Toto attempted to satisfy commercial considerations by loading up the first half of their seventh album with the kind of power ballads that had given the band recognition before, especially songs named after women whose names end in “A” like “Pamela” and “Anna.” — but these thinly veiled rewrites of “Rosanna” earned only modest radio play. The rest of the album rocked harder as it went on, and may have been truer to the band’s musical aspirations. – William Ruhlmann