Arena = Todd Rundgren + Guitars Guitars Guitars!

by Jeff Boule in Concert Reviews, Editorials, Indie Release Highlights, Musician Reviews, Reviews, What's New

The story behind the album Arena is simply a tale born out of situational necessity. You die-hard Rundgren fans remember a couple of years ago (around the time the movie CARS came out) Todd had replaced Ric Ocasek in The New Cars (the ‘New’ being added in light of the minority percentage of returning members, only Elliot Easton and Greg Hawkes returned). Also joining Easton and Hawkes were Utopia and long-time Rundgren bassist and vocalist Kasim Sulton alongside drummer for The Tubes, Jefferson Starship and also a long-time Rundgren band member Prairie Prince. During the New Cars tour, the tour bus was in an accident and Easton fell from an upper bunk and broke his shoulder/collar bone. The tour was cut short, the cross-promotion with the Pixar movie was cancelled, and Rundgren found himself with nothing to do for a summer. Not wanting to waste a prime touring season, Rundgren spoke with Tony Levin band and long-time Rundgren guitarist Jesse Gress who contacted Levin and recruited him along with Levin Band drummer Jerry Marotta to do a two guitars bass and drums tour. Less expensive than touring with Midi and keyboards, etc.

Seeing as how he was going to be touring with a guitar-oriented band, not only did he have to limit his repertoire to guitar based or guitar-oriented or guitar adaptable songs, he also had to rearrange some keyboard-oriented standards for guitar.

Necessity is the mother of invention.

Arena is an album of guitar-oriented Rundgren gems! The restriction of keyboard usage did not stop Rundgren from penning some killer rock songs. Just as at home on classic rock radio, these tracks could play right next to any of today’s heavy rock acts, in fact, Bruce Dickenson from Iron Maiden played “Strike” on his radio program. Dickenson spoke with tremendous respect towards Rundgren and his latest guitar god effort.

Arena starts off with “Mad”. Although it starts off with a pleasant multi-tracked acoustic and electric guitar line (maybe some synth in the background, and that’s where the keyboards usually stay on this record, sorry Roger), quickly things escalate, and after counting off the buttons pushed, things get mad! The lyrics could be referenced towards just about anybody, ex-lover, current lover, sibling, parent, employer, employee, detailing a place where no peace of mind or quiet are accessible. Of course, background vocals abound.

One of the issues I had with this album was the stale nature of the drums. They are programmed, but they are done tastefully. A little less organic than a real player could provide, but Rundgren realized a long time ago he is a better programmer than a drummer. The parts are tasteful because Rundgren has worked with some of the premier drummers of our time. Willie Wilcox, Prairie Prince, Michael Urbano, Jerry Marrotta, and more that I am sure I am forgetting. He is obviously someone who knows what a drum part should sound like. He should have attempted to “humanize” them a little more. Just my opinion, what do I know? Perhaps I am jaded as I first heard these songs live with Prairie Prince playing the parts. Can’t get more human than that.

“Afraid” is one of the weaker tracks on the album, its guitar during the chorus seems lacking, but the lyrics make the ride worthwhile. More arpeggio guitar during the verses, the break after the second verse is quite funky and leads us into the change that preaches “why suffer for nothing, suffer for something”. Then a less-than-worthy solo follows and leads us back to the chorus, and even with added backing vocals and leads throughout, the chorus out remains unimpressive.

So after that niceness, we need to get nasty. Riffs o’ plenty fill “Mercenary” and the lyrics are about what you think they are. Killer for hire. Rundgren plays the part well. He even asks “how do you like me now, that I’ll do your dirty work?” I like the killer Todd just fine. In the middle we break down for another acoustic break in which our murder man confesses his actions for reasons that escape him. Such introspective ponderings as “I will bring a nation down, for a cause I’ll never have” and so on fill the break before we rebuild and the opening riff part repeats, leading us to a variation on the first verse.

Rundgren’s lyrics NEVER disappoint. Twisting the words from the first verse to the last. “Close your eyes and plug your ears and turn away, I will carry out the task without dismay” then transposing the last verse into “Close your eyes and plug your ears and turn away, you won’t have to face the consequence today” but the second time around, the lyrics are almost chastising the seeker of his service. But still, wrap your mind around those riffs and licks!!!

The next riff laden laugh riot is “Gun”. If there ever has to be a song FOR the gun control lobby, this is it. While part of the chorus is reminiscent of ZZ Top’s “Tush”, the rest of the song has no affiliation with anything you’ve ever heard. The lyrics paint the picture of someone less than intellectually blessed who is a little too attached to his piece. Replete with a break that makes me think of Stewie Griffin every time; “this is my rifle and this is my gun, this is for fighting and this is for fun.” Then a smooth break for our gun lover’s confession of amore for his pistol leads into a blistering solo which rejoins the chorus out, with panning solo mania and all. There is a picture on the back of the CD booklet that features a close up of Rundgren’s blistered thumb. I think it’s a safe bet that most of that blister formed during this solo.

To clarify, I am also a fairly large Hall & Oates fan. I have not been able to see them live, but I do collect them as well so I am familiar with their work. I bring this into focus for the following point: The song “Courage” sounds like something from the Along The Red Ledge-era Hall & Oates. Jangly guitars back up the opening lead as things level out to an under-mixed lead vocal. The lyrics, while more astute than other pop artists are trite for Rundgren. This song is obviously an attempt to put another track on the radio. The trouble is, this album has several radio worthy tracks that still reek of integrity. If only the kids in the suburbs writin’ the radio hooks would take lessons from Rundgren. Multi-layered backing vocals accompany a subdued, accessible solo. Even the arrangement is commercial.

I see Rundgren’s reasoning. The man just turned 60 (having just seen him do a killer performance for this tour, it is hard to believe) and he is looking forward. He has been working steadily since his last child Rebop was born. His son is about to enter college, so Rundgren needs to cash in. Additionally, his original living quarters were converted into a bed and breakfast and a second building that was supposed to be a recording complex have spawned into grand designs. So much so that he has started something called the second mortgage club. For expensive fees in the hundreds of dollars range, you can have rare, insider opportunities. I’m sure there is a web site you can go to. http://tr-i.com/thesecondmortgageclub

We go from the sublime to the incredible. This next song is indicative of Rundgren’s ability to astound. While the song is another guitar tune, I shudder to think what this song would have been like with full arrangements with keyboards too. The writing almost seems like it would have been from the 2nd Wind album. “Weakness” is simply beautiful. For an album that is supposed to be full of arena rock style songs (hence the album title) this one must be the obligatory ballad, but it would be kind of hard to slow dance to. Especially during the double time drum part before a break that belies the secrecy of his affliction of affection for the object of his weakness. The lyrics almost seem like a follow-up to “Mercenary” as if this is a secret side to our favorite killer-for-hire. The lyrics detail someone who has a rough reputation, which would be ruined by the revelation that this weakness (relationship) exists.

We have another one of those weak tunes, so naturally it has to be released as the single. “Strike” as I said was played on Dickenson’s radio show. Perhaps it is my non-appreciation of heavy metal, but I can’t imagine any other song played on Dickenson’s radio show that would be as intellectual as something Rundgren would tender. But “Strike” is kinda lame. It is based on the parable “strike while the iron is hot” and Rundgren’s vocal for that line is tested. You’re 60 now Todd, like Peter Gabriel said, “as you age it gets more and more difficult to sing those songs you wrote in your 20’s and 30’s.” Truer words were never spoken, especially after hearing the chorus vocals. It is also a shame as that is the only thing that strikes me about this song (full pun intended). Even those glorious background vocals I have come to expect from Rundgren are stunted. An acceptable guitar solo, and another verse chorus bridge verse chorus bridge solo chorus out predictable arrangement. This is my least favorite song of the collection, so it should be a smash hit. It was released as a CD single for promotional outlets only. Being a die-hard Rundgren collector, I have to have it.

But the order of this album is riffs, and this song does meet that requirement. The background vocal arrangements are simplistic for the majority of the song. The lyrics are still better than average, but I have a feeling dumbed down a bit for the sake of commerciality. The equally lackluster solo brings us to a chorus-laden outro. Thankfully not too elongated.

When we get over our Judas Priest fix, we find my favorite track on this disc, “Pissin’”. It starts off with a tight rhythm section behind a snaky lead melody. For the bridge vocal we bring in an organ to fill above the chugging rhythm guitar, and the chorus fills out the lead intro, then reduces to introduce the second verse. Members of the Tubes were said to admire his ability to rejoin parts in the arrangement. This is prime example. The lyrics are about someone who thinks they are humanity’s gift to humanity. The chorus lyrics are the crux of the song: “Maybe the ladies are impressed, but I don’t think so let’s be honest, why don’t you give that thing a rest, you’re just a one-man pissing contest.” We roll into an almost “wild west” sounding guitar solo, reflective of the melody, but not derivative thereof. Complete with thunderclaps and pan flute, very “Good, Bad and the Ugly.” We come back to an abbreviated verse and chorus outro. This has another tried and true arrangement, but content might be prohibitive to radio play. A double chorus builds to grand finale of the dead end. Many of these songs do. Tre chic.

We hear synths opening the next track, “Today.” This one is most synth heavy and is the primary reason Rundgren has a keyboard on stage for this tour. The great part of this half of the tour is the fact that Kasim Sulton is joining the band but not as a bassist, but as the keyboardist and third guitarist. Of course he will do vocals, this is such a given, the earnest Rundgren fan can hear the background vocal Rundgren records with Sulton in mind. It will be odd to see Sulton and Prince on stage and NOT be the rhythm section! After the intro we break into a funky bass and drum line, and jangly guitars and vocals bring in the scarce verse. While the repeated word in the verse is ‘time’, the theme is more about settling scores. But unlike the previous themes of vengeance, this is more about amicable settlements with previous issues. “Today’s the day, today’s the day, to settle our scores. Because tomorrow, we’re gonna wake up even.” To bad world leaders can’t think on these levels.

After we pledge to break even, the synth intro returns with vocals, plaintively asking for resolutions worldwide, ending his plea with “why not here, why not now, why not, today?” We come into a full-blown chorus with powerful instrumentation, repeating the “Today’s the day…” chorus theme right into another dead stop ending.

Fades are for wimps.

The longest track of the collection is the bluesy “Bardo.” A lonely riff opens the piece, and full backing band comes into the verse with on and off effected vocals. The lyrics are deep, maybe a little too deep. Bardo is in Tibetan Buddhism, a state between death and rebirth which can last anywhere from 7 to 49 days. I guess being in a limbo-esque state would instill the blues in anyone. The lyrics are reflective, introspective, as someone lingering between death and rebirth might do. Along with the blues riffs, and sometimes flanged, ponderous vocals, there lie some tasty, tasty leads, right into the descending part that propels the chorus at us. The building second chorus adds an alternate lyric, that leads into an arpeggiation-backed solo, as both build up in intensity and activity, we rejoin beautifully into a third and different chorus, all three ending with the phrase “the last bardo.” Rundgren vocal ad-libs over a relatively quiet track until the guitar solo fires up, and we revisit that arpeggiation solo break and Rundgren lets loose on the solo, one of his fiercest. That fierceness exists until the fade up of “Mountaintop”, an old-fashioned three-chord blues vamp with slap backed midrange boosted (yet again, under-mixed) lead vocal.

This is the tale of an old dying man who calls upon the village strong-man to assist him in climbing to the top of a local mountain with aspirations of “looking down on that piss-ant little town.” Lofty goals.

But this is one of those tunes that makes good on the claim made on the sticker on the CD package quoting Rundgren’s summation of the album, “Sing along guitar rock kinda stuff” as even at the live show where barely anyone in the crowd was familiar with material, after hearing the first chorus of “I took one step, higher, higher, another step, higher, higher, until I reach that mountaintop” and everyone was singing along with the “higher, higher’” section. This has interesting ascending breaks as well, and the drums are even a tad more intricate in sections, that make them perhaps not human but definitely more interesting. We break down for the second verse, right down to drums alone, but the instruments fill right in with the vocals. Another sing-along chorus and we are greeted with a riff break introducing a slide solo. Last two albums have had at least one slide guitar solo. After the slide solo, we break down to an extended chorus constantly chanting “higher, higher” even as Rundgren vocal ad-libs and even references an old Utopia tune “Feet Don’t Fail Me Now.” By formula we go back into the chorus out but the end reenlists the ascension break one more time before we get more chorus-like bars until another dead stop ending rears it’s over-used head.

Frenetics are the order of the day when it comes to “Panic.” This song is by definition a potboiler. With a stripped-down bass and drum verse, guitars only appearing at the bridge intro riff, the bridge, then the chorus and another riff to lead into a snappy solo over an arrangement within the parts and then another bridge chorus with alternate lyrics and more riffs to a dead end arrangement. The tempo is nice and fast and the whole song just powers right through. This is another one of those ‘it’s over already?’ kind of songs.

Sadly we are at the end of Arena with “Manup” which is a compounding of ‘man’ and ‘up’ for some modernistic vernacular. This is fancy-speak for Rundgren combining two words to maintain his current fascination with one-word titles. But the topic is about a recruiter of men to fight off an oncoming horde. The chorus even covers the dodgers: “Some are unready, some are unwilling, hidin’ amongst the women and children.” The verses stark, the choruses menacing, the break in which delusions are uncovered is a more full version of the opening riff, complete with side-stick snare quarter notes. After this break there is a solo with triple drum beats that fit but don’t quite fit, if you know what I mean, but the beat levels out for most of the solo into more choruses and a solo out, and I bet you can guess how this song ends.

I gave a copy of this to a friend and it has been in his steady rotation of listening ever since. I have the feeling that if you cruise on down to the PREX and have them get you a copy, it will find permanent rotation in your listening catalog as well.

I know I owe the faithful to this blog an explanation as to what has happened to the double Killing Joke concert review that was touted in this blog some weeks ago. I was unable to attend both these shows due to the illness and death of a nuclear family member, my sister. She introduced me to Todd Rundgren when I was very young, in grade school, and I have been a fan/ listener ever since. I was called to her bedside on Friday before the shows and was there on both Saturday and Sunday, and she flew from this earth on Monday morning. So in memoriam of her, I would like to dedicate this review to her, and I will honor my earlier promise to finish reviewing the Utopia live box set.

Catch you next time.