Todd Rundgren – Something / Anything?
Label: | Bearsville – 2BX 2066 |
---|---|
Format: | 2 x Vinyl, LP, Album, Stereo, Terre Haute Pressing, Gatefold |
Country: | US |
Released: | |
Genre: | Rock, Pop |
Style: | Power Pop, Pop Rock, Prog Rock, Blues Rock, Classic Rock, Soft Rock |
Tracklist
A1 | Todd Rundgren– | I Saw The Light | 2:59 |
A2 | Todd Rundgren– | It Wouldn't Have Made Any Difference | 3:51 |
A3 | Todd Rundgren– | Wolfman Jack | 2:55 |
A4 | Todd Rundgren– | Cold Morning Light | 3:35 |
A5 | Todd Rundgren– | It Takes Two To Tango (This Is For The Girls) | 2:43 |
A6 | Todd Rundgren– | Sweeter Memories | 3:32 |
B1.1 | Todd Rundgren– | Intro | 1:10 |
B1.2 | Todd Rundgren– | Breathless | 3:15 |
B2 | Todd Rundgren– | The Night The Carousel Burned Down | 4:32 |
B3 | Todd Rundgren– | Saving Grace | 4:11 |
B4 | Todd Rundgren– | Marlene | 3:55 |
B5 | Todd Rundgren– | Song Of The Viking | 2:37 |
B6 | Todd Rundgren– | I Went To The Mirror | 4:06 |
C1 | Todd Rundgren– | Black Maria | 5:18 |
C2 | Todd Rundgren– | One More Day (No Word) | 3:44 |
C3 | Todd Rundgren– | Couldn't I Just Tell You | 3:36 |
C4 | Todd Rundgren– | Torch Song | 2:51 |
C5 | Todd Rundgren– | Little Red Lights | 4:51 |
Baby Needs A New Pair Of Snakeskin Boots (A Pop Operetta) | |||
Overture - My Roots | (2:30) | ||
D1.1 | Money (13)– | Money (That's What I Want) | |
D1.2 | Woody's Truck Stop– | Messin' With The Kid | |
D1.3 | Todd Rundgren– | Dust In The Wind | 3:46 |
D2 | Todd Rundgren– | Piss Aaron | 3:28 |
D3 | Todd Rundgren– | Hello It's Me | 4:41 |
D4 | Todd Rundgren– | Some Folks Is Even Whiter Than Me | 3:57 |
D5 | Todd Rundgren– | You Left Me Sore | 3:43 |
D6 | Todd Rundgren– | Slut | 3:35 |
Companies, etc.
- Record Company – Warner Bros. Inc.
- Distributed By – Warner Bros. Records Inc.
- Phonographic Copyright ℗ – Warner Bros. Records Inc.
- Copyright © – Warner Bros. Records Inc.
- Recorded At – The Artists Hut, Philadelphia
- Recorded At – I.D. Sound
- Recorded At – Record Plant, N.Y.C.
- Recorded At – Bearsville Studios
- Mixed At – Bearsville Studios
- Lacquer Cut At – Sterling Sound
- Pressed By – Columbia Records Pressing Plant, Terre Haute
- Published By – Earmark Music Inc.
- Published By – Earmark Music
- Published By – Screen Gems-Columbia Music, Inc.
- Published By – Screen Gems-Columbia Music
- Published By – Jobete Music, Inc.
- Published By – Jobete Music Co., Inc.
- Published By – Stone Agate Music Division
- Published By – Open End Music, Inc.
Credits
- Arranged By – Todd Rundgren
- Bass – Bugsy Maugh (tracks: D4), Jim Colegrove (tracks: D2), John Siegler (tracks: D1.3), Stu Woods (tracks: D3, D5), Tony Sales (tracks: D6)
- Congas – Serge Katzen (tracks: D4)
- Costume Designer [Duds] – Granny Takes A Trip (3)
- Design Concept [Album Package] – Todd Rundgren
- Drums – Billy Mundi (tracks: D2, D4), Hunt Sales (tracks: D6), John Siomos (tracks: D1.3, D3, D5)
- Engineer – James Lowe* (tracks: A1 to C5)
- Engineer [Bearsville Sound] – Nick Jameson (tracks: D2, D4)
- Engineer [I.D. Sound] – James Lowe* (tracks: D6)
- Engineer [Occasional Assist] – John Lee (12)
- Engineer [Record Plant N. Y.] – Dan Turbeville* (tracks: D1.3, D3, D5)
- Guitar – Amos Garrett (tracks: D2), Ralph Walsh (tracks: D4), Rick Derringer (tracks: D1.3), Rick Vito (tracks: D6), Robbie Kogale (tracks: D3, D5), Todd R.* (tracks: D4, D6)
- Lacquer Cut By – LH*
- Layout, Design – Richard Navin
- Organ – Mark Klingman (tracks: D1.3, D3, D5)
- Pedal Steel Guitar – Ben Keith (tracks: D2)
- Photography By [Back Cover Photo] – Les Underhill
- Photography By [Insert Photos] – Joe Travis Clapper
- Photography By [Inside Cover Photo] – James Lowe*, Todd Rundgren
- Piano – Charlie Schoning* (tracks: D6), Mark Klingman (tracks: D4), Todd R.* (tracks: D1.3 to D3, D5)
- Producer [Produced By] – Todd Rundgren
- Tenor Saxophone – Gene Dinwiddie (tracks: D4), Jim Horn (tracks: D6), John Kelson (tracks: D6), Mike Brecker* (tracks: D1.3, D3)
- Trombone – Barry Rogers (tracks: D1.3, D3)
- Trumpet – Randy Brecker (tracks: D1.3, D3)
- Vocals [The Singers] – Anthony Carrubba (tracks: D6), Brook Baxes (tracks: D6), Cecilia Norfleet (tracks: D1.3, D3), Dennis Cooley (tracks: D1.3, D3), Edward Olmos (tracks: D6), Henry Fanton (tracks: D6), Hope Ruff (tracks: D1.3, D3, D5), Richard Corey (3) (tracks: D1.3, D3, D5), Vicki Robinson* (tracks: D1.3, D3)
- Voice [All Voices], Instruments [All Instruments] – Todd Rundgren (tracks: A1 to C5)
- Written-By – Todd Rundgren (tracks: A1 to C5, D2 to D6)
Notes
Label variation: No "®" next to Bearsville logo on the labels of this version.
"T" etched in runouts denotes a Columbia Records Pressing Plant, Terre Haute, pressing. Remainder of runouts etched, except "STERLING" and trailing plating letters (e.g., A, C, H, etc.) stamped.
Issued with a quad-fold 11" × 11" poster insert with credits and lyrics.
Track D1.1 credited to J. Bradford and Berry Gordy Jr. on insert.
Tracks D1.3 to D5 sequence on insert credits different than labels and lyrics.
Side D title on insert: "Baby Needs A New Pair Of Snakeskin Boots" A Pop Operetta
Track D1.1, D1.2 on insert: Overture - My Roots
Track D1.1 on insert: Money - Performed by a group of the same name, circa 1966.
Track D1.2 on insert: Messin With the Kid - Performed by a group known as Woody's Truck Stop at the Artists Hut in Philadelphia, late '66.
Sides 1, 2, & 3: All tracks recorded at I.D. Sound, Los Angeles. Most vocals recorded at The Record Plant, N.Y. The remaining vocals and the mixing was done at Bearsville.
Side 4: Tracks D1.3, D3, and D5 were recorded at The Record Plant, N.Y.
Tracks D2 and D4 were recorded at Bearsville Sound.
Track D6 was recorded at I.D. Sound.
Track publishers on labels:
All selections Published by Earmark Music., Inc./Screen Gems-Columbia Music, Inc. - BMI
D1.1: Jobete Music Co., Inc./Stone Agate Music Division - BMI
D1.3: Open End Music, Inc. BMI
D2: Screen Gems-Columbia Music, Inc. BMI
Track publishers on insert:
Sides 1, 2, & 3: All songs published by Earmark Music/Screen Gems Columbia Music - BMI
Side 4:
D1.1 published by Jobete Music Inc., copyright 1959.
D1.3 published by Open End Music Inc.
D3 published by Screen Gems, Columbia Music Inc.
All other songs published by Earmark/Screen Gems-Columbia Music Inc.
"T" etched in runouts denotes a Columbia Records Pressing Plant, Terre Haute, pressing. Remainder of runouts etched, except "STERLING" and trailing plating letters (e.g., A, C, H, etc.) stamped.
Issued with a quad-fold 11" × 11" poster insert with credits and lyrics.
Track D1.1 credited to J. Bradford and Berry Gordy Jr. on insert.
Tracks D1.3 to D5 sequence on insert credits different than labels and lyrics.
Side D title on insert: "Baby Needs A New Pair Of Snakeskin Boots" A Pop Operetta
Track D1.1, D1.2 on insert: Overture - My Roots
Track D1.1 on insert: Money - Performed by a group of the same name, circa 1966.
Track D1.2 on insert: Messin With the Kid - Performed by a group known as Woody's Truck Stop at the Artists Hut in Philadelphia, late '66.
Sides 1, 2, & 3: All tracks recorded at I.D. Sound, Los Angeles. Most vocals recorded at The Record Plant, N.Y. The remaining vocals and the mixing was done at Bearsville.
Side 4: Tracks D1.3, D3, and D5 were recorded at The Record Plant, N.Y.
Tracks D2 and D4 were recorded at Bearsville Sound.
Track D6 was recorded at I.D. Sound.
Track publishers on labels:
All selections Published by Earmark Music., Inc./Screen Gems-Columbia Music, Inc. - BMI
D1.1: Jobete Music Co., Inc./Stone Agate Music Division - BMI
D1.3: Open End Music, Inc. BMI
D2: Screen Gems-Columbia Music, Inc. BMI
Track publishers on insert:
Sides 1, 2, & 3: All songs published by Earmark Music/Screen Gems Columbia Music - BMI
Side 4:
D1.1 published by Jobete Music Inc., copyright 1959.
D1.3 published by Open End Music Inc.
D3 published by Screen Gems, Columbia Music Inc.
All other songs published by Earmark/Screen Gems-Columbia Music Inc.
Barcode and Other Identifiers
- Price Code (Spine): 0698
- Rights Society: BMI
- Matrix / Runout (Side A label): 31,360
- Matrix / Runout (Side B label): 31,361
- Matrix / Runout (Side C label): 31,362
- Matrix / Runout (Side D label): 31,363
- Matrix / Runout (Side A runout, variant 1): T1 2BX 2066 31360-1C STERLING LH 2 H 7
- Matrix / Runout (Side B runout, variant 1): T1 2BX 2066 31361-C STERLING LH 2 D 10
- Matrix / Runout (Side C runout, variant 1): T1 2BX 2066 31362-1C STERLING LH 2 E
- Matrix / Runout (Side D runout, variant 1): T1 2BX 2066 31363-1D STERLING LH 3 J 4
- Matrix / Runout (Side A runout, variant 2): 2BX 2066 31360-1A STERLING LH 2
- Matrix / Runout (Side B runout, variant 2): 2BX 2066 31361-1A STERLING LH 2
- Matrix / Runout (Side C runout, variant 2): 2BX 2066 31362-1A STERLING LH 2
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- Matrix / Runout (Side A runout, variant 10): T1 2BX 2066 31360-1C STERLING 2 LH H10
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- Matrix / Runout (Side C runout, variant 10): T1 2BX 2066 31362-1C o STERLING 2 LH G
- Matrix / Runout (Side D runout, variant 10): T1 2BX 2066 31363-1D STERLING 3 LH J1
Other Versions (5 of 99)
View AllTitle (Format) | Label | Cat# | Country | Year | |||
---|---|---|---|---|---|---|---|
Recently Edited | Something / Anything? (2×LP, Album, Stereo) | Bearsville, Bearsville | K65501, K 65501 | UK | 1972 | ||
Something / Anything? (2×LP, Album, Gatefold) | Bearsville, Bearsville | BEA 65 501, 2BX 2066 | Germany | 1972 | |||
New Submission | Something / Anything? (2×LP, Album, Gatefold) | Warner Bros. Records | 2-WBS 2066 | New Zealand | 1972 | ||
New Submission | Something / Anything? (2×LP, Album, gatefold) | Bearsville | 2 BX 2066 | Canada | 1972 | ||
New Submission | Something / Anything? (2×LP, Album, Gatefold) | Bearsville | 2 BX 2066 | Canada | 1972 |
Recommendations
Reviews
- Edited 2 years agoI'm pretty mixed about this Rundgren release. IMO, he can write a decent song, he has an average voice, he can punch out a reasonable keyboard part, his guitar playing is mediocre, and his drumming is sketch. When a multi-instrumentalist turns out a 2-disc solo record like this, the expectations are naturally very high. The music ranges from psychedelic light rock, to Motown, to Beatlesque. Plenty of variation.
Side 4 includes studio musicians and is really a breath of fresh air after the stiff playing on the first three sides.
This is a first pressing, clean copy, and I expected it to sound really great, but it's an average sounding mix, rather boomy, lacking dynamics, and the vocals do not sit well in the mix.
The man is an accomplished producer and has a couple great singles on this record even, so I will stop being critical at this point. I just expected much more.
3 stars. - Condition note: collectors, if you can find an original 1st USA press with a NM sleeve (NO ring wear on the front or especially the back) then you have found a unicorn!! Even some sealed originals still appear to have it. The culprit was the sleeve dye used! When you do find one in NM condition store it properly and hold onto it for dear life! It’s valued 10x more considering how rare the condition is to locate.
- Rising from the ashes of Nazz on the under current that he knew he was an antihero genius and that it was just the world who was out of step with him, Todd Rundgren brought us this one man band album in 1972 that never seems to go away. I actually saw him perform these songs before I owned the record ... there he was at a very small venue, Todd, his tape recorders filled with tape loops, guitars and progressive electronics with cables and wires running everywhere, equalizers, along with rudimentary step on step off switches, all bathed in the glow of tiny faint red and green lights indicating that the equipment was on, merely waiting to spring to life. Sadly the show never progressed as I imagine Todd had envisioned it ... but you know, perhaps that made it all the better, at least the mad genius had taken things from conception to reality.
This was the first really introspective album I was ever aware of ... an album where a young man just lays it all out for the world to either accept or tread under its foot. Something, Anything? was filled with the sweet angst and the pain of clumsy attempts at love we all know too well. There is a purity to this record that I don’t believe has ever been equaled by anyone, with his previous release Runt, acting as a sounding board or script for this body of work. This is pop music at its very best, invasion it as Jimi Hendrix meets Gilbert and Sullivan, through the crazed eyes and ears, mixed with the zeal of a true musical pioneer.
This is one of those albums that does not transpose to compact disc at all. Most people only hear the pop numbers that flow through this release, little realizing that these songs simply tie the material together. Yet in reality, each of the four sides of this double record is a concept in and of itself. Side One draws you in with with a flavorful offering of ear catching melodies. Side Two is introspective and cerebral, demanding that you pay close attention. Side Three is where, as Todd says, This is where the kid gets heavy, taking you on a undefinable journey, though he really only manages to crack the door. Side Four switches gears one hundred and eighty degrees, bringing a welcomed cool breeze from an opened window. Here Todd pulls out all the stops in almost operetta fashion, recording this side using a full band, which included the Sales Brothers.
Aside from the amazing tight pop songs, there is Todd’s bizarre sense of humor, which brings things together on the human scale ... his purposeful false botched starts of several tracks, snippets of dialogue and his tour of the studio, which is actually a metaphor for his own head. Something, Anything? is prophetic on the larger scale, though that idea would not have been considered when the album was released, with Todd looking back, forward, and into the future. For all of it’s quirkiness, “Piss Aaron” bespeaks the irreverence of the punk scene that is just around the corner, and “Wolfman Jack” is more Motown than Motown has a right to be. “Couldn’t I Just Tell You” is a blinding power pop song the likes of which won’t be heard until the 80’s, and for psychedelic rock, Todd lays out “Black Maria.” Of course he doesn’t forget his Philadelphia roots, handing us one of the most tender blue eyed soul numbers of all time, “Dust In The Wind.”
Something, Anything? was created as state of the art for its day, working within the constructs of vinyl records and what this media had to offer. Remove these songs from this format and you loose nearly half of what Todd was attempting to say and how he intended to say it. But hearing this music is the most important thing, so get it anyway that you can.
And that is why Something, Anything? never goes away ...
Review by Jenell Kesler - Have a variant with no side number on the label in the circle for record 2, side A/B. Record 1 has the expected values populated in the side area.
Printing error I suppose.
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