When Todd Rundgren returns to Minneapolis tomorrow night to play the State Theatre, he's pulling out all the stops. Not only will the concert feature a complete performance of his 1973 masterpiece A Wizard, A True Star, but Rundgren is promising an over-the-top theatrical spectacle with videos, dramatic lighting, and costumes from his original '70s tours. His current tour will only stop in five cities, and all reports indicate that it's going to be a memorable, mind-blowing show.
Tickets for tomorrow night's show are still on sale; visit the Hennepin Theatre Trust website for more information. In preparation for his stop in Minneapolis, Rundgren took a few minutes out of his busy rehearsal schedule to chat with Gimme Noise.
On your current tour, you are playing your record A Wizard, A True Star from start to finish at each show. Where did you get the idea for this project?
It was actually an idea of my British promoter, who was noting the fact that some younger artists, particularly electronic and turntable artists in Europe had discovered the record and were citing it as an influence and using samples off of it. So he thought that mounting an event around the record would be a good way to induce a younger crowd to come check it out.
You just performed the entire album live for the first time last week in Ohio. What was that experience like?
It was more than just doing the record, or the show that now accompanies the music. It was more like some sort of homecoming. Apparently they haven't had this many people show up in Akron in the last 30 years for any sort of event. We almost completely took over the town. [laughs] There was so much good will behind the whole thing that we almost could do wrong, regardless of what actually did go wrong -- and there were a lot of things that went wrong. It's one of those things that by the time we've got it all right, it's going to be nearly done. We'll be technically proficient at it for the next time that we go out. For this tour we have so many aspects to address that aren't usually in my productions -- we've got video projection, special effects lighting, things like that, as well as the dozen or so costume changes that I have to undergo under the course of an hour's worth of music.
Wow, a dozen costumes?
Well it wouldn't really work to simply play the music. Most of the people who are familiar with the record have sort of a mental movie that accompanies it. It's not the same for everybody, but the music evokes imagery, just naturally. And so I have to theatricalize it, in order to meet those expectations. If all we did was play it, it would be far less entertaining than if it's acted out as well.
Is it true that some of the costumes are from the original 1973 tour?
Yeah, we had some in our possession, and then we put out a call to the fans -- I had an estate sale a couple years ago when I moved away from Woodstock, and a lot of costumes were bought by fans. So we essentially put out a call and recovered some of them, and refurbished the ones that we had. So some of them are original costumes from back in the mid-'70s. And some don't fit anymore, and I can't possibly wear them. [laughs]
I read a review of the Akron show that said that you also played an opening set with your Utopia bandmates. Will you be playing Utopia songs at the Minneapolis show?
We're not calling it Utopia -- we don't want to raise people's expectations to that point. It's just because Roger [Powell] and Kasim [Sulton] are in the A Wizard, A True Star orchestra, and the A Wizard, A True Star album is only an hour's worth of music, so we had to have some sort of opening act. And since the three of us were there, we thought well, we know this music, it's music we don't have to learn from scratch, let's be our own opening act and play some Utopia songs because people like to hear those songs.
In the process of revisiting an album that was made over 35 years ago, are you tempted to tweak the songs, or do you try to stay faithful to the recording?
We've tried to remain as faithful as possible. I went back and essentially deconstructed the original master tapes so that we could see what all was going on in the chaos. And discovered a lot of stuff. Now it isn't possible for us, with only six people in the band, to cover every single sound that was made, but we have covered all the significant aspects of it. There was never any concept of rearranging them or anything like that. They're difficult enough to learn in their original form. And that's been the challenge for the week of rehearsal that we had before the first gig.
You were quoted recently as saying that A Wizard, A True Star was the beginning of your "real career as a musician." Can you explain that further?
I was always something of an experimentalist in the studio, and included some of these weird little asides even on my previous records, but most of the content of my previous records was me trying to find myself as a songwriter and singer, and it involved a lot of imitation of other artists, in a way. But mostly of the kind of popular song form that everyone was working in. I began to realize that this was an arbitrary limitation, and that I wasn't taking advantage of the other possibilities of, first of all, what could be placed on an LP, on a vinyl record, and also what could be done in the studio. So I determined that I was going to build my own studio to record this record, and then I consciously started deconstructing all of my habits, my songwriting habits and such. So what the album eventually represented was a more accurate view of who I really was, musically. I was no longer attempting to imitate other people all the time. I was certainly paying homage to a lot of my influences still during that record, but basically I felt that I had made some sort of a breakthrough in getting my personality down into the grooves. From that point on, I felt like I was more on my own path and less on the path that everyone else was on. And anyone who was my fan from that point on, they were more truly familiar with me and what I was trying to do.
That seems like it could be a rough transition, venturing out on your own. Were you nervous to make such a big change?
No, I never thought about that. The advantage that I had was that I was producing a lot of records for other people, and that was my living. So when I made my own records, I didn't have to have the same sort of economic considerations that a lot of other artists had to factor into their records. A lot of the artists would have to fear that the record would not sell enough or would not have a single on it to promote it. And those things never occurred to me. [laughs] I didn't have to be afraid of [my records] failing. I only had to be afraid of them failing in terms of my own vision.
As your music has evolved over the years, I imagine that critics have labeled you a lot of different things.
No. Because it's so confusing, what I do, that the critics don't bother to keep up with it. Critics don't really like to have to review my records. They don't have the measuring tools they need. Most of my records are pretty much ignored, critically. And that doesn't bother me either. I realize that I've got my audience, and the way that I'm going to increase my audience is to continue to play to my audience. And they'll go out and do the work of finding other listeners. The same way that you've been indoctrinated by your dad. [laughs] Now it's become trans-generational. There's a lot of younger fans showing up because they've been infected by their parents.