As far as impressive musical resumes go, few can match the one belonging to American guitarist, writer, arranger and producer Steve Lukather. As a founding member of AOR superstars Toto he's shifted a tidy 35 million records, but it's his work as a session musician that really catches the eye, contributing to over 1500 albums by the likes of Aretha Franklin, Roger Waters, Paul McCartney, Elton John and Miles Davis. As well as playing most of the guitar parts on a certain Michael Jackson album called 'Thriller'. He's also released a string of genre hopping solo albums, with his recent output displaying deeply personal, emotionally charged songwriting following the breakdown of his marriage, his mothers death and numerous nasty business wrangles. 'Transition' continues that introspective trend, but this time there's hope amidst the pain as the album moves from lost and angry to resigned and hopeful. Whilst not as musically thrilling as 2008's 'Ever Changing Times' or 2010's 'All's Well That Ends Well', 'Transition' is more song centric and focussed, whilst still delivering a cornucopia of styles that encompasses scorned blues grooves, lush soundscapes, prog dexterity, jazzy flourishes and his trademark melodic rock sensibilities.
Recorded during breaks in Lukather's mammoth 2012 touring schedule (playing with Ringo Starr, Ian Gillan, Toto and G3 masters Joe Satriani and Steve Vai), 'Transition' boasts an impressive cast of musical characters with bassists Lee Sklar, Nathan East and Tal Wilkenfeld joining drummers Gregg Bissonette and the Red Hot Chili Peppers Chad Smith. But it's the winning combination of Lukather and long time keyboard player / co-producer / co-writer C.J. Vanston's that shines. Their immense production serves up a record that sounds stunning, with subtle layers of instrumentation beautifully balanced in a crystal clear mix that reveals more nuances with each and every listen.
Unlike Luke's previous two records 'Transition' follows a narrative thread from start to finish, beginning in sinister fashion on the darkly dramatic 'Judgement Day'. A sense of latent anger simmers through the verses before erupting into a hard hitting chorus that rocks like a vengeful beast. The track's a seething diatribe against internet trolls who spread lies and hate, but is also a clever metaphor for the album's story as Lukather sings 'you should take the time to realise the pain inside'. Self realisation is what 'Transition's songs are working towards, with Luke facing down his demons and learning to live with them. Not before getting some things off his chest though, particularly on the superb left field blues of 'Creek Hotel'. Stalking along on Lee Skar's malevolent groove it builds to a melodic bitch slap chorus that's full of AOR hooks and stabs of west coast jazz, sounding like an evil Steely Dan as Luke turns his lyrical sniper rifle on his enemies “Save your bullshit you know the smell, I know the devil has reserved your place in hell”!! A beautifully heartbroken ballad follows with the piano led weepie 'Once Again', whose tender tones find Luke grieving for the end of his marriage, when he lost the woman who was both his wife and best friend. 'Right The Wrong' completes the sequence of troubled tracks as it's bleak, fog filled verses morph into a stirringly anthemic refrain that's tranquil and soaring in equal measure, smoothly echoing the sort of melancholic ambience that characterised Pink Floyd's 'Dark Side Of The Moon'. Plus, the guitar solo is fantastic; short, sharp and sizzling with the kind of intense emotion and power that's not dissimilar to Gilmour at his best.
The album's concept and tone pivots around the brilliant title track, which glides in on some soothing jazz chords before taking flight with a killer riff, punctuated blasts of orchestration and funky keyboard bursts. Imagine Toto covering Yes in the style of Dream Theater! The tune then cruises into mellower territory - part Porcupine Tree's 'Time Flies', part Floyd's 'Shine On You Crazy Diamond' - as guitar and keyboard solos intertwine on a series of classy passages. Following that prog extravaganza the album's mood shifts into more upbeat territory. 'Last Man Standing' is a breezy Toto-esque nugget of AOR gold and 'Do I stand Alone' a classic drive time rocker that begins with a slinky picked motif and shimmering keys, before roaring away on a chorus that's pure arms in the air emancipation. The album's most blissful moment comes courtesy of late-night-loved-up blues number 'Rest Of The World', featuring soulful female backing vocals and Luke doing his best Joe Cocker vocal delivery as his journey from past despair to future optimism is complete. A short but graceful instrumental rendition of Charlie Chaplin's 'Smile' is a fitting finale, with the concluding message to enjoy every moment you have regardless of your trials and tribulations.
So what of Lukather's guitar playing? It's as captivating as ever, albeit in a different way with more of an emphasis on lyrical phrasing and simple melodies, rather than outstanding technical wizardry. Luke's admitted he's no longer interested in being the' fastest gun in the west' and 'Transition' backs that up. Sure, there's impressive fretwork, but the song is always key and the musicianship never overpowers the personal yarns being spun.
'Transition' isn't quite as exceptional or consistent as Steve Lukather's previous two records. The second half of the album isn't as musically interesting as the first and really needs a couple of stronger, punchier tracks to keep the momentum going. Also, whilst the narrative concept works well in theory, from a musical point of view it doesn't flow quite as well as one would like. That aside, the songs still ooze an abundance of class in all departments with top notch playing allied to absorbing lyrics and emotionally satisfying compositions. Plus its nice to hear a happier Lukather emerge by the end of the album. Maybe that's because he set out to make a certain kind of record and has pretty much delivered on his intentions: “I wanted to make Transition a big beautiful album with lots of fine details and shadings and colours. So if it's a sin to make massive sounding records with huge production values, then I guess I'm going to hell!”.
Steve Lukather's seventh solo album 'Transition' is available now. Lukather will embark on a European tour in March.
We don't run any advertising! Our editorial content is solely funded by lovely people like yourself using Stereoboard's listings when buying tickets for live events. To keep supporting us, next time you're looking for concert, festival, sport or theatre tickets, please search for "Stereoboard". It costs you nothing, you may find a better price than the usual outlets, and save yourself from waiting in an endless queue on Friday mornings as we list ALL available sellers!
Recorded during breaks in Lukather's mammoth 2012 touring schedule (playing with Ringo Starr, Ian Gillan, Toto and G3 masters Joe Satriani and Steve Vai), 'Transition' boasts an impressive cast of musical characters with bassists Lee Sklar, Nathan East and Tal Wilkenfeld joining drummers Gregg Bissonette and the Red Hot Chili Peppers Chad Smith. But it's the winning combination of Lukather and long time keyboard player / co-producer / co-writer C.J. Vanston's that shines. Their immense production serves up a record that sounds stunning, with subtle layers of instrumentation beautifully balanced in a crystal clear mix that reveals more nuances with each and every listen. 
.jpg)
.jpg)
