another great video posted by roger steel on youtube
The "almost" official blog for everything Todd Rundgren Related........................................................................................................................................................................... Please visit the sister facebook page https://www.facebook.com/Ma4utopia?ref=hl
Saturday, September 26, 2009
Friday, September 25, 2009
AWATS VOD news and new bass player for arena fall tour
this from todd myspace page
Fall tour news
I wanted to let you all know that the A Wizard A True Star Pay per view / Video on demand will be unavailable after Sept 30th. So if you havent seen it ye you should do so soon. Links can be found here on our Myspace home page. or www.awatslive.com
Also, for the Oct dates Sara Lee (B-52s & Gang of Four) will be filling in for Rachel Haden.
Hope all is well out there.
xoxo
lynn
Thursday, September 24, 2009
theme song tv show aliens in the family
todd wrote the theme song for this short lived tv show
thanks roger steel for posting on youtube
thanks roger steel for posting on youtube
Tuesday, September 22, 2009
Monday, September 21, 2009
Sunday, September 20, 2009
RundgrenRadio :the one and only TODD RUNDGREN and his wife MICHELE ... this tuesday
The perfect way to finally close the chapter on AWATS Live USA ---
(In Bobby Strickland preacher's voice) Todd Rundgren, the man, the myth, the legend, will be our guest on Rundgren Radio this Tuesday! We will talk about AWATS and then take calls from fans that want to show their AWATS appreciation to the Toddster! Now everybody stand up and do the cool jerk!
Show airs at 8:30pm ET as always. 09/22/09
www.RundgrenRadio.com
(In Bobby Strickland preacher's voice) Todd Rundgren, the man, the myth, the legend, will be our guest on Rundgren Radio this Tuesday! We will talk about AWATS and then take calls from fans that want to show their AWATS appreciation to the Toddster! Now everybody stand up and do the cool jerk!
Show airs at 8:30pm ET as always. 09/22/09
www.RundgrenRadio.com
Friday, September 18, 2009
Thursday, September 17, 2009
REVIEW: Rundgren’s performance conceptually innovative
http://www.middletownpress.com/articles/2009/09/16/entertainment/doc4ab1adba2e7be073642175.txt
Rundgren’s performance conceptually innovative
Published: Wednesday, September 16, 2009
By BOB MCGUIRE
Todd Rundgren performed his entire 1973 album “A Wizard, A True Star” at the Stamford Palace on Wednesday, Sept. 9. The performance was filmed with multiple cameras after two warm-up gigs in Akron, Ohio earlier in the week. (Courtesy Photo)
Todd Rundgren performed his entire 1973 album “A Wizard, A True Star” at the Stamford Palace on Wednesday, Sept. 9. The performance was filmed with multiple cameras after two warm-up gigs in Akron, Ohio earlier in the week.
Always an innovator, Todd Rundgren is at the forefront of a new industry touring concept: performing a fan-favorite album from start to finish followed by a fistful of greatest hits. It’s a model followed this year by artists as diverse as Steely Dan, Bruce Springsteen, The Pixies and Aerosmith. Van Morrison has had phenomenal success this year touring a faithful version of his classic “Astral Weeks” album from the 70s.
So, back to Todd Rundgren. His “A Wizard, A True Star” (AWATS) performance in this tidy Stamford venue was remarkably successful. I’d never seen Rundgren perform, but I’ve always admired his production work for bands from Badfinger and The Band to Grand Funk Railroad and XTC. He even produced the background music for the 1986 television series Pee-wee’s Playhouse.
The performance at The Stamford Palace was more or less a Utopia concert with Kasim Sulton (bass) and Roger Powell (keyboards), but it was rounded out nicely by Prairie Prince (drums), former Cars keyboard player Greg Hawkes and veteran Jesse Gress (guitar).
A camera on a robot arm traversed above the band and crowd all evening adding to the overall sensory overload induced by lasers, lights and smoke machines. The performance was filmed for an eventual DVD release and this only added to the air of excitement in the hall.
All of the costume changes and smoke machines in the world, however, wouldn’t make a satisfying show if this wasn’t a band that could deliver the goods. They did, and had the perfect audience who had probably traveled many miles to witness this rare performance. It was originally planned for a London debut that fell through. It seems AWATS is currently being heavily sampled by the kids across the pond.
Bassist Kasim Sulton carried half of the vocal chores all evening and proved to be a perfect foil for Rundgren while playing in a dizzyingly aggressive and singularly propulsive style. Prairie Prince, formerly of The Tubes, lived up to his reputation as one of rock’s premiere drummers.
The AWATS album, especially the first side, is an extended medley after the fashion of the Beatle’s later recordings. The songs, sometimes snippets, run into each other to achieve an hallucinatory effect. Side one has a cover version of “Never Never Land” from Broadway’s Peter Pan, while side two explores what I’m sure are Todd’s radio roots of Doo Wop and blue-eyed soul growing up in the 60s in Philadelphia.
This band, tonight, goes from costumed psychedelia in the first half to doing more than credible versions in the second half of Curtis Mayfield’s “I’m So Proud,” “La La La [Means I Love You],” “Ooh Baby Baby” and a rousing rave-up on The Capitol’s 60s classic “Cool Jerk.”
Rundgren, who celebrated his 61st birthday in June, revels in being on stage and is clearly pleased as he runs through at least eight costume changes in the second set. The musicianship is flawless as the Zappa-like, tinker toy melodies are gleefully assayed by this attenuated group that practically invented the progressive genre with the release of this ground-breaking album in 1973.
The headliner has had a storied career beginning with Woody’s Truck Stop, then Nazz, followed by two solo albums as Runt. All this before helping to shape progressive rock on both sides of the Atlantic with the 1973 release of AWATS and the formation of Utopia.
Todd explained recently in an on-line interview that AWATS is “... not simply a musical presentation, it’s got to be more of a theatrical thing. I think the expectations exceed a typical sort of concert. Also, it’s of an era when, at least with my shows, I think most artists were doing something that was a little bit more production-oriented live.”
Mission accomplished; the show not only included a complete start-to-finish rendition of the 1973 classic but managed to capture a lot of the fun of the freewheeling early 70s. The band was prepared for the intricate workout and were aided by the multiple costume changes and the liberal use of theatrical props throughout the evening.
Bruce Springsteen is preparing a complete run-through of “Born To Run” while Steely Dan and even Devo are taking to the road with similar full album productions. As the economy tightens and promoters seek new angles, expect to see even more of this concept coming soon to a theater near you.
Rundgren’s performance conceptually innovative
Published: Wednesday, September 16, 2009
By BOB MCGUIRE
Todd Rundgren performed his entire 1973 album “A Wizard, A True Star” at the Stamford Palace on Wednesday, Sept. 9. The performance was filmed with multiple cameras after two warm-up gigs in Akron, Ohio earlier in the week. (Courtesy Photo)
Todd Rundgren performed his entire 1973 album “A Wizard, A True Star” at the Stamford Palace on Wednesday, Sept. 9. The performance was filmed with multiple cameras after two warm-up gigs in Akron, Ohio earlier in the week.
Always an innovator, Todd Rundgren is at the forefront of a new industry touring concept: performing a fan-favorite album from start to finish followed by a fistful of greatest hits. It’s a model followed this year by artists as diverse as Steely Dan, Bruce Springsteen, The Pixies and Aerosmith. Van Morrison has had phenomenal success this year touring a faithful version of his classic “Astral Weeks” album from the 70s.
So, back to Todd Rundgren. His “A Wizard, A True Star” (AWATS) performance in this tidy Stamford venue was remarkably successful. I’d never seen Rundgren perform, but I’ve always admired his production work for bands from Badfinger and The Band to Grand Funk Railroad and XTC. He even produced the background music for the 1986 television series Pee-wee’s Playhouse.
The performance at The Stamford Palace was more or less a Utopia concert with Kasim Sulton (bass) and Roger Powell (keyboards), but it was rounded out nicely by Prairie Prince (drums), former Cars keyboard player Greg Hawkes and veteran Jesse Gress (guitar).
A camera on a robot arm traversed above the band and crowd all evening adding to the overall sensory overload induced by lasers, lights and smoke machines. The performance was filmed for an eventual DVD release and this only added to the air of excitement in the hall.
All of the costume changes and smoke machines in the world, however, wouldn’t make a satisfying show if this wasn’t a band that could deliver the goods. They did, and had the perfect audience who had probably traveled many miles to witness this rare performance. It was originally planned for a London debut that fell through. It seems AWATS is currently being heavily sampled by the kids across the pond.
Bassist Kasim Sulton carried half of the vocal chores all evening and proved to be a perfect foil for Rundgren while playing in a dizzyingly aggressive and singularly propulsive style. Prairie Prince, formerly of The Tubes, lived up to his reputation as one of rock’s premiere drummers.
The AWATS album, especially the first side, is an extended medley after the fashion of the Beatle’s later recordings. The songs, sometimes snippets, run into each other to achieve an hallucinatory effect. Side one has a cover version of “Never Never Land” from Broadway’s Peter Pan, while side two explores what I’m sure are Todd’s radio roots of Doo Wop and blue-eyed soul growing up in the 60s in Philadelphia.
This band, tonight, goes from costumed psychedelia in the first half to doing more than credible versions in the second half of Curtis Mayfield’s “I’m So Proud,” “La La La [Means I Love You],” “Ooh Baby Baby” and a rousing rave-up on The Capitol’s 60s classic “Cool Jerk.”
Rundgren, who celebrated his 61st birthday in June, revels in being on stage and is clearly pleased as he runs through at least eight costume changes in the second set. The musicianship is flawless as the Zappa-like, tinker toy melodies are gleefully assayed by this attenuated group that practically invented the progressive genre with the release of this ground-breaking album in 1973.
The headliner has had a storied career beginning with Woody’s Truck Stop, then Nazz, followed by two solo albums as Runt. All this before helping to shape progressive rock on both sides of the Atlantic with the 1973 release of AWATS and the formation of Utopia.
Todd explained recently in an on-line interview that AWATS is “... not simply a musical presentation, it’s got to be more of a theatrical thing. I think the expectations exceed a typical sort of concert. Also, it’s of an era when, at least with my shows, I think most artists were doing something that was a little bit more production-oriented live.”
Mission accomplished; the show not only included a complete start-to-finish rendition of the 1973 classic but managed to capture a lot of the fun of the freewheeling early 70s. The band was prepared for the intricate workout and were aided by the multiple costume changes and the liberal use of theatrical props throughout the evening.
Bruce Springsteen is preparing a complete run-through of “Born To Run” while Steely Dan and even Devo are taking to the road with similar full album productions. As the economy tightens and promoters seek new angles, expect to see even more of this concept coming soon to a theater near you.
Wednesday, September 16, 2009
hall and oates on same bill as todd
Hall and Oates pass the savings along to you
TEXT SIZE By: PATRICK BERKERY
phillyBurbs.com
Hey, I was psyched enough that Daryl Hall and John Oates were throwing in for the Spectrum's Final Farewell Concert Series. Then I found out that fellow local heroes Todd Rundgren and The Hooters would also be on the bill (though I was sworn to secrecy).
Now comes word that tickets for the October 23 show, dubbed "The Last Call," will be going for the rock bottom, bargain basement price of $4, $5, and $6. The deeply discounted tickets reflect the ticket price of the very first concert held at the Spectrum, the two-day Quaker City Jazz Festival (September 30-October 1, 1967).
Of course, if you feel like dropping a little coin on the show, a limited number of VIP tickets, which include a post-concert reception and a certificate for a commemorative brick from the Spectrum (after the venue closes), will also be available through ComcastTIX. ALL tickets on sale this Saturday (9/19) at 10:00 a.m. exclusively through ComcastTIX.
If you're scoring at home, Hall and Oates have performed six previous times at the Spectrum (first show: December 12, 1977); The Hooters four times (first time: November 26, 1987) and Todd Rundgren only once: April 19, 1980.
TEXT SIZE By: PATRICK BERKERY
phillyBurbs.com
Hey, I was psyched enough that Daryl Hall and John Oates were throwing in for the Spectrum's Final Farewell Concert Series. Then I found out that fellow local heroes Todd Rundgren and The Hooters would also be on the bill (though I was sworn to secrecy).
Now comes word that tickets for the October 23 show, dubbed "The Last Call," will be going for the rock bottom, bargain basement price of $4, $5, and $6. The deeply discounted tickets reflect the ticket price of the very first concert held at the Spectrum, the two-day Quaker City Jazz Festival (September 30-October 1, 1967).
Of course, if you feel like dropping a little coin on the show, a limited number of VIP tickets, which include a post-concert reception and a certificate for a commemorative brick from the Spectrum (after the venue closes), will also be available through ComcastTIX. ALL tickets on sale this Saturday (9/19) at 10:00 a.m. exclusively through ComcastTIX.
If you're scoring at home, Hall and Oates have performed six previous times at the Spectrum (first show: December 12, 1977); The Hooters four times (first time: November 26, 1987) and Todd Rundgren only once: April 19, 1980.
Tuesday, September 15, 2009
rundgren radio tonight 8:30 pm ET
RundgrenRadio.com airs TONIGHT 9/15/09 with AWATS talk from Eric Gardner and Nikki Nichols AND a live report from the Minnesota AWATS gig! 8:30pm ET
www.rundgrenradio.com
www.rundgrenradio.com
interview : CITY PAGES . ALL OUT SPECTACLE
http://blogs.citypages.com/gimmenoise/2009/09/todd_rundgren_p.php
Todd Rundgren prepares for an all-out spectacle
By Andrea Swensson in Concert Preview, Q&AMonday, Sep. 14 2009 @ 1:25PM
When Todd Rundgren returns to Minneapolis tomorrow night to play the State Theatre, he's pulling out all the stops. Not only will the concert feature a complete performance of his 1973 masterpiece A Wizard, A True Star, but Rundgren is promising an over-the-top theatrical spectacle with videos, dramatic lighting, and costumes from his original '70s tours. His current tour will only stop in five cities, and all reports indicate that it's going to be a memorable, mind-blowing show.
Tickets for tomorrow night's show are still on sale; visit the Hennepin Theatre Trust website for more information. In preparation for his stop in Minneapolis, Rundgren took a few minutes out of his busy rehearsal schedule to chat with Gimme Noise.
On your current tour, you are playing your record A Wizard, A True Star from start to finish at each show. Where did you get the idea for this project?
It was actually an idea of my British promoter, who was noting the fact that some younger artists, particularly electronic and turntable artists in Europe had discovered the record and were citing it as an influence and using samples off of it. So he thought that mounting an event around the record would be a good way to induce a younger crowd to come check it out.
You just performed the entire album live for the first time last week in Ohio. What was that experience like?
It was more than just doing the record, or the show that now accompanies the music. It was more like some sort of homecoming. Apparently they haven't had this many people show up in Akron in the last 30 years for any sort of event. We almost completely took over the town. [laughs] There was so much good will behind the whole thing that we almost could do wrong, regardless of what actually did go wrong -- and there were a lot of things that went wrong. It's one of those things that by the time we've got it all right, it's going to be nearly done. We'll be technically proficient at it for the next time that we go out. For this tour we have so many aspects to address that aren't usually in my productions -- we've got video projection, special effects lighting, things like that, as well as the dozen or so costume changes that I have to undergo under the course of an hour's worth of music.
Wow, a dozen costumes?
Well it wouldn't really work to simply play the music. Most of the people who are familiar with the record have sort of a mental movie that accompanies it. It's not the same for everybody, but the music evokes imagery, just naturally. And so I have to theatricalize it, in order to meet those expectations. If all we did was play it, it would be far less entertaining than if it's acted out as well.
Is it true that some of the costumes are from the original 1973 tour?
Yeah, we had some in our possession, and then we put out a call to the fans -- I had an estate sale a couple years ago when I moved away from Woodstock, and a lot of costumes were bought by fans. So we essentially put out a call and recovered some of them, and refurbished the ones that we had. So some of them are original costumes from back in the mid-'70s. And some don't fit anymore, and I can't possibly wear them. [laughs]
I read a review of the Akron show that said that you also played an opening set with your Utopia bandmates. Will you be playing Utopia songs at the Minneapolis show?
We're not calling it Utopia -- we don't want to raise people's expectations to that point. It's just because Roger [Powell] and Kasim [Sulton] are in the A Wizard, A True Star orchestra, and the A Wizard, A True Star album is only an hour's worth of music, so we had to have some sort of opening act. And since the three of us were there, we thought well, we know this music, it's music we don't have to learn from scratch, let's be our own opening act and play some Utopia songs because people like to hear those songs.
In the process of revisiting an album that was made over 35 years ago, are you tempted to tweak the songs, or do you try to stay faithful to the recording?
We've tried to remain as faithful as possible. I went back and essentially deconstructed the original master tapes so that we could see what all was going on in the chaos. And discovered a lot of stuff. Now it isn't possible for us, with only six people in the band, to cover every single sound that was made, but we have covered all the significant aspects of it. There was never any concept of rearranging them or anything like that. They're difficult enough to learn in their original form. And that's been the challenge for the week of rehearsal that we had before the first gig.
You were quoted recently as saying that A Wizard, A True Star was the beginning of your "real career as a musician." Can you explain that further?
I was always something of an experimentalist in the studio, and included some of these weird little asides even on my previous records, but most of the content of my previous records was me trying to find myself as a songwriter and singer, and it involved a lot of imitation of other artists, in a way. But mostly of the kind of popular song form that everyone was working in. I began to realize that this was an arbitrary limitation, and that I wasn't taking advantage of the other possibilities of, first of all, what could be placed on an LP, on a vinyl record, and also what could be done in the studio. So I determined that I was going to build my own studio to record this record, and then I consciously started deconstructing all of my habits, my songwriting habits and such. So what the album eventually represented was a more accurate view of who I really was, musically. I was no longer attempting to imitate other people all the time. I was certainly paying homage to a lot of my influences still during that record, but basically I felt that I had made some sort of a breakthrough in getting my personality down into the grooves. From that point on, I felt like I was more on my own path and less on the path that everyone else was on. And anyone who was my fan from that point on, they were more truly familiar with me and what I was trying to do.
That seems like it could be a rough transition, venturing out on your own. Were you nervous to make such a big change?
No, I never thought about that. The advantage that I had was that I was producing a lot of records for other people, and that was my living. So when I made my own records, I didn't have to have the same sort of economic considerations that a lot of other artists had to factor into their records. A lot of the artists would have to fear that the record would not sell enough or would not have a single on it to promote it. And those things never occurred to me. [laughs] I didn't have to be afraid of [my records] failing. I only had to be afraid of them failing in terms of my own vision.
As your music has evolved over the years, I imagine that critics have labeled you a lot of different things.
No. Because it's so confusing, what I do, that the critics don't bother to keep up with it. Critics don't really like to have to review my records. They don't have the measuring tools they need. Most of my records are pretty much ignored, critically. And that doesn't bother me either. I realize that I've got my audience, and the way that I'm going to increase my audience is to continue to play to my audience. And they'll go out and do the work of finding other listeners. The same way that you've been indoctrinated by your dad. [laughs] Now it's become trans-generational. There's a lot of younger fans showing up because they've been infected by their parents.
Todd Rundgren prepares for an all-out spectacle
By Andrea Swensson in Concert Preview, Q&AMonday, Sep. 14 2009 @ 1:25PM
When Todd Rundgren returns to Minneapolis tomorrow night to play the State Theatre, he's pulling out all the stops. Not only will the concert feature a complete performance of his 1973 masterpiece A Wizard, A True Star, but Rundgren is promising an over-the-top theatrical spectacle with videos, dramatic lighting, and costumes from his original '70s tours. His current tour will only stop in five cities, and all reports indicate that it's going to be a memorable, mind-blowing show.
Tickets for tomorrow night's show are still on sale; visit the Hennepin Theatre Trust website for more information. In preparation for his stop in Minneapolis, Rundgren took a few minutes out of his busy rehearsal schedule to chat with Gimme Noise.
On your current tour, you are playing your record A Wizard, A True Star from start to finish at each show. Where did you get the idea for this project?
It was actually an idea of my British promoter, who was noting the fact that some younger artists, particularly electronic and turntable artists in Europe had discovered the record and were citing it as an influence and using samples off of it. So he thought that mounting an event around the record would be a good way to induce a younger crowd to come check it out.
You just performed the entire album live for the first time last week in Ohio. What was that experience like?
It was more than just doing the record, or the show that now accompanies the music. It was more like some sort of homecoming. Apparently they haven't had this many people show up in Akron in the last 30 years for any sort of event. We almost completely took over the town. [laughs] There was so much good will behind the whole thing that we almost could do wrong, regardless of what actually did go wrong -- and there were a lot of things that went wrong. It's one of those things that by the time we've got it all right, it's going to be nearly done. We'll be technically proficient at it for the next time that we go out. For this tour we have so many aspects to address that aren't usually in my productions -- we've got video projection, special effects lighting, things like that, as well as the dozen or so costume changes that I have to undergo under the course of an hour's worth of music.
Wow, a dozen costumes?
Well it wouldn't really work to simply play the music. Most of the people who are familiar with the record have sort of a mental movie that accompanies it. It's not the same for everybody, but the music evokes imagery, just naturally. And so I have to theatricalize it, in order to meet those expectations. If all we did was play it, it would be far less entertaining than if it's acted out as well.
Is it true that some of the costumes are from the original 1973 tour?
Yeah, we had some in our possession, and then we put out a call to the fans -- I had an estate sale a couple years ago when I moved away from Woodstock, and a lot of costumes were bought by fans. So we essentially put out a call and recovered some of them, and refurbished the ones that we had. So some of them are original costumes from back in the mid-'70s. And some don't fit anymore, and I can't possibly wear them. [laughs]
I read a review of the Akron show that said that you also played an opening set with your Utopia bandmates. Will you be playing Utopia songs at the Minneapolis show?
We're not calling it Utopia -- we don't want to raise people's expectations to that point. It's just because Roger [Powell] and Kasim [Sulton] are in the A Wizard, A True Star orchestra, and the A Wizard, A True Star album is only an hour's worth of music, so we had to have some sort of opening act. And since the three of us were there, we thought well, we know this music, it's music we don't have to learn from scratch, let's be our own opening act and play some Utopia songs because people like to hear those songs.
In the process of revisiting an album that was made over 35 years ago, are you tempted to tweak the songs, or do you try to stay faithful to the recording?
We've tried to remain as faithful as possible. I went back and essentially deconstructed the original master tapes so that we could see what all was going on in the chaos. And discovered a lot of stuff. Now it isn't possible for us, with only six people in the band, to cover every single sound that was made, but we have covered all the significant aspects of it. There was never any concept of rearranging them or anything like that. They're difficult enough to learn in their original form. And that's been the challenge for the week of rehearsal that we had before the first gig.
You were quoted recently as saying that A Wizard, A True Star was the beginning of your "real career as a musician." Can you explain that further?
I was always something of an experimentalist in the studio, and included some of these weird little asides even on my previous records, but most of the content of my previous records was me trying to find myself as a songwriter and singer, and it involved a lot of imitation of other artists, in a way. But mostly of the kind of popular song form that everyone was working in. I began to realize that this was an arbitrary limitation, and that I wasn't taking advantage of the other possibilities of, first of all, what could be placed on an LP, on a vinyl record, and also what could be done in the studio. So I determined that I was going to build my own studio to record this record, and then I consciously started deconstructing all of my habits, my songwriting habits and such. So what the album eventually represented was a more accurate view of who I really was, musically. I was no longer attempting to imitate other people all the time. I was certainly paying homage to a lot of my influences still during that record, but basically I felt that I had made some sort of a breakthrough in getting my personality down into the grooves. From that point on, I felt like I was more on my own path and less on the path that everyone else was on. And anyone who was my fan from that point on, they were more truly familiar with me and what I was trying to do.
That seems like it could be a rough transition, venturing out on your own. Were you nervous to make such a big change?
No, I never thought about that. The advantage that I had was that I was producing a lot of records for other people, and that was my living. So when I made my own records, I didn't have to have the same sort of economic considerations that a lot of other artists had to factor into their records. A lot of the artists would have to fear that the record would not sell enough or would not have a single on it to promote it. And those things never occurred to me. [laughs] I didn't have to be afraid of [my records] failing. I only had to be afraid of them failing in terms of my own vision.
As your music has evolved over the years, I imagine that critics have labeled you a lot of different things.
No. Because it's so confusing, what I do, that the critics don't bother to keep up with it. Critics don't really like to have to review my records. They don't have the measuring tools they need. Most of my records are pretty much ignored, critically. And that doesn't bother me either. I realize that I've got my audience, and the way that I'm going to increase my audience is to continue to play to my audience. And they'll go out and do the work of finding other listeners. The same way that you've been indoctrinated by your dad. [laughs] Now it's become trans-generational. There's a lot of younger fans showing up because they've been infected by their parents.
RRHOF bog about todd
http://www.rockhall.com/rockhallblog
Blog Home About the Rock Hall
September 14 2009
Todd Rundgren Unveils His New Spotlight Exhibit and Meets with Fans
Hundreds of fans line up to meet Todd Rundgren and members of Utopia at the Rock Hall.
Labor Day was an exciting day for Cleveland and the Rock Hall. Todd Rundgren came to town to kick off the first two dates of his A Wizard / A True Star album tour. While in town, he also wanted to come by the Museum for the unveiling of his new spotlight exhibit which features a number of artifacts to tell the story of his career, including his Back to the Bars stage outfit and Patti Smith’s “Star Fever” poem, which was included in the first issues of A Wizard / A True Star. In addition to seeing his exhibit, Todd took time to see and meet his fans.
It was an exciting time in the Museum for fans to see an artist up close and an incredible amount of people stopped in for a photo and autograph. It’s hard to really capture the excitement of the people who came to the Rock Hall from all around the world to meet Todd Rundgren.
Along with Todd were his two of his band mates from Utopia, Kasim Sultan and Roger Powell, and his wife Michelle and son Rebop. Todd spent over an hour greeting his fans, taking photos and signing autographs. Following the signing, he did an interview on Sirius XM from our Alan Freed studio with Dusty Street.
Terry Stewart, president and CEO of the Rock Hall (right), poses with Todd Rundgren in front of his exhibit.
The event finished with Todd spending time at his exhibit, which has been a long time coming but worth the wait for an artist with such a great catalog of music and who has been on the cutting edge of digital recording and technology. We hope to welcome Todd back to the Museum in the near future to take part in our award-winning education programs.
It was fabulous that we had assistance of so many of Todd Rundgren and Utopia fans, especially Raquel M. Concepcion, that helped put this exhibit together. I hope that all of his fans make time to come to Cleveland and see this exhibit along with all of the other great exhibitions at the Rock Hall.
Blog Home About the Rock Hall
September 14 2009
Todd Rundgren Unveils His New Spotlight Exhibit and Meets with Fans
Hundreds of fans line up to meet Todd Rundgren and members of Utopia at the Rock Hall.
Labor Day was an exciting day for Cleveland and the Rock Hall. Todd Rundgren came to town to kick off the first two dates of his A Wizard / A True Star album tour. While in town, he also wanted to come by the Museum for the unveiling of his new spotlight exhibit which features a number of artifacts to tell the story of his career, including his Back to the Bars stage outfit and Patti Smith’s “Star Fever” poem, which was included in the first issues of A Wizard / A True Star. In addition to seeing his exhibit, Todd took time to see and meet his fans.
It was an exciting time in the Museum for fans to see an artist up close and an incredible amount of people stopped in for a photo and autograph. It’s hard to really capture the excitement of the people who came to the Rock Hall from all around the world to meet Todd Rundgren.
Along with Todd were his two of his band mates from Utopia, Kasim Sultan and Roger Powell, and his wife Michelle and son Rebop. Todd spent over an hour greeting his fans, taking photos and signing autographs. Following the signing, he did an interview on Sirius XM from our Alan Freed studio with Dusty Street.
Terry Stewart, president and CEO of the Rock Hall (right), poses with Todd Rundgren in front of his exhibit.
The event finished with Todd spending time at his exhibit, which has been a long time coming but worth the wait for an artist with such a great catalog of music and who has been on the cutting edge of digital recording and technology. We hope to welcome Todd back to the Museum in the near future to take part in our award-winning education programs.
It was fabulous that we had assistance of so many of Todd Rundgren and Utopia fans, especially Raquel M. Concepcion, that helped put this exhibit together. I hope that all of his fans make time to come to Cleveland and see this exhibit along with all of the other great exhibitions at the Rock Hall.
Monday, September 14, 2009
live from daryl's house via roger's great site trconnection..
The "A WIzard, A True Star" tour ends its US run tomorrow night in Minneapolis, MN. If you haven't been seeing the news about it, check out reviews and pictures at http://TRConnection.com/tour/t2009 beginning with the September 5 Rundgren Radio Birthday Bash. More pictures and reviews are being added as they come in, so keep checking it.
Will there be additional AWATS show in the US? No one knows for certain right now. Just keep chanting, "but there's more, there's always more" and maybe another journey to Never Never Land will occur. Time will tell.
Fans will also recall that Todd recorded a session with Daryl Hall for his "Live From Daryl's House" web site. That session begins airing beginning tomorrow, 9/15. Check it out at http://www.livefromdarylshouse.com/
See you on the Road to Utopia.
--
Roger D. Linder, The TR-i Fan Formerly known as RDL22
Will there be additional AWATS show in the US? No one knows for certain right now. Just keep chanting, "but there's more, there's always more" and maybe another journey to Never Never Land will occur. Time will tell.
Fans will also recall that Todd recorded a session with Daryl Hall for his "Live From Daryl's House" web site. That session begins airing beginning tomorrow, 9/15. Check it out at http://www.livefromdarylshouse.com/
See you on the Road to Utopia.
--
Roger D. Linder, The TR-i Fan Formerly known as RDL22
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