Toto - Pamela [HQ] (CC)

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Following a successful tour in support of 1986’s Fahrenheit, the songs on this follow-up release showcase the emerging chemistry between Joseph Williams and the group. In fact, it marks the first time since the departure of Bobby Kimball where the band has a vocalist in the chair long enough to make a second recording together. Adding two noted producers to the mix in George Massenburg and Bill Payne also brought a new dimension to the Toto sound, and they knew they were onto something.

Speaking in May 1988 – just after the release of The Seventh One – founding member and keyboardist David Paich told Keyboard magazine: “We’re really proud of the new record. I think it’s the best album we’ve made. Our cycle has been the first album, the fourth album, and this album – they all have a certain spirit about them.”

As if to leverage from the success of Toto IV, the album title references the numeric position in the catalog, while the Jeff Porcaro-designed cover artwork sees the prominent reappearance of the sword against a single color background.

This was to be their comeback. And so, to kick it off, “Pamela.” Considered by guitarist Steve Lukather to be the “heir apparent to ‘Rosanna’,” this David Paich and Joseph Williams-composed song introduces the listener to a more pristine sound and a tremendous live ambience compared to their previous releases.

Paich proudly states, “We played just about all of the basic tracks on The Seventh One live,” and this comes through: The music on this project breathes with rich dynamics and thoughtful interplay from these studio veterans.

During the verse of “Pamela,” the single-chord keyboard comp is a simpler approach than previous Toto songs. From the same Keyboard interview, Paich explains “We’re always trying to get simpler. My whole approach is to be able to write a one-chord song the way James Brown did.” You can sense he’s trying it out in the verse here.

This changes, however, in the pre-chorus, with a glorious hook. It’s such a rich harmonic progression by contrast, and is great to sing along with:

Don’t start mixing truth with jealousy
The road we’re on is clear as far as I can see.

The chorus and solos of “Pamela” are where it really happens though. Naturally, there are tight harmonies and a soaring tenor line from Joseph Williams – but listen closer. After the sing song of “Pamela,” there is a synth horn line, alternating with a vocal response, which is followed by a melodic guitar line.

During the solos, you can tell this is a rejuvenated band. For the first time on a studio recording, we hear David Paich really cut loose with a cascading flurry of keys before Steve Lukather takes over with a searing lead, interspersed with a rapid fire finger-tapping break. These are clearly guys who can play and make it look effortless at the same time. With “Pamela,” Toto have brought the energy of their live performances into the studio.

“This track also boasts a great horn section of A-list session players (Chuck Findley, Gary Grant, Gary Herbig, Jerry Hey, James Pankow and Tom Scott), and a drum sound that is gripping. Jeff Porcaro plays with such force and a deft touch, giving his parts a conversational voice in the arrangements.

Credits:
Bass - Mike Porcaro
Drums, Percussion - Jeff Porcaro
Guitar - Steve Lukather
Keyboards - David Paich
Lead Vocals - Joseph Williams
Synthesizer - Steve Porcaro
Arranged by Horns - Tom Scott
Backing Vocals - Tom Kelly
Vibraphone - Joe Porcaro
Songwriters - David Paich, Joseph Williams

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