Todd Rundgren

Todd Rundgren's Johnson, his 2011 tribute to the legendary bluesman Robert, was a weirdly stiff two-man affair (Todd played everything apart from bass, leaving that to Kasim Sulton), so this 2013 live album – recorded in 2010, around the time Rundgren was making the album in the studio – is a bit of a welcome corrective.

A new box set collects together both the audio and video of the January 2011 Todd Rundgren’s Utopia reunion show as well as the November show later that year recorded just a few days after Klingman’s passing.

Unlike many bands and albums that sample, play tribute or just plagiarize an artist's oeuvre, this one does so with the artists blessing. The premise is, Todd provides the original vocal tracks and of course, his genius at songwriting, and various mixmasters of the new millenium provide thoroughly different takes on the instrumental tracks. The potential of the album is that it could turn some more modern focused listeners onto the genius of Mr. Rundgren.

Todd Rundgren's seminal prog-rock/power-pop band Utopia reunites onstage for the first time in 32 years.

Todd Rundgren has shared details of his upcoming album White Knight, and it’s a star-studded affair featuring appearances by genre- and generation-spanning artists. Among the artists helping out Rundgren’s follow-up to 2015’s Global are Donald Fagen, Daryl Hall, Trent Reznor, Joe Satriani and Joe Walsh. White Knight will be released on May 12, and features all new songs written by Rundgren and the album’s guest performers. The 15 tracks span moody pop and hip-hop to synth-powered rock and lush R&B.

RSD 2019. The first time all of Todd’s Bearsville & WB singles have been compiled for release. Featuring many unique edits and mixes previously out of print. Remastered.

It's hard to say exactly why Another Live works better than either Todd Rundgren's Utopia or Initiation, Rundgren's two previous excursions into synth-heavy prog-rock. It's not that the music is more energetic or focused, since it isn't. Neither is the music more challenging or ambitious - it's simply better. It's true that the second half is devoted to covers (West Side Story's "Something's Coming," the Move's "Do Ya") or Rundgren classics ("Heavy Metal Kids," "Just One Victory"), all of which are more song-oriented than anything on the first half, or anything on either TR's Utopia or Initiation. That said, the prog-rock epics that comprise the first half of the album cut deeper than before, possibly because the band has worked out the kinks in its style, developing a unified, provocative sound. It still tends to be a little excessive and impenetrable, but intriguing moments float to the surface alarmingly often.