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Formed by Todd Rundgren in 1973, Utopia was initially known as Todd Rundgren’s Utopia, a progressive rock band consisting of Rudgren, Kasim Sulton, Roger Powell and John Wilcox.  This is a collection of the band’s Bearsville singles.

If you've been a fan of Todd Rundgren since the '70s, then you know all about Bearsville Records, but for those of you who aren't in the know, here's a quick history lesson: it was a label that was started by Albert Grossman, and in addition to our man Todd, the roster also featured folks like Paul Butterfield, Bobby Charles, the dB's, Foghat, NRBQ, Sparks, Randy VanWarmer, and Jesse Winchester. On the whole, Foghat may have been the biggest commercial success on the label, but when it comes to the Bearsville artist with the most rabid following, we'd pick Mr. Rundgren every time, and if you

Foghat came into existence when “Lonesome” Dave Peverett, Tony Stevens, and Roger Earl left the ranks of Savoy Brown in 1970 to start their own musical endeavor, and when guitarist Rod Price joined the gang just as the year was coming to a close, the lineup was complete. The band spent the majority of a decade and a half on Bearsville Records, during which time they scored major success both with studio albums and, most notably, with a very popular live album. We’ve put them all together for this big ol’ box set, one which will provide you with all the boogie music you can stand. Here’s the

When The Replacements released their 1988 album DON’T TELL A SOUL, the end result proved to be the most commercially successful album of the band’s career, but that doesn’t mean that they were happy with how it sounded. Indeed, it’s well-documented that the LP was just a little too smoothly-polished for the band’s liking – Paul Westerberg famously said, “I thought the little things I’d cut in my basement were closer to what I wanted” – but what you may not realize is that the album’s producer, Matt Wallace, wasn’t particularly thrilled with it, either, having not been the one in charge of

When The Replacements released their 1988 album DON’T TELL A SOUL, the end result proved to be the most commercially successful album of the band’s career, but that doesn’t mean that they were happy with how it sounded. Indeed, it’s well-documented that the LP was just a little too smoothly-polished for the band’s liking – Paul Westerberg famously said, “I thought the little things I’d cut in my basement were closer to what I wanted” – but what you may not realize is that the album’s producer, Matt Wallace, wasn’t particularly thrilled with it, either, having not been the one in charge of

4CD/1LP Boxed Set Features The Group’s Don’t Tell A Soul Album Mixed As It Was Originally Intended And Expanded With Previously Unreleased Studio And Live Recordings, Including A Session With Tom Waits And A Complete 1989 Concert 
 Available From Rhino On September 27 
 Back in 1987, Minneapolis rock and roll renegades The Replacements famously stole their Twin/Tone master tapes and threw them in the Mississippi River. A year later—while wrapping up work on their Warner Bros. album, Don't Tell A Soul—the group absconded with a collection of their reels from Paisley Park studios. Thankfully

Today’s Deep Dive takes us into the realm of Bearsville Records, the label founded in 1970 by Albert Grossman, but while you may be familiar with some of the bigger names on their roster, like Todd Rundgren and Foghat, do you remember… Lazarus? Originally known as Shiloh, Lazarus hailed from Abilene, Texas, and they got their big break when they met Peter Yarrow at a Peter, Paul, and Mary concert and gave him a copy of their demo tape. In short order, the band were signed to Bearsville, and Grossman quickly got them into the studio to record an album with Yarrow and Phil Ramone co-producing

22 years ago today, Rush released their 16 th studio album, an effort which would – due to events outside of the band’s control – turn out to be the last studio album released by the band for half a dozen years. Recorded partly at Bearsville Studios in Bearsville, New York and partly at Reaction Studios in Toronto, Ontario, TEST FOR ECHO is an album that’s remembered differently by the band depending on which member you ask. For instance, in Rush: An Oral History, Uncensored, Geddy Lee says of the album, “ Test for Echo was a strange record in a sense. It doesn’t really have a defined

45 years ago this month, Bonnie Raitt released her second album, an LP which failed to demonstrate the “sophomore slump” principle but did successfully cement Raitt’s trademark sound. Recorded at Bearsville Studios in Bearsville, New York, GIVE IT UP was produced by Michael Cuscuna, filling a seat that had previously been occupied by Willie Murphy on Raitt’s self-titled debut album. This should not be taken as any slight on Murphy’s efforts, however, as it wouldn’t be until Raitt’s fifth album that she finally landed on a producer with whom she would work for two consecutive albums. (Stand up