Toto had a major part to play in the most significant music of the 80’s. In a soul/funk context,key band members in guitarist Steve Lukather and drummer Jeff Porcoro played major roles on Michael Jackson’s blockbuster album Thriller. Earlier that same year,Toto release their fourth album-itself given only a roman numeral title. The band consisted of top LA session players who had already become famous for backing up artists such as Steely Dan and Boz Scaggs. Even though their debut was successful with it’s combination of West Coast pop/soul and radio friendly rock,their next two albums didn’t do quite so well.
Their lead singer Bobby Kimball was the last to be brought into the group. His rangy voice,which could move its middle range to a quavering falsetto croon, went right with the bands musically eclectic range-from playing simple arena friendly rock riffs to more complex soul,funk and jazzy styles. Kimball was also apparently known as something of an inside cook for the band-especially when it came to sandwiches. That 1982 album IV was the final album Kimball a full participant in. And although its actually an album track,one of my favorite moments of his on it is a tune called “Waiting For Your Love”.
Jeff Porcoro holds down the rhythm with a percussion heavy,percussive beat. Brother Steve Porcoro provides a very jazzy three note melody-followed with the bubbly flamboyance of David Hungate’s phat bass line while Steve Lukather of course assists with an appropriately bouncy,liquid funk rhythm guitar.That represents the refrain and main choruses of the song-only done in different keys. There’s a transitional melodic change between those parts which features a scaling up keyboard part-than a synth brass flourish. Porcoro does an excellent improvised synth solo on the bridge before the choral/refrain part fades out the song.
Toto just happened to debut during a period when rock writers began to dismiss studio based groups made up of strong session musicians as “unauthentic”. Ironically,that may be way Toto’s music has withstood the test of time so well. “Waiting For Your Love” is a superb West Coast jazz/funk/pop number that’s right in the pocket of the groove. And this was coming from people who,together as a band or as session players,were one of the last rock era bands who could play all kinds of music as if it was their sole genre. Toto were both an arena rock and a West Coast jazz funk band all at once. And this song really epitomized that spirit.
Of course? I have to credit reading the credits on Michael Jackson albums in mid adolescence for my awareness of Greg Phillinganes’ music in my life. In addition to that? A book about the man called Michael Jackson: An Illustrated Record by one Adrian Grant tipped me off to this album’s existence. That’s because it started out with “Behind The Mask”,a song written by Mike. It was quite a few years later that I managed to locate the album itself-first on vinyl,than an import CD. Yet it led me down another unexpected path as well.
By the time the mid aughts rolled around? I’d become deeply immersed in the funkiest end of the west coast pop sound. Namely the Doobie Brothers and Steely Dan. Of course the lead singer/keyboard player and general architect of the latter groups sound was Donald Fagen. Since Phillinganes was an enormous part of Fagen’s solo debut The Nightfly as an instrumentalist? Fagen returned the favor a couple years later with a song he wrote but had never recorded or performed. The collaboration between the two fellow keyboard players was called “Lazy Nina”
It gets started with a slogging post disco style drum solo,which is also similar to the one on Stevie Wonder’s “Superstition”-before the jazzy shuffle of the bass synth kicks into the song itself. It’s that bluesy,electric piano based groove that Steely Dan admirers will know very well. On the choruses,he melodies and orchestral synth become brighter. On the final refrain? It becomes a straight instrumental right out of the Minneapolis school of the day. With the quavering DX7 digital synthesizer playing the horn charts as the song fades out.
Each time I’ve listened to this song? Something new leaped out at my ear hole from behind the groove. First impressions revealed a composition directly from the Steely Dan/Donald Fagen school . Especially with the nostalgic fantasizing of the lyrics. Phillinganes adds a much more electronic flavor to the overall song.. This comes to bare on my most recent observation: how the concluding instrumental break brings in the Prince/ Jam & Lewis synth horn element. Overall? It’s reflectively cheery transitional funk filled with flair and vitality.
Filed under 1980's, bass synthesizer, blues funk, disco funk, Donald Fagen, drums, electric piano, Funk, Greg Philinganes, Jimmy Jam & Terry Lewis, Michael Jackson, post disco, Prince, Stevie Wonder, synth funk, synthesizers, Uncategorized
One of those fascinating coincidences in the history of soul and funk music is the tendency of the British music scene to fill in significant gaps when the music is experiencing a low popularity and audience in the United States. Funk oriented new wave era groups such as Level 42,Heaven 17,Duran Duran and Spandau Ballet provided this during the US post disco radio freeze out. Some maintained this style through mid decade even. Sade,Simply Red,George Michael and Soul II Soul continued this tradition later in the decade. Aside from American adoration’s such as Prince and Talking Heads,the popularity of funky soul grooves seemed to be in a strange holding pattern on this end of the pond. In the mid 1990’s onward through the post 9/11 world? This pattern came back in play-with 2006-08 being the height of this ethic. Years after his debut in 1991,English soul/funk artist Kenny Thomas emerged in 2006 with a song that showcased this impulse entitled “I Will”.
Starting off with a fan faring drum roll and a plast of joyful,gospel inspired horns the song gets started with thickly grooving mix of high stepping drums,highly melodic electric piano chords and the fantastically vital horn section providing the life force that keeps the entire song alive. With a chunky bass/guitar interactive holding the keyboard riffs all together, Kenny himself sings lyrics with the same level of joy expressed in the horn parts and melody revolving around the most optimistic outlook on newfound romance that one could possibly ask. On the refrains,the melody changes to include a few minor chords but when going back into the main theme of the song,the melody rises up into the major chord as Kenny declares “I WILL” on the chorus. His voice-a passionate cross between Teddy Pendergrass,Michael McDonald and Heatwave’s Keith Wilder,provides an almost ideal reflection of the songs overall joyousness.
From my own personal observations, the era in which this song was recorded was not among the happiest or secure time for the planet Earth, A never ending war on terror was going on,people were divided even more than they were in the 1960’s and that 90’s era cynicism prevented a great deal of action from occurring to counter this. Music was in a great need for empathy over apathy,release instead of tension. And for those who followed the music of Kenny Thomas (which I unfortunately wasn’t at the time),this song in particular provided just what a proverbial Dr. Funkenstein might want. Its another one of those songs defined by a hybrid sound-in this case a mixture of the Chi-town funk of Earth Wind & Fire and the sleek West Coast style of late 70’s Doobie Brothers and Steely Dan. Also there’s a strong element of Phil Collins’ early 80’s Brit-funk approach as well. This song is a perfect example of,on a purely musical level of what Mick Jagger sang in 1969: you can’t always get what you want,but sometimes you just might find that you get what you need.