From generation to generation there are many things that are lost and gained in music. As 90’s kids have experienced a reflux in appreciation of Disco in the last few years, but have probably lost an understanding of the NWOBHM that came after it. For some reason or another, be it through modern hits or the marketing of discographies from major labels, some artists slip through the radar when it comes to being discovered by new audiences. One of these artists is Todd Rundgren. Now if someone heard ‘I Saw The Light’ (Below) it may be different, but generally the scope of his musical endeavours is un-trampled ground for many.
To pigeon hole Todd Rundgren into one genre is a difficult one as he could shift from a sort of blue-eyed soul to experimental art rock in just the movement of the stylus needle. He originally started off in a Beatles-esque pop quarter, who had a hit in ‘Hello it’s Me’ which was strange because just three years later he would get his break as producer replacing George Harrison for Badfinger’s ‘Straight Up.’ However away from Todd Rundgren the producer for now, as a solo artist he really set out his modus operandi in his 1972 solo album ‘Something/Anything’, with three quarters of the album recorded with Todd playing every instrument, singing all vocals and producing it all. Todd Rundgren had reportedly shown dissatisfaction at other studio musicians so had set out to make an ambitious double album, all by himself. The album contains pop songs to Motown influenced numbers but it also shows signs that he was veering towards more experimental rock of which would alienate a lot of this albums fans in the years to come.
After the success of ‘Something/Anything’ Todd Rundgren released ‘A Wizard, a True Star’ which pushed the boundries on how much music could fit onto a long-playing LP, despite there being no gaps between songs, playing like a 56 minute mix. The quality of the sound was also compromised because of this, something of which Todd Rundgren acknowledges on his liner notes of the album.The album’s highlight is probably the fantastic ‘Just One Victory’ (Above) which became an unofficial anthem for Todd’s loyal cohort. He then joined a band named ‘Utopia’ and made cosmic influenced psychedelic rock of which they decided to have no advertising and rely solely on word of mouth to sell their records. For years after he churned out some quality tracks as well as some difficult and bizarre songs, but his song-writing quality was evident for everyone to see. Although it’s as Todd Rundgren the producer and multi-instrumentalist that created some of his biggest hits.
Todd Rundrgen got his first break as the sound engineer for The Band’s ‘Stage Fright’ it was quick work with The Band already knowing what songs they wanted on the LP and taking over production duties themselves, but it was a great starting block which would help him on Badfinger’s ‘Straight Up’. Without delving too much into the tragic story behind Badfinger, Todd Rundgren played an important part in ‘Baby Blue’ a song revitalised by its use as the final song in Breaking Bad last year. After that Todd Rundgren was recruited to produce the debut album of New York Dolls, a band who’s live shows had created a fair amount of buzz, and everyone felt that Todd could deal with the pace as well as not take any shit from a band that were ‘kind of persona non grata to most producers at the time.’ The album didn’t find the commercial success many were hoping but is still regarded as an important album in the punk-rock explosion that was about to take off in the 70’s, it is also regarded as Morrissey’s favourite album, if that means anything. Todd would then help Grand Funk Railroad hone their sound on ‘We’re an American Band’ and then help Hall and Oates veer away from their blue-eyed sould roots on ‘War Babies,’ but it was the album in 1977 he produced that would be the biggest selling LP of his career. Meatloaf’s ‘Bat out of Hell’. Traces of Todd Rundgren’s immense talent are littered all over Meatloaf’s 43million sold behemoth of a record, but the biggest example can be seen on the title track as he plays piano and lead guitar climaxing in a huge solo.
Meatloaf- Bat out of Hell
Badfinger- Baby Blue ()
New York Dolls- Looking for a Kiss ()
Grand Funk Railroad- We’re an American Band ()
If he’s producing some of the 70’s best albums, creating his twisted psychedelic sound or making pleasant pop songs he is someone worth remembering. Whilst I prefer to talk about his career rather than his personal life, a small indication of the person he is comes from when he treated his lovers daughter like she was his own despite multiple doubts and the end of their relationship. He helped finance her life, gave her his name in Liv Rundgren and paid for her private education whilst putting his ‘heart and soul into the white lie.’ The child turned out to be Steven Tyler’s biological daughter and now famed actress Liv Tyler, who deeply appreciated what Todd did for her and still looks at Todd as one of her two fathers. Many artists slip through the net when the generational baton is passed, but great musicians, song-writers and producers such as Todd Rundgren deserve to be remembered.
Todd Rundgren- A Dream Goes on Forever
Cheap Trick- I Can’t Take It ()
The Psychadelic Furs- Love My Way (
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