Customer Reviews

Runt

5 star:		(10)
4 star:		(8)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

This is the ulitmate album for sitting around on the couch on a Sunday afternoon. A rarity as far as late introductees to Toddster, but anyone 40 and older will remember fondly "We Gotta Get You A Woman". I remember scouring every used record store in the South trying to find this after it was out of print by the time I discovered Todd circa 1974. Thankfully I finally found an original (you know, the one WITH the nose on the Bear's face).

Fun music to remember your first crush.

This is my personal favorite of Runtgren's many discs. As most fans of Todd Runtgren's music know, RUNT is one of his best recordings ever. For those curious and unfamiliar with the body of Runtgren's work, this disk is an excellent choice for first Runtgren disk to add to your collection. Recorded early in TR's career, many of the songs are witty and intelligent, covering a wide musical spectrum of the early seventies psudo-pop. A large variety of musical styles show up in these recordings, thus revealing a master musician striving to find his comfortable place in the fickle world of rock and roll. Nearly all of the tunes on this disk rock hard from beginning to end. This disk includes the big AM radio hit WE'VE GOT TO GET YOU A WOMAN. The other songs on the CD range widely in style. Some could be defined as catchy without being formula pop, yet all tracks also remain strong and inviting. Some tracks (like I'M IN THE CLIQUE) show his legendary sense of humor as well. One of the best selling points of this disc is how well most of the songs have survived the test of time. Many rock stars have come and gone since this recording was released, but Todd Runtgren aptly demonstrates with this disc why he is one of the few surviving purveyors of alternative rock still around.

Todd was finally free of the restrictions he felt he needed to escape in the vastly underrated NAZZ and proceeded to make an album that is completely unfettered with labels. He touched nearly every base and style and unleashed his clever wit. I won't go into specifics but this is a real gem of a cd with the outstanding "Baby, Let's Swing" medley being my favorite. It's not slick and over-produced at all, just some excellent songs from a unique talent. In today's world this album would have never seen the light of day but back in those heady days anything was possible and Mr. Rundgren proved it with this collection of songs.

This is Todd's first solo album and it's still one of my favorites. Todd was working as a recording engineer at the then new Record Plant in New York and part of the deal was that he received free studio time and he ended up making this album.Originally released on Ampex Records in Sept. 1970, Todd said that he was suprised that the record was released and it took the label awhile to release it. The first pressings had two songs not listed on the back cover(Hope I'm Around and Say No More)as well as the medley being made up of an extended piece of Baby, Let's Swing. Starting off with Broke Down And Busted which finds Todd reinventing the blues in a nice way. Believe In Me is a soft and pretty song making me wish that he still did this tune. We Gotta Get You A Woman is a radio friendly number while still being fun to listen to. By the way, this song was banned. Who's That Man is really the only song on here that hasn't aged that well for me. Once Burned has an interesting melody. Devil's Bite is fun. I'm In The Clique finds Todd showing his wit and a hook that'll stick in your brain all day. There Are No Words is a little experimental piece that shows some of what's to come in some of his later work. The medley is fun and rockin'. Birthday Carol is pretty but with a great blues rock beginning before drifting into a somber dreamlike piece that can bring tears to your eyes. I have this in several different releases with the current Japan being the best. However, this version also has a high price tag and the domestic doesn't sound that bad to me.

First, at risk of getting flamed by some of his more devoted fans (the man has one of the most dedicated followings I've ever encountered - check out the number of online Rundgren fan sites), let me say that I'm not a gigantic Todd Rundgren fan. It isn't that I don't like his music, rather his career is just too broad and diverse for me to enjoy everything he's done. That said, the Todd Rundgren material I do own, I treasure (for goodness sakes, not only do I have the Nazz LPs, I even have the Woody's Truck Stop album).

Following his departure from Nazz,1969 found Rundgren working as a recording engineer at New York's Record Plant. The job included free studio time and between engineering jobs he recorded material for what would become his post-Nazz debut. Apparently reluctant to jump into a solo career, Rundgren recruited drummer Hunt Sales and his brother bassist Tony Sales for the band Runt. While the original intent may have been to start a new band, for all intents and purposes 1970's "Runt" served as a Rundgren solo debut - he produced the album, wrote all of the songs, handled the arrangements, sang all the leads, was responsible for the majority of instruments, and was featured on the album cover. The Sales brothers provided support on much of the album, but Rundgren also used several uncredited rhythm sections including The Band's Levon Helm and Rick Danko, and Steve Swallow and Roy Haynes from the Gary Burton Quartet. (Reissues of the LP were modified to make it clear the album was a Rundgren solo effort.) Musically the set found Rundgren clearly enjoying his newfound freedom to explore different genres and production techniques.

- A weird, but intriguing mix of blues and hard rock, 'Broke Down & Busted' was an interesting way to start that album. While the song was likable, the real highlight came in the form of Rundgren's extended guitar solo - folks forget what great chops the man had.
- Showcasing his instantly recognizable wispy voice and what sounded like an autoharp, the ballad 'Believe In Me' sounded like it had been written for a Carole King album. One of his prettiest ballads, it would have made a great single.
- Still one of his most engaging songs, it's easy to see why 'We Gotta Get You a Woman' became a top-20 hit, though today the arrangement sounds a bit thin and the harmony vocals come off a bit flat.
- It sounds like it was recorded in a bathroom stall, but 'Who's That Man' was a classic slice of early 1970s rock. Great melody and multi tracked harmony vocals with Rundgren again showing off his sterling lead guitar chops at the end of the song.
- Sung in a strange nasal voice the ballad 'Once Burned' was apparently Rundgren's attempt to sound like a blues singer. Nice song though the vocal is kind of offsetting ...
- 'Devil's Bite' was a nice conventional rocker with interesting percussion and some more multi-tracked vocals.
- Whereas side one featured fairly straightforward material, starting with 'I'm In the Clique' the flip side spotlighted the more experimental/goofy Rundgren. The song actually served as a pretty good summary of Rundgren's future career in that it started with an insidiously catchy hook, before suddenly taking a 180 degree turn into weirdville, complete with deadpan vocals, discordant mid-section moves, and some scatching anti-music business lyrics.
- Always willing to try something new, the aptly titled 'There Are No Words' was a brief voices-only prototype ambient composition that sounded like a bunch of stoned monks, or the soundtrack to a bad horror flick.
- Starting out with what may have been a nod to the late Laura Nyro, the medley 'Baby Let's Swing' / 'The Last Thing You Said' / 'Don't Tie My Hands' was a nice nod to his more commercial instincts. The blue-eyed soul second and thirds sections were particularly good and would have sound great on the radio.
- Clocking in at over nine minutes 'Birthday Carol' was the aural equivalent of a stew. Starting out with classical cello section, then bounced into a blues jam, before moving into a springboard for a long and surprisingly tasteful guitar solo. The song then morphed into another beautiful ballad with trademarked angelic harmony vocals, before bouncing back to blues and hard rock segments, and then closing with a cello and horn arrangement.

On a technical level the album's always struck me as having kind of a distant and hollow sound - particularly when compared with some of Rundgren's later releases. Maybe just my ears and it ultimately doesn't matter given the set's multiple gifts. Easily one of my favorite Rundgren releases.
The album was tapped for a pair of single:


- 1971's 'We Gotta Get You a Woman' b/w 'Baby Let's Swing / The Last Thing You Said / Don't Tie My Hands' (Ampex catalog number X 31001) # 20 pop
- 1971's 'Broke Down & Busted' b/w 'Be Nice To Me' (Bearsville/Ampex catalog number X 31002)

"Runt" track listing:
(side 1)
1.) Broke Down & Busted (Todd Rundgren) - 4:32
2.) Believe In Me (Todd Rundgren) - 2:04
3.) We Gotta Get You a Woman (Todd Rundgren) - 2:52
4.) Who's That Man (Todd Rundgren) - 2:59
5.) Once Burned (Todd Rundgren) - 2:09
6.) Devil's Bite (Todd Rundgren) - 3:53

(side 2)
1.) I'm In the Clique (Todd Rundgren) - 4:57
2.) There Are No Words (Todd Rundgren) - 2:12
3.) Baby Let's Swing / The Last Thing You Said / Don't Tie My Hands (Todd Rundgren) - 5:28
4.) Birthday Carol (Todd Rundgren) - 9:14


Fanatics will be aware of this, but there are actually two versions of the album. The original blue inner label release included two songs dropped from subsequent pressings - 'Hope I'm Around' and 'Say No More' and different mixes to at least four of the other songs. As you'd expect the original is quite rare and far more valuable than the latter pressing.

This is Todd's first solo album and it's still one of my favorites. Todd was working as a recording engineer at the then new Record Plant in New York and part of the deal was that he received free studio time and he ended up making this album.Originally released on Ampex Records in Sept. 1970, Todd said that he was suprised that the record was released and it took the label awhile to release it. The first pressings had two songs not listed on the back cover(Hope I'm Around and Say No More)as well as the medley being made up of an extended piece of Baby, Let's Swing. Starting off with Broke Down And Busted which finds Todd reinventing the blues in a nice way. Believe In Me is a soft and pretty song making me wish that he still did this tune. We Gotta Get You A Woman is a radio friendly number while still being fun to listen to. By the way, this song was banned. Who's That Man is really the only song on here that hasn't aged that well for me. Once Burned has an interesting melody. Devil's Bite is fun. I'm In The Clique finds Todd showing his wit and a hook that'll stick in your brain all day. There Are No Words is a little experimental piece that shows some of what's to come in some of his later work. The medley is fun and rockin'. Birthday Carol is pretty but with a great blues rock beginning before drifting into a somber dreamlike piece that can bring tears to your eyes. I have this in several different releases with the current Japan being the best. However, this version also has a high price tag and the domestic doesn't sound that bad to me.

Runt is Todd's first solo album since he left the Nazz in 1970. It shows that Todd was just warming up to what was going to come in the future. Runt is a good album, but does not leave the listener satisfied after it is over. "Broke Down And Busted" is a good slow rocker, while "We Gotta Get You A Woman" is the best song on the album. "Who's That Man" "Devil's Bite" and "I'm In The Clique" which has some awsome drumming, are the rest of the best on here. The others are fairly good, but not as easy to follow. "Birthday Carol" starts out with some heavy guitar playing, but then takes a sharp turn to a unbearably soft ballad. Though this album started Todd's solo career, it is not nearly as good as what followed it. Runt is a definent buy and a good listen, but its just the start.

Nevermind the above title, what I really want is one of those cool white wide leather band watches. Or that sweater that looks like he had it in the 9th grade. Okay Seriously - both of the Runt LPs are my "go-to" albums when I wanna listen to some Rundgren tunes. I never get tired of em, I dont have the CDs, just plain old fashion plastic waffles, big noise floor and all, and I luv it!

The first Runt LP can be found in different flavors - I think that was mentioned here but a more accurate picture exists. Runt was pressed on the AMPEX and BEARSVILLE labels in that order. You wont find the original "Ballad of Todd Rundgren" LPs on anything but BEARSVILLE. Having RUNT on a blue AMPEX label means you have an older pressing that's true, but it doesn't mean you have the Rare Alternate pressing with ultra-cool different mixes and additional tracks. There are gobs of AMPEX pressings with the same information pressed into them as the BEARSVILLE records. But maybe only 5000 or so Rare additional track gonzo LPs.

I am fortunate to have both the Rare and commom AMPEX pressings and you can tell the rare one easily enough because it has 7 tracks on side 1 and 5 on side 2. Both labels are the same on the common pressing and the Rare but there is a date in the dead wax that is different - and it also points to the strong possibility that the rare LP was not the the first to be released because the date is Nov and other LPs sport an earlier date.

Not every song on the rare LP is changed but there are some radical differences due to the number of tracks. Side one opens with a snippet of "There are no Words" before moving into the next song,

The standouts are the additional song "Say No More" which could pass for "You Are My Window" Pt II and a early version of "Hope Im Around", not the same one that emerged on The Ballad of Todd Rundgren. Another treat is the "full version" of "Baby Lets Swing" where there is no medley to cut off Todd's train of thought as he sings to "Laura" - the innuendo-laden last verse is a tongue-in-cheek classic and its not so hard to imagine that this mix wasn't meant for public consumption? Other differences are fairly minor but interesting.

What else can I say about the Runt LP? Try listening to "A Beautiful Song" on Nazz Nazz and then spin the Runt song "Birthday Carol" - they follow very similar patterns! Interesting that these same type of musical vehicles Todd used in Nazz were still being employed in Runt - but his musical evolution would soon leave these more dated approaches behind for good.

This first Runt may possess a little more of that less than glossy, rough mix sonic quality, that I particularly find endearing - the earmark of a fledgling genius producer in the process of honing his craft. Record by record this guy would get better and better - not only on his own endeavors but the works of a plethora of important recording artists . Because of where it stands in the man's career, Runt is a pivotal and key work - a small, but powerful masterpiece.

Three piano notes and the first line to "We Gotta Get You A Woman". Unmistakable originality, songwriting talent, and musicianship are all in evidence in Todd's first solo record. At 16, I didn't realize Nazz "Open My Eyes" and "Hello It's Me" were also Todd songs.

The catch melody, hooks, and clever lyricism of "We Gotta Get You A Woman" (yeah it's politically incorrect, so what?), the inventive structure of "Baby Let's Swing" medley, the demonic guitar of "Devil's Bite", the long form suite of "Birthday Carol", the tender soul of "Once Burned", established the template for the solo albums/cd's of the coming decades.

The guy's a great, unappreciated songwriter (by the general public but not by his peers), a studio wizard and innovator, an excellent musician, who has something to say, to share, and it's always resonated with me emotionally.

When this "record" was released (in 1970?) people did not know what to make of it, and that has defined Rundgren's pop "top 40" career. He was a bit too original, too cerebral, too eclectic for the masses and pop radio. I believe that is their loss.

Thank you for all the years of great music Todd. I'm still listening.

Todd Rundgren at this point would be familiar as a member of The Nazz. As with most multi talented singers/composers/multi-instrumentalists it wouldn't take long for Rundgren to become confined by the needs of a band setting when he could obviously do everything they did all by himself and add more unique ideas of his own while he was at it. At the same time people such as Paul McCartney and Emitt Rhodes were going for similar "DIY" projects Rundgren took the same opportunity to excersise his creative muscles and see how much of his own musical personality he could insert into the music. And lucky for Rundgren the musical environment of the early 70's could'nt be a more creatively furtile environment in which to do that.

In 1971 all manners of progressive styles,from symphonic to jazzy horn charts were finding their way into the pop/rock world at the same time as the singer/songwriter style although both styles were seen as very seperate. This was an artist and an album that helped break down that barrier. With songs such as "Who's That Man" and "We Gotta Get You A Woman" Rundgren showed,much like Laura Nyro before him how references from jazz,R&B and Brill Building style pop could all work within a rock and roll format. This is also one of Rundgren's harder edged albums of his earlier period with "Broke Down And Busted","Once Burned","Devil's Bite" and "I'm In The Clique" showcase a reverb laden jazz-rock approch along with Rundgren's trademark melodicism.

As with most of what he does Todd puts everything into his instrumentation and vocals and on the closing medley of "Baby Let's Swing/The Last Thing You Said You Don't Tie My Hands" he really puts his melodic sense to work and on the 9+ minute "Birthday Carol" he pulls off a swinging jazz/soul/rock opus that might even get pioneers of the style such as Edgar Winter and Van Morrison to take a second listen. One listen to this album and you have the impression of an artist who could do anything and was willing to do so to communicate with his listeners as opposed to alienating them. His passionate and honest lyricism will attest to that. I've found most people who first hear Rundgrens music find themselves wondering how the pop world has largely passed over him. But pop music tends to be a fleeting thing. Perhaps artists like Todd just wind up redefining how we look at pop music in general. Well,he certainly does here and with moxy to burn.