Todd Rundgren "Runt" 1970

If you are even a casual music lover, then you have more than likely heard plenty of Todd’s music.  He is one of those artists that had a smattering of hits, however it’s his full albums that are really where it’s at.  On many of his records, Todd does it all (literally and figuratively in many cases.) He has been known to play guitar, keyboards, bass, saxophone, and sing.  He also produces and engineers many of the records himself. 

                On his first record, “The Ballad of Todd Rundgren”, Todd plays many but not all of the instruments.  He is joined by a drummer, bass player, and a few horns, but everything else is straight up Todd.  Sometimes you can tell that the people who make “one man band” records are more or less guitar and piano players with less than amazing abilities on other instruments.  Todd seems to shine on every instrument he plays though.  The guitar tone on “Devil’s Bite” is not only a stellar riff, but has originality to its tone and presentation.  It’s like a dog barking underwater, but with a much thicker sound.  His vocals are also interesting.  I would say that Todd has a “nice” voice, but he really knows how to push it.  He is at the top of his shouting range and he must know it, because he certainly doesn’t blow it.  He just hits that perfect rock and roll point of exhaustion. 

                My mother has always been a big fan of Todd Rundgren, and as a result, “We Gotta Get You a Woman” has been played way too loud in the car with her over the years.  My mom is the kind of person who listens to music at appropriate levels…for rock and roll that is.  She likes to feel it, so that makes her a fun person to listen to Todd with.  “We Gotta Get You a Woman” was the hit on this record and it’s clear why.  It’s catchy as all get out, and really excels at the quiet verse/loud chorus arrangement.  The last line of the song is great too.  “And when we’re through with you, we’ll get me one too.”  I always love it when artists make it worth your while to listen to the very end of the song. 

                It is safe to say that my wife does not like Todd Rundgren (or “Todd R” as she calls him) at all.  Believe me, I’ve tried hard to get her into his music, but it just does nothing for her.  One time I even made her an unlabeled mix of instrumental songs, and included one of Todd’s.  I remember being at a stoplight and hearing her say as Todd’s song came on, “This is the only song on here I don’t like.”  As I have said before, my wife listens to a lot of really great music, so I give her a pass when she really doesn’t dig something.  It looks like Todd and I have a date with some headphones.

                Which is fine because I get to hear the double tracked guitars that sound like fireworks exploding, and the lead vocals (some are thick and bassy, and others supremely dry) that sound like they were meticulously recorded using different microphones on different songs.  There is a real eye (ear) for detail on this record.  For instance, the guitar solo on “Who’s That Man” comes in like a samurai sword slicing through a wild running animal; it’s hot, buttery, and visceral.  He’s clearly put some time into the lyrics as well.  Check out these lines from “Broke Down and Busted”:

You know that I would go anywhere

That I could go in my old wheelchair

But I wouldn’t get far ‘till it fell apart

I’m a broke down man with a busted heart.   

            To casual listeners, Todd is mostly known for his softer numbers, and there are a few of those on here.  “Believe in Me” is probably the prettiest song on the album.  I love how soft and tender his singing is on this one.  It really shows his versatility, especially compared to the more rockin’ songs. 

My favorite song on the record is the suite called “Baby Let’s Swing/The Last Thing You Said/Don’t Tie My Hands.”  The “Baby Let’s Swing” section is especially fun because it appears to be a tribute to Laura Nyro.  He emulates her style while also singing directly to her.  The “How I love to shuffle” part is a dead ringer for many of the songs on her “Eli and the Thirteenth Confession” record.  This is a huge thrill for me, being a huge fan of both Rundgren and Nyro.  I have never had the guts to play this song for my wife though.  In addition to her…let’s say ambivalence for Todd Rundgren, she also is put on edge by Laura Nyro’s music (especially her voice).  A combination of both styles may just send her over the edge.  Like I said, this is a headphones record in my house. 

Tones:  What the heck is that weird sound at the beginning of “I’m in the Clique”?  It sounds like electronic wind.  It also comes back in during the drum solo.  The horns on this song are also bouncy in a sort of Frank Zappa kind of way.  The song (if you want to call it that) “There are No Words” creates a strange effect with vocals and reverb alone.  If this song was a painting it would not be a John Singer Sargent landscape.  It would be more like a Mark Rothko color swath.  

Cover Note:  Todd is so young on the cover, and also skinny as a rail.  The word “Runt” written on the manuscript paper on the floor looks sharp too.  I also can’t resist calling his belt an “Alphabelt.”  Make sure you check out the back for a very flashy old school cartoon.

Price paid:  $2.00 at a record show.  My copy is a little banged up, but still sounds nice.  You should be able to find this because it did have a hit on it.  I have seen “Runt” and the follow up, “The Ballad of Todd Rundgren” a few times, so you should be able to pick it up for under $6.00. 

Bottom Line:  Todd’s records are amazing, but only if you are the type of person who thinks Todd’s records are amazing.  If you are into song craft, music production, blazing guitar, or layered vocals you may love this.  If you are into music, and into it deep, Todd Rundgren’s record catalogue is a diamond mine of delights.  “Runt” is where Todd’s solo career started, and would be a good place for you to start too.