todd rundgren a cappella tour

A Cappella Tour

April 25, 2001 21 Songs, 1 hour, 37 minutes ℗ 2019 Cleopatra Records

More By Todd Rundgren

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A Cappella Tour

Todd Rundgren

21 SONGS • 1 HOUR AND 37 MINUTES • OCT 07 2003

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Japanese Exclusive Release. Recorded Live in Dallas, Texas in October 1985.

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• Is Discontinued By Manufacturer ‏ : ‎ No
• Package Dimensions ‏ : ‎ 5.51 x 4.92 x 0.39 inches; 4.16 ounces
• Manufacturer ‏ : ‎ CROWN RECORDS JAPAN
• Date First Available ‏ : ‎ November 4, 2006
• Label ‏ : ‎ CROWN RECORDS JAPAN
• ASIN ‏ : ‎ B00005HXFM
• Number of discs ‏ : ‎ 2
• #6,784 in Progressive Rock
• #9,887 in Album-Oriented Rock (AOR) (CDs & Vinyl)

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Todd Rundgren’s Weird and Wonderful Album A Cappella

In a career full of left turns, this todd rundgren album – composed almost solely out of samples of his own voice – may be the strangest..

Todd Rundgren is a man who, quite frankly, doesn’t seem to give a damn. Which is how an artist should be. He does whatever he feels like, making ultra-poppy tunes followed by odd time signatured guitar freakouts and sonically strange tone poems. Then he does the opposite of all of that.

On his almost two dozen albums, he’s written some of the best pop songs of the 20th century, but only hit the American Top 10 once – the #5 charting “Hello It’s Me,” the first song he ever wrote. Several of his records feature him doing everything – playing all the instruments, writing, engineering, even directing the subsequent music videos. (He’s also an adept computer programmer.) He’s even produced numerous classic records like Bat Out Of Hell , Skylarking , and New York Dolls and scored one of the greatest American comedies of all time ( Dumb and Dumber ).

So why is Todd Rundgren so underrated? Probably because he never stood still. Case in point: After terminating his long time deal with Bearsville Records in 1984, Rundgren signed a peculiar contract with Warner Brothers. As he explained to Keyboard magazine in 1987: “It's basically a three album deal, but they have to put out every album I give them, and they can decide whether they consider it a deal album or an album outside of the deal. They know that if I have one album that’s a big hit, the greatest likelihood is that I’m going to do the polar opposite on the next album … If I deliver an album that they think is commercial, then it goes on the contract and it’s one less album I have to deliver. But if I deliver an album and they say, ‘this is another one of your wacky experiments,’ then they have to put it out anyway, and the 100,000 people who buy all my records will buy it anyway. Since Warner Bros. doesn’t count it as part of the contract, they don’t count it as having been advanced on, so I get paid from the first record sold … I might wind up making 20 records for Warner Bros. before we actually get the three that they actually want, but they’ll all come out.”

The genesis of this deal was A Cappella , an album that Bearsville Records kept on the shelf for a year before Rundgren brought it to Warner Bros. Why did Bearsville think it wasn’t commercially viable? Except for a few handclaps, the entire record is made up of Rundgren’s voice, albeit heavily processed, overdubbed and played through an Emulator, an early sampling device.

Released in 1981, the E-Mu Emulator could store a short sample of sound on a floppy disk system, then played on its attached keyboard, where one could change the notes and pitch just like any other keyboard. With the wide array of loop pedals and workstations in use today, this is beyond commonplace. But in 1982, this was a brand new way to make music. The painstaking process of splicing pieces of tape to create loops were (almost) a thing of the past. Artists as varied as Stevie Wonder, The Residents and Genesis used the Emulator almost immediately after its release, though nobody used it as uniquely and extensively as Todd Rundgren on A Cappella . (Oddly, on the video below, where Rundgren demonstrates his technique to Entertainment Tonight , he is using a Fairlight CMI – the Emulator's direct competition).

Opening with “Blue Orpheus,” an intricate vocal harmony gives way to a thumping bassline and what sounds like a primitive drum machine, but is, in fact, Rundgren’s voice. Heavily processed thuds lay the foundation for the song’s backbeat, while wavy, reverb-laden background vocals come and go throughout. While the album’s opener pushes the human voice to new places, “Johnee Jingo” ditches the effects to further emphasize its natural power along with the song’s message. In his long career, The Wizard, The True Star has never penned an anti-war song as glorious or blistering. The tale of a merciless young character who lies about his age to join the military, the titular Johnee Jingo soon passes this heritage off to his “favorite son,” beginning a long line of savage warmongering.

"I might wind up making 20 records for Warner Bros. before we actually get the three that they actually want..."

“The bottom line is that if you're going to use something that would seem as gimmicky as an a cappella record, you can't just rely on the voice gimmick,” Rundgren told the Chicago Tribune in ’85. “You have to make sure the (songs) would have sounded good even if you had used instruments.” There’s no better example here than A Cappella ’s emotional high point “Lost Horizon,” written as a tribute to one of Rundgren’s idols, Marvin Gaye, whose life tragically ended only a year prior at the hands of his father. Having grown up on the Motown sound and the music of Gaye, Rundgren laments never having the chance to sing with the man – “I’ve got so much to learn now / Lessons I’ve never had.” (During the ensuing tour behind the record, Rundgren performed a medley of Marvin Gaye tunes alongside the song.)

Since it wouldn’t be a Todd Rundgren record without at least one taste of pure sugary pop, “Something to Fall Back On” is the song that should have been a major hit . Instead, it’s an overlooked pop classic. Again utilizing the Emulator and various studio effects to create a unique backdrop of “instruments,” Rundgren proves why he’s such a genius songwriting craftsmen. Tired of being a backup lover, Rundgren pens this ode to a would-be girlfriend to tell her that although he’s sick of working part-time for her, she’s too good to leave.

Finally released in 1985, Rundgren’s cult fanbase made A Cappella a minor chart hit before the public quickly branded the record an oddity from an oddity. That year, Rundgren performed the songs live with an 11-person choir instead of a band as well as some old favorites like “ Born To Synthesize ” and “ Can We Still Be Friends? ”

In true Rundgrenian fashion, the follow up to this technological exercise was 1989’s Nearly Human , an album recorded completely live in the studio by a band barred from doing any overdubs. Basically, he did the exact opposite. A few years after, he released No World Order , an interactive album which allowed listeners to completely remix the songs via the short-lived Phillips CD-i platform . Yet again, the opposite. If anyone is looking for a clear statement from all this shuffling back and forth between new inventions and old formulas, you’re likely out of luck. Whether one gets it or not, Todd Rundgren is going to do what he wants. Thankfully.

By 2 && !$first --> 1 && $last --> Bryan Bierman on July 17, 2013

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TODD RUNDGREN / A CAPPELLA TOUR 1985 (1DVDR)

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A Capella Tour

Todd rundgren (トッド・ラングレン).

85年10月に、すべて多重録音で自身の声しか入っていない異色アルバムを発表したトッド。その直後に行なわれたテキサス州ダラスでのライヴの模様を収録。(CDジャーナル　データベースより)

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【中古:盤質AB】 A Capella Tour

￥1,100 国内盤 2001年04月25日発売

収録曲   

• 01． ボーン・トゥ・シンセサイズ
• 02． ラブ・オブ・ザ・コモン・マン
• 03． クリシェ
• 04． トゥー・ファー・ゴーン
• 05． ソングズ・オブ・ザ・バイキング
• 06． ジョーニー・ジンゴ
• 07． ブルー・オルフェウス
• 08． プリテンディング・トゥ・ケア
• 09． ホジャ
• 10． ロスト・ホライズン
• 11． ホワッツ・ゴーイング・オン
• 12． マーシー・マーシー・ミー
• 13． アイ・ウォント・ユー
• 14． ロスト・ホライズン
• 15． タイニー・デーモンズ
• 16． ロード・キャンセラーズ・ナイトメア・ソング
• 17． オネスト・ワーク
• 18． イッツ・ウドゥント・ハブ・メイド・エニー・ディファレンス
• 19． キャン・ウイ・スティル・ビー・フレンズ
• 20． バング・オン・ザ・ドラム
• 21． アイム・ソー・プラウド
• 22． オオー・ベイビー・ベイビー
• 23． ラ・ラ・ミーンズ・アイ・ラブ・ユー
• 24． アイ・ソウ・ザ・ライト
• 25． マイティ・ラブ
• 26． サムシング・トゥ・フォール・バック・オン
• 27． リアル・マン
• 28． ラブ・イズ・ジ・アンサー

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投稿日：2004/12/21 (火)

前半はロスト・ホライゾンからマーシ・マーシ・ミーまでのソウルが、後半はアイム・ソー・プラウドからラストまでここち良く聞けます。ア・カペラなので 少々音質が悪くても気になりません。ラヴ・イズ・ザ・アンサーのア・カペラも中々いいです。

とっど大好き さん | 埼玉県 | 不明

人物・団体紹介

トッド・ラングレンは1948年6月22日、米ペンシルヴァニア州フィラデルフィアのアッパーダーヴィに生まれた。トッドは4歳の頃から家にあったピアノを弾き始めたと語っているが、一方で少年時代はひどく個人主義的な傾向を持ち問題児でもあったという。

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Show all tours

• 2015 - 2016 Winter Tour - An Evening With Todd Rundgren  ( 43 )
• 2nd Wind Live Recording Sessions  ( 5 )
• 2nd Wind Tour  ( 39 )
• A Cappella Tour  ( 41 )
• A Wizard, A True Star  ( 10 )
• An Evening With Todd Rundgren  ( 25 )
• An Evening With Todd Rundgren 2016  ( 23 )
• An Unpredictable Evening  ( 31 )
• An Unpredictable Evening 2018  ( 50 )
• Arena  ( 21 )
• Australian Tour 2018  ( 5 )
• Classic Todd Rundgren  ( 6 )
• Clearly Human Live Virtual Tour 2021  ( 25 )
• Daryl Hall and the Daryl's House Band with Special Guest Todd Rundgren  ( 1 )
• Do What You Want, Be What You Are 2010 Tour  ( 1 )
• Evening of Interactivity - World (No Order) Tour  ( 2 )
• Freeze Your Ass Off Tour 2008  ( 11 )
• Global Tour  ( 73 )
• Half-Twisted Tour  ( 16 )
• Individualist Tour  ( 1 )
• Joe Jackson & Todd Rundgren feat. Ethel  ( 1 )
• Last Call  ( 1 )
• Me/We Tour  ( 19 )
• Nearly Human  ( 77 )
• No World Order  ( 1 )
• Official State Visit Tour  ( 37 )
• One Long Year  ( 39 )
• Solo 2003  ( 1 )
• Special performance with the Metropole Orchestra  ( 4 )
• Tell Me Something Good: Ethel and Todd Rundgren  ( 12 )
• The Individualist Tour  ( 47 )
• The Individualist, a True Star Tour  ( 28 )
• The T.R. in '88 Tour  ( 5 )
• The Unpredictable Todd Rundgren  ( 11 )
• Todd & Healing Tour  ( 7 )
• Todd Rundgren & The Liars  ( 64 )
• Todd Rundgren's Johnson  ( 10 )
• Two Week Wonder Tour  ( 24 )
• Unpredictable Tour 2022  ( 19 )
• White Knight: The Chivalrock Tour  ( 56 )
• With a Twist  ( 43 )
• Yestival 2017  ( 22 )
• Avg Setlist
• Concert Map

Average setlist for tour: A Cappella Tour

Note: only considered 15 of 41 setlists (ignored empty and strikingly short setlists)

• Born to Synthesize Play Video
• Love of the Common Man Play Video
• Cliché Play Video
• Too Far Gone Play Video
• Song of the Viking Play Video
• Johnee Jingo Play Video
• Blue Orpheus Play Video
• Pretending to Care Play Video
• Hodja Play Video
• Lost Horizon / What's Going On / Mercy Mercy Me (The Ecology) / I Want You / Lost Horizon Play Video
• Tiny Demons Play Video
• Honest Work Play Video
• Lord Chancellor's Nightmare Song ( Gilbert & Sullivan  cover) Play Video
• It Wouldn't Have Made Any Difference Play Video
• Can We Still Be Friends Play Video
• Bang the Drum All Day Play Video
• Ooo Baby Baby ( The Miracles  cover) Play Video
• Mighty Love ( The Spinners  cover) Play Video
• Something to Fall Back On Play Video
• I Saw the Light Play Video
• Love Is the Answer ( Utopia  song) Play Video
• Real Man Play Video

Show Openers

Main set closers, show closers, encores played.

This feature is not that experimental anymore. Nevertheless, please give feedback if the results don't make any sense to you.

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David Sanborn, jazz saxophonist known for work with David Bowie and more, dies aged 78

Musician who played sax solo on Young Americans and released a series of Grammy-winning albums dies from prostate cancer

David Sanborn, the Grammy-winning saxophonist whose expressive versatility across jazz and pop also made him a sought-after session player for tracks such as David Bowie’s Young Americans, has died aged 78.

A message on social media stated he died from “an extended battle with prostate cancer with complications. Mr Sanborn had been dealing with prostate cancer since 2018, but had been able to maintain his normal schedule of concerts until just recently. Indeed he already had concerts scheduled into 2025.”

Born in Florida in 1945 and raised in Missouri, Sanborn suffered from polio as a child and a doctor suggested playing the saxophone to aid the strengthening of his chest. Sanborn studied music at university and was grounded in the blues, joining the Butterfield Blues Band and appearing at Woodstock festival with them.

Sanborn began picking up session work with a series of 1970s stars. He played the debonair yet untamed solo on Young Americans as David Bowie sought to move into funk and R&B, with Sanborn later remembering: “There was no lead guitar, so I played the role of lead guitar. I was all over that record.” Sanborn also played live with Bowie, and can be heard on the classic David Live album in 1974, including on flute.

He also played with Stevie Wonder, Elton John, BB King, Chaka Khan, Paul Simon, Todd Rundgren and more during the decade, and played on Bruce Springsteen’s song Tenth Avenue Freeze-Out. In 1974, he appeared on two back-to-back album recordings with James Brown, and he was a regular fixture in jazz bandleader Gil Evans’ ensembles that decade, as well as doing four albums with both Carly Simon and James Taylor.

In the 1980s his solo career took off with a series of albums that blended the smoother side of jazz with R&B, including with guest vocalists such as Luther Vandross. His sixth solo album Voyeur, in 1981, was the first of five successive No 1 hits on the US jazz album chart. 1981 also brought his first Grammy win, with Sanborn eventually earning six wins from 16 nominations.

His sideman work continued with sessions for the likes of Aretha Franklin (Aretha, 1980) and the Rolling Stones (Undercover, 1983). He also composed film scores including the three Lethal Weapon sequels, and collaborated with Jools Holland on eclectic US live music TV programme Night Music, which hosted musicians from Sonic Youth to Sonny Rollins.

1991’s Another Hand demonstrated his jazz bona fides, with a backing group of Bill Frisell, Charlie Haden, Jack DeJohnette and Marc Ribot. His solo albums continued to attract star guests, such as Sting, Eric Clapton and Joss Stone, and he maintained a steady release schedule until 2015.

He continued to tour long beyond that: earlier this year he suffered from stress fractures in his spine, causing him to cancel a series of live dates.

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