their very own magnificent break-up anthems. And to give Toto their due, losing Joseph Williams as a lead vocalist to Steve Lukather for the next two albums was hardly the worst thing that happened to them (I would say that award goes to Kimball rejoining over a decade later, not counting the tragic death of Jeff Porcaro, the legendary drummer).

 

So, who else overshadowed Williams? Have a guess. (Pause) No, guess again! (Pause) Okay, drum roll please!

 

None other than jazz legend Miles Davis. Yes, you read that correctly: Miles. Davis.

 

Nefertiti (Columbia, 1967), Bitches Brew (Columbia, 1970), Sketches In Spain (Columbia, 1960): three of my favourite albums of all time, and yet my favourite of all the albums he has appeared on belongs to none other than Toto. So how did this collaboration come about? Was he desperate for money?

 

No. Davis loved Lukather's playing, and was also stunned by the quality of this song in its early stages. So much so that Lukather actually had the privilege to be able to turn down an opportunity to join his band! And considering how beautiful the track in question Don't Stop Me Now turned out, I can only imagine that this collaboration was a dream come true for both parties. It really is the most perfect ending to any pop album I have ever heard. As Steve Lukather said himself regarding this splendid tune: "After you hear Miles what's going to come after that?". To this day, the track remains a firm fan favourite, and although I think it is such a shame that it has been so largely overlooked, the reason for why is very honourable. Luthaker put it this way: "It was never released as a single because it was such a strange song. It was like we were a rock band but jazz radio didn't want to touch us, even though we had Miles. It was too jazz for any rock station. So it was like this cult kind of tune. People know it and they love it and we sometimes play it live and the crowd sings the melody, even though there are no words. We felt it would be disrespectful to draw out the fact that Miles Davis was playing on our record and we promised not to do that, and so we just put a small credit on the record." Would, say, U2 have been as discreet as this back in the day? I thought not. Toto are a band of real gentlemen, a rarity in the world of rock. After all, Fahrenheit could very well have shifted more copies had they tried to cash in on Miles Davis' name.

 

And yet I love every song on Fahrenheit. It doesn't meander in quality even for one second in my humble opinion. But if it wasn't for I'll Be Over You and Don't Stop Me Now, this review would have been for the masterful Tambu. I love these two songs that much.

 

I could go on and on all day about why I love this album, but I won't. But for me, Toto bested a huge number of highly acclaimed eighties releases with this shining gem. When it comes to pop rock of this ilk, Toto have always been one of, if not the, leaders of the pack.

 

Just you try and tell me I am wrong. I will rip your opinion to shreds and set fire to your soul.

 

Only kidding!

 

Additional credit goes to: http://www.thelastmi...ve-lukather.php

 

An underrated classic.

 

Well played sir!

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Great.

 

Heading for my top four albums and I just realised I made a mistake: I have five beloved albums left! Arg...I am so stupid sometimes!!

You forgot Bruce?.....
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7. Toto- Fahrenheit (Columbia, 1986)

 

http://3.bp.blogspot.com/_6tJHBv82MIM/TRa-KEXvQ2I/AAAAAAAABHw/ADRVQF2JW-0/s1600/Toto_Fahrenheit.jpg

 

US Chart Position: No. 40

UK Chart Position: No. 99

 

So this is the part of my review project where the majority of those who have actually bothered to check out my thread roll their eyes and turn back a page. But wait a moment please, I may sway you too the bright side!

 

Well, I actually doubt that but never mind. Not my loss.

 

At the end of the day, Toto fulfil all of my pop rock needs and more. I love music, whether it be pop, rock, jazz, country, metal: if it sounds good to my ears then I immediately stop caring if it is considered cool or hip. That attitude saw me lose out on loads of great bands/musicians in my high school years, so I made a promise to myself to never again worry about what others think: if I like it, I like it. But even I have to admit that there is nothing cool or hip about Toto. If they decided to venture into the dairy farm industry, Toto would fast become the premier choice for fine cheese, because if the music they make is anything to go by, Toto absolutely love cheese.

 

While there are a couple of Toto albums that do very little for me (see: Hydra (Columbia, 1979) and Mindfields (Sony BMG, 1999)), when the band are on top form, they blow every other band out of the water. Even at their very worst the hooks are constant, the playing second to none, and vocally Toto always impress (although Bobby Kimball has never really been my cup of tea). And this is where this album enters the discussion: Fahrenheit is by far Toto's best album for vocals, musicianship and catchy hooks. Only Tambu (Sony BMG, 1995) comes close to matching it as far as I am concerned.

 

Joseph Williams, the son of the highly acclaimed composer John Williams, (he of Star Wars, Jurassic Park and, ahem, Hook fame) is blessed with a warm, soulful voice that I swear contains more than a trace of smooth butter to go with the rest of the bands cheesy excess. His voice on 'Til The End, Can't Stand It Any Longer and the wonderful and completely of its time title track really help keep the album on the right side of the Cheese-o-Meter, and I think it is fair to say he is far more entertaining than Bobby Kimball has ever been. Williams also has a better sense of control than the bands previous vocal lead, the late Fergie Frederiksen, who appeared on the similarly wonderful Isolation. Why he only lasted two full albums is going to forever be a mystery to me, but to the bands credit he has been restored to the groups line-up in recent years, and will feature dominantly on the upcoming album, which I will surely devour whole next year in much the same way I do the finest Cornish brie (okay, I am now done with the cheese puns)!

 

However, despite my fervent praise for the talents of Williams, it is almost ironic that for me the two best lead performances on Fahrenheit belong to not only another singer, but also to a world famous guest musician (more on him later). Vocally Steve Lukather, one of the most prolific session guitarists in history, does an exemplary job on the hauntingly beautiful ballad I'll Be Over You. Unlike the majority of classic 80's ballads, there is nothing cheesy or over the top about this stunning album highlight. Here, Lukather pens a sad, moving lyric that in the hands of many other singers could very well have come across as maudlin rubbish, but in his hands becomes almost poetic. "As soon as forever is through, I'll be over you". Sure, this is hardly Shakespeare, but it certainly packs a more emotional punch than anything by contemporaries Foreigner or even Fleetwood Mac, who during the eighties faired better musically with their upbeat crowd-pleasers having already immortalised their legacy the previous decade with their very own magnificent break-up anthems. And to give Toto their due, losing Joseph Williams as a lead vocalist to Steve Lukather for the next two albums was hardly the worst thing that happened to them (I would say that award goes to Kimball rejoining over a decade later, not counting the tragic death of Jeff Porcaro, the legendary drummer).

 

So, who else overshadowed Williams? Have a guess. (Pause) No, guess again! (Pause) Okay, drum roll please!

 

None other than jazz legend Miles Davis. Yes, you read that correctly: Miles. Davis.

 

Nefertiti (Columbia, 1967), Bitches Brew (Columbia, 1970), Sketches In Spain (Columbia, 1960): three of my favourite albums of all time, and yet my favourite of all the albums he has appeared on belongs to none other than Toto. So how did this collaboration come about? Was he desperate for money?

 

No. Davis loved Lukather's playing, and was also stunned by the quality of this song in its early stages. So much so that Lukather actually had the privilege to be able to turn down an opportunity to join his band! And considering how beautiful the track in question Don't Stop Me Now turned out, I can only imagine that this collaboration was a dream come true for both parties. It really is the most perfect ending to any pop album I have ever heard. As Steve Lukather said himself regarding this splendid tune: "After you hear Miles what's going to come after that?". To this day, the track remains a firm fan favourite, and although I think it is such a shame that it has been so largely overlooked, the reason for why is very honourable. Luthaker put it this way: "It was never released as a single because it was such a strange song. It was like we were a rock band but jazz radio didn't want to touch us, even though we had Miles. It was too jazz for any rock station. So it was like this cult kind of tune. People know it and they love it and we sometimes play it live and the crowd sings the melody, even though there are no words. We felt it would be disrespectful to draw out the fact that Miles Davis was playing on our record and we promised not to do that, and so we just put a small credit on the record." Would, say, U2 have been as discreet as this back in the day? I thought not. Toto are a band of real gentlemen, a rarity in the world of rock. After all, Fahrenheit could very well have shifted more copies had they tried to cash in on Miles Davis' name.

 

And yet I love every song on Fahrenheit. It doesn't meander in quality even for one second in my humble opinion. But if it wasn't for I'll Be Over You and Don't Stop Me Now, this review would have been for the masterful Tambu. I love these two songs that much.

 

I could go on and on all day about why I love this album, but I won't. But for me, Toto bested a huge number of highly acclaimed eighties releases with this shining gem. When it comes to pop rock of this ilk, Toto have always been one of, if not the, leaders of the pack.

 

Just you try and tell me I am wrong. I will rip your opinion to shreds and set fire to your soul.

 

Only kidding!

 

Additional credit goes to: http://www.thelastmi...ve-lukather.php

 

An underrated classic.

 

Well played sir!

 

Yay another Fahrenheit fan!

 

Great.

 

Heading for my top four albums and I just realised I made a mistake: I have five beloved albums left! Arg...I am so stupid sometimes!!

You forgot Bruce?.....

 

No...How could I forgot such a legend?

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:bump:

Keep going, just name a 1A and a 1B :)

 

Aww thanks man! Taking a little break but I will continue soon!

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Dammit Segue. Somehow you've got me addicted to Lacuna Coil :P. I can't stop playing Trip the Darkness and you haven't even mentioned them yet.

 

Great description of Moving Pictures by the way.

 

If you think Trip The Darkness is good, which it is, then just wait until you dive deeper into their catalog. I have a feeling the album Segue is picking from them to put on this list wouldn't be my first recommendation for a Lacuna Coil album though.

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