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Nearly Human
Nearly Human
Nearly Human
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Nearly Human
Studio album by
Todd Rundgren
ReleasedMay 18, 1989
RecordedJune 26, 1988 – February 6, 1989
Studio
Genre
Length53:02
LabelWarner Bros.
ProducerTodd Rundgren
Todd Rundgren chronology
A Cappella
(1985) 		Nearly Human
(1989) 		2nd Wind
(1991)
Alternative Cover
Japanese Edition Artwork

Nearly Human is the twelfth studio album by American musician Todd Rundgren, released on May 18, 1989, by Warner Bros. Records. It was his first release in four years, although he had been active as a producer in the intervening years. Many of the album's songs deal with loss, self-doubt, jealousy and spiritual recovery. It was also the first collaboration between Rundgren and Michele Gray, a singer and ex-model who helped to organize the sessions. Gray sang backing vocals, both on the record and on subsequent tours, and the pair later married.

Recording

[edit]

The song "Parallel Lines" was originally written for Rundgren's musical theater Off Broadway production of Joe Orton's Up Against It. The original version is rather slow and can be found on Rundgren's Japan-only album, Up Against It! The song was re-recorded here with an uptempo and lusher arrangement.

Unlike a large portion of Rundgren's solo albums on which he played all the instruments and sang all lead and backing vocals, Nearly Human was performed live in the studio with numerous musicians, including the members of Rundgren's defunct band Utopia which had broken up three years earlier; Roger Powell, Kasim Sulton and John "Willie" Wilcox all play on the track "Can't Stop Running". Scott Mathews and the former The Tubes members Vince Welnick (keyboards) and Prairie Prince (drums) also perform on Nearly Human. The track "Feel It" was originally recorded (with slightly different lyrics) by the San Francisco band on its 1985 album Love Bomb, produced by Rundgren. Brent Bourgeois and Larry Tagg of Bourgeois Tagg, whom Rundgren had produced, also played on the album along with the rest of the band, making Nearly Human effectively a Rundgren-Utopia-Bourgeois Tagg-Tubes collaboration, plus extra vocalists and keyboard players.

Reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarStarStarStar[2]
Classic RockStarStarStarStarStarStarStar[3]
Hi-Fi News & Record ReviewA/B:1[4]
Rolling StoneStarStarStarStar[5]

Nearly Human received very favorable reviews. The album's single, "The Want of a Nail", featuring the soul legend Bobby Womack, was Rundgren's last charting Billboard single.[6] One other single was released "Parallel Lines" B/W "I Love My Life" but did not chart. Andrew Martin, reviewer of British music newspaper Music Week, praised the album by saying "Todd Rundgren forays into making his own albums are rarer these days, but when they do arrive they tend to be slick, taut affairs which exude class. This is no exception." In the end Martin said: "From the delicious horn-tinged overdrive of 'The Want of a Nail' to the strident bass-lead 'Unloved Children' it demonstrates a man cable of delving into a myriad of rock styles without floundering."[7] In review of 10 June 1989 David Spodek of RPM, named this album "a welcome return." He wrote: "This is radio-tailored pop at its best, with material that will fit both AOR and NC formats" and summarized that "this LP should be a winner on radio and in the stores, provided it is backed with the right promotion in order to attract a new legion of fans to Rundgren's sound."[8]

Japanese release

[edit]

For the Japanese release of the album, the sixth finger of the handprint on the cover was removed, "due to the religious significance of six fingers in Japan".[9]

Track listing

[edit]

CD issue

[edit]

All tracks are written by Todd Rundgren, unless otherwise noted.

No.TitleWriter(s)Length
1."The Want of a Nail" 5:14
2."The Waiting Game" 4:16
3."Parallel Lines" 4:22
4."Two Little Hitlers"Elvis Costello3:55
5."Can't Stop Running" 5:00
6."Unloved Children" 4:03
7."Fidelity" 4:39
8."Feel It"Rundgren, The Tubes, Lorie Welnick5:47
9."Hawking" 6:51
10."I Love My Life" 8:55

LP issue

[edit]

The LP release had a slightly different track list and did not include "Two Little Hitlers".

Side one
No.TitleLength
1."The Want of a Nail"5:14
2."The Waiting Game"4:16
3."Parallel Lines"4:22
4."Unloved Children"4:03
5."Can't Stop Running"5:00
Side two
No.TitleWriter(s)Length
6."Fidelity" 4:39
7."Feel It"Rundgren, The Tubes, Welnick4:39
8."Hawking" 6:51
9."I Love My Life" 8:55

Personnel

[edit]

Credits adapted from the CD liner notes.

  • Todd Rundgren - lead vocals (all tracks), guitar (6), arranger (all tracks), producer (all tracks), cover art design
  • Lyle Workman - guitar (1–7, 9, 10)
  • Vernon Black - guitar (5, 8, 9)
  • Larry Tagg - bass guitar (1–4, 10), backing vocals (5, 6, 9)
  • Kasim Sulton - bass guitar (5)
  • Rick Anderson - bass guitar (6)
  • Randy Jackson - bass guitar (8, 9)
  • Brent Bourgeois - Hammond organ (4), synthesizer (3, 5, 7, 9), backing vocals (1, 2, 6)
  • Vince Welnick - piano (1), digital piano (1–3, 6, 8), accordion (4), synthesizer (5)
  • Byron Allred - synthesizer (2), piano (9)
  • Nate Ginsberg - synthesizer (3, 7), piano (10)
  • Scott Moon - synthesizer (3)
  • Roger Powell - synthesizer (5)
  • Jimmy Pugh - Hammond organ (6, 10)
  • Mingo Lewis - congas (5)
  • Michael Pluznick - shaker (5), congas (7–9)
  • Gary Yost - tambourine (1, 6)
  • Ralph Legnini - tambourine (5)
  • Willie Wilcox - drums (5)
  • Michael Urbano - drums (1–4, 6, 7, 9, 10), timbales (5)
  • Prairie Prince - percussion (3), electronic drums (5), drums (8)
  • Barbara Imhoff - harp (1)
  • Bobby Strickland - tenor saxophone (1, 4, 8, 9), baritone saxophone (6), flute (7)
  • Peter Apfelbaum - clarinet (7)
  • Jim Blinn - trombone (1)
  • Bruce Paine - trombone (8)
  • Mike Rose - trumpet (1, 8)
  • Paul Shaghoian - trumpet (4)
  • Bobby Womack - co-lead vocals (1)
  • Vicki Randle, Jeanie Tracy - backing vocals (1, 10)
  • N.D. Smart - backing vocals (1, 2, 7, 8)
  • Michele Gray - backing vocals (1–3, 5–8, 10)
  • Scott Mathews - backing vocals (2, 3, 6–8, 10)
  • Keta Bill - backing vocals (2, 3, 9)
  • Melisa Kary - backing vocals (2, 3, 10)
  • Kim Cataluna, Cary Sheldon - backing vocals (2, 5–8, 10)
  • Skyler Jett - backing vocals (2, 9, 10)
  • John Hampton - backing vocals (3)
  • Annie Stocking - backing vocals (3, 9)
  • Mary Lou Arnold, Bill Spooner - backing vocals (5)
  • Bryan Thym - backing vocals (5, 9, 10)
  • Shandi Sinnamon - backing vocals (7, 8, 10)
  • Raz Kennedy - backing vocals (9)
  • Clarence Clemons, Daymon Cooper, Vince Ebo, Shirley Faulkner, Emma Jean Foster, Paul Gilbert, Derick Hughes, Eric Martin, Kelly Moneymaker, Jenni Muldaur, Charles Reed, Paul Scott - backing vocals (10)
  • Dean Franke, Roberta Freier, Stephen Gehl, Nathan Rubin - strings (1)
  • Paul Brancato, John Tenney - strings (1, 8)
  • Stefan Hersh - strings (8)
  • The Dick Bright Strings - strings (8)
  • Narada Michael Walden - choirmaster (10)

Charts

[edit]

Album - Billboard

Year Chart Position
1989 The Billboard 200[6] 102

Singles - Billboard

Year Single Chart Position
1989 "The Want of a Nail" Mainstream Rock Tracks[6] 15

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Nearly Human

View on Grokipedia
from Grokipedia
Nearly Human is the twelfth studio album by American , released on May 18, 1989, by Warner Bros. Records. It marked Rundgren's return to recording after a four-year hiatus since his previous album, (1985), and features ten tracks blending , , and R&B influences. The album was to tape without overdubs at in , and The Plant in , employing an old-school approach with a large ensemble that included guest appearances by on "The Want of a Nail" and members of on "Can't Stop Running." Rundgren produced and arranged the project under Alchemedia Productions, with mixing at Utopia Sound and mastering at Sterling Sound. Lyrically, Nearly Human explores themes of self-doubt, loss, jealousy, and spiritual recovery, reflecting Rundgren's personal experiences during his break from music. Critically, the album received favorable reviews for its soulful production and Rundgren's vocal performances, often hailed as a return to form in and compared to classic R&B works. Standout tracks include the gospel-inspired opener "The Want of a Nail," the "," and a cover of Elvis Costello's "Two Little Hitlers." The release was supported by a tour featuring an 11-piece band, captured in the 1990 Nearly Human Tour Japan '90.

Background and composition

Development

Following the release of his experimental 1985 album , which utilized synthesizers to simulate an all-vocal sound, 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. This period marked a deliberate pause from his more solo endeavors, setting the stage for Nearly Human as his return to rock-oriented material in 1989. 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. These introspective themes reflected a phase of emotional following personal challenges. A key aspect of the project's development was Rundgren's first major collaboration with vocalist Michele Gray, a former dancer with , who contributed backing vocals and assisted in organizing the sessions; the two later married in 1990. To achieve a more organic sound, Rundgren opted to reunite select members of his band —including bassist , drummer , and keyboardist Roger Powell—for a live-band recording method, emphasizing group interplay over his previous solo experimentation. 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.

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. 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. Central to the album's lyrical content are themes of loss, self-doubt, , , and spiritual recovery, often exploring the fragility of human connections and existential questioning. For instance, "The Want of a Nail" delves into and , using a gospel-like call-and-response structure to convey how minor oversights can cascade into profound personal loss, echoing the ancient "for want of a nail, the shoe was lost." Similarly, "Parallel Lines" examines and the pain of through imagery of kindred spirits trapped on diverging paths, unable to reconnect despite their proximity. This track originated as part of Rundgren's unproduced 1980s musical theater project Up Against It, an adaptation of Joe Orton's , where it served as a poignant on doomed relationships; Rundgren re-recorded it for Nearly Human to integrate seamlessly with the album's narrative of emotional turmoil. 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.

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 in , and one track captured at The Plant in . 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. 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 . The core band, including a reunion with members 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. The album was recorded live to tape without overdubs, capturing authentic performances from the full ensemble, including guest vocalists such as and the Waters sisters, who participated in the studio sessions. 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. Editing took place at Conway Studio in Hollywood, , with mixing later at Rundgren's Utopia Sound studio in , allowing for final adjustments after the California tracking.

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 , Rob Beaton, and Tom Size. His hands-on role emphasized a return to collaborative, band-oriented production after more experimental solo efforts in the . A notable came from singer , 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 highlighted Rundgren's interest in blending genres, drawing on Womack's R&B roots to add depth to the album's introspective themes. The rhythm section drew from Rundgren's former band , with keyboardist Roger Powell, bassist , 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. This integration of Utopia alumni fostered a sense of continuity and reliability in the ensemble. Additional contributors expanded the sonic palette, including members of —keyboardist and drummer —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. 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. This method marked a shift from Rundgren's more digitally intensive projects, incorporating minimal digital effects to emphasize analog warmth and organic instrumentation.

Musical style

Genre and influences

Nearly Human is classified primarily as , incorporating significant elements of , R&B, and . This blend results in a sound characterized by and album rock styles, with sophisticated production that evokes the radio-friendly polish of late-1980s pop. The album represents Rundgren's evolution from the progressive rock experimentation of his Utopia era in the 1970s toward more accessible pop, emphasizing melodic hooks and structured arrangements over complex prog structures. Influences include , who inspired aspects of Rundgren's broader career in vocal layering and songcraft. 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 arena rock and pop trends. Soulful undertones permeate the record through the contributions of guest vocalist , whose backing on tracks like "The Want of a Nail" adds resonant depth and gospel-inflected call-and-response. This collaboration fuses Rundgren's eclectic pop sensibilities with Motown-like grooves and the grandeur of , drawing parallels to the sophisticated R&B of acts like and . The result is a "classy white-brat R&B" aesthetic that harks back to Rundgren's earlier influences while embracing contemporary soul revivalism.

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 , keyboards and synthesizers contributed by Roger Powell, Brent Bourgeois, and , bass from and Larry Tagg, and drums by and . Additional elements such as by Bobby Strickland, by Mike Rose and Paul Shaghoian, and by and Bruce Paine add horn accents to several tracks, while percussion from Prince and Michael Pluznick enhances rhythmic depth. Over 30 session vocalists, including and , provide layered harmonies throughout the album. 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 solos. Ballads feature lush, multi-layered vocal stacks that highlight Rundgren's direction, blending rock power with musical theater grandeur for emotional resonance. 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 . "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 arrangements with dense vocal harmonies for a sense of spiritual recovery. 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 that underscores themes of .

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. 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. 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.

Singles and marketing

The from Nearly Human, "The Want of a Nail", was released in 1989 and featured prominent vocals by soul singer . The track received radio airplay and was supported by an official showcasing Rundgren and Womack performing together. It marked Rundgren's final Billboard-charting single, reaching number 15 on the Mainstream Rock Tracks chart. A follow-up promotional single, the upbeat "Can't Stop Running", was issued as a in 1989 to further build radio momentum. efforts highlighted Rundgren's return to more accessible rock sounds after a four-year hiatus, positioning the as a blend of soulful pop and personal reflection. Promotion included targeted radio campaigns aimed at (AOR) stations to capitalize on the singles' commercial potential. Rundgren supported the release with a tour featuring an 11-piece band, backup singers, and guest performers, including alumni from collaborations like and Bourgeois Tagg, to showcase the album's layered arrangements live. Promotional events encompassed interviews where Rundgren discussed the album's themes of self-doubt, loss, and , alongside an electronic (EPK) for media outreach. Limited-edition promotional copies, such as a cassette version with additional , were distributed to industry insiders and radio programmers.

Packaging and editions

Artwork and variants

The cover art for Nearly Human depicts an imprint of a hand exhibiting , with six fingers, as a visual for the album's exploration of human imperfection. This design was created by himself, utilizing electronic image composition techniques at . The vinyl edition includes a custom inner sleeve containing lyrics, production credits, and 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. Standard variants of the original release differ primarily by region, with the pressing using catalog number 9 25881 for both vinyl and formats, while international editions employ 925 881, accompanied by minor variations in printing, matrix etchings, and barcode placements. Promotional copies distributed in the 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 's compact jewel case packaging, both incorporating the core artwork and essential textual components without additional enclosures.

Japanese edition

The Japanese edition of Nearly Human was released in 1989 by Records under catalog number 22P2-2719. This version retained the identical track listing to the standard international CD release, consisting of ten tracks produced by . A key modification in the addressed cultural sensitivities: the artwork was altered to depict a hand with five fingers rather than the original six. 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. These features catered to local fans, emphasizing Rundgren's cult following in Asia through import-focused distribution and promotional materials like release flyers.

Track listing

CD edition

The 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. This version includes all songs from the album without any bonus tracks in the original 1989 Warner Bros. pressing. 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.
  1. The Want of a Nail – 5:14
  2. The Waiting Game – 4:16
  3. Parallel Lines – 4:22
  4. Two Little Hitlers – 3:55
  5. Can't Stop Running – 5:00
  6. Unloved Children – 4:03
  7. Fidelity – 4:39
  8. Feel It – 5:47
  9. Hawking – 6:51
  10. I Love My Life – 8:55

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. 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. 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. The grooves were optimized for analog playback fidelity, with a printed inner sleeve providing lyrics and credits.

Track listing

Side A
  1. "The Want of a Nail" – 5:14
  2. "The Waiting Game" – 4:16
  3. "" – 4:22
  4. "Unloved Children" – 4:03
  5. "Can't Stop Running" – 5:00
Side B
6. "" – 4:39
7. "Feel It" – 5:47
8. "Hawking" – 6:51
9. "I Love My Life" – 8:55

Personnel

Credits adapted from the album's and discography sources.

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

Technical

Critical reception

Contemporary reviews

Upon its release in May 1989, Todd Rundgren's Nearly Human received largely positive reviews from critics, who praised its return to a more organic, band-driven sound after Rundgren's experimental phase with (1985). of described the album as a blend of , , and influences, delivered with Rundgren's characteristic "garage-brash" vocals, calling it "the best album of classy white-brat R&B since 1973’s " by . Fricke highlighted the boisterous opener "The Want of a Nail," featuring a duet with that added gospel-infused energy, and commended ballads like "Hawking" and "Feel It" for their captivating melodies and harmonies, though he noted the "Reverend Todd" persona in "I Love My Life" felt somewhat forced. In Trouser Press, Bill Kopp applauded the album's straightforward approach, recorded live in the studio with minimal overdubs by a talented ensemble including Vince Welnick, Prairie Prince, and Bobby Womack, which recaptured the energetic feel of Rundgren's 1970s work like Hermit of Mink Hollow (1978). Kopp specifically praised tracks such as "The Want of a Nail" and the uplifting "I Love My Life" for their rousing, anthemic quality reminiscent of "Just One Victory," as well as the improved cover of "Feel It" (originally by the Tubes), while acknowledging the album's eclectic mix of styles from the Up Against It musical. Critics commonly lauded the album's accessibility and emotional depth, with melodic hooks and the Womack collaboration standing out as highlights that signaled Rundgren's most straightforward and "human" effort in years. The single "The Want of a Nail" peaked at No. 15 on Billboard's Mainstream Rock Tracks chart. Some reviewers, however, pointed to occasional uneven pacing amid the pop structures, though overall, the consensus viewed Nearly Human as a welcome revival of Rundgren's pop-rock roots.

Retrospective assessments

In the years following its release, Nearly Human has been reevaluated as one of Todd Rundgren's most underappreciated works, often cited for its soulful return to form amid his more experimental phases. Critics have noted its status as an overlooked gem in his catalog, blending robust R&B influences with rock energy in a way that feels fresh even decades later. Retrospective analyses, particularly around the album's 30th anniversary in 2019, highlight its enduring soul-rock fusion, achieved through live studio recordings with an 11-piece band and choir, eschewing overdubs for a raw, immediate sound. This approach showcased Rundgren's versatility, drawing on call-and-response in tracks like "The Want of a Nail" and theatrical grandeur in "Unloved Children," while addressing themes of loss and self-doubt that resonate beyond the pop landscape. The album's production foresight—capturing performances in single takes—has drawn praise in later assessments for its emotional depth and sonic lushness, positioning it as a bridge to Rundgren's subsequent efforts. For instance, it shares the expansive ensemble style of his 1991 follow-up 2nd Wind, marking an evolution toward more collaborative, band-driven introspection in his post-1980s output. Among critics and fans, consensus views Nearly Human as an underrated highlight that bridges the glossy pop of Rundgren's work with the more personal, reflective tone of his material, with its themes maintaining relevance in contemporary indie and soul-revival contexts.

Commercial performance

Chart positions

Nearly Human peaked at number 102 on the Billboard 200 chart during the week ending July 8, 1989. The , "The Want of a Nail" (featuring ), reached a peak position of number 15 on the Mainstream Rock Tracks chart in 1989, marking Rundgren's final entry on that chart. No other singles from the album charted on major charts, and the album itself did not achieve significant international success, with no top 100 placements on the or major European charts. This modest performance aligned with the album's focus on adult-oriented rock radio rather than broader pop appeal.

Sales and certifications

Nearly Human achieved modest commercial success upon release, with no certification from the (RIAA). Globally, the album recorded modest sales figures, receiving a boost from Todd Rundgren's dedicated fanbase in and . Its commercial performance was limited by scant mainstream radio airplay, even as it garnered some rock chart success, while post-release catalog sales proved stronger over time. In the , the album has accumulated streaming equivalents but remains without or status.

Legacy

Reissues and remasters

In the , Nearly Human became available for digital download and streaming, with a remastered version released in 2007 by Warner Bros. Records, featuring improved audio quality for platforms such as and subsequent services. This edition, labeled across tracks as the "2007 Remaster," enhanced dynamics and clarity while maintaining the original 10-song tracklist. In 2012, the album was reissued as part of a compilation set titled / Nearly Human / 2nd Wind by Edsel Records, pairing it with two other Rundgren albums from the late and early in a two-disc format. This release included bonus tracks for the companion albums but presented Nearly Human in its standard configuration. The saw renewed interest in physical formats through boutique reissues by Friday Music in collaboration with . In 2021, a remastered 180-gram vinyl edition was released, overseen by engineer Joe Reagoso, with limited special editions pressed on translucent orange and yellow vinyl, faithful to the original artwork and stereo mix. That same year, a deluxe CD edition followed, offering the remastered album in stereo along with three bonus tracks: a promo edit of "The Want of a Nail" and an interview. These pressings emphasized quality and accessibility for vinyl enthusiasts.

Cultural impact

Nearly Human marked a pivotal shift in Todd Rundgren's discography, serving as a transitional album that bridged his experimental phase—exemplified by the synthesizer-heavy (1985)—with the more mature, collaborative sound of his 1990s releases like 2nd Wind (1991). By recording the album live in the studio with a full band, Rundgren recaptured the energy of his earlier and rock works, influencing his subsequent emphasis on organic production and thematic depth in exploring human vulnerability. The album's blend of power pop and soul elements has inspired later artists in the genre, with Rundgren's multifaceted approach cited as a key influence on bands like , whose ornate arrangements echoed his innovative songcraft. Similarly, drew from Rundgren's piano-driven pop and falsetto harmonies, incorporating similar stylistic debts in their 1990s output. While covers of Nearly Human tracks remain limited, "The Want of a Nail" has been performed in collaborative settings, such as Rundgren's 2023 appearance on with , highlighting its enduring appeal in live soul contexts. The song's gospel-inspired structure has also appeared in fan-led tributes, underscoring the album's role in Rundgren's live performance legacy. In 2024, Rundgren appeared on a special episode of filmed in . Nearly Human's exploration of self-doubt, loss, and spiritual recovery has resonated in broader cultural discussions on and personal resilience, with its introspective lyrics offering a counterpoint to Rundgren's more whimsical earlier material. These themes align with ongoing conversations about emotional vulnerability in , as noted in analyses of his oeuvre. The album featured in archival footage from its 1988–1989 recording sessions at , shared in fan-oriented videos including recent restorations. Following Rundgren's 2021 Rock & Roll Hall of Fame induction, Nearly Human experienced renewed interest, including performances of most tracks from the during his "" , which utilized geofencing for localized streaming and drew significant archival attention. As of 2025, streaming numbers for the have increased, reflecting sustained fan engagement and its place in Rundgren's high-impact catalog.

References

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  53. https://www.forbes.com/sites/jimryan1/2021/02/28/todd-rundgren-on-curating-a-unique-livestream-experience-during-clearly-human-virtual-tour/
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