Dennis Atlas joined Toto in 2024 at the age of 28. He’s made the most of the experience by assembling new solo album Principle, which features s seriously impressive guest list. Atlaes tells Prog what he’s learned since going it entirely alone on his debut record.
At 28 years old, Dennis Atlas became the second keyboardist of Toto in 2024, a role that’s grown since the retirement of Greg Phillinganes. Now the Californian has released his second solo album, Principle, featuring a raft of special guests including Aristocrat Marco Minnemann, Bumblefoot from Sons Of Apollo and Toto alumni Steve Lukather and David Paich.
But those expecting high-energy rock are in for a shock. Prog-friendly keyboards and time signatures find him treading a more emotional path. He tells us he’s always been a progger at heart.
You fell in love with music via the pomp of Queen, Rush, Kansas and Styx. What was it about them?
I have very eclectic taste in music, but all of those bands have real depth. Every time you listen to them you discover something new. That’s what I loved about prog, even before I knew what it was.
Your keyboard solo at Wembley Arena with Toto incorporated segments of songs by ELP. How deep does your connection with progressive rock go?
Extremely deep! Prog was all that I listened to in my most formative years. ELP’s Brain Salad Surgery made me wonder what on earth was going on in the minds of those three guys. I also loved Yes, and later on Dream Theater, Symphony X and Haken.
Who are tour keyboard influences?
Keith Emerson and Rick Wakeman, of course; Dennis De Young and Lawrence Gowan of Styx; Dream Theater’s Jordan Rudess and Kevin Moore. Diego [Tejeida, ex-Haken] is on a whole other level.
How did you come to join Toto?
I jammed with Ron Thal – Bumblefoot from Guns N’ Roses – and we became friends. One day, right out of the blue, he sent a text saying he’d recommended me to Toto. They needed someone right away. Ron’s text was on a Thursday; on the Saturday or Sunday, after they’d looked at my videos, Steve Lukather called asking, “What are you doing this summer?”
Within four seconds of Principle opener Surprises From Within, we know your album is keys-friendly.
Yeah! It’s the Keith Emerson thing where you hear that heroic synth part and it pulls you in. That’s the intention anyway.
With your solo debut, 2021’s My Magical Wonderland, you performed all the instruments – keys, guitar, bass and drums – as well as singing. This time you have a list of special guests. Is Principle a concerted attempt to commercialise things?
When I made that first album I had a lot to learn on all of those instruments, and when it was finished I said, “OK, I’m never doing that again!” This time I’ve found people who can take it up to a whole other level, leaving me to refine my keyboard skills. Bringing in Marco Minnemann on drums certainly doesn’t suck!
How did you get Marco to appear?
We became friends through the same Queen, Rush and Styx tribute band where I met Bumblefoot. Marco would get up and jam.
Several past and present members of Toto appear on the album, including ‘Luke’ Lukather, current singer Joseph Williams, original keysman David Paich and saxophonist Warren Ham.
It’s definitely a family affair, and there are a few you didn’t mention. Shannon Forest plays drums on six of the album’s songs; his groove provides its backbone. Greg Phillinganes played some additional keyboards, and Steve’s son Trev not only mixed the album but also played some rhythm guitar.
Luke’s contribution to the super-rhythmic Candy On Mars is fascinating.
Luke is so much more than just a shredder. With that song I wanted more of a funky, improvisational thing. I just gave him the drumbeat and asked him to come up with something. At the end he moved the guitar and it collided with a mic stand, so he banked the guitar against it and made it a feature of the song. I don’t even understand how he did that!
Luke said, ‘He sounds like Fergie Frederiksen – let’s add some of those songs’
How was it working with David Paich on the album’s longest song, We Can Be the Future, which closes the record?
Paich is such a hero of mine, but he’s so unassuming. If you ran into him at the grocery store there’s not a chance you’d know that he’s a rock star. We sat at the piano and jammed and he threw out these titbits – some chords and a bunch of organ – that really improved the song, and all the while he made me feel so comfortable.
Are you hoping to do some solo live shows?
That would be the dream of my lifetime. It’s what I had in mind when I composed these songs. I’m very much committed to Toto’s live schedule but it does have some breaks. I’m already putting together some guys in my studio so that we’ll be ready when the time comes.
We know you could front the show because you did a great job of handling those tricky Fergie Frederiksen-voiced songs on material from Toto’s Isolation at Wembley.
It’s my extreme honour to do that. I came aboard to play keys and sing high harmonies, but Luke said, “He sounds like Fergie – let’s add some of those songs.” We’ve been doing two from Isolation, but we’re going to add a third.
Do you consider Principle a prog rock album?
Absolutely. It has everything a prog listener will want. It’s melodic and singable, but it’ll hook you in. It gets deeper and deeper as it goes on, and it ends with We Can Be The Future, which I believe is completely within the realm of Styx, Queen, Gentle Giant and Kansas. Listen to it – it’s undeniably been made by a prog lover.
Principle is on sale now.
