TOTO, Rosanna | Throwback Vibez

In the 194^th edition of Throwback Vibez (2025), we recollect and reflect on “Rosanna” by Grammy-winning rock band TOTO.

The vibes, the vibes, those Throwback Vibez! Throwback Vibez is a column that celebrates awesome songs from the past.  The records that grace this column are older, but that doesn’t necessarily mean they’re ancient – no fossils 🦴! All genres of music are welcome. In the 194^th edition of Throwback Vibez (2025), we recollect and reflect on “Rosanna” performed by TOTO.

“Not quite a year since she went away, Rosanna, yeah / Now she’s gone, and I have to say.”

Have to say, what, TOTO? “Meet you all the way / Meet you all the way, Rosanna, yeah.” Yeah! The American rock band hit the jackpot in 1982 with the release of their Grammy-winning, multi-platinum, fourth studio album, Toto IV. “Rosanna” is the delightful, five-and-a-half-minute opener.  Dave Paich (b. 1954) wrote “Rosanna while TOTO produced it. Steve Lukather (b. 1957) and Bobby Kimball (b. 1947) handle lead vocal duties. “Rosanna” reached number two on the Billboard Hot 100. It earned big accolades from the Recording Academy, winning the highly coveted Grammy for Record of the Year. “Rosanna” has been certified platinum by the Recording Industry Association of America.

“Rosanna” commences with a mean and infectious drum groove.  The guitars and keys shine.  The versatility of the keyboards is awe-inspiring throughout (more on that later). As “Rosanna” progresses, the horns add some additional bite. The quick-paced, electrifying riffs mark one of the most memorable moments of the song. Lukather and Kimball provide strong vocal performances. Kimball stands out during the second half of the first verse, ascending the octave, amplifying the intensity, and adding some extra snap (“All I wanna do in the middle of the evening is hold you tight / Rosanna, Rosanna / I didn’t know you were looking for more than I could ever be”).  Throughout, the songwriting is creative, lyrically and musically. Musically, the harmonic progression is unique, while the key scheme is also unique, keeping the record engaging and never boring. Lyrically, beyond the verses, the pre-chorus and chorus (excerpted earlier), stand out. The first instrumental section (the bridge) is divine, with its polychromatic keys and synths, as well as a bold, ripe electric guitar solo. The outgoing instrumental section is a vibe in its own right, including bluesy, gospelized organ and the jazzy comping keys.  Once again, the electric guitar solo doesn’t disappoint, furthering the badassery of “Rosanna.” “Africa” ended up being the biggest song of TOTO’s career, rightfully so. However, “Rosanna” is also a once-in-a-lifetime record, too, showcasing the top-notch musicianship of TOTO.  It is a superbly produced pop/rock track. There is a lot to analyze, but as I always say, this masterpiece is best experienced by simply opening your ears and listening in all of its glory!