A TRUE STAR: "WHITE KNIGHT" TODD RUNDGREN

"WHITE KNIGHT"
TODD RUNDGREN

Produced by Todd Rundgren
Released May 12, 2017

On June 22nd, singer/songwriter/producer/multi-instrumentalist and overall musical visionary Todd Rundgren will reach and celebrate his 69th birthday, and this year will mark just shy of his 50th anniversary as a recording artist with 26 solo albums, 12 albums performed with his band Utopia and another 3 albums performed with his first band Nazz. 

Then, there is his legendary catalog of production work for artists as diverse as XTC, The Tubes, The Patti Smith Group, Meat Loaf, Badfinger, Cheap Trick, Jill Sobule, The Pursuit Of Happiness, The Band, New York Dolls, The Psychedelic Furs and even more.  Additionally, Rundgren has essentially been the pioneer's pioneer as he has been so far ahead of the curve with his songwriting, musicianship, production, video, computer and internet technology that the world has taken nearly the same amount of 50 years to even catch up to him.

And after all of that, even now, ever still, if I happen to mention his name, I am met with the blank stare combined with the ever quizzical, "Todd who?"

Sigh...

Yes, for the passionately faithful and devoted Todd Rundgren fan community, of which I am so blissfully a member, this has been par for the course regarding the larger public's perception and understanding of this unquestionably idiosyncratic artist and his ever evolving and on-going life's work, and seemingly, this is precisely the way Rundgren wants it as he has the freedom to follow his creative spirit wherever it may choose to fly, regardless of what even his greatest fans may wish from him.

But even so, I would gather that an idiosyncratic, iconoclastic, self-described individualist like Todd Rundgren might, every once in a while, desire to establish an even greater connection with listeners. Perhaps something larger than his passionately devoted base. Perhaps even new generations of listeners that may wish to discover a musical odyssey unlike any other. Perhaps this may have a little something to do with the arrival of "White Knight."

Todd Rundgren's "White Knight," his 27th solo album release, finds the mercurial musical wizard, a figure who has written, produced, performed, engineered and mixed the lion's share of his studio output all by his lonesome, in a place of rare collaboration as he has joined creative forces with a variety of artists from Donald Fagen, Joe Walsh, Trent Reznor and Moe Berg from The Pursuit Of Happiness, to even his own son, guitarist Rebop Rundgren plus even more.

Yet, despite what it may seem, the album is purposefully not a series of duets. In fact, this has got to be the first album credited to Todd Rundgren on which he doesn't even sing on every selection--certainly a tactic that only continues to keep even his most passionate fans off guard! In doing so, "White Knight" feels to be a triumphant celebration of Todd Rundgren, not just as the studio wizard but more truthfully, the true star he has always been. Todd Rundgren, the songwriter and producer first and foremost, making the full album experience a showcase for his unquestionable and legendary skills and fully designed to remind and introduce listeners to his distinctively exceptional talents.

"White Knight" opens with a startling quartet of songs that immediately displays the wide breadth of musical genres to be experienced throughout the album as a whole but even so, one songs conceptually leads into the next absolutely seamlessly. As a contrast to the opening of his kaleidoscopic headphone masterpiece "A Wizard, A True Star" (released March 2, 1973), where Rundgren almost dared the listener to keep up with him ("I only want to see if you'll give up on me"), we are instead given the pure, sincere and rightfully urgent invitation entitled "Come." 

"The battlefront is our backyard/We raise our flag for all to see," Rundgren sings plaintively as he seemingly is overseeing the increased turbulence, uncertainty and peril within our socio-political landscape. But in his steadfast utopian ideal, he continues with the plea for togetherness and solidarity as the song, slowly rising from an atmospheric ether, as if just after the smoke has begun to clear from some cataclysm, builds upwards into a mountainous chorus. "And when it's time to come for you/ Will you come, come, come/Come with me," Rundgren's announces with his trademark stacked vocal harmonies surrounding his own heroically beautiful leading vocal, which incidentally has lost none of its force and power over the years.

In the past, most notably during the 1970's and 1980's and either solo or with Utopia, Rundgren has typically utilized the conclusions of albums to provide a certain anthemic call to arms, so to speak from the majestic "Just One Victory" as heard on the aforementioned "A Wizard, A True Star," to "Sons Of 1984" from the double album fantasia simple entitled "Todd" (released February 1974), "Fair Warning" from the cosmic vortex of "Initiation" (released June 14, 1975) to even "Love Is The Answer" and "One World" from Utopia's "Oops! Wrong Planet" (released ) and "Swing To The Right" (released February 24, 1982), respectively. With "Come," the anthem is housed right at the beginning of the album, making an opening statement that is powerfully compelling and effectively soul stirring.

Extending from the utopian theme of "Come" arrives "I Got Your Back," the first of the album's collaborations as Rundgren joins forces with hip-hop musician/DJ Dam-Funk, who served as Rundgren's DJ and "band" on his tour supporting "Global" (released April 7, 2015) and supplies a languid funk groove while Rundgren extols how "A brother in need is a brother indeed, " and is further joined by rapper KK Watson, who delivers slyly veiled solidarity with the "Black Lives Matter" movement while also proclaiming how "We will we will feed the hungry!" The supreme soulful warmth of the track is undeniable.

That very sense of brotherhood extends even further in presentation if not lyrical concept with the album's sole duet, and one that I am stunned we have not had delivered to us before now, "Chance For Us," a rare love song from Rundgren's pen and performed by longtime friends and blue eyed soul brothers, Rundgren and Daryl Hall. Much has been written and expressed about the very close similarities of Rundgren and Hall's singing voices, especially as they both came of musical age with a devotion to soul music in their home city of Philadelphia. To finally hear their voices blending and trading spaces with each other on a track as smooth as silk as this one is an absolutely perfect treat and once Bobby Strickland arrives with his terrific saxophone solo, "Chance For Us" reaches its Marvin Gaye heights beautifully.

The fourth track of "White Knight" returns Rundgren to solo territory with the pensive electronic trance of  "Fiction," another meditation upon the paucity of truth.

"Chivalry was never dead
Bitter words were never said
We were always civilized
Happy to no one's surprise...
...This and more if I believe 
This fiction..."

"White Knight" next delivers a selection that has really confounded me. "Beginning (Of The End)" finds Rundgren completely away from the microphone altogether and with New Orleans based jazz singer John Boutte taking over the lead vocals. It is a jazz influenced, deep within the midnight hour ballad that finds the singer caught within an epiphany that may (or may not) lead to the conclusion of an illicit affair. While Rundgren's lyrics brilliantly capture the emotional messiness, the guilt, despair and on-going desire that congeals within a love gone wrong, and filled with genuine levels of soul and lived in romantic angst, this song is the one track on the album that somehow feels as if it has fallen short of reaching the fullness of its desired effect, or at least, the intended fullness did not quite reach me.

Perhaps this is a song that may have functioned better if Rundgren had sung it himself. This is not a slight, however, to John Boutte, a singer that I first became familiar with through his appearances upon the evocative New Orleans set and themed David Simon/HBO series "Treme." At any rate, Boutte's voice is of a higher, thinner register than Rundgren's and his qualities did not feel to serve the gritty heaviness of Rundgren's lyrics. But to that end, Rundgren's instrumental backing and production also did not seem to serve the song as best as possible as again the overall thinness of the synthetic backing track made the song feel more like a demo than a fully fleshed out final version.

Now, I do understand some of the grumbling within the fan community, those who have complained against Todd Rundgren's reliance upon building his tracks electronically rather than playing each individual instrument one at a time just as he performed for so many years and albums in the past. Yes, I do miss some of his more idiosyncratic sounds of old (most specifically, his drum sound, a tonal quality that has not been duplicated by anyone!), but I am ultimately one who is just so pleased to receive anything that Rundgren wishes to give regardless of precisely how the music in question was created. That being said, I do think that all of the parts just do not entirely fit with "Beginning (Of The End)," making a song that could have possessed a shattering ache one that sounds and feels flatter than any of the participants intended, and for my ears, the song slows the album's momentum.

"White Knight" then rebounds...ahem...bigly..with "Tin Foil Hat," the now highly controversial political satire as jointly conceived by Rundgren and Steely Dan's Donald Fagen, who also sings lead vocals. If you are indeed out of the loop and are wondering precisely why the song has grown in controversy then...well, let me just say that it happens to be about a certain individual who "puts the Pluto in plutocrat," who "hasn't got the time for losers," is constantly "tweeting like a teenage girl" and "writing checks to his accusers with those tiny little hands" and who widely promises that everything's "gonna be great, tremendous, amazing and all that" in this "yuge, yuge, yuge new world." 

It truly amazes me that this silly, sardonic, mildly Zappa-esque satirical jab against a certain reality TV gone very real world President of the United States, has become such a lightning rod considering how vicious and unrepentant Rundgren can actually be against his foes (his still unreleased acoustic firebomb entitled "Jesse," on which he took on Jesse Helms, Tipper Gore and even Pope John Paul II still leaves blisters-check it out on YouTube). And frankly, anyone who is honestly stunned and shocked by his political leanings and overall worldview are people who were never fans in the first place and tracks like "Hello It's Me," "Can We Still Be Friends" and "Bang On The Drum All Day" are the only Todd Rundgren songs they know.

That being said, the song has indeed struck a vital and exposed societal nerve as underneath the humor, it recognizes the through the looking glass absurdist nightmare that has become our collective reality-from who is currently occupying the White House to the spineless politicians only too willing to legislate their lethal hatred to finally, the faithful devotees whose racism and violence has been fully enabled and horrifically released. For those of us who choose to resist this administration, "Tin Foil Hat" is indeed the jazz lounge inflected laugh to keep us all from crying.

From the political arena to the EDM amphitheater, we next arrive with the equally sardonic "Look At Me," performed with musician/writer/filmmaker/hip-hop impressario Michael Holman, a booming club track where our very own "DJ T.O.D.D." pokes his fingers in the eyes of the preposterous corners of DJ culture where no discernible talent or creativity is on display yet the empty boasting and bombastic bass is ever flowing.

Right at the album's halfway mark is where "White Knight" feels to really hit its stride as we are given a glorious slice of the very kind of power pop Rundgren has essentially not made for decades. Working alongside Moe Berg, leader of The Pursuit Of Happiness, a band for whom Rundgren produced their first two albums, "Let's Do This," on which Rundgren rightfully proclaims "You're playing checkers and I'm playing chess," is a perfect matching of like-minded musical sensibilities. Berg has long expresses Rundgren's massive influence upon his own songwriting and yet, when I hear this song, the blend is so artfully blissful and seamless that it is difficult to tell where and when these two artists begin and end. This collaboration is easily one of the album's very best.

Next joining forces with guitarist Joe Walsh, we have the exquisite, cyclical chamber pop of "Sleep," a sparkling insomniac's ballad on which our narrator regards a loved one in slumber over a long night. So odd yet so graceful and once those stunning harmony vocals flow through the proceedings, the track effortlessly takes flight like a beautiful dream.

Flying even higher is the aching heartbreak of "That Could Have Been Me," on which Swedish singer Robyn carries the lead vocal while Rundgren provides the 1980's-ish power ballad backdrop. Now, unlike "Beginning (Of The End)," this track is one where all of the elements fit expertly to my ears. Yes, at first it was strange to not hear Rundgren's voice but soon, Robyn's lovely delivery  fully carried and conveyed the song's romantic woe.

"Deaf Ears" returns the album to more political territory as Rundgren tackles the everyday crisis that is climate change and the horror of having the hands of those that deny reality and Science gripping the wheel of our collective existence.

"The dark is far as eyes can see
It's raining ashes
We've reached the end of history
Here come the ashes
It's raining ashes...
Falling on deaf ears..."

Yet another album standout, Rundgren's warning vocals and provocative lyrics combined with the grim, disturbing yet elegant musical textures of Nine Inch Nails' Trent Reznor and Atticus Ross, culminates in an ominously apocalyptic creation, further expressing the dark truth that we are indeed the sole cause of our own destruction.

From one apocalypse to another, the electronic whirlwind of "Naked And Afraid" enlists legendary soul songstress Bettye LaVette as the track's formidable character of "The Queen," the figure one should never cross for fear of personal destruction. "This time you're in way over your head," she counsels emphatically. "I'll suck the life blood our of you and if you ain't dead...you'll wake up naked and afraid." Don't believe her? Just listen to Rundgren's ghostly vocal as if he was The Queen's latest victim offering up his final words, "You and in you are out/There is no in between/Better pray for your life/If you take on The Queen."    

What must be serving as somewhat of a tribute to the dearly departed Prince as well as existing as a comical commentary upon the concert tour merchandise table culture, Rundgren offers up his finest funky falsetto with "Buy My T."

"Buy my T
Buy my hoodie
You need a souvenir
We got your cotton goodies
I know my limits
I give until it hurts
You can bootleg the music
But you have to buy a shirt"

The mesmerizing meditation of "Wouldn't You Like To Know" finds Rundgren collaborating with his son Rebop who provides clean, classically influenced guitar work that merges with the swirling vocals masterfully creating a near album's end dreamlike haze.

Over his last several albums, Todd Rundgren has concluded the proceedings with some sort of political firebomb or urgent plea for humanity to finally shape itself up in order to survive, from the ferocious "Liar" from "Liars" (released April 6, 2004), the roaring "Manup" from "Arena" (released September 30, 2008), the dystopian "Sir Reality" from "State" (released April 9, 2013) and the bleak sorrow of "This Island Earth" from "Global" (released April 7, 2015).

"White Knight" continues this streak with the molten lava of "This Is Not A Drill," on which Rundgren is joined by touring bandmates drummer Prairie Prince and bassist/vocalist Kasim Sulton plus special guest star Joe Satriani who provides the guitar fire bombs.

"This is not a drill, the blood is not for show
The sound you hear is real, the fire is down below
If anyone is capture, we take the poison pill
And curse the bloody coward who doesn't have the will
This is not a drill"

If any song could capture the aggressive urgent energy of our turbulent times, it is this final track of the album on which Rundgren shreds his vocals in absolute fury against the madness of our world, the countdown of our existence and the complacency of our so-called leaders and the woefully disengaged. This call to arms thematically returns the album back to its beginnings with "Come," making for Todd Rundgren's eternal utopian message, especially now as life is so precarious: We are all in this together.

Todd Rundgren's "White Knight," while existing as his most accessible and pop song leaning effort since possibly the stunning live-in-the-studio soul picnic of "Nearly Human" (released May 18, 1989), and I really think that he has offered up something for all listeners while magically retaining the entirety of his personal artistic vision. It is a joyously presented and performed travelogue which is less artistically esoteric and leans much more towards the glories of his peerless pop songcraft, making the album possess a greater reach for listeners who may tend to be thrown off by Rundgren's more overtly adventurous artistic voyages.

"White Knight" is also a beautifully multi-layered release that could be viewed as an album made up of a terrific collection of singles, as well as serving as a victory lap celebration of almost every phase of Todd Rundgren's entire career. With its travels towards power pop, R&B, electronic dreamscapes and EDM workouts, soulful hip-hop, novelty songs, heart-on-sleeve ballads, heavy rock guitar heroics and of course, messages from the utopian slipstream, "White Knight" proves itself to be a wildly diverse album, a continuously fruitful listening experience that celebrates Rundgren's history while also continuing to burn a progressive path. And frankly, creative radio programmers in several different demographics could easily pluck song after song from the album and make them bonafide hits...if they really wanted to!

The concept to have "White Knight" as a more collaborative work than one of Rundgren's typical solo affairs was truly inspired as the guest stars all allowed and afforded him the opportunity  re-visit certain musical avenues he may not have otherwise chosen to return to if left to his solitary devices. And furthermore, it did indeed present him with another musical challenge to tackle, artistic puzzles to be pieced together and throughout, it sounds as if he is having a wonderful time creating with a different set of colors in his musical paintbox. Who knows? But I wonder if the experience of making the cosmic wonderland of "Runddans" (released May 4, 2015), his collaborative album with Swedish musicians Hans-Peter Lindstrom and Emil Nikolaisen, gave him a certain push of inspiration to head into this direction. If so, this is a great look for Rundgren and here's hoping that the long in the works, possible collaborative album with The Roots comes to fruition because I think the joining of those musical sensibilities would be mind-blowing and soul stirring!

And yet, the conceptual layers of "White Knight" continue to reveal as I do think the album could be viewed as a complete thematic work showcasing Rundgren's view of life as it is lived in the 21st century from avenues that blend the emotional, interpersonal,philosophical, social, and political ultimately congealing into the universal. I do believe the songs hold together extremely well and when you listen to the album, just regard how one thematic element ties to the next and I believe that we all again can see how meticulous Rundgren arranges his material knowing how to best direct the songs so "White Knight" does indeed possess a cumulative effect.

In this late period of Todd Rundgren's continuing musical odyssey, my personal tastes may have me lean more towards the fully conceptual and more dizzying works like "Liars," "Arena," and "Runddans," rather than his more electronic dance efforts but even so, "White Knight" bridges all of the gaps harmoniously.

Yes, dear readers and listeners, Todd Rundgren is just about to reach his 69th birthday and 50 full years as a recording artist. I wish that his name and his legacy was firmly etched into the minds and hearts of everyone because the vast richness of what he has been so generous to create and share with the world has been nothing less than life altering for so many, including myself, that it feels to be a crime that he is not more well known, acknowledged to a greater degree, and celebrated beyond measure.  

But maybe..."White Knight" may achieve to correct some of those slights as it is an album that heroically shows the studio wizard as the true star he has ALWAYS been.