Todd Rundgren’s tenure at Albert Grossman’s Bearsville Records label took him from his days as a singer/songwriter/self-described Runt in 1970 through his cutting-edge avant garde experiments, both solo and with his band Utopia, culminating in 1985’s A Cappella, rejected by the label and eventually released on Warner Bros. instead. The U.K.’s Edsel label has recently completed its catalogue overhaul for Rundgren, including the entirety of his tenures at Bearsville and Warner. The most recent
Mark Lindsay, The Complete Columbia Singles (Real Gone) Joe calls this collection of the Paul Revere and The Raiders frontman's solo single sides "one of (Real Gone's) finest and most consistently enjoyable releases to date." If that doesn't get your catalogue muscles moving, it may be time to check your pulse! Clannad, Timeless / The Essential Clannad (RCA/Legacy) Alternately given both titles (the package has the latter while the sticker atop the disc has the former), this double-disc
Bearsville is back! Even as Edsel Records has been tackling Todd Rundgren's catalogue, both solo and with Utopia, the enterprising label hasn’t stopped there. This month has brought two releases related to the Rundgren mystique but still capable of standing on their own considerable merits. Roger Powell may be the most well-known of Utopia’s keyboard/synthesizer players, but he was actually preceded in the band by Jean Yves “M. Frog” Labat. Both Labat and Powell recorded solo albums at
Longtime Todd Rundgren fans are familiar with the renaissance man’s numerous genre excursions, from pop to rock and everywhere in between: psychedelia, soul, electronica, even metal. But comparatively fewer fans have heard Rundgren’s one and only full-blown excursion into disco. Shortly after completing 1976’s Faithful LP, the iconoclastic producer took the members of Utopia into the studio to create the album known as Disco Jets. Yet the album crafted by Willie Wilcox (drums), Roger Powell
Queen, The Works / A Kind of Magic / The Miracle / Innuendo / Made in Heaven: Deluxe Editions (Hollywood) The last five deluxe reissues of the Queen catalogue, which began last year for the 40th anniversary, are now available domestically (they came out in the U.K. in November). So if you've missed these, now's the chance to get them without importing 'em. Big Country, The Crossing: Deluxe Edition (Mercury/UMC) From the U.K., one of the most criminally underrated albums of the '80s, expanded
It's no "She's a Beauty," but Tubes fans might be excited to know that the band's final album for Capitol, 1985's Love Bomb, is coming to CD with bonus tracks from Cherry Red Records. The Tubes were well known in the late '70s for their no-holds-barred live shows and sly songwriting, with a mind to skewer an increasingly saturated media landscape. As the 1980s dawned, however, The Tubes unexpectedly made moves to turn into a leaner, meaner, rock band. Two albums were cut with producer David
What kind of year will 2012 be? If the first batch of releases, slated for January 30 release, from the Edsel label is any indication, there's plenty of rare and well-done music on the way! A three albums-on-two-CDs package collects the entirety of Todd Rundgren's Warner Bros. Records period. A Cappella/Nearly Human/2nd Wind continues Edsel's definitive series which brings Rundgren's solo and Utopia output on both Bearsville and Warner Bros. under one umbrella. The studio wizard's decision
Who's that on the racks again? A portrait of a crazy man, trying to make a living off an elpee's worth of toons! Well, the man in question was Todd Rundgren, the year was 1974, and he was appearing on the record racks with his fifth LP (elpee?) simply entitled Todd. The name was the only simple aspect of the album, however! Though Rundgren was, in fact, making a living as a prolific songwriter, artist, arranger and producer, the restlessly creative polymath wasn’t taking things easy. Todd
By the time 1993 rolled around, devotees of the musical wizardry of Todd Rundgren only knew to expect the unexpected. Warner Bros. Records had rescued 1985’s A Cappella after the album had been rejected by Rundgren’s longtime home, Bearsville. The maverick artist followed that with two efforts recorded expressly for the label, Nearly Human (1989) and 2nd Wind (1991). These two albums showed the artist as a supreme pop craftsman with would-be classics like “The Want of a Nail” and “Parallel
Ben Folds, The Best Imitation of Myself: A Retrospective (Epic/Legacy) Ben Folds-mania - at least around Second Disc HQ - hits a fever pitch with the first compilation from everyone's favorite piano-playing smartass. You have your single-disc version, the excellent three-disc version and the digital vault, featuring another 55 tracks at 320 kbps MP3s. (Five of those tracks are yours free when you buy the three-disc set.) (Official site) James Brown, The Singles Vol. 11 (1979-1981) (Hip-o
The temperatures might be dropping, but as sure as fall turns to winter, the slate of catalogue reissues heats up each year for the lucrative holiday market. Friday Music, the CD and vinyl reissue label, sure hasn't wasted any time in preparing an eclectic slate of killer releases slated for the months ahead. The label's Joe Reagoso, a.k.a. Joe Friday, has taken to Twitter and Facebook announcing a number of exciting projects. And here, without further ado, are just the facts... The
He's been called a wizard, a true star, even God. But by any name, Todd Rundgren is one of music's most enduring iconoclasts. Not merely content to rest on his early career laurels as a purveyor of top-tier AM pop ("Hello, It's Me," "I Saw the Light") the restless musician has followed his muse from one direction to another over 40+-years, taking in soul (of the Philadelphia and blue-eyed varieties), pop, prog rock, jazz, funk, arena rock, avant-garde experimentalism, a cappella, musical
Thank you, Cameron Crowe. You had me at "hello." You cost me plenty, but my record collection has long been grateful for the education! The integration of popular song and cinema has been around as long as the talking film itself, since the day Al Jolson prefaced his performance of "Toot, Toot, Tootsie (Goodbye)" with the epochal dialogue "Wait a minute, wait a minute, you ain't heard nothin' yet!" These lines from 1927's The Jazz Singer, the first feature-length "talkie" in which