WITH A TWIST ...

In 1997, having got his TRI (Todd Rundgren Interactive) phase out of his system, Todd returned to the studio with a brief to re-record some of his old songs. Rather than simply use modern technology to bring them up to date, he decided to apply a completely different style to the songs by performing them in a Bosa Nova ("new trend" in Portuguese) way. Eleven songs from his solo catalogue and his work with Utopia were selected, presumably representing those which Todd felt would sit best with the style, rather than simply being his most popular works.

The opening "I saw the light", one of Todd's best known and most popular songs, is a good example of what to expect. If this interpretation catches your imagination, chances are you'll enjoy the album. Here the song becomes a soft shuffle with an ultra smooth vocal. While it is a million miles from prog, the rendition is captivating and highly enjoyable.

"Influenza" is a slightly newer song, being taken from the "Ever Popular Tortured Artist Effect" album, and as such will be less familiar. "Can we still be friends" is instantly recognisable, although the version here is once again much smoother and laid back.

"Mated" is the first of the Utopia songs to be reworked. The song was rather schmaltzy in its original form on the POV album, becoming a popular choice at weddings(!) and this version simply accentuates the gooey sentiments further. From the "Something/Anything" album, Todd selects "It wouldn't have made an difference" for reinterpretation here, the rendition opening with a faded in shuffling beat and featuring acoustic guitar and staccato keyboards. Overall, I find this to be one of the least successful transitions.

Utopia's great "Love is the answer" was probably the most obvious choice for a Bosa Nova interpretation, and the results are predictably highly appealing. It is such a good song anyway, but the soft shuffle approach brings out the melody well. "Fidelity" is another relatively recent song, from the "Nearly human " album, this version highlighting its musical strength and ethereal qualities. "Never never land", a rare cover from "A wizard, a true star" is speeded up slightly, but otherwise remains pretty close to the original.

"Hello it's me", originally a Nazz song which has already been updated once by Todd, becomes a rather haunting, moody affair with a chorale arrangement and quasi-orchestration. It all works rather well, giving this highly popular song a whole new dimension. "I want you" is a cover of a Marvin Gaye song which sounds for all the world like. . . a Marvin Gaye song! It is good of course, but reminiscent of the perfect covers of "Faithful". The album closes with "A Dream Goes on Forever" from "Todd", in which the dream aspects are brought very much to the fore.

In all, a highly un-prog album admittedly, but a very enjoyable one too. There's nothing challenging here, indeed the point of the exercise seems to have been to keep things as smooth and pleasant as possible. Sometimes that can be just what the doctor ordered.

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