“We Gotta Get You a Woman” (Todd Rundgren)

Today’s classic song of the day is one that might seem a tad misogynistic at first glance, but it maybe isn’t. Or maybe it is. You be the judge.

The song is “We Gotta Get You a Woman” and it’s written and performed by Todd Rundgren. It initially appeared on the self-titled 1970 album by his band, Runt. Released as a single in October of 1970, the track peaked at #20 on the Billboard Hot 100 early the following year. It was his first hit record.

“We Gotta Get You a Woman” was inspired by Rundgren’s pal Paul Fishkin, who Todd used to hang out with in his so-called “post hanging days” in New York City. At the time, Mr. Fishkin had a notable difficulty finding himself a steady girlfriend, hence the bit about getting him a woman. Fishkin later became a successful manager, promoter, producer, and record company executive; he even dated Stevie Nicks for a time, so he made out okay.

Paul Fishkin with Stevie Nicks in 1977—he got himself a woman, after all.

Is the tune misogynistic? Well, there are lines like “They may be stupid but they sure are fun,” which certainly sounds a little misogynistic. Rundgren, however, tried to explain away that line, as follows:

“Just because I used the word ‘stupid,’ they think I was referring to women. I’m not referring to women, I’m talking about stupid little characteristics that people have.”

Sure, Todd. Sure.

In any case, “We Gotta Get You a Woman” is one catchy little piece of music making. The chorus is especially catchy, employing what I’ve always called the Carole King chord, using a iim7/V instead of a straight dominant V. The chords in the chorus go:

I – vim7 – iim7 – iim7/V
bVI Maj 9 – vimi7 – vm7 – iim7/V – V

That major 9 chord on the flatted seventh of the scale (it’s a Bb Maj 9 chord in the key of C major) is also kind of neat, as is the minor 7 chord on the fifth of the scale as part of that downward progression. It’s pleasing to the ear while being distinct and musically interesting.

I’m particularly fond of the way the song ends. Instead of repeating the chorus or fading out, Todd introduces a completely different motif for the very last line, putting a bit of an O. Henry touch to the thing. As he finishes telling his friend that they gotta find him a woman, he then pulls back the current and confides:

And when we’re through with you
We’ll find me one, too

Perfect.

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