Nearly Human
Nearly Human is the twelfth studio album by American musician Todd Rundgren, released on May 18, 1989, by Warner Bros. Records.[1] It marked Rundgren's return to recording after a four-year hiatus since his previous album, A Cappella (1985), and features ten tracks blending pop rock, soul, and R&B influences.[2] The album was recorded live to tape without overdubs at Fantasy Studios in Berkeley, California, and The Plant in Sausalito, California, employing an old-school approach with a large ensemble that included guest appearances by Bobby Womack on "The Want of a Nail" and members of Utopia on "Can't Stop Running."[3] Rundgren produced and arranged the project under Alchemedia Productions, with mixing at Utopia Sound and mastering at Sterling Sound.[4] Lyrically, Nearly Human explores themes of self-doubt, loss, jealousy, and spiritual recovery, reflecting Rundgren's personal experiences during his break from music.[3] Critically, the album received favorable reviews for its soulful production and Rundgren's vocal performances, often hailed as a return to form in blue-eyed soul and compared to classic R&B works.[5] Standout tracks include the gospel-inspired opener "The Want of a Nail," the ballad "Parallel Lines," and a cover of Elvis Costello's "Two Little Hitlers."[4] The release was supported by a tour featuring an 11-piece band, captured in the 1990 concert film Nearly Human Tour Japan '90.[3]Background and composition
Development
Following the release of his experimental 1985 album A Cappella, which utilized synthesizers to simulate an all-vocal sound, Todd Rundgren entered a four-year hiatus from solo album releases, during which he maintained a lower public profile while continuing live performances and serving as musical director for the television series Crime Story.[6] This period marked a deliberate pause from his more avant-garde solo endeavors, setting the stage for Nearly Human as his return to rock-oriented material in 1989.[6] The album's conception drew from Rundgren's personal struggles, encompassing experiences of loss, self-doubt, jealousy, and spiritual recovery, which informed its emotional core and distinguished it from his prior work.[3] These introspective themes reflected a phase of emotional introspection following personal challenges.[6] A key aspect of the project's development was Rundgren's first major collaboration with vocalist Michele Gray, a former dancer with The Tubes, who contributed backing vocals and assisted in organizing the sessions; the two later married in 1990.[7] To achieve a more organic sound, Rundgren opted to reunite select members of his band Utopia—including bassist Kasim Sulton, drummer Willie Wilcox, and keyboardist Roger Powell—for a live-band recording method, emphasizing group interplay over his previous solo experimentation.[3] This approach was conceived with the intent of creating material suitable for an R&B-style revue in live settings, recorded with minimal overdubs to capture authentic energy.[7]Songwriting and themes
Rundgren's songwriting process for Nearly Human involved fully composing and demoing the songs in advance to accommodate the album's live-in-the-studio approach with a large ensemble of up to 30 musicians.[8] This method allowed for intricate arrangements while ensuring the emotional authenticity of the performances, as Rundgren emphasized baring his soul through believable lyrics drawn from personal introspection.[8] Central to the album's lyrical content are themes of loss, self-doubt, jealousy, infidelity, and spiritual recovery, often exploring the fragility of human connections and existential questioning.[3] For instance, "The Want of a Nail" delves into grief and regret, using a gospel-like call-and-response structure to convey how minor oversights can cascade into profound personal loss, echoing the ancient proverb "for want of a nail, the shoe was lost."[6] Similarly, "Parallel Lines" examines jealousy and the pain of infidelity through imagery of kindred spirits trapped on diverging paths, unable to reconnect despite their proximity.[9] This track originated as part of Rundgren's unproduced 1980s musical theater project Up Against It, an adaptation of Joe Orton's screenplay, where it served as a poignant ballad on doomed relationships; Rundgren re-recorded it for Nearly Human to integrate seamlessly with the album's narrative of emotional turmoil.[10] The inclusion of a cover of Elvis Costello's "Two Little Hitlers" further reinforces these motifs, reinterpreting the song's depiction of combative lovers—as two tyrannical figures clashing in a destructive rivalry—to align with the record's focus on interpersonal strife and spiritual doubt.[11]Recording and production
Studio sessions
The recording sessions for Nearly Human spanned from June 26, 1988, to February 6, 1989, with principal tracking occurring at Fantasy Studios in Berkeley, California, and one track captured at The Plant in Sausalito, California.[12][13] Specific session dates varied by song, reflecting a phased approach that began with an early demo-like recording in June 1988 and extended through late 1988 and early 1989.[12] Rundgren emphasized live band performances during these sessions to infuse the album with organic energy, a deliberate shift from his earlier multi-tracked solo productions like A Wizard, a True Star.[3] The core band, including a reunion with Utopia members Kasim Sulton and Roger Powell, rehearsed material extensively before committing to full takes, often dedicating an entire day to one song in an effort to minimize fixes and preserve spontaneity.[3] The album was recorded live to tape without overdubs, capturing authentic performances from the full ensemble, including guest vocalists such as Bobby Womack and the Waters sisters, who participated in the studio sessions.[3] Sessions faced logistical challenges, including scheduling conflicts with top session musicians that forced compromises in lineup and timing, as well as efforts to balance the desired rock intensity with precise execution in a live studio environment.[3] Editing took place at Conway Studio in Hollywood, California, with mixing later at Rundgren's Utopia Sound studio in Woodstock, New York, allowing for final adjustments after the California tracking.[4][12]Collaborators and techniques
Todd Rundgren served as the primary producer for Nearly Human, overseeing arrangements and contributing to engineering and mixing alongside a team that included Michael Rosen, Rob Beaton, and Tom Size. His hands-on role emphasized a return to collaborative, band-oriented production after more experimental solo efforts in the 1980s.[14] A notable guest appearance came from soul singer Bobby Womack, who provided lead vocals on the opening track "The Want of a Nail," infusing the song with a gritty, emotive contrast to Rundgren's typically eclectic style. This collaboration highlighted Rundgren's interest in blending genres, drawing on Womack's R&B roots to add depth to the album's introspective themes.[14] The rhythm section drew from Rundgren's former band Utopia, with keyboardist Roger Powell, bassist Kasim Sulton, and drummer John "Willie" Wilcox providing cohesive support on the track "Can't Stop Running," ensuring a tight, familiar groove that anchored the song's sound.[3] This integration of Utopia alumni fostered a sense of continuity and reliability in the ensemble.[6] Additional contributors expanded the sonic palette, including members of The Tubes—keyboardist Vince Welnick and drummer Prairie Prince—who added layered textures and dynamic percussion across multiple songs. Similarly, Brent Bourgeois and Larry Tagg from Bourgeois Tagg contributed synthesizers and bass, enhancing the album's pop and new wave influences with their polished, ensemble-driven approach.[14] Production techniques prioritized live tracking in the studio to capture authentic performances from the full band, relying on real-time interplay for energy and spontaneity.[14] This method marked a shift from Rundgren's more digitally intensive 1980s projects, incorporating minimal digital effects to emphasize analog warmth and organic instrumentation.[15]Musical style
Genre and influences
Nearly Human is classified primarily as pop rock, incorporating significant elements of soul, R&B, and adult contemporary music.[5] This blend results in a sound characterized by blue-eyed soul and album rock styles, with sophisticated production that evokes the radio-friendly polish of late-1980s pop.[5][16] The album represents Rundgren's evolution from the progressive rock experimentation of his Utopia era in the 1970s toward more accessible 1980s pop, emphasizing melodic hooks and structured arrangements over complex prog structures.[17] Influences include Stevie Wonder, who inspired aspects of Rundgren's broader career in vocal layering and songcraft.[18] This shift is evident in Nearly Human's departure from the a cappella vocal-only focus of Rundgren's prior album A Cappella (1985), returning to a guitar-driven rock framework that mirrors broader 1980s arena rock and pop trends.[19][6] Soulful undertones permeate the record through the contributions of guest vocalist Bobby Womack, whose backing on tracks like "The Want of a Nail" adds resonant depth and gospel-inflected call-and-response.[3] This collaboration fuses Rundgren's eclectic pop sensibilities with Motown-like grooves and the grandeur of Philadelphia soul, drawing parallels to the sophisticated R&B of acts like the O'Jays and Harold Melvin & the Blue Notes.[19] The result is a "classy white-brat R&B" aesthetic that harks back to Rundgren's earlier influences while embracing contemporary soul revivalism.[19]Instrumentation and arrangements
Nearly Human features a full band instrumentation, marking a departure from Todd Rundgren's earlier solo efforts where he often played all instruments himself. The core lineup includes electric guitars handled primarily by Rundgren and Lyle Workman, keyboards and synthesizers contributed by Roger Powell, Brent Bourgeois, and Vince Welnick, bass from Kasim Sulton and Larry Tagg, and drums by Prairie Prince and Michael Urbano.[20][3] Additional elements such as saxophone by Bobby Strickland, trumpet by Mike Rose and Paul Shaghoian, and trombone by Jim Blinn and Bruce Paine add horn accents to several tracks, while percussion from Prince and Michael Pluznick enhances rhythmic depth. Over 30 session vocalists, including Clarence Clemons and Bobby Womack, provide layered harmonies throughout the album.[20][3] The arrangements emphasize a live-in-the-studio approach, with each song rehearsed and captured in 8-10 hours to preserve raw energy and organic interplay among the musicians, avoiding extensive overdubs. Mid-tempo rockers dominate, built on driving rhythms and gospel-influenced call-and-response vocals, while soul-oriented tracks incorporate Philly-style choruses and prominent sax solos. Ballads feature lush, multi-layered vocal stacks that highlight Rundgren's production direction, blending rock power with musical theater grandeur for emotional resonance.[3][6] Track-specific highlights underscore the album's versatility. "The Want of a Nail" drives with freight-train rhythmic intensity, augmented by horn sections and Womack's soulful shout-outs in a gospel-structured arrangement. "Parallel Lines" offers romantically melancholy introspection through sparse yet emotive guitar and keyboard layering, drawing from Rundgren's unrealized musical project. "Can't Stop Running" showcases prog-tinged complexity with a reunion of Utopia members on synths and bass, propelling an upbeat pop momentum via intricate rhythmic shifts. In contrast, "In Spite of Yourself" employs reflective ballad arrangements with dense vocal harmonies for a sense of spiritual recovery.[3][6] Overall, the album achieves cohesion through Rundgren's multi-instrumental oversight and the balance of energetic soul-rockers like "Feel It," with its horn-driven accents, against more contemplative pieces, creating a unified yet dynamic sound that underscores themes of human vulnerability.[3][6]Release and promotion
Initial release
Nearly Human was released on May 18, 1989, by Warner Bros. Records in the United States. This marked Todd Rundgren's return to solo album production after a four-year hiatus since his previous effort, A Cappella in 1985. The album was made available in standard formats including CD, cassette, and vinyl LP. The CD and cassette editions featured the core 10-track configuration. The vinyl pressing followed a similar track lineup across two sides.[4] Initial marketing positioned Nearly Human as Rundgren's rock-oriented comeback, emphasizing the album's conception around songs designed for live band performance to recapture energetic, group-driven dynamics.[7] Distribution handled a worldwide rollout, with Warner Bros. Records managing North American markets and WEA International Inc. overseeing territories outside the U.S. through affiliated labels.[21]Singles and marketing
The lead single from Nearly Human, "The Want of a Nail", was released in 1989 and featured prominent vocals by soul singer Bobby Womack.[22] The track received radio airplay and was supported by an official music video showcasing Rundgren and Womack performing together.[23] It marked Rundgren's final Billboard-charting single, reaching number 15 on the Mainstream Rock Tracks chart.[24] A follow-up promotional single, the upbeat "Can't Stop Running", was issued as a CD single in 1989 to further build radio momentum.[25] Marketing efforts highlighted Rundgren's return to more accessible rock sounds after a four-year hiatus, positioning the album as a blend of soulful pop and personal reflection.[3] Promotion included targeted radio campaigns aimed at Album-Oriented Rock (AOR) stations to capitalize on the singles' commercial potential.[24] Rundgren supported the release with a tour featuring an 11-piece band, backup singers, and guest performers, including alumni from collaborations like the Tubes and Bourgeois Tagg, to showcase the album's layered arrangements live.[3] Promotional events encompassed interviews where Rundgren discussed the album's themes of self-doubt, loss, and spirituality, alongside an electronic press kit (EPK) for media outreach.[26] Limited-edition promotional copies, such as a cassette version with additional liner notes, were distributed to industry insiders and radio programmers.[27]Packaging and editions
Artwork and variants
The cover art for Nearly Human depicts an imprint of a human hand exhibiting polydactyly, with six fingers, as a visual metaphor for the album's exploration of human imperfection. This design was created by Todd Rundgren himself, utilizing electronic image composition techniques at PIXAR.[28][4] The vinyl edition includes a custom inner sleeve containing lyrics, production credits, and liner notes detailing recording dates for each track, such as February 6, 1989, for the opening song "The Want of a Nail." Photography credits within the packaging feature images of Rundgren by Jean Lannen and session photos by Lisa Osta. The CD version comes with a comparable booklet layout, integrating track credits, personnel listings, and similar photographic elements in a standard jewel case format.[28][4][13] Standard variants of the original 1989 release differ primarily by region, with the US pressing using catalog number 9 25881 for both vinyl and CD formats, while international editions employ 925 881, accompanied by minor variations in label printing, matrix etchings, and barcode placements. Promotional copies distributed in the US often bore gold-embossed stamps or stickers emphasizing key singles like "The Want of a Nail." The vinyl was housed in a standard picture sleeve jacket, contrasting the CD's compact jewel case packaging, both incorporating the core artwork and essential textual components without additional enclosures.[2][29]Japanese edition
The Japanese edition of Nearly Human was released in 1989 by Warner Bros. Records under catalog number 22P2-2719.[20] This version retained the identical track listing to the standard international CD release, consisting of ten tracks produced by Todd Rundgren.[20] A key modification in the packaging addressed cultural sensitivities: the album cover artwork was altered to depict a hand with five fingers rather than the original six.[20] The edition included additional localized elements typical of Japanese releases, such as an obi strip featuring Japanese text and a barcode (4 988014 727198), as well as liner notes printed in Japan on the back inlay.[20] These features catered to local fans, emphasizing Rundgren's cult following in Asia through import-focused distribution and promotional materials like release flyers.[30]Track listing
CD edition
The compact disc edition of Nearly Human features the complete 10-track lineup, totaling 53 minutes and 16 seconds, digitally recorded and mastered to provide enhanced audio clarity compared to the analog vinyl pressing.[12] This version includes all songs from the album without any bonus tracks in the original 1989 Warner Bros. pressing.[31] The track sequence begins with the energetic opener "The Want of a Nail," building through a mix of soulful and rock-infused numbers, and progresses to more introspective closers like "I Love My Life," creating a thematic flow from relational tension to personal resolution.[6]- The Want of a Nail – 5:14
- The Waiting Game – 4:16
- Parallel Lines – 4:22
- Two Little Hitlers – 3:55
- Can't Stop Running – 5:00
- Unloved Children – 4:03
- Fidelity – 4:39
- Feel It – 5:47
- Hawking – 6:51
- I Love My Life – 8:55[12]
Vinyl edition
The vinyl edition of Nearly Human was issued as a standard 12-inch LP at 33⅓ RPM on black vinyl, pressed by Warner Bros. Records in the United States with Allied Record Company denoting specific runouts such as "B-#####" strings and etchings like "125881-A-SR1-DMM STERLING" on side A.[13][32] Due to physical side length constraints typical of analog LPs (limiting each side to around 20-22 minutes), the edition omits the Elvis Costello cover "Two Little Hitlers" (3:55), resulting in a 9-track configuration with a total runtime roughly 4 minutes shorter than the expanded CD version.[33] This abbreviation necessitated a slight sequencing adjustment to preserve the album's narrative flow, shifting "Unloved Children" immediately after "Parallel Lines" while maintaining the overall progression into the more extended Side B material.[2] The grooves were optimized for analog playback fidelity, with a printed inner sleeve providing lyrics and credits.Track listing
Side A- "The Want of a Nail" – 5:14
- "The Waiting Game" – 4:16
- "Parallel Lines" – 4:22
- "Unloved Children" – 4:03
- "Can't Stop Running" – 5:00
6. "Fidelity" – 4:39
7. "Feel It" – 5:47
8. "Hawking" – 6:51
9. "I Love My Life" – 8:55[29]
Personnel
Credits adapted from the album's liner notes and discography sources.[29][3]Musicians
- Todd Rundgren – lead vocals (all tracks), guitar (track 6), arranger (all tracks), producer
- Lyle Workman – guitar (tracks 1–5, 7–10)
- Larry Tagg – bass (tracks 1–3, 5, 7)
- Randy Jackson – bass (tracks 4, 6, 8)
- Michael Urbano – drums (tracks 1–5, 7–10)
- Brent Bourgeois – keyboards (tracks 1–3, 5, 7)
- Vince Welnick – piano (track 1)
- Byron Allred – keyboards (tracks 4, 8)
- Nate Ginsberg – keyboards (track 9)
- Bobby Womack – vocals (track 1)
- Kasim Sulton – bass, backing vocals (track 6)
- Roger Powell – synthesizer (track 6)
- John "Willie" Wilcox – drums, backing vocals (track 6)
- Prairie Prince – drums, percussion (track 8)
- Bobby Strickland – saxophone (tracks 2, 4, 8)
- Clarence Clemons – backing vocals (track 1)
- Background vocals – Jennifer Hall, Kate Markowitz, Melisa Kary, The Waters Sisters (Maxine, Oren, Julia), and additional session singers