The "almost" official blog for everything Todd Rundgren Related........................................................................................................................................................................... Please visit the sister facebook page https://www.facebook.com/Ma4utopia?ref=hl
Saturday, July 30, 2011
RundgrenRadio is back !!!
Time Tuesday, August 2 · 8:30pm - 10:30pm
Location RundgrenRadio.com
We're baaaaack for another show after a 2 week hiatus. 8:30pm ET.
Location RundgrenRadio.com
We're baaaaack for another show after a 2 week hiatus. 8:30pm ET.
HOPE its not a rumor...
TR appeared on a FM station in Tokyo via Fuji Rock Festival. Played Hide Love Away and said will toured with Utopia(incl. Moogy) from Oct on US
this was reported by a long time fan that lives in Japan.
this was reported by a long time fan that lives in Japan.
Thursday, July 28, 2011
Goldmine Article / Interview
http://www.goldminemag.com/article/the-iconic-todd-rundgren-is-rocking-harder-than-ever
the iconic Todd Rundgren is rocking harder than ever
Posted on 27 July 2011.
Now in his 60s, Todd Rundgren remains a rock and roll icon.
By Lee Zimmerman
When Todd Rundgren dubbed his fourth solo album “A Wizard, A True Star” it may have seemed presumptuous at the time, given that he had only begun recording a scant five years before. Nearly four decades later, that title has come to sum up one of the most remarkably prolific careers in rock’s vast lexicon. There’s practically nothing Rundgren hasn’t done, whether as a performer, producer, engineer or video pioneer.
Indeed, since making his bow with his first band, Woody’s Truck Stop, in his native Philadelphia and creeping into the national spotlight with The Nazz, Rundgren has freely delved into a dizzying array of musical ventures — from pop to prog, rock to retro, and practically everything in between. He’s had hits on his own — “Hello It’s Me, and “Bang the Drum All Day,” among them — and worked behind the boards to create hits for others: Badfinger, Meatloaf, XTC and Patti Smith, to name a scant few. He’s also helmed the experimental outfit Utopia and fallen back on the tried and true both as a member of Ringo Starr’s All-Starr band and as part of retro treks that paid homage to “Sgt. Pepper” and other Beatle bounties. To call him eclectic is like saying there’s sand in the Sahara.
Rundgren’s last album, “Arena,” found him working in a decidedly harder rock vein while venting thoughts on our modern malaise. Not surprisingly then, when Goldmine had the opportunity to speak with him, he was equally enthused.
At 62, you’re rocking harder than ever. That’s an opposite approach from artists who start out very rambunctious and then mellow out.
Todd Rundgren: I didn’t realize myself how much I sort of miss the axe hanging around your neck. You can look at it in some ways as a sort of buffer area between you and the audience, the guitar itself, and it also, at least for me, takes a little while to get back up to speed and confidence with the instrument.
You could have had a very comfortable career when you were recording those very mellow and accessible pop songs early on. But then you chose to change directions and go into a more progressive and experimental vein with Utopia.
TR: I wanted to do a bit of both, and that was to satisfy myself. It wasn’t necessarily any career need to do that. When I got comfortable enough with my so-called solo career I was immediately wanting to put a band together so I could do that kind of music that bands do, that thing where the responsibility is spread around more, and I could simplify my role in a sense. I would only have to be the guitar player. I would never have to touch the piano. I’d have that opportunity to perform and develop as a performer in the context where I wouldn’t be judged alone for what I’d be doing.
When you plot a new album, how much thought do you give to creating a new template or pursuing a new theme? After all these years, it must be difficult not to repeat yourself.
TR: That is an essential difficulty, that the more music you write, the more likely you are to repeat yourself and that’s the actuality for most artists, and that’s not a bad thing because for many artists, that’s the foundation of your career. Nobody expects Barry Manilow to reinvent himself ever, and for people who come to see him, their expectation is just a guy who’s going to sing “Without You” night after night after night after night after night without shooting himself in the head. I didn’t approach music as a performer, which is what a lot of other people do, and therefore they figure out afterwards what kind of music they want to make.
I found it was kind of easy for me to develop musical ideas and get them recorded, and very difficult for me to take them out on the road and do them in front of people. I guess that was the challenge of my career, because it didn’t come naturally to me — that sort of exhibitionism that comes with performance. But all my favorite performers I had to admit to myself were out there putting on a show. We wanted a band — like The Nazz, my first major band — to be like one part The Who, and so if you wanted to do that, you couldn’t just stand up there and sound like The Who, you had to be flailing and on the verge of falling over the edge of the stage – daring behavior to essentially elevate the live experience beyond simply recreation of the music. As time goes on, I am more self-conscious of that aspect when I do make a record, and in the case of “Arena,” there was a bit of trepidation. I was thinking to myself, “Am I going to be able to do this every night?” Especially with a song like “Strike,” which involves essentially self-strangulation (laughs). And if it’s a problem, we’ll have to lower some keys and not perform some songs, or whatever. But as it turned out, and as it usually turns out, the more you do, the easier it becomes. It’s essentially a form of bodybuilding, I suppose.
When you do go out under your own name, your audience must come with a lot of expectations. After all, you’ve touched on a lot of styles in your career and have written a lot of songs that people inevitably would like to hear. So how do you reconcile all those sides of yourself and satisfy all those needs?
TR: I realize that I can’t, and if I try to, it probably doesn’t satisfy anyone fully. There are occasions to find proper context for the older material. “Proper,” meaning something that I feel is musically interesting and challenging for me to do, as well as visiting in one form or another that material that everybody likes, the numbers from the ’70s. And probably the last time I did that was this whole bossa nova thing (“With a Twist”). I revisited all the old songs but in a new context. So anyone who was desperate to hear the originals, they were going to get them in that form. They wouldn’t sound exactly like the originals, but it would be that song with those same words. And, oftentimes, what people are most connected to in a song is the lyrics, and so in that sense we try to make it obvious that this is an opportunity for people to hear that, if that’s what they’re dying to hear. But I think also I’ve conditioned, at least the hardcore of my audience, not to have particular expectations when they first see a tour. It doesn’t mean I’m not going to change everything we do, but the nature of the show is not necessarily guaranteed, and the only thing I guarantee is that we will put our best effort into it. That’s the reason why I don’t really do my solo shows any more, because so many of those songs depend on a half-decent piano performance and I am not even a half-decent piano player.
Your recent sets have even found you dipping back into your old Nazz catalog.
TR: Well, yeah, now we have a proper context for it, and in that sense a lot of people are just as happy with this harder approach as long as it puts them in a place that they are familiar with. At a certain point I was touring almost exclusively with Utopia, and if we did any Todd Rundgren songs it would be within the context of a Utopia show. And so a lot of people have fond memories of Utopia shows they’ve been to, and those were never ballad-fests and introspective singer/songwriter type evenings of the kind I would do after the band broke up. So in that sense there is a significant portion of the audience that is happy to see me flailing away up there.
You’ve had a remarkably prolific career as a producer, working with a broad range of artists. When someone asks you to take on a production assignment, what is your criteria for deciding whether or not you’ll do it?
TR: Well the assumption is that nobody is going to approach you in the first place unless they have the wherewithal to make a record. In the old days that always meant a label, and someone who’s going to pay to have the record made. Nowadays, people are just as likely to be privately financed and maybe even shop a record later. So much of that has evolved as time has gone on, but my openness to different kinds of music again goes back to the fact that I didn’t think of myself, when I first got involved in music, as a performer so much as a musician who would have been just as happy to sit in the third row of the string section of the orchestra and fiddle away. And as time went on, I came to realize that if you only think in those terms you don’t get the benefit that The Beatles got for instance, having girls chase you down the street (laughs). Eventually you have to migrate to the stage, but I took with me the whole time an interest in music and a love of music. I grew up in a household where there was a variety of music, so in that sense, the production came fairly naturally to me, the whole idea of working in different genres. I felt that as a musician you had to have that capacity. A lot of that came from The Beatles. They were, whether self-consciously or not, one of the most eclectic musical acts ever, and they were self consciously evolutionary in that, at a certain point, all of their records started to sound different from each other. Coming of age in that era, I thought that’s what you were supposed to do. You were supposed to evolve, you were supposed to absorb other musical influences and express them, and so when it came to producing records, I had more of a George Martin approach. There was no one way to make a record and there was no one style I was going to specialize in.
Do you have any favorite projects and by contrast, were there any projects you turned down that you wish you had taken?
TR: Well, I have a lot of projects that I have fond memories of, from the hugely commercially successful, such as Meatloaf, to the more obscure and forgotten, like Pursuit of Happiness. But yeah, there have been some disappointment in terms of acts I would have liked to work with and just couldn’t do it. In most cases, it was a question of scheduling. I was asked at one point to produce a Talking Heads record and it went on to be the first production with Brian Eno, and I was already committed to a project in the same time period so I never got to do that. It was something I would have liked to have done. I understand from Pete Townshend that at one point that I was under discussion to possibly produce a Who album, probably in the early ’80s.
The Who — that would have really been something.
TR: Yeah, but for whatever reason it never happened. I don’t know. But there’s been talk and possibilities, and I have mixed feelings about having done or not done them because the more you admire an act, the greater responsibility it is to try to get their music the way you want it. And in some cases, it’s in lieu of actual friendship. In other words, being friends is not the basis of your relationship with the act. It’s having to help them through a process and sometimes make decisions that they may not be in 100 percent agreement with. XTC was a case in point. I was a big fan of the band, and while I’m still friends with a couple of the guys in the band, I’ll never be pals with Andy (Partridge) (laughs).
So we’ve heard…
TR: So in that sense when you commit to doing a production, you also give up the possibility of having a different kind of relationship, either friendship or a horizontal kind of relationship
the iconic Todd Rundgren is rocking harder than ever
Posted on 27 July 2011.
Now in his 60s, Todd Rundgren remains a rock and roll icon.
By Lee Zimmerman
When Todd Rundgren dubbed his fourth solo album “A Wizard, A True Star” it may have seemed presumptuous at the time, given that he had only begun recording a scant five years before. Nearly four decades later, that title has come to sum up one of the most remarkably prolific careers in rock’s vast lexicon. There’s practically nothing Rundgren hasn’t done, whether as a performer, producer, engineer or video pioneer.
Indeed, since making his bow with his first band, Woody’s Truck Stop, in his native Philadelphia and creeping into the national spotlight with The Nazz, Rundgren has freely delved into a dizzying array of musical ventures — from pop to prog, rock to retro, and practically everything in between. He’s had hits on his own — “Hello It’s Me, and “Bang the Drum All Day,” among them — and worked behind the boards to create hits for others: Badfinger, Meatloaf, XTC and Patti Smith, to name a scant few. He’s also helmed the experimental outfit Utopia and fallen back on the tried and true both as a member of Ringo Starr’s All-Starr band and as part of retro treks that paid homage to “Sgt. Pepper” and other Beatle bounties. To call him eclectic is like saying there’s sand in the Sahara.
Rundgren’s last album, “Arena,” found him working in a decidedly harder rock vein while venting thoughts on our modern malaise. Not surprisingly then, when Goldmine had the opportunity to speak with him, he was equally enthused.
At 62, you’re rocking harder than ever. That’s an opposite approach from artists who start out very rambunctious and then mellow out.
Todd Rundgren: I didn’t realize myself how much I sort of miss the axe hanging around your neck. You can look at it in some ways as a sort of buffer area between you and the audience, the guitar itself, and it also, at least for me, takes a little while to get back up to speed and confidence with the instrument.
You could have had a very comfortable career when you were recording those very mellow and accessible pop songs early on. But then you chose to change directions and go into a more progressive and experimental vein with Utopia.
TR: I wanted to do a bit of both, and that was to satisfy myself. It wasn’t necessarily any career need to do that. When I got comfortable enough with my so-called solo career I was immediately wanting to put a band together so I could do that kind of music that bands do, that thing where the responsibility is spread around more, and I could simplify my role in a sense. I would only have to be the guitar player. I would never have to touch the piano. I’d have that opportunity to perform and develop as a performer in the context where I wouldn’t be judged alone for what I’d be doing.
When you plot a new album, how much thought do you give to creating a new template or pursuing a new theme? After all these years, it must be difficult not to repeat yourself.
TR: That is an essential difficulty, that the more music you write, the more likely you are to repeat yourself and that’s the actuality for most artists, and that’s not a bad thing because for many artists, that’s the foundation of your career. Nobody expects Barry Manilow to reinvent himself ever, and for people who come to see him, their expectation is just a guy who’s going to sing “Without You” night after night after night after night after night without shooting himself in the head. I didn’t approach music as a performer, which is what a lot of other people do, and therefore they figure out afterwards what kind of music they want to make.
I found it was kind of easy for me to develop musical ideas and get them recorded, and very difficult for me to take them out on the road and do them in front of people. I guess that was the challenge of my career, because it didn’t come naturally to me — that sort of exhibitionism that comes with performance. But all my favorite performers I had to admit to myself were out there putting on a show. We wanted a band — like The Nazz, my first major band — to be like one part The Who, and so if you wanted to do that, you couldn’t just stand up there and sound like The Who, you had to be flailing and on the verge of falling over the edge of the stage – daring behavior to essentially elevate the live experience beyond simply recreation of the music. As time goes on, I am more self-conscious of that aspect when I do make a record, and in the case of “Arena,” there was a bit of trepidation. I was thinking to myself, “Am I going to be able to do this every night?” Especially with a song like “Strike,” which involves essentially self-strangulation (laughs). And if it’s a problem, we’ll have to lower some keys and not perform some songs, or whatever. But as it turned out, and as it usually turns out, the more you do, the easier it becomes. It’s essentially a form of bodybuilding, I suppose.
When you do go out under your own name, your audience must come with a lot of expectations. After all, you’ve touched on a lot of styles in your career and have written a lot of songs that people inevitably would like to hear. So how do you reconcile all those sides of yourself and satisfy all those needs?
TR: I realize that I can’t, and if I try to, it probably doesn’t satisfy anyone fully. There are occasions to find proper context for the older material. “Proper,” meaning something that I feel is musically interesting and challenging for me to do, as well as visiting in one form or another that material that everybody likes, the numbers from the ’70s. And probably the last time I did that was this whole bossa nova thing (“With a Twist”). I revisited all the old songs but in a new context. So anyone who was desperate to hear the originals, they were going to get them in that form. They wouldn’t sound exactly like the originals, but it would be that song with those same words. And, oftentimes, what people are most connected to in a song is the lyrics, and so in that sense we try to make it obvious that this is an opportunity for people to hear that, if that’s what they’re dying to hear. But I think also I’ve conditioned, at least the hardcore of my audience, not to have particular expectations when they first see a tour. It doesn’t mean I’m not going to change everything we do, but the nature of the show is not necessarily guaranteed, and the only thing I guarantee is that we will put our best effort into it. That’s the reason why I don’t really do my solo shows any more, because so many of those songs depend on a half-decent piano performance and I am not even a half-decent piano player.
Your recent sets have even found you dipping back into your old Nazz catalog.
TR: Well, yeah, now we have a proper context for it, and in that sense a lot of people are just as happy with this harder approach as long as it puts them in a place that they are familiar with. At a certain point I was touring almost exclusively with Utopia, and if we did any Todd Rundgren songs it would be within the context of a Utopia show. And so a lot of people have fond memories of Utopia shows they’ve been to, and those were never ballad-fests and introspective singer/songwriter type evenings of the kind I would do after the band broke up. So in that sense there is a significant portion of the audience that is happy to see me flailing away up there.
You’ve had a remarkably prolific career as a producer, working with a broad range of artists. When someone asks you to take on a production assignment, what is your criteria for deciding whether or not you’ll do it?
TR: Well the assumption is that nobody is going to approach you in the first place unless they have the wherewithal to make a record. In the old days that always meant a label, and someone who’s going to pay to have the record made. Nowadays, people are just as likely to be privately financed and maybe even shop a record later. So much of that has evolved as time has gone on, but my openness to different kinds of music again goes back to the fact that I didn’t think of myself, when I first got involved in music, as a performer so much as a musician who would have been just as happy to sit in the third row of the string section of the orchestra and fiddle away. And as time went on, I came to realize that if you only think in those terms you don’t get the benefit that The Beatles got for instance, having girls chase you down the street (laughs). Eventually you have to migrate to the stage, but I took with me the whole time an interest in music and a love of music. I grew up in a household where there was a variety of music, so in that sense, the production came fairly naturally to me, the whole idea of working in different genres. I felt that as a musician you had to have that capacity. A lot of that came from The Beatles. They were, whether self-consciously or not, one of the most eclectic musical acts ever, and they were self consciously evolutionary in that, at a certain point, all of their records started to sound different from each other. Coming of age in that era, I thought that’s what you were supposed to do. You were supposed to evolve, you were supposed to absorb other musical influences and express them, and so when it came to producing records, I had more of a George Martin approach. There was no one way to make a record and there was no one style I was going to specialize in.
Do you have any favorite projects and by contrast, were there any projects you turned down that you wish you had taken?
TR: Well, I have a lot of projects that I have fond memories of, from the hugely commercially successful, such as Meatloaf, to the more obscure and forgotten, like Pursuit of Happiness. But yeah, there have been some disappointment in terms of acts I would have liked to work with and just couldn’t do it. In most cases, it was a question of scheduling. I was asked at one point to produce a Talking Heads record and it went on to be the first production with Brian Eno, and I was already committed to a project in the same time period so I never got to do that. It was something I would have liked to have done. I understand from Pete Townshend that at one point that I was under discussion to possibly produce a Who album, probably in the early ’80s.
The Who — that would have really been something.
TR: Yeah, but for whatever reason it never happened. I don’t know. But there’s been talk and possibilities, and I have mixed feelings about having done or not done them because the more you admire an act, the greater responsibility it is to try to get their music the way you want it. And in some cases, it’s in lieu of actual friendship. In other words, being friends is not the basis of your relationship with the act. It’s having to help them through a process and sometimes make decisions that they may not be in 100 percent agreement with. XTC was a case in point. I was a big fan of the band, and while I’m still friends with a couple of the guys in the band, I’ll never be pals with Andy (Partridge) (laughs).
So we’ve heard…
TR: So in that sense when you commit to doing a production, you also give up the possibility of having a different kind of relationship, either friendship or a horizontal kind of relationship
Wednesday, July 27, 2011
Saturday, July 23, 2011
Thursday, July 21, 2011
Wednesday, July 20, 2011
Todd Rundgren praised by Eagles guitarist Joe Walsh at the Grammy Museum
http://m.examiner.com/examiner/db_/contentdetail.htm?contentguid=ylA4pAVV&full=true#display
Todd Rundgren praised by Eagles guitarist Joe Walsh at the Grammy Museum
Phyllis Pollack, Rock Music Examiner
Posted: 07/19/2011
Click on above link to read full story.
Todd Rundgren praised by Eagles guitarist Joe Walsh at the Grammy Museum
Phyllis Pollack, Rock Music Examiner
Posted: 07/19/2011
Click on above link to read full story.
Tuesday, July 19, 2011
Monday, July 18, 2011
Sunday, July 17, 2011
Wednesday, July 13, 2011
RundgrenRadio newsletter update.
Hello from Rundgren Radio!
* Good news for those of you that can't make any of the shows on the current tour and those of you that want to see the show again but in your living room. Todocast will be streaming the Todd Rundgren concert at the Coach House in San Juan Capistrano this Saturday night! It's only $19.95 and you can watch it as many times as you like until October 14th. For all the info just go to RundgrenRadio.com and you'll see it on our home page. They also have a $39.95 package limited to 100 that includes the Video On Demand and an autographed collector laminate signed and numbered by Todd. You can also click the LISTEN button if you'd like to hear tonight's show featuring Brian Roland from Todocast. If you are close to San Juan but didn't get tickets before the show sold out, you can enter a contest to win 2 tickets and a meet-n-greet with Todd ...
http://www.ocregister.com/entertainment/rundgren-308016-todd-see.html
* Gigatone Records announced the winner of the Todd Rundgren "[re]Production" album cover contest. Congratulations to our friend Mark Colarossi of Jefferson Township, PA for his entry that was personally selected by Todd. "[re]Production" is
set to be release everywhere on September 13, 2011. Here's an image of the cover for your viewing pleasure ...
http://a5.sphotos.ak.fbcdn.net/hphotos-ak-snc6/264157_10150236075431377_55980496376_7765517_7323367_n.jpg
You can also click the LISTEN button on RundgrenRadio.com if you'd like to hear tonight's show with Mark Colarossi as one of the guests.
* Several shows are left on this summer tour that Todd is doing and they have added some more to the September run. All of the gigs are posted here including some in the UK and Japan ...
http://www.rundgrenradio.com/toddtours.html
* Onward Promotions landed our first gig for Kasim Sulton and Eliot Lewis (double bill) using our new "Bring Them To YOUR Town" concept. The concert will be held in Bellmore, NY at the Brokerage Comedy Club. Limited capacity of only 200.
Tickets are available here ...
https://onwardpromotions.tix.com/Event.asp?Event=386662
For info on the concept and how you can get involved, please read about it here ...
http://www.rundgrenradio.com/eliotkasimlive.html
We are hoping to route the week for the two artists and end up in Cleveland on 10/22. We have several locations in the running that would perfectly but we need more "attendees".
* We don't have a Todd gig this year in Akron but we are still throwing a party and presenting a concert under the Onward Promotions moniker. Party is at the Akron City Centre Hotel on 9/3 and the gig is 9/4 at the Akron Civic featuring Rick Springfield, The Motels, and Kasim Sulton. Please e-mail us if you are interested in either or both. You're welcome to join the party whether you are going to the concert or not. If you want to go to the concert and sit with some Todd fans we have a block of seats in the loge.
* Speaking of albums shows, Todd discusses the past and possible future of them in this interview and even mentions RundgrenRadio.com. It's after the Burton Cummings interview ...
http://fmqb.com/article.asp?id=115421
* Join our Twitter if you tweet :-)
http://twitter.com/#!/rundgrenradio
* Join our Facebook page if you Facebook :-)
http://www.facebook.com/groups/17618438938
And last but not least, join our blog if you like blogs :-)
http://rundgrenradio.blogspot.com/
Until next time,
Doug & Melinda
RundgrenRadio.com
* Good news for those of you that can't make any of the shows on the current tour and those of you that want to see the show again but in your living room. Todocast will be streaming the Todd Rundgren concert at the Coach House in San Juan Capistrano this Saturday night! It's only $19.95 and you can watch it as many times as you like until October 14th. For all the info just go to RundgrenRadio.com and you'll see it on our home page. They also have a $39.95 package limited to 100 that includes the Video On Demand and an autographed collector laminate signed and numbered by Todd. You can also click the LISTEN button if you'd like to hear tonight's show featuring Brian Roland from Todocast. If you are close to San Juan but didn't get tickets before the show sold out, you can enter a contest to win 2 tickets and a meet-n-greet with Todd ...
http://www.ocregister.com/entertainment/rundgren-308016-todd-see.html
* Gigatone Records announced the winner of the Todd Rundgren "[re]Production" album cover contest. Congratulations to our friend Mark Colarossi of Jefferson Township, PA for his entry that was personally selected by Todd. "[re]Production" is
set to be release everywhere on September 13, 2011. Here's an image of the cover for your viewing pleasure ...
http://a5.sphotos.ak.fbcdn.net/hphotos-ak-snc6/264157_10150236075431377_55980496376_7765517_7323367_n.jpg
You can also click the LISTEN button on RundgrenRadio.com if you'd like to hear tonight's show with Mark Colarossi as one of the guests.
* Several shows are left on this summer tour that Todd is doing and they have added some more to the September run. All of the gigs are posted here including some in the UK and Japan ...
http://www.rundgrenradio.com/toddtours.html
* Onward Promotions landed our first gig for Kasim Sulton and Eliot Lewis (double bill) using our new "Bring Them To YOUR Town" concept. The concert will be held in Bellmore, NY at the Brokerage Comedy Club. Limited capacity of only 200.
Tickets are available here ...
https://onwardpromotions.tix.com/Event.asp?Event=386662
For info on the concept and how you can get involved, please read about it here ...
http://www.rundgrenradio.com/eliotkasimlive.html
We are hoping to route the week for the two artists and end up in Cleveland on 10/22. We have several locations in the running that would perfectly but we need more "attendees".
* We don't have a Todd gig this year in Akron but we are still throwing a party and presenting a concert under the Onward Promotions moniker. Party is at the Akron City Centre Hotel on 9/3 and the gig is 9/4 at the Akron Civic featuring Rick Springfield, The Motels, and Kasim Sulton. Please e-mail us if you are interested in either or both. You're welcome to join the party whether you are going to the concert or not. If you want to go to the concert and sit with some Todd fans we have a block of seats in the loge.
* Speaking of albums shows, Todd discusses the past and possible future of them in this interview and even mentions RundgrenRadio.com. It's after the Burton Cummings interview ...
http://fmqb.com/article.asp?id=115421
* Join our Twitter if you tweet :-)
http://twitter.com/#!/rundgrenradio
* Join our Facebook page if you Facebook :-)
http://www.facebook.com/groups/17618438938
And last but not least, join our blog if you like blogs :-)
http://rundgrenradio.blogspot.com/
Until next time,
Doug & Melinda
RundgrenRadio.com
Tuesday, July 12, 2011
WIN Meet and Greet tickets for the Coach House in San Juan Capistrano
http://www.ocregister.com/entertainment/rundgren-308016-todd-see.html
By BEN WENER / THE ORANGE COUNTY REGISTER
He's a cult hero, one of the most acclaimed producers and songwriters of his generation, and definitely among the most endearingly eccentric characters rock has ever coughed up. And now we're giving you a chance to not only see Todd Rundgren live but say hello as well.
We've got a pair of VIP meet-and-greet tickets to give away to some lucky Runt fans for this Saturday's sold-out show (July 16) at the Coach House in San Juan Capistrano.
Should be a fine time indeed: Coming off a handful of dates in which he performed both 1973's Todd and 1981's Healing in their entirety, Rundgren and his band -- including longtime cohorts Kasim Sulton (bass) and Prairie Prince (drums), plus Jesse Gress and John Ferenzik -- are expected to blast through a lengthy greatest-hits set, with no opening act. I'd bet you'll hear plenty of tunes from most of his classic albums: his 1972 double-LP masterpiece Something/Anything? as well as Runt: The Ballad of Todd Rundgren, Hermit of Mink Hollow and his willfully weird but these days widely celebrated 1973 effort A Wizard, A True Star.
How do you win? Just send your name and phone number (so we can contact you if there's no response via email) to Ben Wener at bwener@ocregister.com. The winner will be chosen at random and notified by Friday afternoon.
And if you miss out on scoring tickets, you can still see the gig via webcast. Our sister site OrangeCounty.com will be streaming the show on demand until Oct. 14, and it also will be available via our iPad application. Price: $19.95.
Rundgren also plays Friday night at the Canyon Club in Agoura Hills, $32.50, and Monday at the Grammy Museum in the L.A. Live complex, though it appears that gig is sold out, too.
By BEN WENER / THE ORANGE COUNTY REGISTER
He's a cult hero, one of the most acclaimed producers and songwriters of his generation, and definitely among the most endearingly eccentric characters rock has ever coughed up. And now we're giving you a chance to not only see Todd Rundgren live but say hello as well.
We've got a pair of VIP meet-and-greet tickets to give away to some lucky Runt fans for this Saturday's sold-out show (July 16) at the Coach House in San Juan Capistrano.
Should be a fine time indeed: Coming off a handful of dates in which he performed both 1973's Todd and 1981's Healing in their entirety, Rundgren and his band -- including longtime cohorts Kasim Sulton (bass) and Prairie Prince (drums), plus Jesse Gress and John Ferenzik -- are expected to blast through a lengthy greatest-hits set, with no opening act. I'd bet you'll hear plenty of tunes from most of his classic albums: his 1972 double-LP masterpiece Something/Anything? as well as Runt: The Ballad of Todd Rundgren, Hermit of Mink Hollow and his willfully weird but these days widely celebrated 1973 effort A Wizard, A True Star.
How do you win? Just send your name and phone number (so we can contact you if there's no response via email) to Ben Wener at bwener@ocregister.com. The winner will be chosen at random and notified by Friday afternoon.
And if you miss out on scoring tickets, you can still see the gig via webcast. Our sister site OrangeCounty.com will be streaming the show on demand until Oct. 14, and it also will be available via our iPad application. Price: $19.95.
Rundgren also plays Friday night at the Canyon Club in Agoura Hills, $32.50, and Monday at the Grammy Museum in the L.A. Live complex, though it appears that gig is sold out, too.
winner cover art for ReProductions cd
Monday, July 11, 2011
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