Retro Reviews: Todd Rundgren: Something / Anything?

 

I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums.

Todd Rundgren: Something / Anything? (1972)

****

Producer: Todd Rundgren

Musicians: Todd Rundgren, backing on various tracks, Rick Valentte, Randy Reed, Collie Reed, Mark Klingmen, Rick Derringer, John Siegler, John Stomos, Randy Brecker, Michael Brecker, Barry Rogers, Hope Huff, Vicki Robinson, Dennis Cooley, Cecilia Norfleet, Amos Garrett, Ben Keith, Jim Colgrove, Billy Mundi, Robbie Kogele, Ralph Walsh, Stu Woods, Bugsy Maugh, Gene Dinwiddle, Rick Vito, Charlie Schoning, Tony Sales, Hunt Sales, Jim Horn, John Kelson, Brook Baxes, Anthony Carrubba, Henry Fanton, Edward Olmos

Songs: I Saw The Light, It Wouldn’t Have Made Any Difference, Wolfman Jack, Cold Morning Light, It Takes Two To Tango (This Is For the Girls), Sweeter Memories,  Intro, Breathless, The Night The Carousel Burned Down, Saving Grace, Marline, Song Of The Viking, I Went To The Mirror, Black Maria, One More Day (No Words),  Couldn’t I Just Tell You, Torch Song, Little Red Lights, Overture-My Roots: Money (That’s What I Want), Messin’ With The Kid, dust In The Wind, Piss Aaron, Hello It’s Me, Some Folks Is Even Whiter Than Me, You Left Me Sore, Slut

Review By Matthew Anthony Allair

This is a sprawling, if not a little indulgent, album by Mr. Rundgren that may act as a calling card for an interesting recent past catalogue. His prior two bands, The Nazz, and then Runt, had managed to put out several albums, and had a few moderate hits with Nazz. This album feels like a creative purge of material that Todd has been sitting on for awhile, both focusing on the present, as well as looking at the past. Each side has a humorous description, side one: A Bouquet of Ear-catching Melodies, Side two: The Cerebral Side, Side Three: The Kid Gets Heavy, Side Four: Baby Needs a New Pair of Snakeskin Boots (A Pop Operetta). All of which gives the listener a vague idea over what to expect, this also gives the listener the freedom to pick and choose what to try out. This pouring of material reminds me of George Harrison’s All Things Must Pass, another situation where he had a backlog of ideas. Nevertheless, this is a bold move for a little-known artist in certain circles, but I have a feeling that is about to change.

The opening track “I Saw The Light” is already a perennial favorite on the radio, catchy, with some nice harmonized guitar leads, and tuneful background vocals. The next track, “It Wouldn’t Have Made Any Difference”, has the potential to be another single. “Wolfman Jack” has the feel of an RNB rave up, of course, the figure mentioned is a famous radio DJ from the 50s and 60s, this plays on a universal nostalgia. “Cold Morning Light” takes things down a little as a pleasant ballad. “It Takes Two To Tango (This Is For The Girls)” is a musically rich and rhythmically complicated number that may take a moment to get one’s bearings. “Sweeter Memories” is a mid-western soul ballad with some good jazz flavored vocal harmonies.

Side two opens with the odd, and helpful introduction that segways into the instrumental “Breathless”, a synth heavy number that seems to be taking a nod to the evolving Progressive rock movement. It takes a playful shift into tango blues. “The Night The Carousel Burned Down” has an odd waltz time feel, as well as a art pop sensibility within the carnival guise, as well as having a little of the invention of Brian Wilson. “Saving Grace” has a truly bizarre opening before it shifts into some comfortable pop with Rundgren’s rich vocal harmonies. The art pop spirit continues with “Marline”, the Wilson influence creeps in again with layers of melodic bells. This is followed by the tuneful and idiosyncratic “Song Of The Viking”. The side closes with the somewhat disjointed and experimental “I Went To The Mirror”. This side seems to be playing with the form of what music could be.

Side three opens with the dynamic, heavy, gospel infused “Black Maria”, some good brash guitar interplay within. The ballad “One More Day (No Word)” has a missing for the holidays longing, nice harmonies, it also demonstrates Todd’s natural song craft. “Couldn’t I Just Tell You” is the closest thing to the kind of powerful pop that Badfinger has been producing. “Torch Song” has an ambient mood as a ballad that will harken back to Brian Wilson. “Little Red Lights” has a Hendrix like opening before it settles into a modern RNB number with some clever drumming. This side lives up to it declaration as well as holding some of the more experimental ballads.

Side Four is dedicated with looking back at the past. The garage rock of the medley, “Overture: My Roots: Money (That’s What I Want / Messin’ With The Kid” has a raw , bootleg quality with it, of course, The Beatles had recorded ‘Money’ back in 1963, the track has a collage feeling. “Dust In The Wind” wasn’t written by Todd, but this RNB cover has a gospel feel and accented by some nice horns and solos. “Piss Aaron” is a whimsical, pop blues number with a dobro country accent. The afford mentioned “Hello, It’s Me” is an older Nazz number has been retooled, more up-tempo, with a real vibrancy beyond the dirge approach, and it’s not surprising it’s the other perennial single. “Some Folks Are Even Whiter Than Me” is a more up-tempo pop rocker with a whimsical edge., and some great horn soloing, and guitar leads. The next track begins with some studio banter and false starts before “You Left Me Sore” begins, another accessible ballad. The closer “Slut” is another mid-tempo rocker that rounds out the whole affair. The bulk of the studio banter on the final side helps to make you feel like you are eavesdropping as well as adding to a controlled live feeling. The entire experience will leave you feeling entertained and one of left with the sense that Todd Rundgren is going to be an important force in the decade, while highly excentric, rewarding as well.