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Per TRS.
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* WhatDoYouMeanItWasntMadeOnDrugs: Averted; a lot of it was. Played straight with some of the Nazz material.
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* TrueArtIsIncomprehensible: Some of his PsychedelicRock and ProgressiveRock material can get this way, but probably none of it more than "A Treatise on Cosmic Fire", a thirty-five minute {{instrumental}} consisting mostly of Rundgren's synthesizer.
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Trope cut per TRS
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* FaceOfTheBand: Quick, name another member of Nazz, Runt, or Utopia. (Prog rock fans may be able to name Roger Powell or Moogy Klingman for the latter, but it still counts).
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** Utopia's version of Music/TheMovie's "Do Ya" was better known than the original for a time, which led to Jeff Lynne deciding to re-record it with Music/ElectricLightOrchestra (which was a MorePopularSpinoff of The Move; Lynne had written "Do Ya"). ELO's version is now by far the most famous version.
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** Utopia's version of Music/TheMovie's Music/TheMove's "Do Ya" was better known than the original for a time, which led to Jeff Lynne deciding to re-record it with Music/ElectricLightOrchestra (which was a MorePopularSpinoff of The Move; Lynne had written "Do Ya"). ELO's version is now by far the most famous version.
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** Utopia's version of the Move's "Do Ya" was better known than the original for a time, which led to Jeff Lynne deciding to re-record it with Music/ElectricLightOrchestra (Lynne was the central member of ELO, a member of the Move, and the author of the song). ELO's version is now by far the most famous version.
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** Utopia's version of the Move's Music/TheMovie's "Do Ya" was better known than the original for a time, which led to Jeff Lynne deciding to re-record it with Music/ElectricLightOrchestra (Lynne (which was the central member a MorePopularSpinoff of ELO, a member of the Move, and the author of the song).The Move; Lynne had written "Do Ya"). ELO's version is now by far the most famous version.
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* DeadHorseGenre: There is a risk of this with his prog and disco stuff. However, his prog stuff manages to be quite a bit catchier and more tuneful than the works of many other acts in the genre, so some people may find it more accessible and/or less pretentious than typical prog fare. He also usually keeps a sense of humour in his music, which ProgressiveRock is sometimes accused of lacking (despite the other obvious counter-examples of Music/FrankZappa and early Music/{{Genesis}}).
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* DeadHorseGenre: There is a risk of this with his prog and disco stuff. However, his prog stuff manages to be quite a bit catchier and more tuneful than the works of many other acts in the genre, so some people may find it more accessible and/or less pretentious than typical prog fare. He also usually keeps a sense of humour in his music, which ProgressiveRock is sometimes accused of lacking (despite the other obvious counter-examples of Music/FrankZappa and early Music/{{Genesis}}).Music/{{Genesis|Band}}).
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ST Is besides AIDS (like syphilis) can also be fatal, so fails Hindsight.
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* FunnyAneurysmMoment: "You Left Me Sore". At the time the song was written, getting an STI was embarrassing but not exactly life-threatening. The HIV epidemic changed that.
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* ArchivePanic: See all that on the main page? And if you want to get into everything he's produced as well as his solo/Utopia recordings, ''good luck''.
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* ArchivePanic: See all that on the main page? And if you want to get into everything he's produced as well as his solo/Utopia recordings, ''good luck''. (It's worth noting that he's been known to finish unfinished songs for the artists he's produced, but refuse a writer's credit for doing so.)
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*** If taken as a metaphor for the bystander effect and/or the climate crisis ([[{{Applicability}} whether or not it was intended as either]]), the song becomes [[FridgeHorror even more chilling]].
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* DeadHorseGenre: There is a risk of this with his prog and disco stuff. However, his prog stuff manages to be quite a bit catchier and more tuneful than the works of many other acts in the genre, so some people may find it more accessible and/or less pretentious than typical prog fare.
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* DeadHorseGenre: There is a risk of this with his prog and disco stuff. However, his prog stuff manages to be quite a bit catchier and more tuneful than the works of many other acts in the genre, so some people may find it more accessible and/or less pretentious than typical prog fare. He also usually keeps a sense of humour in his music, which ProgressiveRock is sometimes accused of lacking (despite the other obvious counter-examples of Music/FrankZappa and early Music/{{Genesis}}).
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* EarWorm: Nearly everything he ever released, even including his TrueArtIsIncomprehensible ProgressiveRock epics. If you make a playlist with his songs on it and listen to it for a few hours there is no telling what hooks you'll have stuck in your head when you finish.
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** ''Liars'' is great from start to finish - almost certainly in his top 10 albums if not top 5. A lot of really catchy songs that are even more resonant now than they were when they were recorded.
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* CrowningMomentOfFunny: He has many. The ClusterFBomb on "Flaw" (sung in a blue-eyed soul style, no less!) is definitely a prime example of this trope.
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* SugarWiki/FunnyMoments: He has many. The ClusterFBomb on "Flaw" (sung in a blue-eyed soul style, no less!) is definitely a prime example of this trope.
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* AwesomeMusic: Lots of it, with ''Music/SomethingAnything'' and ''A Wizard, a True Star'' being the most frequently cited contenders for best album.
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* AwesomeMusic: SugarWiki/AwesomeMusic: Lots of it, with ''Music/SomethingAnything'' and ''A Wizard, a True Star'' being the most frequently cited contenders for best album.
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* FunnyAneurysmMoment: "You Left Me Sore". At the time the song was written, getting an STI was embarrassing but not exactly life-threatening. The HIV scare changed that.
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* FunnyAneurysmMoment: "You Left Me Sore". At the time the song was written, getting an STI was embarrassing but not exactly life-threatening. The HIV scare epidemic changed that.
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** The song takes on an even more frightening dimension when taking into account the reactions of the bystanders to the eponymous carousel's destruction-- while "the children all cried" due to their innocent outlook on the world, "the old ladies sighed" and "the rest of us lied," implying that humanity is inherently either too cynical or in denial about disasters of our own making, resulting in an overall lack of action, thus leading to the repetition of horrific events.
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Misuse
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* TooSoon: ''Deface the Music'' had the misfortune of coming out just after the assassination of Music/JohnLennon. It was doomed. This wasn't the band's fault, of course, because it had been recorded beforehand.
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* TearJerker: He has quite a few. "Bag Lady", "Can We Still Be Friends?", "Honest Work", and "Tiny Demons" are some particularly obvious examples.
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* TearJerker: He has quite a few. "Bag Lady", "Bread", "Can We Still Be Friends?", "Honest Work", and "Tiny Demons" Demons", and "Love Is the Answer" are some particularly obvious examples.
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* FairForItsDay: Some of Rundgren's '70s material can come across this way to modern audiences. For example, the melody, performance, and arrangement of "You Don't Have to Camp Around" make it clear that it's intended to be a light-hearted ribbing, but the lyrics are likely to come across as fairly homophobic to modern audiences. Rundgren's later work generally averts this, although some songs play on the irony of his being a white man singing some sentiments that are rather... strange for a white man to sing (particularly on ''Liars'', where several songs have intended interpretations that are at odds with the sentiments they express on the surface).
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* FairForItsDay: FairForItsDay:
** Some of Rundgren's '70s material can come across this way to modern audiences. For example, the melody, performance, and arrangement of "You Don't Have to Camp Around" make it clear that it's intended to be a light-hearted ribbing, but the lyrics are likely to come across as fairly homophobic to modern audiences. Rundgren's later work generally averts this, although some songs play on the irony of his being a white man singing some sentiments that are rather... strange for a white man to sing (particularly on ''Liars'', where several songs have intended interpretations that are at odds with the sentiments they express on thesurface).surface).
** "We Gotta Get You a Woman" is sometimes called misogynistic because of the line "They may be stupid but they sure are fun", but the lines preceding it are "We better get walkin', we're wastin' time talkin' now. Talkin' 'bout things about that special one." It's not saying that women are stupid, but that men ''talking about'' women instead of actually ''meeting'' women is fun but pointless.
** Some of Rundgren's '70s material can come across this way to modern audiences. For example, the melody, performance, and arrangement of "You Don't Have to Camp Around" make it clear that it's intended to be a light-hearted ribbing, but the lyrics are likely to come across as fairly homophobic to modern audiences. Rundgren's later work generally averts this, although some songs play on the irony of his being a white man singing some sentiments that are rather... strange for a white man to sing (particularly on ''Liars'', where several songs have intended interpretations that are at odds with the sentiments they express on the
** "We Gotta Get You a Woman" is sometimes called misogynistic because of the line "They may be stupid but they sure are fun", but the lines preceding it are "We better get walkin', we're wastin' time talkin' now. Talkin' 'bout things about that special one." It's not saying that women are stupid, but that men ''talking about'' women instead of actually ''meeting'' women is fun but pointless.
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** Utopia's version of the Move's "Do Ya" was better known than the original for a time, which led to Jeff Lynne deciding to re-record it with Music/ElectricLightOrchestra (Lynne was the central member of ELO, a member of the Move, and the author of the song). ELO's version is now by far the most famous version.
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** ''State'' is overall a rather uneven album, but even its weaker parts are still good fun, and the song "Sir Reality" stands out as an all-time career highlight and quite possibly the finest ProtestSong Todd has ever written, both because it says more in fewer words than any of his previous protest songs, and also because it's simply one of the most beautiful songs in his entire catalogue.
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* CrowningMomentOfFunny: He has many. The ClusterFBomb on "Flaw" (sung in a blue-eyed soul style, no less!) is definitely a prime example of this trope.
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** ''Arena'' and ''Nearly Human'' have quite their share of great tunes as well. It's actually fairly difficult to believe that ''Nearly Human'' was recorded live in the studio, because the performances and arrangements are so sophisticated.
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* DeadHorseGenre: There is a risk of this with his prog and disco stuff. However, his prog stuff manages to be quite a bit more tuneful than the works of many other acts in the genre, so some people may find it more accessible and/or less pretentious than typical prog fare.
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** "Love Is the Answer" was a bigger hit for England Dan & John Ford Coley than it was for Utopia at the time, though Utopia's version may be better known now.
* DeadHorseGenre: There is a risk of this with his prog and disco stuff. However, his prog stuff manages to be quite a bit catchier and more tuneful than the works of many other acts in the genre, so some people may find it more accessible and/or less pretentious than typical prog fare.
* DeadHorseGenre: There is a risk of this with his prog and disco stuff. However, his prog stuff manages to be quite a bit catchier and more tuneful than the works of many other acts in the genre, so some people may find it more accessible and/or less pretentious than typical prog fare.
* FairForItsDay: Some of Rundgren's '70s material can come across this way to modern audiences. For example, the melody, performance, and arrangement of "You Don't Have to Camp Around" make it clear that it's intended to be a light-hearted ribbing, but the lyrics are likely to come across as fairly homophobic to modern audiences. Rundgren's later work generally averts this, although some songs play on the irony of his being a white man singing some sentiments that are rather... strange for a white man to sing (particularly on ''Liars'', where several songs have intended interpretations that are at odds with the sentiments they express on the surface).
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* NightmareFuel: The Night the Carousel Burnt Down, from Music/SomethingAnything. That ending especially—shivers....
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* NightmareFuel: The "The Night the Carousel Burnt Down, Down", from Music/SomethingAnything. That ending especially—shivers....
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* SignatureSong: Arguably "Hello It's Me". Also "I Saw the Light", "Can We Still Be Friends?", "We Gotta Get You a Woman", and "Bang the Drum All Day".
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* SignatureSong: Arguably "Hello It's Me". Also "I Saw the Light", "Can We Still Be Friends?", "We Gotta Get You a Woman", and "Bang the Drum All Day". Utopia's is likely either "Love Is the Answer" or "Set Me Free".
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* TearJerker: He has quite a few. "Bag Lady", "Can We Still Be Friends?", and "Tiny Demons" are three particularly obvious examples.
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* TearJerker: He has quite a few. "Bag Lady", "Can We Still Be Friends?", "Honest Work", and "Tiny Demons" are three some particularly obvious examples.
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* TearJerker: He has quite a few. "Bag Lady" and "Can We Still Be Friends?" are two particularly obvious examples.
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* TearJerker: He has quite a few. "Bag Lady" and Lady", "Can We Still Be Friends?" Friends?", and "Tiny Demons" are two three particularly obvious examples.
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* TearJerker: He has quite a few. "Bag Lady" and "Can We Still Be Friends?" are two particularly obvious examples.
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** ''A Cappella'' was produced entirely with Rundgren's voice, although it is often electronically processed to make it sound like musical and percussion instruments. It's absolutely astonishing that one person can produce such a rich variety of sound. The accompanying tour, a recording of which was released as ''A Cappella Tour'', has Rundgren revisiting much of his earlier material with an accompanying choir, and is similarly beautiful.
