Round One of 'Did You Know He Was...Whoite [sic]'

Round One of 'Did You Know He Was...Whoite [sic]'

We all know Toto from their hit "Africa," but here’s a little musical trivia for you – they had another gem that has made its mark in soulful circles, especially for those in the know. "Georgy Porgy," the sleeper cut from their self-titled debut album, is one of those tracks that gets snuck into playlists, making audiences stop, sway, and then ask: "Wait… Toto?" If you close your eyes and just listen to the music, it wouldn't be out of place in a collection of smooth R&B hits. This is where we enter that fun DJ game, 'I bet ya didn’t know he was white,' where folks try to guess the artist behind the soulful sounds. Spoiler alert: Michael McDonald and Boz Scaggs frequently make the cut. And now, enter Toto with "Georgy Porgy."

For those unfamiliar with the track, it’s a smooth, sultry groove that can easily stand next to Steely Dan's classic "Black Cow." If you’re a fan of Steely Dan's intricate jazz chords and that unmistakable laid-back groove, you’ll feel right at home with Toto’s "Georgy Porgy." The same velvety basslines, the cool instrumentation, and the way the song just flows—you’d think they were from the same universe. If Steely Dan's music was poetry in motion (as we’ve previously explored in depth in this article), Toto was offering a similar vibe but with a slight twist, blending more overt R&B elements into their sound.

The Soul of Blue-Eyed Soul

"Georgy Porgy" stands as a prime example of what's colloquially referred to as "blue-eyed soul," a term used for white artists who tap into the deep well of R&B, gospel, and soul with a genuine feel. You can toss in Hall & Oates, Michael McDonald, and Boz Scaggs into that bucket too – artists who made music so soulful that listeners sometimes had to do a double-take. We’re not talking about passing imitations of R&B either. Tracks like these hold their own against the giants of soul, earning a permanent spot on the playlist of any home DJ or serious music aficionado.

This track specifically caught my attention years ago when I was hosting Amir "Questlove" Thompson at the Serena Lounge in the Chelsea Hotel. It was around the time when the broken beat scene was emerging – much like today’s Afrobeat success with Tyla's "Water." But broken beat wasn’t easily found on records. While Afrobeat today thrives in mainstream spaces, Tyla’s sound is a modern embodiment of how certain beats transcend borders—fast-paced, deep grooves with rhythmic bounce. She taps into that pulse, much like the producers back in the early days of broken beat. Back then, it felt like the industry hadn’t figured out how to commodify that raw, live, in-the-pocket sound.

The Journey to Finding That Sound

Years ago, when broken beat first took hold, I couldn't source the records I needed in NYC, so I booked a mini-tour to the UK, hunting for gems that carried the vibe I craved. I had heard whispers about a club called Plastic People in Shoreditch that was hosting the perfect Sunday night session. The vibe? Picture this: a refined Jamaican sound system setup—but instead of just sheer volume, it was finely tuned with reverb, delays, and effects. It was loud, but with purpose. This was live production, with beats layered on the fly. You’d hear bhangra-like BPMs, Caribbean rhythms, and this gritty, urban carnival sound that felt at home in a city like London. This wasn’t just music for dancing, it was music with intent.

But the sound wasn’t buyable. This was a live experience, where producers brought their tracks from home, experimenting and tweaking beats in real-time. It wasn’t something you could find on vinyl in NYC – and that was the frustration. I took my Serato to a club named Penthouse in Piccadilly Circus, on the 4th floor, to a crowd of Londoners who could appreciate the classic soul funk base I was spinning. Yet, it still felt like something was missing.

The week I hosted Questlove, I told him I loved this new sound but didn’t have enough records to pull together a full set. He responded, “Well, think about when hip-hop started. We didn’t have enough hip-hop records for a full night—that’s why we spun Steely Dan, Hall & Oates, and… well, everything else.” And that’s when it clicked. The crossover tracks like "Georgy Porgy" and "Black Cow" were essential. They helped us DJs fill out sets with soul and jazz while building a bridge to the next big genre. These songs weren't just backups; they were foundations.

The Legacy of "Georgy Porgy"

If you’ve ever thrown "Georgy Porgy" into a DJ set, you know the magic it can conjure. It's the kind of song that, without fail, will get a head nod or two, especially from those in the know. There’s a reason artists like Eric Benét remade it, injecting even more R&B flavor into an already soulful track. And for those lucky enough to be on the receiving end of a classic DJ set, the surprise factor of realizing Toto is behind that groove? Priceless.

At its core, "Georgy Porgy" represents that elusive musical space where genres blur, where soul isn't defined by who’s making the music but how the music feels. So next time you’re spinning, or just kicking back with a playlist, throw on this gem and watch the room fill with that unmistakable energy. And if you’re looking for more tracks that blend soul with flair, check out 'Shang Bangs and Stilettos,' our playlist on DJ Momradio.

Just Take The Full Trio: 

Now go on and close your eyes… I dare you not to picture the next great R&B remix in your head. And remember, next time someone tries to pull a fast one with the "Did you know he was white?" game, you’ll have "Georgy Porgy" ready to go.

Here are the lyrics: