Two or three months were spent wiring the studio the expenses were ultimately paid by the royalties gained from Rundgren's " Hello It's Me" single and the $10,000 advance given to Klingman for his second solo album ( Moogy II, co-produced by Rundgren). To this effect, he said, "I had the idea that a synthesizer was supposed to sound like a synthesizer, instead of sounding like strings or horns." Located at Manhattan's 24th Street, the studio was designed to Rundgren's specifications and was created so that he could freely indulge in sound experimentation without having to worry about hourly studio costs.
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and I wouldn't dwell on whether a musical idea was complete or not." Rundgren and keyboardist Moogy Klingman established a professional recording studio, Secret Sound, to accommodate the Wizard sessions. The sound and structure of Wizard was heavily informed by Rundgren's hallucinogenic experiences. He explained, "It wasn't like I suddenly threw away everything that I was doing before and decided that I was going to play the music of my mind", rather, the experiences allowed him "to actively put some of away and to absorb new ideas and to also hear the final product in a different way." However, he "wasn't really aware, at that time, that I'd make such a radical shift". His music tastes also had started to lean toward the progressive rock of Frank Zappa, Yes, and the Mahavishnu Orchestra. He began to think that the writing on Something/Anything? was largely formulaic and born from laziness, and sought to create a "more eclectic and more experimental" follow-up album. To his recollection, this included DMT, mescaline, psilocybin, and possibly – but not certainly – LSD. Rundgren returned to New York, and for the first time in his life, started experimenting with psychedelic drugs. "With all due respect to Carole King," he said, "It wasn't what I was hoping to create as a musical legacy for myself." Rundgren felt uncomfortable that descriptions also came to include "the male Carole King". After the album's success, critics hailed Rundgren as the spiritual successor to the 1960s studio experiments of the Beatles and the Beach Boys' Brian Wilson. It included many songs that would become his best-known, as well as extended jams and studio banter, such as the spoken-word track "Intro", in which he teaches the listener about recording flaws for an egg hunt-type game he calls "Sounds of the Studio". In February 1972, Something/Anything? was issued as Todd Rundgren's third solo album, and his first credited under his own name. A Wizard, a True Star has since been recognized for its influence on later generations of bedroom musicians. Their technologically ambitious stage show was cancelled after about two weeks on the road. According to Rundgren, "the result was a complete loss of about half of my audience at that point." To support the album, Rundgren formed a new group, Utopia, his first official band since the Nazz. Upon release, A Wizard, a True Star received widespread critical acclaim, but sold poorly, reaching number 86 on U.S. With 19 tracks, its nearly 56-minute runtime made it one of the longest single-disc LPs to date. No singles were issued from the album, as he wanted the tracks to be heard in the context of the LP.
At the time of release, he stated that Wizard intended to advance utopian ideals later, he said that the album had no definite meaning. He envisioned the record as a hallucinogenic-inspired "flight plan" with all the tracks seguing seamlessly into each other, starting with a "chaotic" mood and ending with a medley of his favorite soul songs. The album was produced, engineered, and, with the exception of some tracks, entirely performed by Rundgren. It marked a departure from his previous, Something/Anything? (1972), with its lesser reliance on straightforward pop songs, a development he attributed to his experimentation with psychedelic drugs and his realization of "what music and sound were like in my internal environment, and how different that was from the music I had been making."
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A Wizard, a True Star is the fourth album by American musician Todd Rundgren, released Maon Bearsville Records.
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