Customer Reviews

Arena

5 star:		(52)
4 star:		(20)
3 star:		(6)
2 star:		(4)
1 star:		(1)

 

 

While some guys go through their mid-life crisis by indulging themselves with a fast, two-door convertible, Todd has had no apparent crisis. In his 40s, Todd simply announced to his fans that he'd found his second wind by releasing an album of the same name. Todd has done it again. In a career that is full of twists and turns, he has taken the logical next turn. Having recently turned 60, Todd Rundgren's new album Arena could alternately have been called Third Wind. At 60, some musicians are content with having found a niche and continuing along that path for the remainder of their career, but not Todd. His fascination with music and its many intricacies is quite obvious to anyone who knows Todd's varied musical catalog. Those of us fortunate enough to have been following his career for many years, have seen Todd evolve and move forward in ways that would make any other musician's head spin. The ultimate irony here is that the new album finds Todd taking a musical step backward while simultaneously moving forward. And the idea works like a charm!

In the late `60s, Todd's band The Nazz had him front and center as a guitar wielding army of one. Showering the musical landscape with guitar licks straight out of the British invasion with a touch of American-based Paul Butterfield Blues Band, teenager Todd made it look easy. Since then his career has included pop music (Something/Anything?, Hermit Of Mink Hollow, Nearly Human, Second Wind), synthesizer rock (Initiation, Todd), guitar extravaganzas (Todd Rundgren's Utopia, Adventures In Utopia), identical recreations of classic Hendrix, Beatles, Bob Dylan and Beach Boys songs (Faithful) and rap (No World Order, The Individualist). However, it would be difficult to generalize these albums into the afore-mentioned categories simply because each has a smattering of other music styles scattered around for good measure. Suffice to say, Todd has shown that he can master any music genre he chooses to delve into, much to the joy of his diehard fan base and much to the confusion of the general population who just don't "get it". We, the lucky few who get it, are rewarded with musical gems at every turn, while at the same time we are left scratching our collectives heads and wondering why the rest of the world just doesn't get it. Here's hoping that this new album will change all of that.

Todd celebrated his 60th birthday by writing, recording and, of course, producing this new album of original music that pulls together the music styles of Jeff Beck, AC/DC, Robin Trower, Queen, Jimi Hendrix, and ZZ Top, with a little bit of Burt Bacharach and Sade thrown in to balance things out. The result is a masterpiece, a journey through rock's finest moments as interpreted by Todd. Catchy guitar hooks and excellent solos abound everywhere on this album. It's amazing how many cool guitar riffs there are on this album. Some musicians would have to wait to release a "best of" album to collect this many brilliant songs. For Todd this is simply par for the course. Infectious melodies draw listeners in and keep us paying attention to every nuance. The catchiest in the bunch is easily "Courage", a song that recalls the album Faithful (Todd's 1976 solo album) and many songs from the pop side of the Utopia catalog. Beautiful harmonies and a guitar solo that could have fallen right out of "I Saw The Light" (from Something/Anything?) or "Love Of The Common Man" (from Faithful). Another new song that stands out is "Weakness" which alternates between two different styles, one employing a nicely distorted guitar sound and the other featuring lush background harmonies and a vocal that reminds me of "The Last Ride" (from his 1974 solo album named Todd).

There are several songs on Arena in which the source inspiration is painfully obvious. One is "Strike", a nod to AC/DC, complete with the signature vocal style that band is best known for. Another song is "Bardo", which recalls Robin Trower's song Bridge Of Sighs.....only Bardo is even better! And then there's the ZZ top inspired "Pissin'" with its twangy guitar riff and Texas-style vocal. This entire album is full of music that brings us back to a place we all know well and yet also takes us somewhere we've never been. Nicely done!

But let us not forget the lyrics. Todd has always had a way with words and although this album does emulate the styles of other bands, it's in the lyrics where Todd reminds us that it is still Todd and not someone else at the controls here. His ability to turn a phrase and make the listener perk up is unrivaled. No one even comes close. There is the soul searching in "Courage" ("Humbly pretending to be brave and strong, inside I'm wondering, what if I'm wrong"), or "Mad" ("Crowded world, how can I find peace of mind, with so many small agendas pushing at me all the time"). There is the call to arms in "Manup" ("Listen to me my friend, what you will not defend, somebody else will end up takin'"), or "Strike" ("Time to strike while the iron is hot") from the AC/DC sound-alike song. I bet AC/DC is smacking their foreheads wondering how they missed using a perfect phrase like that in one of their songs.

This is an album that should be spinning in everyone's CD player. Anyone who has ever liked rock anthems and classic guitar-driven rock music should immediately proceed to checkout and add this to their collection. This is yet another brilliant album by an icon in the music business. And what makes it yet more amazing is that there's no band playing here, it's Todd on all of the instruments, as he has done before on other albums. The difference here (as was on the previous Todd album Liars) is that this album was recorded entirely in Reason, a computer-based recording program. The sound on this album is outstanding, especially the guitars. On some tracks it's obvious the drums are programmed but they sound fine and fit in the context of the track quite well. On other tracks the programmed drums sound more real than a live drummer. His vocals excellent as always and the backing vocal harmonies are superb. Todd has captured the feel and essence of Arena rock, while in the process making us want to jump out of our seats and sing along. After you buy this CD, you might want to complete the experience by going to see Todd and his band on tour. You'll be glad you did.

For more information and tour dates, check out:
http://www.myspace.com/toddrundgrenmusic
and
http://www.trconnection.com/

For an excellent Todd interview (done by Jesse Gress) about the album Arena, pick up the October 2008 issue of Guitar Player magazine. The interview includes guitar tabs done by Jesse for several of the songs on Arena.

For information about Jesse Gress, check out:
http://www.jessegress.com/

This release is incredible on a number of levels. Recorded on a laptop Mac, no amps, minimal hardware interfaces, mixed on headphones, all in just a few weeks.

For those complaining about the mix: Get a quality set of headphones [Sony MDR 7506 or Beyerdynamic DT 770]and run your EQ flat. Sure, the vocals are a bit more distant than we're accustomed to but this material would come off as preachy if they were more forward in the mix. LISTEN for the vocals and they will crystallize between your ears.

I'm not sure if it was intended but this is the most trippy production I've heard in decades. ONLY Todd has the vision and TALENT to pull this off. The "psychoacoustic" phenomena [purposely or unintentionally] engineered into this CD are fantastic beyond description.

Make up your own mind about the material. Music is a smorgasbord for the senses.

Overall, ARENA is an audio oasis in the current xeric wasteland of audio crap that passes for creativity and music nowadays.

Thank you Todd.

Todd's been floating around in one form or another for the past decade. He's been releasing albums through his own website, remixing his old albums, and even had a short stint as the frontman for The New Cars. He really hasn't put out anything really new since his electro-album Liars in 2004. Arena not only marks his first album in four years but maybe his best in almost two decades. There's a lot of vintage sounds here including his great guitar and keyboards, although it's too clear that his cheap sounding drum kit sabatoges much of the album. Aside from that, there are songs that rock hard with such big sounds that one might wish he'd put Utopia back together to do them. The opener "Mad" echoes "Trapped" from Oops, Wrong Planet. "Afraid" is a lush introspective power ballad with those great harmonies he's known for. "Mercenary" shows no mercy with in your face guitars and Todd's hook chorus of "How do you like me know?!". "Gun", the followup, could be a bookend to Hamburger Hell from his Faithful album or the title track from Oops!. Todd then goes back to his awesome pop relationship songs with great harmonies on "Courage". "Weakness" could be a one of his great soul ballads along the lines of "Only Human" but the distorted fuzzy guitar edge especially in the intro tends to make the song too edgy for what it tries to accomplish. One of the biggest surprises is the masses rallying cry of "Strike" ("Are you ready to rumble? Are you just staying humble?"). Todd's powerchords and vocals taps into his inner AC/DC when he yells "Strike while the iron is hot"! "Today" is a solid techno-track which throws back to Liars. "Bardo" is a slow blues ballad which just doesn't seem to go anywhere, but things immediately pick up with the crowd chanting-struttting "Mountaintop". "Panic" is a fast rocker that still reminds me of something off Oops, and "Manup" is muscially fast rocker that somehow lacks the lyrical power to equal the driving guitars, though Todd still plays great, it's not the closer I would hope for. It's not a masterpiece, but certainly a solid mix of songs and sounds that make Todd's aptly titled ARENA rock a much welcomed addition to the Rundgren discography.

That's up to every one of you but I make an arguement for yes. I was lucky enough to hear the songs live before I heard the recorded versions so I knew what to expect to a degree. This disc does not disappoint.

In virtually every song, you hear references to other songs. Some are subtle, some not. Some sound like Todd songs of past, some not. It's a mixed bag. Start with "Mad" for instance and try not to be reminded of Buffalo Grass from One Long Year. "Afraid" has a little Temporary Sanity-like interlude that's hard to ignore. "Mercenery" reminds me of Fascist Christ although I'm not exactly sure why while "Gun" has a ZZ Top kinda thing going.

Things shift gears a bit with "Courage." One of the more subtle songs on the disc but also one of the best. "Weakness" is a mind-blower. Incredibly intense bluesey intro with a Hawking-like chorus that just melts you. Then you get to "Strike." Imagine AC/DC backing up Todd playing one of their songs. That's "Strike" in all of it's fist-pumping glory. "Pissin" is fun although it might take some time to grow on you as it did me. "Today" is the closest sounding song to anything on Liars and in my opinion, the discs best tune. It's a call to action that gets you motivated. "Bardo" is basically Bridge of Sighs 2008. "Mountaintop" is the sports anthem that Todd would like to replace Bang The Drum. "Panic" is the most technically challenging song on the disc according to Todd and in my opinion, the one that sounds closest to a Utopia tune. I could see that song being on Swing to the Right or POV and wouldn't know any better. "Manup" wraps the disc up in nice, straight-forward rock & roll fashion.

At 60, Todd won't generate many/any new fans with this disc. Die-hards like me will probably love it. Middle-of-the-roaders might take to it over time. Regardless of who it appeals to, it's an outstanding disc start to finish. And by the way, see the tour!!! These songs are great live which is really what Todd was going for from the start. At least on the first legs, he played the disc in it's entirity, in order. And I'll see all of you Pittsburghers on 10/10.

A wizard, a true star.

Todd Rundgren and his work compose a veritable mosaic of ideal, but unusual virtues which have never ceased to flourish after over forty years. It is important to speak of his "work", and not his "music", because to do so would be to discount an innumerable number of innovations and production wonders. The one-man do-it-yourself album. The first concert broadcast by microwave dish. An album whose sound and "instruments" were borne totally of his voice, and no physical instruments. One of the first music videos on MTV. The first subscription music service online. His production work on Meatloaf's veritable "Bat out of Hell". Hall and Oates' "War Babies."

But let's not also forget the man's music. Starting out in psychedelia with his first successful band, the Nazz, Rundgren moved into no less than Carole King-esque ballads, hard rock, and radio-friendly anthems like his biggest hit, "Hello It's Me." His 1972 album, "Something/Anything" remains his consensus favorite, as well as his most successful. But after 1972, a funny thing happened: Todd refused to settle as the next pop music megastar. He started becoming more and more unconventional in his craft, leading to the much critically acclaimed, but oft-overlooked, "A Wizard, A True Star" in 1973, followed by "Todd" in 1974, and finally "Initiation" in 1975. These albums were marked by a seemingly infinite number of overdubs and production values which reflected a young man who was thoroughly versed in his trade and not even 25. These albums produced memorable numbers like, "A Dream Goes On Forever", "Real Man", and "Just One Victory", but unfortunately, he lost the public along the way. It wasn't until the late 1970s, with "Faithful" and "The Hermit of Mink Hollow" that Rundgren returned to the pop style that made him famous, and the public responded, giving him his highest charted album since "Something/Anything", as well as one of his most enduring tracks, "Can We Still Be Friends." Unfortunately, this success was not to last, and his next "hit" came in 1983---the goofy novelty, "Bang On the Drum", which has endured as a sports arena anthem and endless fodder for parody. But even without the success he had in the 70s, Todd did not slow down his creative engine. "A Capella" followed in 1985, and later "Nearly Human" in 1989 which produced the mainstream rock hit, "The Want of a Nail", which was made famous in the 2003 movie, "Camp." The 1990s brought a nearly total change for Rundgren. He stopped recording for major labels. He saw the future of music in the budding novelty of the Internet almost a half-decade before Napster. He delved in rap, experimented with interactive music CD-ROMs, became one of the first to sell music online, and arguably lost a lot of his cult, including die-hard fans that had stuck with him for decades. It seemed that perhaps Rundgren's genius output was a thing of the past, until 2004's critically acclaimed "Liars", an update of the signature Todd pop sound of the 70s. Featuring instrumentation that is more suited to a rave and dance clubs than AM radio, Rundgren produced an inspiring album which, true to almost everything he's done since the 80s, escaped mainstream attention.

And from this synopsis, we see our dilemma: Rundgren is an usual case of what everyone says a musician should be. After all, he's innovative, endlessly creative, never monotonous, has delved into almost every genre possible, more or less consistent...but not very popular. Yes, he has his enduring jukebox standards, but for Rundgren to truly get his due, the world would have to experience for the first time four decades of sheer genius, the rare music which rewards close listening and never gets seems to get thrown away. And that's, perhaps, where "Arena" comes in.

Sure, you can't substitute thirteen tracks for an anthology that is hundreds of songs and decades in the making. But "Arena" is a reminder of what his cult loves about him, and why anyone who's missed out over the last forty years needs to join now. Listening to "Arena" reminds one of a quality that's missing from a a lot of popular music today---fun. Forget about the fact that the lyrics are not just nonsensical excuses to sing over power rock chords but actually signature Rundgren poetry. Completely discount the variety of musical styles, Todd's amazing voice (which hasn't lost a step since 1968) and
marvelous one-man production which is virtually nonexistent in today's music industry, or what passes for it. Yes, this is definitely pop, but it's inspiring stuff. It has that sing-a-long, fun, accessible quality that is seldom found so consistently on one album. It's not something you forget about after a month. To think that Rundgren did this thankless feat himself, at age 60, with every odd stacked against him, is even more remarkable.

The theme of the album is arena rock, which immediately gets you thinking it is a period piece, an aging rocker refusing to be "stripped" down and returning to that which made him famous. And while that is arguably the case to an extent, we must keep in mind that Rundgren's never done anything quite like this before. Yes, he did have a few tunes that resembled a song here and there back in the day, but he has never delved this close to metal, or drowned his music in so much guitar work.
Nor have his ballads been so heavy, and his drive so forceful. There are a few nods to other bands, but when you're working in this genre, it's hard not to invite some comparisons, even if this album has Rundgren's touch from "Mad" to "Manup."

Todd lets you know what you're getting into from the start with "Mad." Not many artists come to mind who can write a song with "Now, I'm mad", as part of the chorus and not induce endless cringing. Starting out with a clean guitar progression and quickly getting to a chorus laden with heavy distortion, "Mad" is definitely one of the standouts on the album, as it manages to combine ingenious harmonies and melody that still pack a powerful, in-your-face quality. Speaking of powerful, "Mercenary" is perhaps the most intensely furious song Rundgren has ever written, with a distorted vocal, and a chorus whose repeated "How do you like me now" and overlapping riffs makes yet another addition to the signature Rundgren line of incredible classics.

Another part of "Arena" to absolutely love are the basslines, perhaps no more evident than on the AC/DC-nod "Strike", another in-your-face, fast paced rocker with yet another signature-sounding chorus with very familiar words, "are you ready to rumble?", in which no one can sit still while listening. "Panic", and "Manup" also feature the newfound intensity with "Panic" moving so quickly and forceful, you barely knew what hit you.

Yet another highlight is "Mountaintop", intended to accompany "Bang the Drum All Day" as the next generation of Todd sports anthems. You can almost picture a crowd of 80,000 jamming out to this at a football stadium, and it doesn't fail to disappoint with its call and response chorus and forceful beat.

But I mentioned earlier how one of Todd's signature qualities is how he can produce such consistently excellent music in such a variety of genres, and that shows in the two middle tracks on the album, "Courage", and "Weakness." This brings me to another point about this great album: In "Courage", Rundgren has written one of the best songs of his career which rivals anything of the "I Saw The Light" or "A Dream Goes On Forever" variety; it is a great, great song. With a memorable guitar solo, unforgettable melody, deep minor chords, and strong reverberation, "Courage" has another thing missing from a lot of pop music now, a sort of hopeful, self-reflective quality that strongly contrasts with the overdriven nature of the other tunes on the album. This is coupled with "Weakness", a song that one has to listen to repeatedly because it's drawn out over five minutes, but the theme eventually becomes very apparent, and you forget its 3/4 time signature and length.

But not only is the music good, but Todd is actually saying something here. The lyrics seem to continue the anger and reflection that made Liars so memorable. Beneath the bouncy choruses is a very directed, very well-written theme. You would never believe that he's 60, or been through so much commercial disappointment over the years. Of course, Mr. Rundgren always practices what he preaches. This album was recorded, played, mixed, and produced all by himself, and there is not a single creative concession or degradation of any aspect of his music---his unmatched taste for good melody, his unending original basslines and riffs, his signature harmonies, lyrics, and novelties; it's time Todd got his due. The world needs to realize that he did write music after "Bang the Drum", and he's more than just an artist that came and went. This is not just Todd Rundgren reminding us why he has never stopped being a wizard or a true star; it's reminding an industry that has perhaps lost its way as far as accessible, well written pop music, how it's done:

Every song stays with you.

5/5 stars

This is a crazy album to review. You can absolutely love Rundgren for his willingness to write and play whatever he feels like it or be disappointed with his songwriting indulgence. Really, it could go either way, and you'd probably have evidence for either conclusion.

One thing, though, you can't blame the man for is lying to you. He said he wanted to make an album harking back to big stadium rock, and this is what it is, including a couple of power ballads to boot. Also, you got to give Todd credit for his vast understanding of Rock history and his prowess as a writer.

This is the kind of album that will remind you of many, many bands. From George Thoroughgood and ZZ Top to Boston or Kansas and everyone in between will come to mind--and in some cases, within the same song. Now, whether you love every track or not, the performance and productions of these songs is superb.

Bottom line, this is a fun album. It may not have the Pop genius of Something/Anything, the introspective beauty of Hermit of Mink Hollow or the far-reaching imagination of A Wizard, A True Star but it does serve up a plate full of well-crafted stuff played with major gusto.

I dare you to go on a long car ride through some boring road, play this album and not set it on repeat.

Straight from an old Todd fan (my first Todd concert was with the original Utopia back in 1973) - buy this CD! It is incredible in the sense that few care to, or are capable of making music of this quality anymore. Todd has remained true to the musical spirit that inspired us all back in those days and continues to do so today. He is pushing 60 years old and still sounds as fresh and alive as he did when he first took us to Utopia. So don't you ever learn? Apparently the masses don't. As we watch rock and roll die the doors are once again opened to the "Arena". So take it in and enjoy! I don't like comparing one CD (album) to another because each of Todd's work offers something very different from the last. All worth hearing again and again. "Liars" was one of the most brilliant of all his work and really put the truth on the map in his own difinitive lyrics. It was also sonically perfect, futuristic and rich in sound. "Arena" is somewhat a return to the Todd era post "Initiation". The kind of stuff that brought us that updated and streamlined Utopia ala "RA", "OOPs Wrong Planet", "Adventures in Utopia", "Swing To The Right", "Oblivion" and "POV". But as always it offers something new that you can't quite put your finger on. That is what has kept me listening as a fan all these years. His guitar work also stands out on this CD and it is great to hear him cutting lose on the strings a little more often. There is only one Todd. So if you have half a brain you won't hesitate to lay down your ten bucks for this great music.

Todd can do whatever he wants, and this time he wanted to make an album with leather balls. Todd used to complain that his generation was "just waiting to die - we'll swallow anything if it will just get us high". In his last album (Liars) he complained about dishonesty in politics, and life. His past songs have inspired people to think. This time, he's still complaining, but now he wants to inspire action. What better way to get people up off their couch - write songs that will make the listeners rush the stage. These songs have more big hooks than a Long John Silver convention (the pirate, not the seafood). Do you like great waves of power chords, great precise vocals, and great ideas? No? Well, buy this album anyway and maybe you will see what you're missing.

Maybe Todd got tired of all the flack tossed at his No World Order and Liars synthy projects, or after his stint with The New Cars, he just wanted to makes some blasters again. Either way, "Arena," his first new album in four years, stands in the middle of a hockey stadium and turns the amps to 11. It's Todd Rundgren's homage to crowd pleasing chord wailing sports chanting rock of the past few decades, and it's not half bad.

Like Todd's other parody/tribute albums, Faithful and Deface the Music, "Arena" is a masterpiece of mimicry. "Strike" comes off as Back in Black AC/DC, "Bardo" like Bridge of Sighs Robin Trower, and "Mad" like an outright threat. These are songs that aim for the listeners in the nose-bleed seats, for better and worse. The guitars are out-sized and loud and the political outrage so omnipresent on "Liars" still burns on "Gun" and "Mercenary," but it's hard to make out the sentiment from under the volume.

What you'll also get is one of Todd's beautiful songs of inspiration, "Courage." In a better world (or in the progressive radio of the 70's), this would be a huge hit. Or England Dan and John Ford Coley would have covered it. After all, every arena rocker needs a power-ballad. What every arena album could have used, though, is a better mix. Todd seems to have fallen victim to the loudness wars here, where every instrument seems to be compressed to within an inch of its life. For a song like "Courage," where a little differentiation between the instruments would have colored the emotional content, it flattens the song like a pancake. For the really loud guitar songs, the lyric sheet becomes an absolute necessity. For an artist like Todd, who was a champion of technology when few embraced it and made the bombastic masterpiece of Meat Loaf's Bat Out of Hell, this is just unacceptable. Three and a half stars.

This record has something that will appeal to every Todd Rundgren fan, and also to those (probably under 30 folks) who might have never heard of him. Although it's title, "Arena," perhaps hints that the songs are hard-core rock, meant to be played in large venues, and might appeal only to head-bangers, after listening to this CD a few times, I must say that that is only partially true.

Yes, this album has some fantastic head-banging, hard-core songs. "Strike," for instance, is a bit reminiscent of classic ACDC. "Mercernary" is also a rocker that had me screaming ("HOW DO YOU LIKE ME NOW!?"). (I've been a Toddhead since I was 13, so that probably gives you an idea of my age. And I'm not a screamer by nature, so that might give you an idea of just how powerful this song is). And then my favorite of the hard-core ones, "Today." This is an incredible song! This is a song that will make you dance and scream and sing... and maybe even change your life. Today.

But then there is also the sad/sweet, bluesy, "Weakness," which Todd sings with all the blue-eyed Soul that he's famous for. And "Courage," which is beautiful, pure pop, easily as great as any of Todd's "Something/Anything hits.

And as always with Todd's albums, the lyrics are meaningful, with messages. He tells us what he's thinking about, what concerns him, and what he cares about in the lyrics of his songs. Here's my favorite on this album: "...You can pray unto your God, but your prayers will bring you naught, for in here you bear the scar of exactly what you are, and it matters even less what you think you know, so put on your little show, but not further will you go till you pass the last Bardo, you will surrender all you hide and be cleansed and purified, and of your burden you'll be free if it takes eternity in the last Bardo.... "

This record will make you dance, sing, cry, laugh ("Pissin"), and question why you're here on Earth, now....