Todd Rundgren’s new recording
Global is all about
self-determination and the love of the common man. It is a musical shout-out urging
unity, an invitation for the fat cats to crawl off their lofty perches and join
the party down below where all the real living gets done. Most of the lyrical
themes revolve around mother earth and is delivered with a strong humanist outlook.
Rundgren typically constructs
his albums around anchored bookends. The first song, the introduction, is
usually a riveting welcome to the listener which hints strongly at the general
theme of the record while setting the tone. And the last track, the conclusion,
usually assumes the role as a summary imploring the listener to take heed or
take hope. In this case the lead-off track Evrybody
capably fills the role exploding out of the gate and getting the foot
tapping immediately suggesting that Global
may be upbeat and spunky. The outro is a moody intellectual piece called This Island Earth which offers a sober
counterpoint to the Ancient Aliens hoopla suggesting instead that we are all on
our own, that it is up to humanity to save the planet as well as ourselves.
Most of the songs on Global are built around catchy choruses and
there really are no instrumental solos (save for a screeching sax on Blind) or those patented bridges for which
the artist is so well known. This appears to be a conscious decision as
Rundgren opts to utilize a more simple approach tweaked with futuristic pings. Holy Land and Skyscraper are especially memorable tracks featuring lyrics that
actually mean something. Soothe is a
classic ballad that offers a dose of aural tonic for those in need (in other words, all of us!).
The juxtaposition of guitar
god and mystic healer with disco DJ has always perplexed many of his followers,
but then again, maybe all this EDM biz is akin to Hodja and his whirling
dervishes whipping themselves into a physical frenzy allowing for a spiritual
epiphany. At the very least most of us Baby Boomers don’t mind a nice
soundtrack to motivate us to walk off those extra pounds and shed some angst
(but better watch that volume on the iPod!).
There are sure to be plenty
of old Rundgren fans, the stubborn faithful, who will be disappointed that he
has chosen to stick to the computer as his primary musical palette. In fact the
only guitar that these ears (admittedly not so sharp these days) hear on the
entire recording is a couple of crunchy chords in Evrybody. Considering that he remains one of rock’s most admired
players, this is both eyebrow-raising and intriguing. In the end the listener can
choose to either embrace or reject this offering. However I would suggest that
it would be a mistake to reject it after only a few listenings because, as with
most recordings, it takes several listenings before all the little sweet parts
are revealed and the hooks get a little stickier and start to kick in. Given
half a chance these tunes quickly become earworm melodies that you just can’t seem
to shake out of your head.
Rundgren, best known for his
early pop songs (I Saw the Light, Hello
It’s Me, Can We Still Be Friends, Love Is the Answer) and the novelty
stadium anthem Bang On the Drum all Day
as well as his many productions (notably Bat
Out of Hell by Meatloaf and XTC’s Skylarking),
is actually experiencing a renaissance of popularity with the younger musical
explorers of today. Many up-and-comers have cited him as an influence and he
has become the fashionable remixer-in-demand. Modern recording
techniques have allowed him to become involved in various projects without
requiring a time commitment from him or even his very presence. These virtual gigs probably fit his
temperament as well as his attention span which is notoriously short.
On the other hand, his actual presence
is vividly experienced during the slew of recent Ringo Starr tours as well as
the live full orchestra recordings of his songbook in Amsterdam a few years
back not to mention all of his various live solo incarnations.
The guy gets around, both
literally and virtually (Note: Runddans,
the collaboration with Hans-Peter Lindstrom & Emil Nikolaisen is scheduled
for release in early May).
Personally I can’t help but
feel that Todd Rundgren (as well as a handful of other contemporaries – Neil
Young immediately comes to mind) has earned the right to follow his muse in
whatever mode or method he currently finds appealing. If that’s what
it takes to inspire him to create new music, then by all means, follow your
bliss and create. Add to the oeuvre, speak your mind, and the audience has the
right to either tune in or tune out. The hermit of Mink Hollow never seems
hesitant to abide.
Global is a
reminder that in the end all we’ve really got for sure is the dwindling
resource of time and one another. Might as well celebrate our existence while
we can because we’re all together again...
carry on, Todd!
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