Posts Tagged ‘Kasim Sulton’

EDITORIAL: THESE ARE NOT THE UTOPIANS YOU ARE LOOKING FOR! RUNDGREN TAKES OUT YET ANOTHER BOGUS VERSION OF THE BAND!

April 6, 2018

This photo shoot includes Ralph Schuckett, who would later drop out due to health issues. Those issues being it was making him sick not being able to play like retired Utopia keyboardist Roger Powell. Photo courtesy Sirius XM

I’m out. No, seriously, I am done following and listening to (and reporting on) Todd Rundgren. Most likely his name won’t appear in this blog again outside the context of referring to him as producer, engineer, etc. I have yet to get his latest solo CD “White Knight“. Which is unheard of for me, having once pestered a local record store merchant by going to their store EVERYDAY asking about the not yet released Adventures In Utopia album.

Sicker still, I find it difficult for people to comprehend, but I prefer Rundgren’s more esoteric efforts. No, I hate Something/Anything, that and his Bossa Nova album With A Twist… Then he went EDM. Awwww hell no!!! But I stayed there with Rundgren through all the musical twists and turns he chose to make in his career. Spending a healthy dime on records, cds, posters, T-shirts, pins, on and on and on. Since 1974…

So I feel that (among other things) qualifies me to make these statements.

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THE TUBES LOVE BOMB LEAVES A TIMELESS, LASTING MARK ON MUSIC PRODUCTION

January 12, 2018

The Todd Rundgren produced Love Bomb by the San Francisco band The Tubes. Photo courtesy Capitol Records.

We are reviving a feature on BouleBlog, the Friday Flashback. This gives us a unique opportunity to take a look at albums that were released in the distant past, but still have musical, technological or even social impact on the music horizon, some that even last years later.

This entry is not of any social consequence, but it has technological brilliance unequaled even today. For its time in 1985, it was leaps and bounds beyond anything that came out in that time period. Before things get too convoluted, perhaps some background will put things into perspective.

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THE KING IS DEAD, LONG LIVE KING CRIMSON! KING CRIMSON LIVE IN ARGENTINA 1994

October 1, 2015
King Crimson Live In Argentina 1994 from the Thrak tour. Photo courtesy DGMLive.

King Crimson Live In Argentina 1994 from the Thrak tour.

I don’t much care for revisionism. Yet I get sucked into it time after time. I posted on the accompanying Facebook page for this blog, https://www.facebook.com/groups/bouleblog/, that the there will be changes on this blog. Well here they are. I tried to ‘play nice’ as the saying went. I tried to appease all the people who submitted work for me to review. I found myself watering down my utter loathing for certain acts and more importantly I was allowing my disdain for certain acts to dictate my rate of reviews. Yet after making promises to people to review music outside my comfort zone, and having those people demand edits, the not bother to repost my efforts in an effort to promote a show for these people, I’M OUT!

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OH THE HUMANITY! POSSIBLY THE LAST CHRIS ARDUSER SOLO ALBUM EVER!

January 14, 2015
The new and possibly last solo album from BouleBlog favorite Chris Arduser. Cover photo courtesy Crooked Mile Records.

The new and possibly last solo album from BouleBlog favorite Chris Arduser. Cover photo courtesy Crooked Mile Records.

Long since the inception of this blog, which started through Princeton Record Exchange, I have enjoyed reviewing Chris Arduser’s work in order to put him in front of the popular view. Since discovering him with the Bears (featuring Adrian Belew) I have really enjoyed Arduser’s contribution to the Bears work as well as with the psychodots, including long-time bandmates Bob Nyswonger and Rob Fetters. But not only his work in bands such as the Bears and psychodots, Arduser on his own has quite a collection of solo albums, the last of which Hapless, was reviewed by this intrepid blogger for the Princeton Record Exchange (it may also appear as a Friday Flashback on this very blog).

There does appear with one overshadowing rumor with this release, that rumor being that this will be the last Chris Arduser solo album. If this does prove true I can only put this in the category of tremendous tragedy. Arduser’s solo albums have brought me many joyful hours, and I feel if they had gotten greater circulation throughout the music community nationwide, hell, worldwide, he would be a much bigger act then he is now. Not that he’s a nobody. Arduser is one of the biggest names in the Cincinnati music area especially when it comes to percussion. Basically if you’re in the Midwest he’s your go-to guy if you want a session drummer with killer chops. But he’s not just a drummer. I have personally witnessed Arduser play mandolin live with the Bears, and on his solo albums often times he’ll play each and every instrument you would hear; mandolin, keyboards, bass, guitar, drums and some instruments one might not expect from a “pop” musician.

Yet Arduser, always ready to throw a monkey wrench into the sound has come up with some very intriguing noises on the new release called Flibbertigibbet. How’s that for a monkey wrench of a title? I think it’s time we dug into Chris Arduser’s latest offering and sit back and enjoy the strangeness!

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THE LONG AWAITED SHOWDOWN IS NOW!!! TODD RUNDGREN’S STATE HAS A LOT RIDING ON IT…

June 10, 2013
DJ Odd dons his ski mask to navigate the slopes of technopia.  Will he make the mark or be shanghaied by his own fans?

DJ Odd dons his ski mask to navigate the slopes of technopia. Will he make the mark or be shanghaied by his own fans?

Ok, here’s the back story.  I was pissed as hell when, after the brilliant Todd Rundgren release of 2004’s Liars, and then the ‘ok’ release of Arena, I was ok with his concept of bringing albums like A Wizard A True Star, Todd, and Healing to the live stage.  What pissed me off was his insistence on releasing two discs (one E.P. and one L.P.) of Robert Johnson material (hey, cheap, no royalty payments, that crap is so old it’s out of public domain by now) then, further pissing me off was having ‘fans’ (read: well-to-do sycophants with $5,000 to burn) pay him to appear on his re[Productions] album where he would secure the rights to record songs from acts he had produced in the past (horrific versions of Bourgeois Tagg’s “Out Of My Mind” and XTC’s “Dear God”) but then what bitchfest about Todd Rundgren from this reviewer would be complete without my reflecting back to the “event” at the Keswick Theater.  You want the deets on that, you can search for the review on this page.  I’ve spent enough column space and bandwidth on that issue.

So I sorta feel like the gunslinger in the center of town in the Wild West ready to draw pistols.   Me, the nearly lifelong Todd fan (let’s face it, I have been into him since 1974, I was 11/12, I am 50 now, been listening/buying/attending all these years and for you ‘Todd was better without Utopia’ types, piss off!  I LOVED UTOPIA!!!) and Rundgren, the now 65 year old ‘aging rocker’ with a voice in a lower register so he has to effect, process and lower his keys for older songs (I’ve seen live clips on YouTube for this current tour where he suspends the microphone over his head like at a prize fight, that’s not a clever visual gimmick for his techno ‘D.J. Odd’ (Techno Todd?) persona, that is to assist his aging vocal chords have projection and hit some of the notes he couldn’t with his head down).  Although, it is not unusual for Rundgren to assign himself monikers to reflect the new style of music he is brandishing.  Reference the No World Order and Individualist era, when he billed himself as TR-i (Todd Rundgren interactive).

So in my Wild West daydream, Rundgren dressed in white as he will no doubt be the people’s favorite, and I, opposite Rundgren, dressed in black as I have already proven to be the people’s favorite… to HATE (ask any King Crimson fan).  He has his Mac and Foamy (his favorite sea foam green P-Project Stratocaster copy guitar) ready to draw, I have my pencils, pad and angry disposition ready to pull.

Three, two, one, DRAW!

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TODD RUNDGREN BRINGS HEALING PSYCHEDELIA TO THE KESWICK THEATER, 9-14-10

March 15, 2013

AUTHOR’S NOTE: This is another entry in our Friday Flashback series which revives and gives a permanent home to blogs previously posted to the syndication websites.  Some have maintained these pages and I not only appreciate that, but will be drawing these historical posts from those sites.  This entry, featuring the Todd/Healing tour from Todd Rundgren is significant for two reasons:  First, this exact show has been released on two separate DVDs.  I would invite you to purchase those DVDs to compare what I saw to what is on those DVDs, but those DVDs are so meticulously edited, what is on the DVDs is NOT what we saw at the show.  The second reason is, in April of this year, Rundgren will release his first studio album of new material in almost five years (five years in September), State.  Here is the review of the original live performance, just be advised this is a consolidation of a two part review.  So grab a lovely beverage and find your most comfortable seat in the house, settle in and enjoy:

Rundgren welcomes you to his psychedelic world.  Photo by Lynn vala

Rundgren welcomes you to his psychedelic world. Photo by Lynn vala

Glenside PA – I will have to explain the two albums being played live by Rundgren and company at the Keswick Theater before we get into the review.  The first is the self titled album Todd.  It remains my favorite album by him to date.  Starting out with some backwards masking (sounds played backward) of a voice asking for a little fanfare, it maintains a non-stop adventure right to the protracted fade of the last track, recorded live with a chorus of audience members from both coasts and mixed together (long before digital signal stretching in Pro-Tools) in one track.

The second album is a collection of songs pertaining to the science (?) of psychic healing.  Side one of Healing deals with the voyage of one who is anointed with the power to heal, and the taxation of a greedy society, all clamoring for the healing touch.  Trivia time:  The bonus 7” vinyl that was included with the original 12” plastic waffle release was the single from the album called “Time Heals” and was the 7th original video aired on MTV’s broadcast debut.

There weren’t many videos to choose from then, and Rundgren and MTV are not the best of friends.  Read on for more dish…

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JEFF BERLIN SETS SOME HIGH STANDARDS, HITS SOME LOW NOTES, AND TALKS IT UP WITH JEFF BOULE!

March 1, 2013
Legendary jazz/fusion bassist Jeff Berlin in a promotional picture for his 2010 release "High Standards".  Photo courtesy Jeff Berlin

Legendary jazz/fusion bassist Jeff Berlin in a promotional picture for his 2010 release “High Standards”. Photo courtesy Jeff Berlin

AUTHOR’S NOTE:  This entry is the first in many ways.  It is the first in the BouleBlog Friday Flashback series where we revisit blogs that were originally posted through the syndication.  It was also my first internet based interview.  As it is a repost, the release it refers to is a couple years old, and some of the less timely references have been removed.  Enjoy this first from the BouleBlog Friday Flashback series!

There used to be a blogger I worked with a while ago.  Anthony Medici, whom I admired for his tenacity, work ethic and integrity.  I especially respected him once he started to take on the major jazz publications and took them to task!  He also had some harsh words for a local public radio outlet near his hometown (Washington DC area).  But he knew his stuff about jazz, and were he still working for the blog, I would ask him to review Jeff Berlin’s new disc, and most likely ask him to do this interview.

It isn’t as though I am totally foreign to Berlin’s work.  I was first exposed to Jeff Berlin during his tenure with Bill Bruford’s fusion band, Bruford in the late 70’s.  Having recently purchased the “Bruford  – Rock Goes To College” DVD, I was able to watch a young Jeff Berlin toss around riffs with the likes of Bruford, Allan Holdsworth, among others.

Berlin has come a long way…

So far that, to the uninitiated with his solo career, as I (unfortunately am, but soon to be remedied), this is a gutsy move using bass as a lead instrument, especially on such highly regarded tunes as these.  Don’t worry, he pulls it off!

So instead of reviewing music I really don’t have the foundation to do, why not let the artist himself do it?!?!

The following is a transcription of an email interview between Mr. Berlin and myself:

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