SEALED 1974 ORIG 2xLP (+POSTER?) "TODD" - RUNDGREN - PROG PSYCH "THE LAST RIDE"
$
56
$ 56
Sold For
Mar 19, 2017
Sold Date
Mar 14, 2017
Start Date
$ 10
Start price
12
Number Of Bids
USA
Country Of Seller
eBay
Auctioned at
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Description
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ORIGINAL 1974 FIRST PRESS= DOUBLE LP!
PROGRESSIVE INSTRUMENTATION MEETS MEMORABLE MELODIES!
..
TODD RUNDGREN
"TODD"
USA - Bearsville - 2BR 6952
STUNNING - PERFECT - STILL FACTORY SEALED ... DOUBLE LP ...
TODD's EXPERIEMENTAL PROGRESSIVE ALBUM LOADED WITH MEMORABLE TUNES!
Original 1974 first print /never opened /never played ...From garage rocker, to moon-eyed balladeer, to classic-rock hitmaker, to prog maestro, to experimental producer, to technical innovator, Todd Rundgren has lived many musical lives ... 1974 "TODD" was the sprawling 4 sided TWO LP set where TODD dived deep into the progressive world of synthesizers & experimental underground psychedelic sounds all the wild retaining his gift for melodies ...
First pressings contain a large POSTER ...we don't have x-ray eyes, so lets HOPE the big poster is included - it is a weighty fat package by feel, so....Having aborted the ill-fated Utopia Mark I at the beginning of May 1973, Todd Rundgren had reverted to his increasingly lucrative alternative career as a record producer. By July, he was back in New York City, continuing his research with psychedelics and imagining his next solo album. Working well into August, Rundgren padded around Secret Sound, laying down the initial tracks that would become the Todd album. While his earlier psychedelic explorations had taken him all over the map on A Wizard, A True Star (1973), he had by now developed something approaching a personal cosmology. For Rundgren, hallucinogenics were not about mere escapism; he needed his trips to be taking him somewhere.
“Sure, it’s great just to see the pretty colors and stuff like that,” says Rundgren, “but the reason why these explorations have a kind of sacramental significance in all these cultures is because you’re supposed to frickin’ learn something from it, you know? When these South-American tribes use these exotic roots…they don’t think of these as party drugs; they’re religious sacraments and are supposed to make a contribution to your spiritual life.”
Rundgren had never been especially religious, nor was he much of a reader, yet for the first time in his life he was devouring every spiritual or religious text he could find in the bookstores of Lower Manhattan. “I started accumulating all of these books, from Madame Blavatsky to Rudolf Steiner, from Krishnamurti to everything else. It became a sort of hobby; when I would go out on the road there would be a little occult bookstore in every town, and I would go in and find these old one-of-a-kind dusty volumes. Of course each of these books is fervent that you should believe absolutely everything it says, regardless of the fact that it may contradict whatever you find in the next book.”
Working alone, with more synthesizers than ever as well as his usual guitar, pianos, and whatever else he had at hand (including spoons), Rundgren began making short and personal pieces, like ‘The Spark of Life,’ ‘Drunken Blue Rooster,’ ‘Sidewalk Café,’ ‘In And Out The Chakras We Go (Formerly Shaft Goes To Outer Space)’ and ‘How About A Little Fanfare?’ As he had done with Wizard, Rundgren used these electronically enhanced pieces to form musical transitions between his more traditional songs. ‘Fanfare,’ for instance, segued neatly into ‘I Think You Know,’ the first vocal song on the record.
“Todd,” offers Rundgren, “is naturally more orderly, but it also dealt with alternative concepts such as empathy to the point of telepathy. So, on ‘I Think You Know,’ it’s also saying, ‘I think at the same moment that you know,’ which is the formula for telepathy.”
Rundgren’s Gilbert & Sullivan roots were showing in ‘Elpee’s Worth of Tunes,’ a comic slice of musical theatre with lyrics that bemoan the futility of trying to make a living and “change the world” in the petty-crime scene that is the music business. Increasingly, Rundgren was finding that light comedy was a handy way to couch serious themes. “In a sense it’s all sort of funny to me and, as a result, it comes out as a serious record with a few comedy moments. I give you a little breather, and then it’s back to the heavy stuff again. The ultimate punchline would be, you know, to stand in front of your Creator, at the end, and ask, ‘What was this, just a fucking joke?’ and he says, ‘Yes.’”
‘A Dream Goes On Forever,’ a holdover from the songs written for Wizard, was a wistful ballad with a flanged clavinet, beat-box rhythm and synthesizer flourishes. While many Rundgren fans welcomed it as a return to the sweeter sounds of Something/Anything?, the man himself is less fond of the “sappy little song,” saying it was the sort he could write, in those days, in his sleep. “I recognized that people like those sorts of tunes, and I have a facility for writing them. People relate to them, but, as with other songs on Todd, like ‘Useless Begging’ and ‘Izzat Love,’ I usually have to break it to them that, while the songs are sincere in that the emotion in them may be inspired by real events, they’re not about a specific thing or person.”
Two full-band tracks, ‘The Last Ride’ and ‘Don’t You Ever Learn,’ showcase Rundgren’s dexterity, mixing Philadelphia psoul with progressive rock, washed in a reverb-heavy mix suggestive of late-period Marvin Gaye, and the irresistible grooves are apparent. Rundgren recalls consciously exploring “cavernous spaces,” courtesy of a new toy, a brand new reverb unit. “By then, I was getting more comfortable with my studio,” he admits. “I seem to recall we had a new console and we were getting other bits of equipment in there all the time. I was, both unconsciously and deliberately, messing around with tape delays a little bit more, using all these new tools to create a sense of locality in the sound. Something that would sound cool on headphones – although it wasn’t done with that kind of ‘stereo demo record’ sensibility!”In addition to having Klingman on keys and Ralph Schuckett (x-CLEAR LIGHT) on organ, Rundgren was joined on ‘The Last Ride’ by bassist ‘Buffalo’ Bill Gelber, who had previously played on Wizard’s ‘Just One Victory,’ and drummer Wells Kelly, from the group Orleans. Over the course of the two-month recording window, drummer Kevin Ellman would impress Rundgren with his drum chops on subsequent sessions for ‘Everybody’s Going To Heaven / King Kong Reggae,’ and ‘Heavy Metal Kids.’ While session bassist John Miller was also remarkable on these sessions, Rundgren says he noticed a special chemistry between Ellman and bass player John Siegler when they had tracked ‘Number 1 Lowest Common Denominator.’
Meanwhile, by late 1973 Todd's Todd album had swollen to a double-album’s worth of tunes. Artistically, this was nothing new – remembering his "Something/Anything?" had been a commercially viable double set – but in late 1973, a global oil crisis had caused the record industry to think twice about how much (oil-based) vinyl it was using, still Todd managed to pull off this release and.... it sold in swarms, the record buyers loved it!Side one
- "How About a Little Fanfare?" (1:03)
- "I Think You Know" (3:04)
- "The Spark of Life" (6:23)
- "An Elpee's Worth of Toons" (2:09)
- "A Dream Goes On Forever" (2:21)
- "Lord Chancellor's Nightmare Song" (3:32)
Side two
- "Drunken Blue Rooster" (3:00)
- "The Last Ride" (4:48)
- "Everybody's Going to Heaven / King Kong Reggae" (6:38)
Side three
- "No. 1 Lowest Common Denominator" (5:12)
- "Useless Begging" (3:40)
- "Sidewalk Cafe" (Instrumental) (2:15)
- "Izzat Love?" (1:55)
- "Heavy Metal Kids" (4:16)
Side four
- "In and Out the Chakras We Go (Formerly: Shaft Goes to Outer Space)" (5:47)
- "Don't You Ever Learn?" (6:04)
- "Sons of 1984" (4:34)
CONDITION: rated: STILL FACTORY SEALED ... a beauty! flat & square with 4 sharp corners ...hard to find a better copy and it's NEVER peen played... still has a fresh appearance -- there are no split seams, no bends, and no writing and just about missed seeing because the smallest delete to bottom right corner (see photo - the reason you can basely see it is because it is barely there! ) ... overall....VERY collection worthy collectible ...
A cool addition to anyone's music library!
SEE: SELLERS OTher items for similar cool sounds for "head" people...
EFFICIENT/CAREFUL GRADING
All imperfections are noted both cover & record
NOTE: All Items backed by money back guarantee! IF you have a problem PLEASE let us solve for you BEFORE leaving ANY negative feedback. Thanks! GRADING SCALE: M, M-, EX, VG++,VG+, VG, VG- M Completely clean, no marks M- Carefully used, looks clean, plays clean, shiny gloss, no marks EX Faint scuff or superficial mark, near M-, high gloss, plays clean VG++ Glossy with minimal scuffing or light mark playing very nice, clean VG+ a bit more scuff or markls still plays well with very minimal surface at worse VG more marks/scratches only minor, nothing deep, no loud clicks or pops this grade is abused by many, VG here does not mean "trashed" VG- surface noise present, will not have skips or jumps ALL PAYMENTS SHOULD BE MADE WITHIN 5 DAYS Of AUCTIONS END BIDDERS PLEASE = Do Not Bid If You Are Not Serious About Following Through The Transaction! ALL ITEMS GUARANTEED FOR WINNING BID - LESS SHIPPING!
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