Though Utopia isn’t quite to Todd Rundgren what Tin Machine was to David Bowie, there are definitely some parallels that can be drawn between the two projects. Both represented an already established artist subverting their egos to pursue a completely different musical path within a band framework, essentially giving them the freedom to establish a separate identity without the high expectations that would have been attached to their own material. Rundgren started Utopia in the early 70s as a response to all the progressive rock bands he saw getting popular at the time, and made them the over-the-top, theatrical flip side to his highly personal, quietly eccentric pop style. What’s interesting, though, is the way Utopia actually evolved over time, quickly becoming more and more commercial as Rundgren’s own material become more and more esoteric. That said, Utopia was still every bit as unpredictable as Todd Rundgren’s own career. The upside to this is that they eventually grew into being a bona fide band as opposed to a mere vanity project, but taking advantage of the freedom to do whatever the hell they wanted meant they never kept a solid audience for too long, outside of the already-devoted Rundgren aficionados. A damn shame, if you ask me, but that’s what the Popdose Guides are for, I suppose. And on that note…
Todd Rundgren’s Utopia (1974)
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Though many categorize this album as Todd Rundgren’s big leap into progressive rock, I actually hear a pretty big jazz-fusion influence here as well (Ã la Return to Forever and the like). Frank Zappa also casts a mighty shadow over the proceedings, “Freak Parade” being more or less a 10-minute Zappa pastiche. To sum it up briefly: this album is a perfectly valid exercise in prog-jazz-rock-fusion-whatever-you-wanna-call-it, mainly because the band is full of first-rate players and Rundgren makes sure to throw in some actual song-like parts amidst all the noodling. However, unless I start investing in a serious psychedelic drug habit, I can’t see this ever entering heavy rotation on my personal playlist. It’s not every day that I’ll want to sit down and listen to a half-hour piece of music, regardless of how good it is (this would be “The Ikon”), and the shortest track on the album (“Freedom Fighters”) is also the least memorable. In spite of my nitpicking, however, this is still a fascinating curio in Todd Rundgren’s discography, and definitely worth at least a cursory listen (though it takes a lot of patience to get to the good stuff). Here’s my favorite track, “Utopia Theme”. (more…)
Robbie Robertson coined a phrase in an interview once, and it stuck with me. He said that even though he’d written many types of songs, the ones that always got to him and stayed with him were, if I recall correctly, “skin creepers.”