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Toto Reform With New Lineup, Plot ‘Dogz of Oz’ World Tour

• By Andy Greene

Andy Greene

Just one year after Toto announced their breakup following a gig in Philadelphia’s Metropolitan Opera House, the band has announced a reunion with a radically revised lineup.

Founding guitarist Steve Lukather and long-time vocalist Joseph Williams are returning to the fold, but founding keyboardists Steve Porcaro and David Paich are both out of the group.

Joining the band for this new era is Huey Lewis and the News bassist John Pierce, Snarky Puppy drummer Robert “Sput” Searight, and keyboardist/background vocalist Steve Maggiora. They will be joined by keyboardist Dominique “Xavier” Taplin and multi-instrumentalist/vocalist Warren Ham, both of whom played with Toto during their last few tours.

This new incarnation of Toto are plotting a world tour they’re calling Dogz of Oz where they’re promising to play “all the hits, deep cuts, and solo music from Lukather and Williams’ individual catalogs.” They’re going to preview the tour on November 21st with a livestreaming event. Tickets go on sale on Tuesday .

“We could not be more at peace with this move,” Lukather says in a statement. “There is a refreshing, optimistic enthusiasm to step into the future. At this moment, Joe and I are the only long-tenured members of the band that want to be on the road continuing to bring music to our multi-generational fan base. I’ve spent almost four and a half decades of my life as the only original member who never missed a show or an album nurturing this legacy while enabling the music to continually exist in the live concert setting. That is something I’ll never stop doing.”

“The Dogz of Oz global tour offers a rare opportunity to reimagine our personal futures while simultaneously preserving the deep connection that exists with the audience while likewise yielding continual discovery,” he continues. “The hope is to move forward with the planned itinerary for summer 2021 that will bring us back to our fans across the world.”

Williams echoed the sentiment in a statement of his own. “Luke and I have been through a lot with one another,” he said. “He’s like a brother to me. Our creative partnership has always enriched our lives. As we look toward what’s to come in unison, there is nothing but anticipation to bring everything in our minds to life. I can’t think of anyone else on earth I’d rather launch the next chapter with this lifelong, loyal, and gifted friend and bandmate. We’re the last men standing…the Dogz of Oz!”

Toto’s popularity peaked in 1982 when their singles “Africa” and “Rosanna” became massive hits all over the globe. They’ve held onto a devoted cult fanbase ever since that time, but they saw an incredible resurgence in popularity a few years back when a new generation of fans discovered “Africa.” Weezer covered the song in 2018 and turned it into a hit yet again.

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The renewed attention helped draw many new fans to Toto concerts, but a lawsuit by Susan Porcaro Goings, the widow of late Toto drummer Jeff Porcaro, stalled their momentum. She claimed they weren’t paying money that was owed to Jeff Porcaro’s estate.

“A lot of kids were coming to see us [because of Weezer], believe me,” Lukather told Guitar Player . “I didn’t want to stop this way. We were doing amazing shows, so it’s sad and disgusting to stop this way because of a legal issue. We have a big debt to pay. The process made us break down financially. Getting to the point that we need to make a deal that didn’t favor us…This action stuck a knife in us and it is a lot to endure. The final show was ‘bittersweet’, to say the least.”

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TOTO Announces 2024 Touring Lineup

Steve Lukather and Joseph Williams have announced TOTO 's band lineup for 2024 and beyond. Returning to the fold are Greg Phillinganes on keyboards and vocals alongside Shannon Forrest on drums. They join Lukather (guitar, vocals), Williams (vocals), John Pierce (bass), Warren Ham (horns, percussion, vocals) and Steve Maggiora (keyboards, vocals).

The band will stage 44 appearances across North America beginning on February 9 at Biloxi's Mississippi Coast Coliseum. The itinerary features 30 appearances as support for JOURNEY in arenas across The United States and Canada, with an additional 14 headline performances planned. A tour of Europe follows this summer. Additional performances will be announced in the coming weeks, with a run of the U.K. and plans to visit other continents in motion now.

Formed in 1977 by premier Los Angeles session musicians, TOTO scored a Top 5 hit in 1978, "Hold The Line" . 1982's "Toto IV" album landed TOTO three Top 10 hits — "Rosanna" , "Africa" and "I Won't Hold You Back" — as well as three Grammy Awards .

Several years ago, Susan Porcaro-Goings , the widow of TOTO 's founding drummer Jeff Porcaro , filed a lawsuit seeking to recover royalties and other income she believed had not been paid to Porcaro 's estate. The suit was settled in favor of Porcaro-Goings .

Over the past decade, TOTO has had a major renaissance in popularity like few bands at this point in their career. No individual statistic exhibits this more than achieving the milestone of over 3.4 billion streams at Spotify alone. The total plays of the band's collected works across all platforms is now approaching five billion. Among the most listened-to recordings, "Africa" accounts for over one billion streams at Spotify alone. The song was certified eight times platinum by the RIAA .

"Africa" was featured in the debut episode of "Stranger Things" and episodes of "South Park" and "Family Guy" .

Individually and collectively, TOTO 's family tree can be heard on an astonishing 5,000 albums that together amass a sales history of a half a billion albums. Among these recordings, NARAS applauded the performances with hundreds of Grammy nominations. They are pop culture, and are one of the few 1970s bands that have endured the changing trends and styles while continuing to remain relevant.

Back in 2019, TOTO released a limited-edition box set boasting 17 LPs and 13 CDs. The set included an album titled "Old Is New" , featuring seven previously unreleased songs.

Photo credit Alessandro Solca (courtesy of Steve Karas / SKH Music )

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Toto’s Steve Lukather and Joseph Williams Share the Story of ‘Toto XIV': Exclusive Interview

At the peak of the band's popularity, critics derided Toto as a faceless "corporate rock" band, but underneath the complex arrangements that fueled their immaculately produced hits, the group's music has always been the byproduct of a brotherly bond. That bond is both literal, in the case of the Porcaro brothers (drummer Jeff, bassist Mike, and keyboardist Steve) who've anchored the lineup over the years, and figurative, in terms of the lifelong friendships that have tied guitarist Steve Lukather and keyboard player David Paich to their bandmates for decades.

It's only fitting, then, that after the band split in 2008, it was brotherhood that brought them back together two years later — first for a tour, organized to help Mike Porcaro's family defray the mounting medical expenses incurred by his ALS diagnosis, then for a new (and possibly final) studio album. That new LP, Toto XIV , brings the band full circle in more ways than one: Joseph Williams, another lifelong friend, is back on lead vocals for his first Toto studio effort since 1987's The Seventh One , and the record also boasts the return of original bassist David Hungate, who departed after 1982's Toto IV .

And while the new album was written and recorded under the looming shadow of Mike Porcaro's worsening condition (he sadly passed away on March 15), Toto XIV isn't a dark record. The band members have said they view it as an indirect sequel to Toto IV or The Seventh One , and that's an appropriate way to describe a set of songs that preserve the hallmarks of Toto's signature sound without leaving the group sounding stuck in the past. If this is really their last album, as Lukather and Paich have hinted, they've fulfilled their ambition of proving, as Lukather said, "that the album is not dead and that older guys can write some fresh music and haven’t run out of ideas."

Ultimate Classic Rock spoke with Lukather and Williams for a pair of exclusive interviews delving into the story behind Toto XIV , from the illness that sparked the band's reunion to the threatened lawsuit that urged them back into the studio — and the creative pride, not to mention sense of responsibility to their fans, that drove them to deliver a record that stands shoulder-to-shoulder with their best-known work.

"We fought it for a second," admits Lukather when recalling the discovery that they were contracted to provide another studio album, but when the band's lawyers suggested that some new music might be a good way to help Mike Porcaro's bottom line while freeing themselves from their obligation to the label, he says the idea of a real Toto LP started to take shape: "That was the logical thing to go, 'You know what? You’re right. But if we’re going to do this, we’ve got to do a good one. We can’t just throw something together to fulfill the contractual obligation.' Since it’s been 10 years since we made any new music, we owed it to the people that supported us."

It had been even longer since they'd made an album with Williams at the forefront. After taking over for the band's second lead singer, Fergie Frederiksen, Williams led Toto through 1986's Fahrenheit and The Seventh One the following year, but personal struggles overwhelmed his ability to perform during a tour for the latter album. He'd long since settled those issues when the opportunity to rejoin the band arose in 2010, and had established himself as a film and television composer while releasing the occasional solo effort. The prospect of settling unfinished business by recording a new studio album with the band was also a tantalizing prospect.

"You have no idea," Williams tells UCR. "I just lit up when I heard there was just the possibility of doing another record. And then I think when it became official, Luke said, 'Hey, me, you and Dave are gonna write this album.' I think that's what I heard. That lit me up. Got my juices flowing. I went straightaway and wrote 'Fortune,' I think, that day. Just to get ready for it and hold on to it and then, when the time was right, shove it down their throats. But it ended up being the first thing we cut. This was my chance to do The Eighth One . That's really the way it felt. It was hard to hold me down. I had a bunch of songs, and I was coming up with ideas every five minutes. They had to chill me out a little bit."

Lukather praises that energy. "Joseph was a real key ingredient. I mean, he really wanted to come to this and he wanted to prove something to himself. We sort of all did. But he brought this fresh energy to it. He was very excited from day one about doing an album," he agrees. "Joseph’s a natural musician and a producer and he’s a songwriter. He brought so much to the party, man. I’m so proud of him, because you know, he gets another shot at it to. This is really kind of Joe’s record, it’s like, 'He’s back. Look at this guy.' He didn’t burn his voice out; he’s still got it."

Listen to 'Burn' from 'Toto XIV'

While Williams' official return as Toto's lead singer didn't take place until the 2010 reunion, he'd been involved with the band to some extent for years before that, joining them for a 20th anniversary tour in 1997 and contributing vocals and co-writing credits to various tracks along the way. But as familiar as the group is for him — as he points out, he and Lukather have been friends since before Toto even existed — Toto XIV still added new wrinkles to the creative process.

"I had never really sat down in the old days and had written songs with Luke in the room. So that was new," says Williams. "He and I and Dave sat down to write the opening track to the record and it was one of those things — it came out in that one session, one sitting, and then we polished it up over the course of the month that followed. I had never written with Luke that way, so that was a change. That was great fun."

Lukather adds, "Our most successful records were the ones when we were scared to death that we were going to get dropped from the label. This time, we said no rules. We’re not trying to write the hit single and we’re not trying to do anything with it. We’re just going to make music that we like, harkening back to our love of early ‘70s prog rock like Yes , Genesis , Pink Floyd , Tull , you know, those kind of influences. Steely Dan , Beatles — the stuff that we grew up loving — and then the best version of what we did."

That took a lot of heavy lifting on the parts of the band members, especially given that at this point, they'd all become more or less accustomed to being able to call the shots in their respective solo careers. Joking that the process is like the musical equivalent of "five bulls and one cow to f---," Lukather admits, "We didn’t always agree. But some of that creative tension makes for better music. If you look back at all of the classic bands that we’ve all loved, there’s always a little tension in the room. ... Sometimes in the room, you know, we disagree on how things should sound, and what’s good and what’s not good. There were parts that I played that I loved and Dave hated, and vice versa."

The deciding vote sometimes needed to be cast by producer C.J. Vanston, who Lukather credits with being "almost a referee" as well as exactly the kind of trained, efficient musician who's needed once Toto sits down to play. "He was the guy that put it all together. I don’t think the record could have been done without him," notes Lukather. "The guy is a great musician and he’s a great keyboard player and he’s a great songwriter and he’s a great engineer, and he gets what we’re trying to do. He wanted to make it a classic record, because he was a fan when he was a kid. He was a huge asset to this record. Ask anybody."

Ultimately, Lukather downplays the studio tension he references, saying that "at the end of the day we'd always laugh," but it still might have been enough to derail the record if not for the fact that, as Williams puts it, the reunion "wasn't really a business opportunity for us or for the band." Underneath it all, they were together again because of those old friendships – that brotherly love.

"We're all childhood friends. We played together, hung out together, were naughty together. And that's what's rare," says Williams. "What's rarer still is that when guys like that put a band together and hang in there for 40 years. Usually, it pretty much becomes a routine that you take separate cars to the gig, you don't talk to each other — a la the Eagles or some of the other stories you've heard. It's not the case with these guys.

"We've had our arguments and stuff, and certainly working on the album was difficult with all the personalities, as you can imagine," he continues. "But when we get out on stage, or even just when we're hanging out personally, all that stuff just goes away. I mean, we can be in the depths of a huge argument backstage, but when we walk out, everyone starts doing their thing and playing. Everybody starts smiling and lighting up like we're kids again, and as soon as the show is over, we're laughing and joking and getting on the bus. You know, 40 years of that, it's strange."

That bond also lured back Hungate, who was one of several bassists who subbed in for the ailing Porcaro on Toto XIV . "He hadn’t been back in the band in 33 years," notes Lukather, saying that touring with Hungate back in the group will be "like going back to the hometown, except in a positive way, not a negative way. ... All of a sudden we’re sitting in the room with the history there between us all. It’s a long, long history, and it was like no time had passed, except we’re just older and wiser. But the humor and the memories — and his playing is incredible. It’s great."

Listen to 'Holy War' from 'Toto XIV'

While Porcaro's absence led to Hungate's return, as well as Toto XIV guest spots from incredible bassists such as Tal Wilkenfield, Lee Sklar and Tim Lefebvre, the knowledge of his declining health — and the lingering feeling of loss left in the wake of original Toto drummer Jeff Porcaro's 1992 passing — added a somber tone to the proceedings. "That’s tragic and sad," sighs Lukather. "The fact that two brothers from the same family – it’s just not right. It’s really just not right. What are the odds of that? It’s hard to describe. So, those guys were sitting in the room with us every day anyway. We’d always go, 'What would Jeff think of this?' or 'What would Mikey think of this?' You know, Mikey was the catalyst in bringing us back together again, so in many ways, this is his record."

After pouring so much of themselves into Toto XIV , the prospect of attempting a follow-up seems faintly ridiculous to Williams and Lukather.

"I'll speak for myself," says Williams, laughing. "At my age, one thing at a time! When I was a younger guy, I tried to jump ahead a lot and I was always disappointed. Look, I think the answer to the question is that there is a huge future now for the group again. What that looks like, and how it will unfold, we will see. Right now, we're all thrilled that the album is done and we pulled it off the way we wanted to – and the next step right now is to go out and play it."

Lukather is more to the point. "That’s like asking a woman after she gave birth, 'Are you ready to have another one?' No," he says, laughing. "You know, who knows. At this point, we got through this one and if this is the last album that we make, I think we made a really great musical statement. I’d be really satisfied with that being a bookend to it. ... I’m not saying that we won’t record together again, but a 10-month process of sitting in a room doing this, I’m not sure who would pay us enough to do that. This is an 11-song album that we worked really hard on. I’m not sure if that configuration, in five years' time, if people will be interested in that again. We gave it our all. Ask me in five years."

That said, Williams stresses, "I'm game. I'm open for anything. I'm just taking it one thing at a time. ... It's great, and my hope is that what people are seeing in this version of the band is that brotherhood. I hope what they're seeing is that we're digging each other and loving what we do."

What longtime Toto fans are left with is an album that — if it does end up being the band's full-length swan song — finds the members of Toto working at the peak of their respective abilities, and should leave listeners wanting more after the final notes fade. Toto XIV ultimately stands as a testament to an effort that Williams describes by saying, "We really dove into it. We did it like our lives depended on it."

"We spent 10 months of our lives screaming at each other, laughing at each other, pushing each other and reading about the news and writing about s-- that bothered us about life," sums up Lukather. "It’s not writing songs about going to the club and picking up girls and fast cars. We’re older guys now. We’ve lived lives and been through greatness and s-- and horrors and death and divorce, addictions, whatever. We’ve all been through it all. Now we’re looking at life from a different point of view, and I thought we made a pretty good record. There’s some pretty cool stuff on it, if you like our music. If you don’t," he laughs, "Well, what can I say?"

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• Joseph Williams

Joseph Williams: From Toto to Tenant A New Solo Album Finds Him Mining His Muse

by Lee Zimmerman February 26, 2021, 11:56 am

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Joseph Williams has always been well represented, not only as the second generation singer for Toto, but also as an Emmy nominated television composer, a film composer in the hallowed tradition of his famous father, the legendary John Williams, a voice-over actor (a talent gleaned from his mother, actress Barabra Ruick), a session singer and the mastermind behind a string of solo albums dating back nearly 40 years. Not one to rest on his laurels—or get sidelined by the pandemic—he’s currently touting an adventurous new album, Denizen Tenant , and looking ahead to a future tour with Dogz of Oz, a new incarnation of Toto that’s named for its original namesake and planned with his pal and sole remaining Toto bandmate Steve Lukather . Indeed, William and Lukather remain the last two musicians carrying the Toto banner forward.

“I’ve been keeping myself as busy as I possibly can,” Williams remarks when asked about his spate of activity. “That’s what keeps me from getting depressed or too busy thinking about how bad things have been for so long.”

Aside from a number of original compositions written by Williams himself—the brightly upbeat “Liberty Man,” the serendipitous “Black Dahlia,” an adventurous Yes-like tune titled “Remember Her,” and the rousing and robust sweep of “The Dream” and “World Broken” chief among them—the album also boasts a pair of unexpected covers in the form of Peter Gabriel’s “Don’t Give Up” (featuring duet vocals from special guest Hannah Buck) and a faithful take on the classic Beatles ballad “If I Fell.” Given that tapping into a standard can be a somewhat precipitous proportion—it either comes across as an attempt to ape the original or simply sounds like a pale imitation—Williams insists that he wasn’t out to create any comparisons.

“It wasn’t like I decided I was going to do the most incredible cover I could,” Williams explains. “I was taking a break from working on another song, and like I often do, I went from this monitor to another monitor over here and watched some YouTube just to entertain myself for a second.  And all a sudden, a bunch of things that I was interested in came across. So, I happened to be watching clips of those two songs and got inspired to do them myself.” 

Notably too, Williams found himself in good company, little surprise considering the fact that his efforts over the past 40 years or so have found in the stellar environments of L.A.’s premier session scene. Those participating in the sessions included his pal Lukather (or “Luke” as he’s better known to his colleagues), keyboardist and composer Jay Gruska, Toto bandmate David Paich, guitarist Mike Landau, veteran bassists Leland Sklar and Nathan East, and seasoned British drummer Simon Phillips, among them. 

“It’s always just been a matter of simply going to them and asking them to participate,” Williams insists. “All I’ve ever had to do was to call them. They tell me when to come or where to bring a mike or whatever. Or I’ll record them remotely.  Whenever I’ve asked, they’ve never never declined.”

That of course is a nice position to be in, but at the same time, Williams never lacks for having work on his plate as well. “For the past few months, I’ve been making videos for other people as well as for myself, for the songs on the new album. The reason for doing that is that first of all, I just love doing it. I have so much fun making them. We don’t have the huge budgets that we used to have for making music videos, and that stuff really isn’t available to us anymore. So they’re simply home-made looking things. Still, they serve the purpose. It’s visual content to go with the music, and I just keep trying to do stuff that I think people will just be entertained by. Again, it’s just a way of having some accompaniment for the songs. That seems to be the way that people listen to music these days, especially on a medium like YouTube. So I’ve been spending my time making these videos and just trying to get better at it.”

Being off the road for awhile allows time for those undertakings of course, but it also creates a new challenge—that is, to ensure his vocals are perfectly primed when touring resumes. It’s a scenario Williams is well aware of, having been forced to abandon Toto during his first stint with the group in the late ‘80s due primarily to problems with his voice. While he eschews formal training or exercise, he’s still cognizant of the need to keep himself in shape. 

“When I’m home and not touring, I’m hiking,” he responds when asked about his regimen. “I actually just keep singing while I’m hiking. There’s some amazing hikes here and some real difficult hills and stuff. There’s one that actually goes by my old house and an old movie set where they used to film those classic westerns.  It’s a six hour hike from here. There are tons of trails for horses and stuff, and you can go you can go in a thousand different directions. So I’ll go up there for about an hour and be careful and keep doing the exercise while keeping my body hydrated.”

Clearly, this Dogz life suits Williams well.

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Steve Lukather and Joseph Williams Announce New Toto Line-Up and Tour

Steve Lukather a.k.a. Luke and Joseph Williams are life-long friends since they were kids, and bandmates sharing a deep colorful history that has thrived professionally on a global basis over the past decades. The duo has announced the formation of a new band with world class players. They will continue to tour as Toto  and are in motion to bring their Dogz of Oz tour worldwide as the pair looks forward. Planned concerts across North America, Europe, Asia, Australia / New Zealand and other geographical destinations will be staged where the ensemble will perform all the hits, deep cuts, and solo music from Lukather and Williams individual catalogs.

Joining Lukather and Williams for this next chapter in their indelible history are bassist John Pierce (Huey Lewis and The News), drummer Robert “Sput” Searight (Ghost-Note / Snarky Puppy), and keyboardist / background vocalist Steve Maggiora (Elvis, Moms Mabely).  Keyboardist Dominique “Xavier” Taplin (Prince, Ghost-Note) and multi-instrumentalist / vocalist Warren Ham (Ringo Starr) have segued over continuing their tenure in the ensemble alongside Lukather and Williams. This marks the fifteenth incarnation of the Toto line-up in consideration of band members or sidemen who joined or exited.

Luke shares, “We could not be more at peace with this move. There is a refreshing, optimistic enthusiasm to step in to the future. At this moment, Joe and I are the only long-tenured members of the band that want to be on the road continuing to bring music to our multi-generational fan base. I’ve spent almost four and a half decades of my life as the only original member who never missed a show or an album nurturing this legacy while enabling the music to continually exist in the live concert setting. That is something I’ll never stop doing, and the Dogz of Oz global tour offers a rare opportunity to reimagine our personal futures while simultaneously preserving the deep connection that exists with the audience while likewise yielding continual discovery.

The hope is to move forward with the planned itinerary for Summer, 2021 that will bring us back to our fans across The World.”  Williams offers, “Luke and I have been through a lot with one another. He’s like a brother to me. Our creative partnership has always enriched our lives. As we look towards what’s to come in unison, there is nothing but anticipation to bring everything in our minds to life. I can’t think of anyone else on Earth I’d rather launch the next chapter with this lifelong, loyal and gifted friend and band mate. We’re the last men standing…The Dogz of Oz!” Luke adds, “Joe and I have been friends since I was 17, and Joe was 14. During the course of this pandemic we’ve been reevaluating our career and how to move forward. People are either not with us anymore or have retired. We still feel like kids who want to be back on the road as soon as possible. It’s where we live. Joe’s growth as a producer, songwriter, engineer, singer and performer is inspiring.  The timing of this move is perfect as Joe is at the top of his game, and he amazes me every day. We are enjoying this collaboration, and could not be more enthusiastic about the future.”

Over the course of five decades Lukather has placed an indelible stamp on pop culture. Alongside his tenure as the only member of Toto to never take a hiatus from the band, he has performed on thousands of albums as a session musician. Among these musical contributions are some of the most successful, influential and enduring records of all-time including Michael Jackson’s Thriller . Additionally, he released a memoir titled The Gospel According To Luke which was a global best-seller. He continues to be Toto’s band leader, a member of Ringo’s All-Starr Band, and a solo artist performing with multiple ensembles which include Nerve Bundle and Toxic Monkey.

At age fifteen, Williams began his career as a radio and television commercial singer. Joseph also achieved success as a television and film composer in the late 90’s and early 2000’s. He fronted Toto as a lead vocalist from 1986 to 1988, and was featured on the albums Fahrenheit (1986) and The Seventh One (1988).  He also appeared on the 2006 release Falling in Between , sharing lead vocals with Luke on “Bottom of Your Soul.”  In 2010 he returned to the band, becoming front man and lead vocalist, a tenure that continues through today.  He has released ten solo albums, and is an Emmy Award nominated film composer. His career as a session vocalist has placed his voice indelibly in pop culture through the dozens of performances in the medium of film, among which is his role as the adult Simba on The Lion King . Williams voice is featured on “Hakuna Matata” alongside “Can You Feel The Love Tonight.”

Toto has enjoyed a celebrated resurgence over the last several years tied to the band’s 40 th Anniversary, wherein over a thirty-month period they performed for millions of fans across North America, Europe, Japan, Australia, New Zealand and Indonesia.  The band’s repertoire has been streamed over a billion times, while album sales exceed 40 million copies. Simply, Toto is one of the few 70’s bands that have endured the changing trends and styles, and 45 years in to a career enjoy a multi-generational fan base.

On Saturday, November 21 the new line-up will make their global debut.  The band has planned a one-night only concert event that will broadcast prime time in three geographical regions to super-serve the fans: Asia, Australia / New Zealand; Europe; North America. For more information, tickets, and available bundles click here . Direct links on a territory by territory basis are UK/Europe , Aus/Asia , and US .

In 2021, both Lukather and Williams will release solo albums that feature one another performing on some of the songs featured. The forthcoming titles will be issued globally in partnership with Mascot Label Group. Last month, Luke released “Run To Me” from the upcoming album featuring Williams alongside Ringo Starr and future band mate John Pierce.

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TOTO TO STAGE EIGHTEEN APPEARANCES WITH JOURNEY IN ARENAS

Posted on November 16, 2021

Tour Begins April 7 in San Diego and Ends May 11 in Hartford

“africa” crosses threshold of one billion streams on spotify.

Watch Performance of “With A Little Help From My Friends” Here: https://youtu.be/C25LRl15fOE

TOTO has announced the band will stage eighteen appearances with Journey in arenas across The United States.  The run begins on April 7 at Pechanga Arena in San Diego, CA and ends on May 11 at XL Center in Hartford, CT. Toto’s Steve Lukather shares, “’On behalf of myself and the band, we are very honored and excited to do this tour with our old and dear friends Journey. Gonna be a great night of music, and as all the guys are lifelong friends… a blast off stage as well.” General on-sale is Friday, November 19.

Toto’s “Africa” recently crossed the threshold of ONE BILLION streams on Spotify. This accomplishment speaks to the continual discovery of the band’s repertoire, alongside the multi-generational fan base enjoying a composition that is nearing forty years since the band’s album IV was released. Co-writer David Paich shares, “This surpasses a dream come true!  Thank you  to our family, friends and fans!  ‘Africa’ is the result of a team effort in the studio – resulting in musical magic!  And thanks to Spotify for helping TOTO connect with so many awesome listeners.  I know my co-writer Jeff Porcaro would be smiling and celebrating this moment with us.” Cumulative Spotify streams exceed 3.3 Billion plays.

The band recently released With A Little Help From My Friends via The Players Club / Mascot Label Group. To screen the title track, which presents the new line-up of Toto, click here: https://youtu.be/C25LRl15fOE .

The global tour that will commence in 2022 will stretch several years, and is presented by Toto co-founder and musical director David Paich.  Joining Steve Lukather and Joseph Williams on the road are new band members bassist John Pierce (Huey Lewis and The News), drummer Robert “Sput” Searight (Ghost-Note), and keyboardist / background vocalist Steve Maggiora (Robert Jon & The Wreck). Keyboardist Dominique “Xavier” Taplin (Prince, Ghost-Note) and multi-instrumentalist / vocalist Warren Ham (Ringo Starr) segued over continuing their tenure in the ensemble. This marks the fifteenth incarnation of the Toto line-up in consideration of band members or sidemen who joined or exited.

Steve Lukather offers, “When the music is performed by great musicians it honors Toto. The documentary featured on the DVD offers great insights in to our thoughts looking forward. David, who stands with us, alongside Joe and myself, desire to keep this music alive.  And Paich could pop in any time for a show as a special surprise.  We’ll be selecting a broader mix from the Toto catalog that includes deep cuts, the hits, and tunes from Joe and my recently released solo albums. Both of us could not be more thrilled with the global response to these records.”

Luke and Joseph Williams are life-long friends since they were kids, and bandmates sharing a deep colorful history that has thrived professionally on a global basis over the past decades.  Joseph Williams shares, “Luke and I have been through a lot with one another. He’s like a brother to me. Our creative partnership has always enriched our lives. As we look towards what’s to come in unison, there is nothing but anticipation to bring everything in our minds to life. I can’t think of anyone else on Earth I’d rather launch the next chapter with than with this lifelong, loyal and gifted friend and band mate. We’re the last men standing…The Dogz of Oz.”

With A Little Help From My Friends was Produced by Joseph Williams, who also edited the accompanying long-form video.  The band’s long-time front of house engineer Ken Freeman mixed and captured the sound. On February 26, Luke and Joe presented solo albums via The Players Club / Mascot Label Group which charted in multiple territories across the globe.  Both artists made significant contributions to the other’s recordings. Additionally, David Paich performed on select tracks on Luke’s I Found The Sun Again and Williams’ Denizen Tenant . The titles were released on LP, CD and a limited-edition deluxe edition is available with the two titles bundled together. Available here: https://smarturl.it/Steve-Lukather and https://smarturl.it/JosephWilliams .

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TOTO's Joseph Williams Talks Tour With Journey and More

Posted Fanuary/February 2022

On April 7, TOTO will perform an additional 18 shows in U.S. arenas with Journey. In July and August, the band will be touring in Europe headlining festivals, alongside performing in arenas and large theaters which include an already sold-out appearance at Amsterdam’s Ziggo Dome.

To talk about the tour, Joseph Williams and I hooked up via Zoom to chat about the tour and what fans can expect. It was yet another fun, brief chat that fans will want to listen in on via the video below. Underneath the video are some up-to-date fun facts about the band.

Watch the video. Enjoy it. Share it with friends. Then go online at TotoOfficial.com to order your tickets.

The Boomerocity Interview With Joseph Williams

The band recently released With A Little Help From My Friends via The Players Club / Mascot Label Group. Steve Lukather shares, “We are keeping the music of Toto alive with a little help from our friends.” Joseph Williams offers, “In the midst of a global pandemic and an unprecedented lockdown we realized a few things. Musicians must play and people need to get together to watch them. It was then Luke, Dave and I decided to call upon our friends to create this performance. We welcomed new friends on to the stage and found an instant connection with them. Welcomed back old friends to do a little work! The fact is we couldn’t have pulled it off without the love and support of our friends and family. Never was a title or a song been more appropriate. I hope you enjoy ‘With a Little Help From My Friends!’”

The global tour that will stretch several years is presented by Toto co-founder and musical director David Paich. Joining Steve Lukather and Joseph Williams on the road are new band members bassist John Pierce (Huey Lewis and The News), drummer Robert “Sput” Searight (Ghost-Note), and keyboardist / background vocalist Steve Maggiora (Robert Jon & The Wreck). Keyboardist Dominique “Xavier” Taplin (Prince, Ghost-Note) and multi-instrumentalist / vocalist Warren Ham (Ringo Starr) segued over continuing their tenure in the ensemble. This marks the fifteenth incarnation of the Toto line-up in consideration of band members or sidemen who joined or exited.

Steve Lukather offers, “When the music is performed by great musicians it honors Toto. The documentary featured on the DVD offers great insights into our thoughts looking forward. David, who stands with us, alongside Joe and me, desire to keep this music alive. And Paich could pop in any time for a show as a special surprise. We’ll be selecting a broader mix from the Toto catalog that includes deep cuts, the hits, and tunes from Joe and my recently released solo albums. Both of us could not be more thrilled with the global response to these records.”

Luke and Joseph Williams are life-long friends since they were kids, and bandmates sharing a deep colorful history that has thrived professionally on a global basis over the past decades. Luke offers, “There is a refreshing, optimistic enthusiasm to step into the future. At this moment, Joe and I are the only long-tenured members of the band that want to be on the road continuing to bring music to our multi-generational fan base. I’ve spent almost four and a half decades of my life as the only original member who never missed a show or an album nurturing this legacy while enabling the music to continually exist in the live concert setting. That is something I’ll never stop doing, and when we inevitably return to the road it presents a rare opportunity to reimagine our personal futures while simultaneously preserving the deep connection that exists with the audience while likewise yielding continual discovery.” Williams adds, “Luke and I have been through a lot with one another. He’s like a brother to me. Our creative partnership has always enriched our lives. As we look towards what’s to come in unison, there is nothing but anticipation to bring everything in our minds to life. I can’t think of anyone else on Earth I’d rather launch the next chapter with than with this lifelong, loyal and gifted friend and band mate. We’re the last men standing…The Dogz of Oz,”

With A Little Help From My Friends was Produced by Joseph Williams, who also edited the accompanying long-form video. The band’s long-time front of house engineer Ken Freeman mixed and captured the sound. On February 26, Luke and Joe presented solo albums via The Players Club / Mascot Label Group which charted in multiple territories across the globe.

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• Appearances

Joseph Williams of TOTO

New solo album "denizen tenant", denizen tenant – liner notes, joseph williams – denizen tenant.

Release date: 26-Feb-2021 (Worldwide)

• TPC76321     810020503210         2LP
• TPC76322     810020503227         CD
• TPC7632D     810020503234         Digital
• TPC76351     810020503159         4LP Bundle: I Found The Sun Again / Denizen Tenant

Tracklisting

Liberty man, denizen tenant, wilma fingadoux, black dahlia.

• Don’t Give Up
• Remember Her 
• Mistress Winter’s Jump

World Broken

Musicians and Singers

Jeff Babko                             David Paich

Oscar Bugarin                      Simon Phillips

Lenny Castro                        Dylan Ronan

Nathan East                          Hannah Ruick

Jay Gruska                            Leland Sklar

Barbara Gruska                    Steve Tavaglione

Mike Landau                         Weston Wilson

Steve Lukather                     Ray Williams

Steve Overton                      Mark T. Williams

Produced by Joseph Williams (“Black Dahlia” and “No Lessons” Arranged and Produced by Jay Gruska, Mixed by Dave Way)

Album produced and mixed at Digbyroad Studios, Sheman Oaks California All vocal arrangements by Joseph Williams Mastered by Gavin Lurssen and Reuben Cohen at Lurssen Mastering, Inc.            

Photography by Alex Solca Artwork by Roy Koch Management: Steve Karas and Keith Hagen

Record Label: Mascot Label Group / The Players Club Head Office: P.O. Box 231, 2650 AE Berkel, The Netherlands USA Office: 118 E. 28th Street, Suite 701, New York, NY 10016

Publishing info: Barry Bregman: ACEEB Music/BMI Jay Gruska: Barb Ethan Music/ASAP Denise Gruska: Word-ish Music/ASCAP Steve Overton: Steven Swain Overton Music/ASCAP Paul Gordon: Dirk Flame Music David Paich: Davlo Music/ASCAP Joseph Williams: Joeswills Music/BMI

“Don’t Give Up” Peter Gabriel (Sony/ATV Music Publishing LLC, Universal Music Publishing Group, BMG Rights Management)

“If I Fell” John Lennon • Paul McCartney (Sony/ATV Tunes LLC, DBA ATV obo ATV (Northern Songs Catalog)

______________________________________________________________________

Special thanks to  Oscar Bugarin and Dylan Ronan… Thanks for your inspiration and all the long hours at B-Man North! To my beautiful daughters Hannah and Emma. I love you with all my atoms! Thanks to my nuclear’s, Jenny Mark and John T. The love in that room is deep! Thanks for always holding me up. To David Paich, for his time and fellowship… To my lifelong friend, band mate and partner Steve Lukather… My eskimo in life. I love you with all I got! Huge thanks to Steve Karas and Keith Hagen for all their long hours of work to get this thing out there, and all they do for us remaining in Toto.

To Ed and everyone at Mascot for taking me on with such love and enthusiasm.

To Andee and Barry Bregman who for 40 years have been putting up with me banging on their piano and being their own Denizen Tenant. I can’t thank you enough. 

I love you! Special thanks to Barry Bregman (Bman) for the wealth of musical ideas that got us started in 2016! To Jay Gruska for also being an eskimo, a brother and a teacher. To Lenny Castro, a lifelong brother who gets my music and without whom my sound just don’t work… Bless you and I love you! To all the gifted musicians who gave for this project… 

THANK YOU SO MUCH! To everyone I forgot, I love you!

Never Saw You Coming

Joseph Williams • Barry Bregman

Percussion: Lenny Castro • Guitars: Mike Landau, Oscar Bugarin • Piano/Synths/Drums/Bass (prog) & Vocals: Joseph Williams

Oh Death • Won’t you roll on by • I got a feeling I’m just waiting here • Counting down the time —

Oh Lord • Won’t you tell me why • You gotta take me when I’m groovin’ • When I’m feelin’ so alive —

I never saw you coming • Rollin’ up behind me • In the pouring rain • I was wondering when you’d show up • I never saw you coming • You’re never where I’m looking • It could be any day • You’re a spirit that don’t care ‘bout love • I never saw you coming —

Oh Lord • Won’t you tell me why • It’s such a fuckin’ secret • When you will arrive • Got a feeling I’m just waiting here • Thinkin’ ‘bout my life • Running out of time —

I never saw you coming • Something’s up something’s coming down • Rollin’ up behind me • You don’t really think you’ll stick around • In the pouring rain • I was wondering when you’d show up • I never saw you coming • You can fight you can scream and shout • You’re never where I’m looking • You can ask “what’s it’s all about?” • It could be any day • You’re a spirit that don’t care ‘bout love • I never saw you coming —

Something’s up • Something’s coming down • You don’t really think you’ll stick around —

You can fight • You can scream and shout • You can ask what’s it all about

Joseph Williams • David Paich

Drums: Simon Phillips • Bass: Leland Sklar • Guitars: Steve Lukather • Guitars: Mike Landau • Piano/Keys/Vocals: Joseph Williams

I hear my heart singing a song • You are the words and the melody •  And it’s calling me to where I really belong  • Down to the edge of the sea —

You could say I’m a romantic fool • Who wants to be an adventurer • I’ll follow that sound to the edge of the world • I’ll do anything I have to get to her —

(Chorus:) I am a man who has to be free • To pull up the anchor and set out to sea • To ride the beckoning waves and follow the stars • I still believe you and I can go on • Sailing the world we’ve been building upon • And we’ll search for a land where the love isn’t fading away —

Seems to me life’s a river of dream • That goes on and on to infinity • But you have to watch out for the occasional fall • It’s the speed of the current that worries me —

You may think I’m an irrational man • Uncertain of my own destiny • But I believe in freedom of the soul • You know I will keep her next to me —

Joseph Williams • Steven Overton

Bass/Guitars: Steven Overton • Additional Vocals: Ray Williams, Weston Wilson • Drums prog./Piano/Synths/Vocals: Joseph Williams

You done did – You flaunt it • What you want – Why you want it • Faceless name a nameless face • Walk around like you own the place —

Denizen tenant • Right hand • To the Leftenant • None what somewhat so ever • Never —

You never move • Neither do we • Stood my ground • As my post deserted me —

Make yourself a drink • Relax and make yourself at home • You done did • Ya Denizen • Right hand to the left

Joseph Williams

Co-produced with Dylan Ronan • Percussion: Barbara Gruska • Drums/Bass/Synths prog: Dylan Ronan • Cello: Tina Guo • Additional Vocals: Ray Williams, Hannah Ruick • Additional Keys/Vocals: Joseph Williams

I don’t wanna breathe for you • I don’t wanna grieve for you • Everything I do I do to you • I do I feel through you • Feel you in my heart I do • I don’t wanna face it too • Every time I fall I do to you do you • You feel it too —

It’s not about you • It shouldn’t take forever to discover • I think I was wrong • It’s not about you • (Repeat)

Joseph Williams • Jay Gruska

Drums: Barbara Gruska • Bass: Nathan East • Electric Piano/All Synths: Jay Gruska • Hammond B3: David Paich • Guitars: Mike Landau • Vocals: Joseph Williams

Sunshine radiating from you • You’re a bonafide sorcerer • That’s what you are  —

You got that undeniable thing • And when you’re anywhere close to me • I fall apart —

How do you do what you do to me • Look in my eyes and I’m history • I can’t tell you • What you already know —

(Chorus:) I am your prisoner • Chained up with no hope of getaway • Sultry and sinister • I’m under your spell now anyway • You’re the real black dahlia • A heartbreaker —

Don’t stop acting like you love me • You know how crazy • I’m drawn to you • Like a moth to a flame • I can take • Whatever you can dish out • And I know that I’ll only • Have me to blame —

Now I can see you and I agree • This is no longer a mystery • So please tell me • What I already know —

So please tell me • What I already know —

Don’t Give Up

Peter Gabriel

Percussion: Lenny Castro • Guitars: Steve Lukather • Lead Vocals: 

Hannah Ruick • Additional Vocals: Ray Williams • Drums/Bass prog./Piano/Synths/Vocal: Joseph Williams

Drums: Mark T. Williams • Percussion: Lenny Castro • Guitars: Mike Landau & Oscar Bugarin • Additional Vocals: Ray Williams, Weston Wilson • Piano/Synths/Vocals: Joseph Williams

When I was born we was tied in a race • Who gonna ride on the rocket to space • We was discovering something new every day • For all of that I got a phone and a mask on my face —

(Chorus:) The shame of it all • Ding dong the dream is dead • Believe what you want • But we’ve been walking • Around like the living dead • Get on your knees and pray • Feel dumber everyday • Take what you want • Ding dong the dream is dead • What happened to my flying car —

Just give me a pill to make me like you • Just give me somethin’ to eat • And give give me somethin’ to do oh yeah… —

The shame of it all • Ding dong the dream is dead • Believe what you want • Please just leave me alone • With my weed and my phone • We’re living in a daze • No one really wants to say • I’m gettin’ dumber everyday • Take what you want • Ding dong the dream is dead • What happened to my house on Mars —

I wanna be a fat cat billionaire • Maybe then I’d understand this whole affair —

Remember Her

Joseph Williams • Paul Gordon

Percussion: Lenny Castro • Guitars: Mike Landau, Steve Lukather & Oscar Bugarin • Drums/Bass prog./Piano/Synths/Vocals: Joseph Williams

Never mind the alibis • Never mind the pages • That she’s memorized • Her legacy forgotten • The highest star she • Reaches for is compromised • She didn’t have time for play things • How was she to know what tomorrow brings? —

(Chorus:) Oh, will anyone remember her • Oh, I will remember her —

She won’t get a second chance • Her life is a sum of random circumstance • And nobody sees her breakthrough —

They just see things as they’ve always • Wanted to • And now she’s lost in history • The star shining bright that was never to be —

(Chorus) — 

She’s one of us • Oh, will anyone remember her • She found the heart • Oh, I will remember her 

Music by Jay Gruska • Lyric by Denise Gruska

Piano/Bass/Drum Prog./Flute & String Arrangement: Jay Gruska • EWI Muted Trumpet: Steve Tavaglione • Hammond B3/Fender Rhodes: Jeff Babko • Vocals: Joseph Williams

Momma told me to be careful • Don’t just give away my heart • Keep my secrets to myself • Hold my tenderness apart • But then no one counted on you… least of all me • You took everything I had • And everything I used to be —

(Chorus:) The older I get the less I seem to know • Who I even am and how everything is supposed to go • There were so many signs but I saw none of ’em • Cause there are no lessons • And this isn’t one of ’em —

I paid my dues till I was broke • Tried every scrip to fix my life • It’s like trying to take the edge off • With the dull side of the knife • But if you hit the bottom there might be a lower floor • It takes everything you have to get back where you were before and… —

Are we doomed to just repeat • Until we’re brought down to our knees • How can a person never slip • On what a person cannot see • Well I’m just tryin’ to find my voice ‘cause it’s the journey not the end • I’ve chased it all a little hard • But I’m on my feet again… Still —

The older I get the less I seem to know • Who I even am and how everything is supposed to go • There’ll be so many signs and I’ll see none of ‘em • Cause there are no lessons, no there are no lessons • There are no damn lessons • And this still ain’t one of ‘em

Mistress Winter’s Jump

Steven Overton

Percussion: Lenny Castro • Bass/Guitars: Steve Overton • Drums/Additional Bass prog./Piano/Synths/Vocals: Joseph Williams

There once was a time • When I was drawn to you • Days and the nights • Remaining too few • But in a world • Where the cynic is wise • Saw your world • Through simpler eyes —

I dreamt all was healed • I dreamt all was well • Dreamt it was all just two • Dreamers in hell • Pray for respite • Pray for more rain • Pray that what’s keeping • Down keeps me sane —

Tear it apart though it’s • Something you love • Any of the many • Is still too few • In all manner • Of mannerly ways —

Now and again • I’ve called you my friend • Sometimes lover • Sometimes just pretend •

Love is away • From love’s a way to • Love is a say nothing • You charmer you —

Far away eyed and just in the way • Too many tests on the question today • Love is a say somethin’ • Love’s a can do • Glad to have known • So sad it is through • Tear it apart like • It’s someone you love • It’s just a somethin’ • Got held on to long • Hmm like a princess • You take like a queen • Yeah…

John Lennon • Paul McCartney

Percussion: Lenny Castro • Nylon Guitar/Vocals: Steve Lukather • Keys/Vocals: Joseph Williams • Last Vocal: Judy Boots

Percussion/Last Vocal: Lenny Castro • Guitars: Steve Lukather • Additional synth prog: Dylan Ronan • Additional Vocals: Hannah Ruick & Ray Williams • Drums/Bass prog./Piano/Synths/Vocals: Joseph Williams

I think I turned a corner • I can see it now • Too many towering walls • I’ve built around myself • It’s all coming down —

(Chorus:) World broken • House falling down • Eyes wide open • World broken • I gotta roll on • I gotta move on —

I want to see • that promised day • When it all runs • clean and sound • But it doesn’t feel like • people care about the land —

World broken • House falling down • Eyes wide open • World broken • I gotta roll on —

ALBUM COMMENTS (Ltd. Edition)

Never saw you coming .

“Never Saw You Coming” was written over the course of 3 years. In 2016 my lifelong pal and collaborator Barry Bregman showed me an idea for a song. One of many pieces he had been working on. Barry had a handful of unfinished demos he’d started with some help from guitarist Oscar Bugarin and producer Dylan Ronan. I jumped in on this one and added some things and a few new sections. The song developed over the years, changing a bit each time I came back to it. But it was when we got the guitar tracks back from Mike Landau that the song began to take its final form. 

Mike Landau has been playing on my music since I was a teenager and he just knows what to do. His parts always inspire me. They help move me to the next step in the writing process. Steve Lukather is like this as well. 

Once I had his stuff, almost instantly I had a concept for lyrics and a vocal arrangement. Then in 2019 I peeled the song apart again. I re-edited form and re-produced some elements. Once I had all my vocals and production finished (spring of 2020) I put the song in the gifted hands of Lenny Castro. Lenny also records his stuff on his own. He knows exactly what is needed and he will give me so many choices. I always get what I want. Like Mike Landau I’ve been working with Lenny since I was a kid.

I sat at the computer one day in 2019, listening to some random music, artists new and old, hunting for inspiration. The inspiration from that little session I remember was to write something waltzy… I put up a piano and started this tune. A verse and chorus that I thought were pretty interesting together if not a bit directionless. Worthy of continuing, at this stage I built up a pretty good sounding track and sent it to Mike Landau. He sent back his usual brilliance, giving it the life it needed but the song itself wasn’t right. I don’t like to force things so I left it alone and worked on something else. A few months later I played it for David Paich who instantly knew what it needed. David sat at the piano and played the chorus! “It needs a chorus” he said. Once we had our form, David and I started working on the lyrics.

I loved writing with Dave. On this tune, like many others, we spent hours talking about history, religion, music, literature, movies etc. Always leading us like excited kids to a subject or concept for the song. Then we start throwing out phrases, collecting and discarding ideas. Shaping and reshaping melodies along the way. Then in 2020 David Paich fell ill and could no longer remain in contact so I completed the song on my own.

In the spring of 2020 I started producing “Liberty Man” from scratch with the exception of Mike Landau’s guitars and one of my pianos. I sent the track to my friend and former band mate Simon Phillips. Simon crafted a brilliant drum part, recorded himself at his studio Ojai, California and sent the tracks back to me. The drums were perfect. No tweaking necessary! Next I felt that if I had Simon here, it would be nice to have a human actually playing bass with him. Enter Leland Sklar. I asked Lee if he’d play on it. He said he’d love to. Then after sending him several unreadable charts, and eventually getting him something that looked like music, he added HIS brilliance to the track. 

This tune comes with a most curious story. Some music came to my attention by a player called Steven Overton. Steven (unknown to me at the time) is a world class guitar player and a gifted songwriter who, from his home New Mexico, has created a plethora of musical gems. He had one song in particular that I wanted for this project called “Mistress Winter’s Jump” I was able to contact him through his brother who lives in LA. After a few very funny back and forths, Steven agreed to send his guitar, bass, synth parts etc. from his version of “Mistress” so that I could do an arrangement and still use his guitars and bass.  

I was so thrilled! While I was waiting for a hard drive to arrive I dove deeply into Steve’s stuff and just fell in love with all of it! His guitar work is brilliant. His sound in general was very inspiring and moved me forward in a huge way right when I needed a kick in the pants. I plugged in the hard drive Steven sent me with “Mistress Winter’s Jump” on it. I opened the file but what played was something different. It was labeled correctly but what played was another tune. At first I was bugged but as I listened to this other piece I was blown away. It was a two plus minute piece that sounded so raw and angry. When I really opened up the file and dug into the detail I found it so interesting and different and I quickly emailed Steven and asked “What’s this? Can I have this too?” He said “sure” and also that he was open to me collaborating with him on it. And so it became Denizen Tenant. 

Once I had Steve’s parts I went nuts playing, turning it into this new thing! Crafting this was a blast. This song was like a puzzle that I couldn’t put away! I kept making myself laugh as I worked on the vocal arrangement… adding everything that came to my mind! After adding my daughter Emma Ray’s and Westons vocals, I sent it off to Lenny. As always his percussion parts make my drums sound better and humanizes the whole track.

This is a song for my mom who died in 1974. I was 13 years old. The title is not her name. It refers to a joke she used to tell. This tune is one of many I have written for her over the years but here I have three of my mother’s granddaughters singing and playing with me… it’s a special sound!

This song just fell out of me. Much more easily than most… I sat down at Barry Bregman’s one day and played some changes with a groove into Logic and asked producer Dylan Ronan to create a track for me. I had the song itself but I wanted a more current vibe in the track and Dylan nailed it! 

With Dylans elements, and my niece Barbara Gruska’s percussion, I added my sample elements, and then it became a vocal project. After completing mine I layered in both my daughters’ voices on some key harmonies. This one was fun to sing. It came together so fast. It’s one of those weird songs that I look back on and remember producing it but at the same time say to myself “when did I do that thing? Far out!” It’s rare when that happens.

This song marks the reunion between me and Jay Gruska. Jay Produced my first solo album back in 1981. During that time we become dear friends and Jay married my sister Jenny and gave us my niece and nephew Barbara and Ethan Gruska! Jay was my mentor. He was my first song writing/singing/playing/producing and film composing teacher. After some years had past without seeing Jay (a falling out that was my fault), we finally connected again. I asked him if he wanted to write and produce something for this project. He said he’d love to, and we set out to write Black Dahlia. 

Jay and I work very easily together. The method is truly collaborative. Like David Paich when he and I write together, Jay is the better player and usually takes the helm with the start of a song. He showed me a fantastic start he had and we were off and running. The song came together quickly! We fell back into our pattern of working together as if no time had passed. Other than doing some of my vocals in my studio (some were done at Jays), the song was produced by Jay at his studio. 

During a conversation about drummers for the track, one of us (I forget who) suggested Jay’s daughter, my niece Barbara Gruska, to play. Well, she cut her drums at her own studio and they were slammin’!  We added the incredible Mike Landau on guitar, Nathan East, who recorded his bass at his studio and sent it back COVID style and tweaked it all at Jays. I think I had the ‘most’ fun working on this tune! From the beginning we talked about who would mix the tune. We had many ideas but we went to Dave Way and I’m so glad we did! Dave nailed the mix, capturing the tone and intent of the song perfectly. 

Don ’ t Give Up

I always loved this song above all other Gabriel tunes! Like many of us, when it first came out I was truly moved by it and always dreamt of doing my own version someday. Over the years I would think about doing it but always talked myself out of it. This time, while I was talking myself out of it again, I started noodling around with an idea for a new version. I got carried away, I guess. Not sure how good this was, I got to a point where I had to finish what I started… I ended up with this elaborate arrangement. So I thought… Let me get my daughter Hannah in here to help me see if this thing works. She sounded so sweet and angelic on it so then I thought, “what if the conversation in the lyrics were happening between a father and his grown daughter?” I loved the way it sounded. It was touching but in a completely different way than the original. It really worked for me.

I added Luke’s guitars in the gospel sections with his usual energy totally bringing it to life. Lenny Castro’s percussion glues the whole thing together. I’m so proud of my daughter who has been singing her ass off since she was a wee little thing! The same is true for my younger daughter who adds her supporting vocals here. This is one of my “bucket list tunes” and I’m grateful that I got it out of my system, but I will admit… Peter Gabriel’s original will always be the best. 

This tune started in 2016 as one song but in three years it completely morphed into another song. I had a groove going at Barry Bregman’s studio with Oscar’s rhythm guitar. I wrote some verse and chorus music so that we could send something to Mike Landau. Mike layered a ton of guitars without knowing a form or melody, words or anything… Just changes! What Mike sent back was amazing of course but it was kind of a mess, so I put the song away. I had a lot of other songs I wanted to work on so I thought I may or may not come back to it. 

A little while passed. I brought it out again. When I did, I wasn’t digging it! I tried some editing and then added my brother Mark T. Williams on the drums. It made a big difference but still I put it away and worked on other things. A long time passed before I pulled it out again. It still wasn’t right. I peeled it apart, re-edited it… stopped and then wrote a new tune. The only thing to survive the original sequence was some of Oscars Bugarin’s edited guitars in the intro, and from the next sessions Landau’s edited guitars and Mark T.’s drums

The whole thing, melody and words came very easily in an afternoon… I did all my vocals that day! It was one of those 15-hour days! Once it was a song with a real form, with words and a vocal etc. I sent it to Lenny Castro. Lenny brings organics to the party, gluing the whole thing together. Later, closer to mixing, I added my daughter, Ray Williams and Weston Wilson for additional vocals. 

 This was another demo from 2016 that I pulled out and worked on from time to time between tours. Like “The Dream”, this song bears little resemblance to its first demo. The surviving elements are the groove itself and some of Oscar Bugarin’s guitars. In 2016-2017 Mike Landau played on it, giving me so much amazing stuff as usual. Over the years I edited it into a new form, gave it an entirely new melody, came up with an idea for the lyrics etc. It didn’t come all at once. I sort of chipped away at it.

I wanted a song about one or several women in history who contributed something significant but who were forgotten. “Will anyone remember her?”

I called my friend composer/playwright/songwriter Paul Gordon. He loved the track and a few days later he gave me the story of Cecilia Payne. In 1925 she was the first person to discover what the stars were made of. But nobody believed her until a male professor proved her theory four years later. Her discovery is considered one the most important discoveries in astrophysics, and yet no one remembers her name. It was perfect! I started my vocals the day I received Paul’s finished verse lyrics.

In 2020, with the track in good shape, I added Lenny Castro. Once again, his percussion humanizes the track and ties it all together. And lastly, Steve Lukather put his burning solo down! I think I might be the only one to have a Lukather guitar solo into a Landau guitar solo!

While I was working with Jay on Black Dahlia, we were talking about what other types of tunes we might write next for this album. Jay and Paul Gordon had a song I wanted to do but COVID prevented us from producing it the way we wanted. We talked about a balled of some kind and I believe I just asked him to write something for me. 

After a few weeks, Jay presented me with a full-blown demo of “No Lessons” with Jay singing. The song was brilliant, classic Jay Gruska, with an amazing lyric by his wife Denise Gruska! I immediately loved it. The lyric was my life exactly! I couldn’t feel more connected to a song.

Jays track was incredible. Jay doesn’t do demos really. From the beginning it sounded like a finished record… I just had to add my voice! I did my vocals in my studio to Jay’s specs and the rest is all Jay… his arrangement is beautiful. Jay brought in Steve Tavaglione for the horn line and added Jeff Babko on B3 and Rhodes to his own amazing piano performance. I feel so privileged to have this song on my record.

Mistress Winter ’ s Jump

This was the first Steve Overton song I had planned to cover. It just took developing Denizen Tenant with him to get it! The song is another of Steve’s quirky heartbreaking gems lyrically, with an Irish swashbuckling vibe musically! Right up my ally!

 As was the case with DT, Steve sent his file with guitar, bass etc. I took about a week and I went nuts with it! I added new drums, piano, vocals, and synths. Lenny Castro put the final touches on it and there you have it. 

I can only speak for myself but I believe like many lifelong Beatle fans out there, it’s impossible to have a “favorite Beatle song.” But one of them, and high on my list is “If I Fell.” 

As a kid I loved anything my older brother and sister listened to which was everything by the Beatles but “If I Fell” was one Beatle song that really got my attention in a different way. Something in the sadness of it I could not shake. I still can’t. It’s the Beatle tune that taught me about harmony and vocal arrangement. It was the song where I really fell in love with the singer’s voices. Especially the way they sounded together… All these decades later I still lean towards the Beatle tunes where I can hear John and Paul clearly together! I love the early songs with George Martin’s well-crafted vocal arrangements!

One day I sat down in the studio and just did a version from top to bottom for no reason other than I could. I wasn’t trying to reinvent or redo, it was for fun! I sang both lead parts and messed around with extra harmonies here and there… some ideas I always used to add singing in my car! It was purely a thing of joy to do… Then I put it away.

It wasn’t until I was starting to look at all the songs for this album that I decided to take it one step further. My first Idea was to have my brother Mark T. sing the John part (there is a version) but after considering all the other connective tissue between mine and Luke’s project it made sense to ask Luke if he’d sing the John part. The Totles.

I sent it to Lenny who recorded an incredible percussion bed. We recorded Luke’s vocal and nylon guitars with a mobile rig up at his house. I then recorded a bunch of takes with my daughter Emma’s dog Judy howling for us on command and stitched together her last little comment! Judy Boots gets the last word.

World Broken started as another Barry Bregman Idea. He had a demo started of a song that was pretty well sorted out but in its state was not quite right for me. Over the course of a few years I ended up editing out a few sections of his original idea and focused on a three-chord phrase that was Barry’s intro… That became the beginning of World Broken. 

In 2020 The song got a major facelift and a new chorus, but B’s original hypnotic phrase is still the basis of the piece. I had a ball crafting this one, doing it entirely in the box. The melody, words and vocal arrangement came very naturally in the last few moments of working on the track. I brought my kids in to stack some vocals with me. It’s a Williams Choir. Of course, in the end I brought in Lenny too, who just adds believability to the track with his percussion. The song is my droney chant tune for this album. 

Pre-order the album now!

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Taylor Swift Takes Selfie With Prince William and Children as Royal Celebrates Birthday at London Eras Tour Show

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Prince William just might be a Swiftie.

The royal celebrated his 42nd birthday on Friday night by attending the first London stop of Taylor Swift ‘s Eras Tour, along with children George and Charlotte. He then posted a photo of them taking a selfie with the pop star on social media, writing: “Thank you @taylorswift13 for a great evening!”

Thank you @taylorswift13 for a great evening! #LondonTSTheErastour pic.twitter.com/NFSi8hAl1o — The Prince and Princess of Wales (@KensingtonRoyal) June 22, 2024

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Happy Bday M8! London shows are off to a splendid start 🇬🇧🇺🇸🤝 @KensingtonRoyal pic.twitter.com/VlD6V0PiEL — Taylor Swift (@taylorswift13) June 22, 2024

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🚨| Prince William vibing and dancing along to "Shake It Off" at Night 1 of Taylor Swift's 'The Eras Tour' in London! #LondonTSTheErasTour pic.twitter.com/WYr5rG8DaL — The Eras Tour (@tswifterastour) June 22, 2024

Other celebrities in attendance included “Bridgerton” star Nicola Coughlan; Cara Delevingne, who is currently leading the West End production of “Cabaret”; and “Queer Eye” breakout Jonathan Van Ness.

Tom Cruise , Liam Hemsworth, Rachel Zegler, Hugh Grant, Mila Kunis and Ashton Kutcher were among the attendees at Swift’s second London show on Saturday.

After this month’s dates, Swift will return to Wembley Stadium in August for five more shows to end the European leg of the Eras tour.

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