Rock and Roll Hall of Famer Todd Rundgren talks Meat Loaf, baseball, Daryl Hall, Kauai and making a difference through art, song and connection with his Spirit Of Harmony and Global Nation TV. He performs at Appell Center in York, Pennsylvania on Sunday, October 13th.
SPEAKERS
Todd Rundgren, Nestor Aparicio
Nestor Aparicio 00:01
Welcome home. We are W, N, S T am 1570 Towson, Baltimore and Baltimore. Positive. This is going to be a fun one for all of you out there in radio Landia, I must say that I was not the largest Todd runger In a utopia fan. I was a little older for me at that point, but about 15 years ago, late at night, I was up watching live from darrell’s house and beautiful Kawhi and then I went into a rabbit hole. I saw one of the greatest performances I’ve ever seen. Still to this day, I recommend it. You couldn’t just YouTube it or google it 15 years ago. You can find it now. It wouldn’t have made any difference. Todd rumkin on the live from daryl’s house, and he’s coming this week for my birthday, on Sunday night, be appearing up in York, Pennsylvania at the Appel center. Places I’ve seen a lot of great acts. They have a lot of great shows up in York, Pennsylvania, and they have made available the great Rock and Roll Hall of Famer. It is a bucket list and an honor to have you on Todd Rundgren, how are you? It’s it really is a pleasure to have you aboard.
Todd Rundgren 01:00
I’m surviving here. We’re we’re in mid tour, and we got a little break today, but I just did a couple in a row, and that makes my voice a little foggier than normal, but some people say it’s sexy, so Well, whatever gets you to the stage. I mean, first things first, you do a lot of touring. Man, like, I mean, and I’ve seen your home, right? Like, and I know Tiki Bar, I’ve Googled you. Man, I’ve become fascinated with you in my adulthood and feeling like I missed some stuff back in the 70s and 80s. But you’re out being relevant. I saw you on stage within the last two years with my friend Tom Dolby down at Rams Head, doing that amazing Bowie night that you did, and now I get a chance to really sit down and see a couple dozen songs. So what keeps you out on the road at this point? Well, it is, it is my vocation. I guess I used to. I used to make a pretty good living as a record producer, but that whole scene has sort of changed, as well as the record labels have fallen out of the picture. Let’s say people don’t depend on labels as much as they used to, and that has a lot to do with the advancing technology, being able to make records in your bedroom and that sort of thing. And so the demand for the kind of production that I used to do is not as not as prevalent as as a team of producers. It seems like nowadays, if you look on the production credits on a song, it might be five songwriters and three producers for everything. It’s a very calculated, scientific thing nowadays to get to get airplay, so I’m not as much of a producer as I used to be, and then means I have a lot of time to go on the road, and it’s, you know, pretty much how I make my living now. So I can’t stop.
Nestor Aparicio 03:10
Is it a physical art form for you, though? I mean, you’ve done so much studio work, there is a point where you’re going to be in front of me and couple 1000 people in York, Pennsylvania on Sunday night that that, especially after the plague, right where we were all sort of cooped up, and I’m watching folks like you, really creative people make music from their homes, that was unique unto itself, but that just made me want to get back out, especially the last couple years, and visit with folks that are getting younger, like you, and do it in person.
Todd Rundgren 03:37
Well, there’s never been a real substitute for that, you know, particularly in an age where people are afraid that everything they see is a product of AI. And one thing you can say is, if you go to a live show, those are actual, real people up there on the stage, usually, unless it’s craft work, but, but, you know, that’s kind of, it’s reassuring, I guess, for people to be able to be in the same room as someone you know, who’s creating something, making music or or seeing a play, or something like that, You know, all of the sort of the artifactual media like film and recorded music and things like that that’s ultimately manipulated in some way. So if you want the real pure thing, you know, you go out to a show somewhere and watch people do it in real time.
Nestor Aparicio 04:38
What do you make of an old guy like me that was part of a I was a music critic at the Baltimore Sun, and late 80s, I’ve interviewed every Daryl Hall, every John it was all these people that you’re connected with meatloaf and I were friends, and I’ll get to that, you know, at some point. But I really late at night that that Daryl Hall show came on, and most of the time it was in his little barn up in New York. And buddies would come by and they’d make food and have wine. And to do all that you did, like the whole luau thing, but more than that, the music you made in your home. And I’ve had Greg hawks, one of your old bandmates, in the new cars, on and talking about your home and how beautiful it was. It made me want to go to Hawaii. Todd, you know, I mean, like it was a gateway that evening. Let must be two o’clock in the morning. Was on late at night, VH, one, whatever, years ago that I saw you doing it, and it was a gateway to your music. And maybe that’s what you hope when you set that up. And Daryl is hoping that at that point, but it’s really maybe discover you in a way that we’re together here now, because I still think that that session, and the way it was shot in your home, indoor, outdoor, is just some really, really beautiful music, and I’m a Hall and Oates fan from a way back. Well, it’s
Todd Rundgren 05:44
funny. I i get recognized in airports and things by complete strangers who wouldn’t know who I was, but for the fact that they saw that show, that one particular show, that was the second darryl’s house that I did. The first one was at his his old barn up in Connecticut. I don’t know whether that’s still there, or whether he still does shows there, but that was the first time we did it together. And then Darryl had been touring in Japan, and thought, you know, why don’t I stop at Todd’s house on the way home? And, you know, they, you know, Kauai is a small island. We usually don’t do productions like that, you know, bringing in the whole crew, and they essentially took over my whole house. You know, the bedrooms became control rooms and things like that, and it took a day to set everything up. But
Nestor Aparicio 06:46
don’t you love that though, that it’s unique? Don’t you love the uniqueness of it, that you remember it as a one of a kind thing?
Todd Rundgren 06:52
Yeah, and that’s what I mean. I think the whole setting of it, the material that we chose, the way it was shot, seems to have had a sort of a memorable effect on people. And so they don’t even know who I am, but they’ll see me, for instance, at an airport, and they’ll say, I saw you on darrell’s house. And I think, Boy, that was a great investment, you know, to have that at my house, because a lot of people who wouldn’t have remembered maybe in another context, they that particular show, not just the fact that it was part of darryl’s regular programming, but he rarely did anything outside of his barn, out of the studio in Connecticut. So it was a it was an interesting thing, an experiment, I guess, in some senses, because I don’t know that he had ever done a show outside of his house. And it just worked out really well, not only from the content standpoint. You know, it’s more than darryl’s house. We were able to use the outdoors as well. You know, we had our little luau thing, and we had fire dancers and stuff. So we were able to add that aspect of it. It was kind of indoors for a little bit, and then it was outdoors. And gave everybody kind of a better sense of what the place is like.
Nestor Aparicio 08:23
Well, Todd rungren is our guest. I’m not going to go James Lipton and read all the credits from utopia, you know, straight on through, but I only have 2025, minutes with you, and I have all the Clark judges questions. He’s your biggest fan, so I’ll get to that in a minute. But meatloaf and Paradise and bad out of hell, and Phil Rizzuto. And my last name’s Aparicio. I come from a baseball family. Todd, I know you have a baseball family as well. I can’t have you in with that talk a little baseball and about your efforts with meatloaf, all these years later, that something that you took as on, you know, almost 50 years ago, right, as a job has become something that really became an iconic thing, and something that I think of you every time I listen to it. Yeah. Well, the
Todd Rundgren 09:07
you know, the interesting thing is that the revenue that i i sold in the 90s, I sold my points on bad out of hell, to the record label, and I took that money and I bought the place in Hawaii where I live, meatloaf. Essentially, there’s a connection there between the two, the the unexpected benefit of doing the meatloaf record, and then the fact that I could later turn that into, are essentially my the last place I’m going to live. Do
Nestor Aparicio 09:49
you ever listen to it? I mean, do you because, I mean, there’s been times that people have talked to you about it and it’s a little bit of a tongue in cheek thing. Do you listen to it and think of it as a. Great art that you were involved in. Well, I
Todd Rundgren 10:03
don’t, I haven’t sat down and listened to the whole thing, but on occasions, I will hear, you know, one of the tunes. The funny thing is, or, you know, I’ve, I’ve told this story several times, but by the time meatloaf and Jim Simon auditioned for me. They had been turned down by everybody. You know, I was kind of like the last resort, and I heard the record as a spoof of Bruce Springsteen, and that’s the reason why I decided to do it. I thought it was going to be, and it is, in some ways, a comedy record. There are a lot of funny moments in there, and Jim Simon, you know, he puts them in there on purpose. But he also, you know, Jim is the mastermind behind the music on that out of hell. And a lot of it came from a project that he had in mind so that he wanted to do as a Broadway musical. So that’s what kind of why he hooked up with meatloaf. Because meatloaf had been on Broadway doing the Rocky Horror Show, and and Steinman had been working at the Public Theater the, you know, the New York Shakespeare Festival in New York. And he just had this project that was a very that was a retelling of Peter Pan. It was called the Lost Boys. And so a lot of the material on the first meatloaf album, and some of it on subsequent albums was music that he had written for a musical, and that’s why it comes off a little different than other records, because the songs are just like half of them are just these production numbers where you could imagine dancers, you know, and things like that, you know, all kinds of effects and set changes. And that’s the way Jim Simon wanted it, you know, he wanted it to come off as a, you know, as a very stagey kind of thing, and something that was more than simply a collection of songs, but a a manifesto in a way of world conquest. And in the end, they succeeded. You know, I didn’t expect it to be as popular as it was, and I think they were just hoping to get the record least so that, so that they could get on the road and play it. But no one had any idea that it would be that big.
Nestor Aparicio 12:36
Well, I befriended meatloaf in the 90s through my radio show and his love of baseball and the Yankees. And Mike Messina, his brother, was a partner of mine in the early 90s, and I got to know meat, and I was in Phoenix at a Super Bowl, and they did paradise on stage, and a local radio jock stood on stage and did the risotto part and nailed it. And afterward, I was with meatloaf on his crazy tour bus, and he was coming through Merryweather post pavilion, and I said, and that was amazing. That was the greatest thing. He said, You should try to do it. You can’t do it, but you should try to do it. And over six months, he made fun of me on the air. He invited me down to Merriweather to do the part during a sound check. The whole band was out at three o’clock in the afternoon. I could not do it. I mean reading the risotto part a lot harder than you think, but I hear you have a risotto thing, and this is, this will take us into your baseball thing, because a lot of folks don’t know you have a baseball family as well.
Todd Rundgren 13:31
It turned out that way. We it wasn’t a plan that we had my oldest son back when he was, like, in, you know, he’s maybe a freshman in high school, and he was playing on the baseball team, and the the school actually was, didn’t It used to be the sports coaches in the in a school team would be also be teachers. They usually be like a shop teacher, something like that, and he would be the football coach. But they didn’t have the budget for that. You know, they couldn’t pay teachers extra to do those extracurricular activities, so they had to do like fundraising and hire outside. So the team Mount Tamalpais in Marin County, they hired a guy who was a professional ball player. Used to play for the Mets, and he was a catcher, and so he knew what the game was really like, it wasn’t like the shop teacher teaching baseball. And I went to pick up my oldest son, Rex one day from practice, and the coach called me into the field house, and he said, I want to talk to you. And I thought, Oh, God, he’s in trouble now. And the coach said, you know, if he’s got the softest hands I’ve ever seen in a kid his age, and that made me freaked out too, because I didn’t know what that meant, you know. So he said, you know, he just has this natural way of catching the ball and and in one motion, you know, throwing it to the basement, because he was playing shortstop, and he said, if he wanted to, he could be a professional bass player if he wanted to work hard and do that. And that’s our lives suddenly changed at that point, and we had to learn about baseball. He got drafted out of high school. So
Nestor Aparicio 15:36
you weren’t a Phillies fan, you weren’t Mike Schmidt, and like all of that in the 70s and 80s. Now, never
Todd Rundgren 15:41
paid any attention to baseball at all. Wow. Okay, I thought it was just the most boring game. And now that he doesn’t play baseball anymore, I think it’s a boring game again. But while he was playing baseball, I would go to all the games and yell at the umpires, and just like a regular baseball fan, so he played for 11 years. Now, he’s just, he’s completely out of the game. His brother, his younger brother, five years younger, Randy coaches baseball now, so baseball is still part of our, you know, family makeup, in a way, if only because our middle son is teaching it to other kids.
16:25
Now. I had the scooter on the show many years ago, back in the 90s, before he went in the Hall of Fame and all of that. How did that happen with meatloaf? And obviously, if you read through, you can’t have a squeeze play with two two men on in the bases loaded like the whole deal. But the the notion that Rizzuto would get involved and read, to your point, a comedy part, almost in trying to score with a girl. And I don’t know that Rizzuto knew that when he was reading it. No, I
Todd Rundgren 16:50
don’t think he did. You know, we weren’t No, playing the track while he was reading it. We just had him read it, you know, and then we stop right there. I mean, laid it into the track later. Yeah, we heard that, you know, when he found out, he was a bit upset about it, you know, but I not knowing anything about baseball. I only knew scooter Rizzuto from the money store commercials. I had never listened to him call a game. So I didn’t know what any of that was about, you know, didn’t know that you played at one point, you know. But he was just Phil Rizzuto for the money store to me. And so when Simon, you know, when he became, you know, Simon agreed to pay him $5,000 just to read that
Nestor Aparicio 17:41
it’s a lot of money in 1975 right? That was a hell out of your budget. Well,
Todd Rundgren 17:45
you got paid more than anybody. And I was, at that point, I was still underwriting the cost of the record. You know, the day before we went into the studio, meatloaf, had a had a label, and we rehearsed for two weeks to go into the studio and do the album substantially live, except for the vocals. And the day before we’re to go into the studio, meatloaf comes to me and says, I don’t think my label understands me. I want off. And so he essentially called his label and said, drop me from the label. And they knew how much money he was going to spend on the record, and they said, gladly. And so I had to pay to have the record made. And for six months after the record was made, I was still holding the bag for it, because they hadn’t found a label Bearsville, the studio that we recorded it in. I gave them the right of first refusal on the record, and they didn’t want it, and neither did Warner Brothers, who was distributing Bearsville, and it took them six months to find a label that would even put the record out. They found this tiny label called Cleveland International, distributed by by Columbia Records or Epic Records or something like that at the time, and it was just one guy he had the only his name was Steve Popovich, Cleveland international records. He had one other artist that was Ian Hunter, and so meatloaf became instantly his premiere artist, and he promoted the crap out of him and wouldn’t give up. The first single didn’t go anywhere. Second single didn’t go anywhere. Finally, the third single. Everything started to click. At that point, meatloaf was on MTV because very few people made videos for a brand new MTV, and the DJs on MTV were just like DJs everywhere they wanted to play the longest song they could, so they get the roof, go up on the roof and get high while it was playing, so they could, like, play baritized by the dashboard, like, once an hour on MTV. And that’s when things started to break. That’s
Nestor Aparicio 19:56
because they didn’t have a video for anagata DaVita, I guess, uh, Tom. Runger and is here of utopia of Todd. Runger and me, we as playing at the Appel Center on Sunday night for my birthday, and Sammy Hagar and Jim Palmer’s birthday. He’ll be there on Sunday night after the the Ravens commanders game. Get on up the York see Todd. So I have all sorts of things that I have to get to, global Nation TV. Let’s start with that Todd, and we’ll get to the show that you’re putting on. I have, I have Fast and Furious questions from the great Clark judge who is a Todd is God guy. So let’s talk about your right now, what, what you’re doing global Nation TV, the important thing for you, right? Well,
Todd Rundgren 20:34
it’s global nation.tv um, like.com and if you do com, you’ll just go to global Nation TV. Back in the 90s, I started a thing called patronet, when the internet was kind of a new thing, and I thought, why don’t we remove the middleman in the music business? That being the label, I’ll go directly to my fans and get them to underwrite what I do. And now that’s a fairly common thing, but in those days, nobody had thought to try that. So I started a project called patronet, and I got about 5000 subscribers. But it was so early in the in the through the life of the internet that things kept changing. You know, like every couple of months there would be a different browser and none of the there were no standards. It was just technologically kind of maddening. And after a while, I kind of collapsed because I couldn’t do all the programming and make music at the same time. So when covid came around and I had nothing to do, I thought, why don’t I try and revive this? Since everybody’s at home anyway, this is a way that they can find find musicians and other creators and enjoy whatever it is they do. So I restarted it. In the meantime, a thing called Patreon had come along and done kind of the same thing that patronet was doing, but we didn’t want to start out with a lawsuit, so we changed the name to global nation and so if you go to global Nation TV, it’ll explain all about but it’s a place where anyone can start to create a space of their own and share it with other people and potentially build a subscriber base so that they will support what you do directly. All
Nestor Aparicio 22:38
right, so Clark judge is a Hall of Fame football voter. He’s been my friend for 30 years. He’s been your fan for longer than that. So I have questions straight from his list. First of all, what do you think about bang the drum serving as a touchdown anthem at NFL games like in Green Bay? In what universe Did you foresee that happening? Well,
Todd Rundgren 22:58
in no universe did anyone foresee that. But, you know, strange things happen. I believe it started out the first kind of sporting events that bang the drum gained any gained any toe hold, was hockey, hockey games. And people would start seeing it hockey games. And then it kind of spread to football. But the weird thing is, most people never knew that it was my song or that I was doing the original performance the label at the time, it was on a record called the ever popular tortured artist effect, and it was a protest record on my part, and the label didn’t promote it very much, and they certainly didn’t think to release bang the drum as a single. But then suddenly radio, you know, am radio, started using it as a drive times Friday. Drive time song, you know, played every Friday, and I think people liked it because of the line about, you know, assaulting your boss, because people by Friday are all fed up. So that was right
Nestor Aparicio 24:11
after nine to five in Lily Tomlin and jolly,
Todd Rundgren 24:15
yeah, you could play that as a block. So it became popular on radio because of that, it would be a Friday drive time staple and and in the end, it became the most financially rewarding song that I ever dreamed and then transcribed because I never thought the song up. It was a song that came to me in a dream and woke myself up and recorded what I could remember of it, and that became the song. It didn’t make any sense to me at the time. You know, it’s like, why are you, why are you doing this? But you know, I had the song in my head, and I figured, I better do it. And. Uh, in the long run, by the time we got to, like, the late 80s and the 90s, I was getting like six figure offers from Carnival Cruise Lines to use the song, and it became like the, my greatest source of income in some years, just making deals for that song, for things like commercials and movies and stuff like that. So I’ve always seen the song as some kind of mystical gift that was bestowed on me that, you know, I didn’t know the didn’t know the meaning of or the scope of when it was done. But in the long run, you know, I’ve made well into seven figures just from that one song being licensed because it seems to represent the people just a good time and abandon and forget about everything. Get drunk and and take your shirt off. Yeah.
Nestor Aparicio 25:55
More from the Clark judge questions. You have numerous celebrated LPs, including something anything, a wizard of true star, hermit of mchallo, acapella, nearly human, but he has a friend who’s been to over 100 of your shows, Todd, who says that The Ballad of Todd rungren is the best album ever made. What’s your favorite LP and why? Well,
Todd Rundgren 26:15
these are the questions that I normally refuse to answer, and that’s because as soon as you come up with an answer, you suddenly remember a different thing. You say, Oh, no, wait, no, no, wait, that wasn’t the one. It was this other one here, you know, I mean, it’s usually the thing that you’re working on currently, because that’s where your focus is. I I was still a very young artist when I did like the Ballad of Todd Rundgren. And it was, it was right after I discovered marijuana, you know, and I was, I was, my mind was evolving into a different place, and I started writing songs from a different place and and it turned out to be a little more coherent, I guess, than my first album. And the songs are all fairly accessible, lot of ballads, if you like ballads. That’s why it was called the ballads hard run trend. You know, some people prefer my balance, even though I started out just as a guitar player, and still enjoy playing the guitar, but it was fairly new as a songwriter and still trying to find some discipline. By the time I got to my third album, Songs that I was writing, the kind of songs that I was writing for the ballad album just started spilling out like 20 minutes spurts. I saw the light, I wrote in less than 20 minutes. And after I had done that, I thought, it’s not supposed to work that way. You know, not that easy every day, right? No, it’s not supposed to be that way. I’m not a Tin Pan Alley, you know, I’m not like running. Give me a bounce. EC, you know, moon and June spoon. It’s, it’s supposed to be, you know, a little bit more work than that. So, so after that, I just took a whole different path as a musician and did only the things that I thought nobody else would do, including myself. So it’s just been a long, kind of bizarre adventure for my fans, for the people who paid attention anyway, from then until now, it’s never the same thing twice. That
Nestor Aparicio 28:40
is the beauty of Todd rungren, Hall of Famer, rock and roll. Hall of Famer. Todd rung is our guest. He will be playing the Appel center for my birthday. I may stay till midnight just to celebrate Sunday night the 13th, a lucky 13. Come on up to York, Pennsylvania. Check him out. You’ve been through Baltimore so many times. And so the show this, I’ve taken a look at little pieces of it. It’s a little bit of everything, right? I mean, it’s a you you’ve pieced together what’s what you’re loving to play right now, right? You’ve been out a lot. You’ve been out the last six months, two months on, two months off, but you’re playing a lot of show, stop, um,
Todd Rundgren 29:09
we’ve done a few so far. Um, I tend to stay busy if I’m not doing my own show, I’m doing Tribute to The Beatles or David Bowie, next year, we’re trying to get a Burt Bacharach a state sanctioned tribute tour. So that would be fun for me, because Bert Bacharach was an early songwriting influence, and unfortunately I never get to meet never got to meet him. The irony being that we played a show in Southern California, and someone told me after the show, you know Bert Bacharach came in to see you play, and his commentary. Was, you know, and I was doing what we call an unpredictable evening, which is a weird combination of songs of my own and songs that maybe haven’t been played very long time, things like, you know, Melanie’s roller skate song or, or don’t Bone Guard that joint, you know, just any odd song that we would that we would work out, and I wouldn’t tell the band what was next. So a very unpredictable evening, and he happened to have come to see the show then, and then he wanted to hear me sing, Hello, it’s me, and I didn’t include it in the show that night. If I had known he had been there, you know, I definitely would have done it. But that’s
Nestor Aparicio 30:49
a heavy burden to have disappointed Burt Bacharach in that fashion. Todd, yeah, and
Todd Rundgren 30:53
you know that that was, unfortunately, I didn’t hear until after he had after the show was over, and he had left so and now it’s too late for me to play it for break. Well, you
Nestor Aparicio 31:06
know what? What the world needs now is love, sweet love. So I want to get on the way out of here, because you’ve been more than generous with your time, even though your hair wasn’t done. Did spirit harmony? Let’s talk about that a little bit, because I think that’s your Legacy Foundation amongst all the music and the banging on the drum, and Hello, it’s me and all that. This is something that is really important to you, right?
Todd Rundgren 31:26
It certainly is, and it’s, it’s not the kind of thing I would have done by myself. It was really at the encouragement of my fans, and they do a lot of the support work to keep it going. You know, it’s something that we kind of do together. We I used to do these yearly retreats with my fans that would usually be on my birthday. And one year, we were at a plantation outside of New Orleans, and the fans decided this was shortly after the hurricane, and fans decided they want to do something, you know, maybe help a music program in the New Orleans area. So we found a program in the Lower Ninth Ward, and it was all nothing but strings. You know, kids from like elementary school age up through high school, but it was all violins and violas and double basses and stuff, and they played the same school marching in for us and stuff, which is kind of weird, on nothing but strings. But fans got together. They found this program. They collected money amongst themselves, and we went down and saw the them play for us, and then we presented them with a big novelty check for $10,000 and the fans enjoyed the experience so much, they said, We have to make this like a regular thing. And that’s when we started the spirit of harmony. And the spirit of harmony, we don’t do that kind of thing. We don’t collect a bunch of money and then just hand it to somebody and say, you figure out how to spend it. Instead, we decided we’re going to be the eHarmony of music programs, and we’ll find, just say, a program in a school that’s struggling and they can’t find instruments so they they need support somehow, and we connect them with musical instrument companies, or we have music instrument drives, where we take old instruments that people aren’t playing anymore, we get them refurbished, and then we bestow them on some program. But in that sense, money never changes hands. We just connect people together. We connect groups with other sorts of supporters. We have a whole kit if you wanted to try to start a music program in your area, ideally in the public school. Because what really inspired us was the fact that we all grew up with music programs in our schools, and now schools don’t have music programs because they think they can’t afford them. So we we gathered the research and discovered that it’s really important for young people to learn about music, to get a little bit of formal music training, because it changes the way that they process sound for the rest of their lives. Makes it easier for them to focus on someone’s voice, and therefore will help them whatever other educational things they do, and if they never become a musician, they still have those benefits that they gained when they were young by being involved in a music program. So that’s our you know, our modus operandi and our call to get music back into public. Public Schools, and anybody who wants to do that, we’re here to help them.
Nestor Aparicio 35:03
We’ll send everybody out to a Todd rungren website. You can learn about spirit of harmony. You can learn about global nation.tv, and all the works of the great Rock and Roll Hall of Famer. Todd rungren, last question on the way out the door, Clark judge has this year one song year that you haven’t played hope I’m around, just wondering if you’re ever going to play it,
Todd Rundgren 35:24
and why not? Well, there’s a whole, whole lot of songs that I don’t play, and I may have played it at one point back when I first composed it, but you usually tend to play the stuff that you’ve written most recently. So I’m not saying I would never play it, but I don’t know what the circumstances that would have me focus on that, unless I was to reproduce the whole album, which I’ve done. On occasion, I’ve done things where we do an album from beginning to end, or a couple of albums. And I just, I don’t want to disappoint anyone, but I’m never doing wizard of true star again, live too many costume changes
Nestor Aparicio 36:16
for that. Todd, thank you for your time. I hope everybody comes up on Sunday. I’ve always wanted to have you on. Thanks for making a bucket list event for me happen and being such great, great company. And I’m very, very grateful that I found that live from Daryl house that created this thing. And if I ever have a tiki with you, I want to do it on Kauai. I mean, all the no offense to York, Pennsylvania, but I’m coming to Kawhi to look you guys up. So okay,
Todd Rundgren 36:41
give us, give us a little warning, and we’ll make the way for you.
Nestor Aparicio 36:45
I appreciate that. Todd rungren, rock and roll, Hall of Famer, go see him at the Appel Center on Sunday night, the 13th of October. And if you’re listening to this afterward, I’m sure you got some great information. If you’re a utopia or Todd rungren, lifer, fan, I am Nestor. We are wnst am 1570 Towson, Baltimore, and we never stop talking rock and roll with my hair out and Baltimore positive. Here stay with us.
