long70s:

GLAM ROCK I: TODD RUNDGREN

Todd Rundgren’s glitter phase was not about the gender indeterminacy, real or feigned, one came to expect of Glam Rock (Rundgren’s machismo was certified platinum when he won the hand of Bebe Buell, rock music’s Helen of Troy). The hair colors, facial glitter, jewelry and warrior-sprite-prom queen costumes were the trappings of a wizard, a pharaoh and a god, which is what the fans started calling Rundgren, who happily assumed those mantels.

The wizard practiced his craft at a studio Albert Grossman built for Rundgren at his Bearsville Records outpost in Woodstock. As it turns out, Rundren’s elaborate, challenging, meticulously-crafted, occasionally self-indulgent on-stage wardrobe from the period of A Wizard, A True Star through Ra (1973-77), was not just dressing up for fans—it was am emblem of his approach to music making and production, epitomized by the first Utopia albums. This description of the studio is from a 1973 interview with Rundgren:

At the studio, construction on the Utopia Landing Module, a geodesic dome to be covered completely in silver mylar, is underway. All of Jean-Yves’ synthesizers will be contained within the module, as will Jean Yves himself, while Hunt will play atop the dome several feet above the other Utopians, supremely skunkie. Each of the Utopians instruments will plug into the module and headsets will keep them in communication with Jean-Yves. A large art deco Theremin will hang behind the band, which they can play at will by intercepting the space between its two globes. Todd will play a double-neck Flying W lead guitar, with six- and twelve-string necks, while Tony’s guitar is unique in having six-string guitar and four-string bass. The Electronic Music Studio, an English synthesizer manufacturer and designer, has devised a new “sound” for Todd’s guitar, the “Popeye Mutilator”. Like fuzz tone or wah-wah it is completely at its master’s control, one more step toward the guitar’s evolution as the most useful sexual tool since KY jelly.

— from Ron Ross, ”The Inauguration of Todd Rundgren”  Phonograph Record, March 1973.

Found this photo while going through the todd tag today in a much smaller pic by progclown, so I enlarged it and decided to post it here.
The original caption of this picture was “Todd and his mommy”. I don’t know what year this is but judging from the costume, Todd’s hair and his boyish look here, I’m gonna say it’s from his late ’60s Nazz period…

Found this photo while going through the todd tag today in a much smaller pic by progclown, so I enlarged it and decided to post it here.

The original caption of this picture was “Todd and his mommy”. I don’t know what year this is but judging from the costume, Todd’s hair and his boyish look here, I’m gonna say it’s from his late ’60s Nazz period…

thereisnopeace4earth:

Todd Rundgren - A quote from Classic Rock Issue 200 Collector’s Edition by Todd, “I look at Taylor Swift and she’s nothing but hair.”
CC

thereisnopeace4earth:

Todd Rundgren - A quote from Classic Rock Issue 200 Collector’s Edition by Todd, “I look at Taylor Swift and she’s nothing but hair.”

CC

Johnee Jingo
Todd Rundgren

shovel-city:

Johnee Jingo - Todd Rundgren - A Cappella (1985)

"It’s basically a three album deal, but they have to put out every album I give them, and they can decide whether they consider it a deal album or an album outside of the deal. They know that if I have one album that’s a big hit, the greatest likelihood is that I’m going to do the polar opposite on the next album … If I deliver an album that they think is commercial, then it goes on the contract and it’s one less album I have to deliver. But if I deliver an album and they say, ‘this is another one of your wacky experiments,’ then they have to put it out anyway, and the 100,000 people who buy all my records will buy it anyway. Since Warner Bros. doesn’t count it as part of the contract, they don’t count it as having been advanced on, so I get paid from the first record sold … I might wind up making 20 records for Warner Bros. before we actually get the three that they actually want, but they’ll all come out."
Todd Rundgren on his deal with Warner Bros. Records for Keyboard magazine, 1987
zzzan:

Today at The Daily Dot, I wrote about discovery, consumption, addiction, and the internet. It was also kind of about Todd Rundgren.
I’m mostly sharing this here because I love the amazing photograph the editors chose to use for the post. Gah, there are STILL Todd things I have yet to see. The dream goes on forever. 
(Also, I shared some of my favorite YouTube Todd videos over on the blog. Sorry to come here after weeks of being away and shill for something I wrote elsewhere. But it’s Todd, and the whole Todd thing started for me here on Tumblr in a way; it was where I shared my initial obsession, so it’s only fitting that I come back here to post about how my obsession has manifested into something larger…)
 

zzzan:

Today at The Daily Dot, I wrote about discovery, consumption, addiction, and the internet. It was also kind of about Todd Rundgren.

I’m mostly sharing this here because I love the amazing photograph the editors chose to use for the post. Gah, there are STILL Todd things I have yet to see. The dream goes on forever. 

(Also, I shared some of my favorite YouTube Todd videos over on the blog. Sorry to come here after weeks of being away and shill for something I wrote elsewhere. But it’s Todd, and the whole Todd thing started for me here on Tumblr in a way; it was where I shared my initial obsession, so it’s only fitting that I come back here to post about how my obsession has manifested into something larger…)

 

Just remember, anything you can do, Todd can do better (his version of “Get Lucky”)