Английская Википедия:A Wizard, a True Star

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Шаблон:Use mdy dates Шаблон:Infobox album A Wizard, a True Star is the fourth studio album by American musician Todd Rundgren, released on March 2, 1973, by Bearsville Records. It marked a departure from his previous album, 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."Шаблон:Sfn[1]

The album was produced, engineered, and, with the exception of some tracks, entirely performed by Rundgren. 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. At the time of release, he stated that Wizard intended to advance utopian ideals; later, he said that the album had no definite meaning. No singles were issued from the album, as he wanted the tracks to be heard in the context of the LP. With 19 tracks, its nearly 56-minute runtime made it one of the longest single-disc LPs to date.

Upon release, A Wizard, a True Star received widespread critical acclaim, but sold poorly, reaching number 86 on the U.S. charts. 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. Their technologically ambitious stage show was cancelled after about two weeks on the road. A Wizard, a True Star has since been recognized for its influence on later generations of bedroom musicians.[1]

Background

In February 1972, Something/Anything? was issued as Todd Rundgren's third solo album, and his first credited under his own name.Шаблон:Sfn It included many songs that would become his best-known, as well as extended jams and studio banter. 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. Rundgren felt uncomfortable that descriptions also came to include "the male Carole King". "With all due respect to Carole King," he said, "It wasn't what I was hoping to create as a musical legacy for myself."Шаблон:Sfn

Rundgren returned to New York, and for the first time in his life, started experimenting with psychedelic drugs. To his recollection, this included DMT, mescaline, psilocybin, and possibly – but not certainly – LSD.Шаблон:SfnШаблон:Refn 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.Шаблон:Sfn His music tastes also had started to lean toward the progressive rock of Frank Zappa, Yes, and the Mahavishnu Orchestra.Шаблон:Sfn 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 [my songwriting habits] away and to absorb new ideas and to also hear the final product in a different way."[2] However, he "wasn't really aware, at that time, that I'd make such a radical shift".Шаблон:Sfn

Production

The sound and structure of Wizard was heavily informed by Rundgren's hallucinogenic experiences. He said, "It was very ADD ... and I wouldn't dwell on whether a musical idea was complete or not."Шаблон:Sfn Rundgren and keyboardist Moogy Klingman established a professional recording studio, Secret Sound, to accommodate the Wizard sessions. 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.Шаблон:Sfn 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."[3]

Two or three months were spent wiring the studio; the expenses were ultimately paid by the royalties gained from Something/Anything? and the $10,000 advance given to Klingman for his second solo album (Moogy II, co-produced by Rundgren).Шаблон:Sfn Rundgren remembered: "I have to say that, in some sense, A Wizard, a True Star was kind of rushed through because the studio wasn't finished. ... a lot of it seemed sorta ad hoc."Шаблон:Sfn According to Klingman, the studio equipment "was breaking down all the time" and was "barely held together with band-aids and bubble gum."Шаблон:Sfn They differed in their recollection of the first song recorded for the album. Rundgren thought it was "Sometimes I Don't Know What to Feel", whereas Klingman believed it was "International Feel".Шаблон:Sfn

Rundgren provided a host of instruments and equipment, including vibraphones, organs, keyboards, Fairchild equalizers, and his Stephens 16-track machine.Шаблон:Sfn Depending on the track, he played all of the instruments alone or with assistance from Moogy & the Rhythm Kingz, a band that included drummer John Siomos, keyboardist Ralph Schuckett, and bassist John Siegler.Шаблон:Sfn Rundgren encouraged the musicians to contribute any ideas they felt would benefit the music.Шаблон:Sfn According to Siegler, "when Todd needed guys to play on his record, we were already there. It was like a club. Secret Sound was our clubhouse, and suddenly Todd was the leader of the club."Шаблон:Sfn He said a typical session involved Rundgren arriving with a piece of music, written on piano or guitar and often untitled, to which the band would learn by ear and create charts if necessary. Vocals were not recorded until after a basic track was completed.Шаблон:Sfn Rundgren was also the sole engineer, as Klingman recounted, "he would go in the control room and set levels and come out and then he would run back in and adjust the levels. It was astonishing to watch, but that's how he liked to work."Шаблон:Sfn

Wizard was one of the longest single-disc LPs ever cut,[4] as its 55:56 playing time stretched the technical limits of how much music could fit on a vinyl record.[5] Each side is much longer than the typical 17 to 20 minutes of a typical album. Therefore, the groove spacing is narrower, causing a significant drop in volume and sound quality. Rundgren acknowledged this issue on the album's inner sleeve and advised listeners to turn up the volume on their speakers to compensate.[6] All of the album's recording was at Secret Sound, except "Just One Victory", which was recorded earlier at Advantage Studios.[7]Шаблон:Sfn

Style and concept

A Wizard, a True Star incorporates elements of prog, psychedelic rock, Broadway show tunes, bubblegum pop, and Philadelphia soul at different points in the album.[8] Other influences were drawn from jazz and funk; Schuckett said that Rundgren often spoke of Ravel as his favorite classical composer at the time before adding, "I don't think Todd really listened to much funk, so [me and Moogy] were kind of showing him that stuff."Шаблон:Sfn Overall, music writers have described Wizard as a work of progressive pop,[9] psychedelia,[3] avant-pop,[10][11] and R&B.[12]

Шаблон:Quote box

In the original liner notes, Rundgren explained of the album's title that he was "not a real star ... just a musical representative of certain human tendencies: the Quest for Knowledge and the Quest for Love."[7] Although he denied that the record should be considered a concept album,[13] Wizard was envisioned as a "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.Шаблон:Sfn

The album's first side is titled "The International Feel (In 8)".[7] Its tracks pivot radically between different musical moods and includes Rundgren's rendition of "Never Never Land", from the 1954 musical of Peter Pan,[14] as well as "Rock and Roll Pussy", a song aimed at former Beatle John Lennon and so-called "limousine radicals".Шаблон:SfnШаблон:Refn The other side, "A True Star", is mostly occupied by ballads, including a medley of the soul songs "I'm So Proud", "Ooh Baby Baby" and "La La Means I Love You.[14] He explained the meaning of the medley: "It's like opening up a hole in your memory and suddenly these memories – soul records you loved, say – start leaking out from who knows where. That's another aspect of psychedelic drugs sometimes, hearing and seeing things that wouldn't be familiar to you if you weren't so psychedelic. You suddenly see them differently and they convey a different meaning."Шаблон:Sfn

Musicologist Daniel Harrison likened Wizard to late 1960s Beach Boys work such as Smiley Smile, specifically in that the albums shared musical aspects such as "abrupt transitions, mixture of various pop styles, and unusual production effects."[15] Harrison added that few artists in this period chose to emulate the Beach Boys' experiments due to the band's poor commercial standing.[15] However, Rundgren said that adapting his sound to meet commercial expectations was never an issue for him since he already made "so much money from production", a rare luxury for an artist.[16] He recalled that Bearsville owner Albert Grossman, however, was "surprisingly" encouraging of Wizard. Klingman remembered Grossman walking in on a session of "Da Da Dali" and found Rundgren singing in an exaggerated Al Jolson voice while the band were purposely playing "all wrong notes", and yet "Albert didn't miss a beat. ... He just kept silent and nodded like everything was fine."Шаблон:Sfn

In a 1973 interview, Rundgren suggested that he aimed to advance utopian ideals with the album, and that Wizard was the first album not to rely on "complete songs" to determine feel, pacing, length, or mood. He then predicted that the public may eventually "take rock and roll musicians more seriously than they take politicians."[4] Elsewhere, in 1972, he claimed that "what I'm doing isn't even really music, because deep inside of me, what I want to do is much greater than music. Music is the way I understand how to communicate now ... but it will eventually have to go beyond that."[4] Music writer Bob Stanley commented that, with Wizard, Rundgren combined all his musical loves, such as "bits of Gershwin, Weimar cabaret and a fight between electronic dogs", into "a red-blooded synth stew".[12]

Packaging

Файл:Todd Rundgren A Wizzard A True Star.jpg
The original painting by Arthur Wood, before it was cut and cropped for various releases

Wizard was packaged in an unconventionally-shaped album cover.[17] The surrealistic painting on the front cover was designed by Arthur Wood.Шаблон:Sfn He included coded messages[18] in the image, which Rundgren referenced in a 2009 interview:

Шаблон:Blockquote

Also included within the die-cut album cover was a poem by Patti Smith, "Star Fever", written on an enlarged Band-Aid facsimile. It also included a postcard that implored the record owner to "send this card in and we'll put your name on the next record."Шаблон:Sfn Rundgren credited both of these features as Grossman's ideas.Шаблон:Sfn

Release and Utopia tour

Файл:Todd Rungreen.jpg
Rundgren performing with Utopia, circa 1976

A Wizard, a True Star was released on March 2, 1973Шаблон:Sfn and charted at number 86 on the Billboard 200.[19] At Rundgren's behest, no singles were issued from the album, as he wanted the tracks to be heard in the context of the LP.Шаблон:Sfn Its release coincided with the success of the "Hello It's Me" single. Bearsville executive Paul Fishkin spoke about the label's "bad luck with timing" and explained "Todd was off on his psychedelic adventure, and then a year later 'Hello' becomes a hit. At which point, we're up against Todd in a completely different mindspace ..."Шаблон:Sfn Rundgren refused to issue five more potential singles from Something/Anything?.[3] The album failed to chart in the UK.[14]

Шаблон:Quote box

Wizard marked the beginning of more experimental ventures that Rundgren further explored with the band Utopia.[20] As the album was scheduled for release, he prepared a technologically ambitious stage show with the newly formed group,Шаблон:Sfn his first official band since the Nazz.[4] The tour began in April and was cancelled after only a couple weeks on the road.Шаблон:Sfn

Once Rundgren was finished with other production duties, he began formulating plans for an improved configuration of Utopia, but first returned to Secret Sound to record the more synthesizer-heavy double album Todd, which was more material drawing on his hallucinogenic experiences.Шаблон:SfnШаблон:Refn "A Dream Goes on Forever", a song originally written for Wizard, was recorded for Todd.Шаблон:Sfn

Critical reception

Шаблон:Album ratings

Despite poor sales, Wizard received widespread critical acclaim.[21] Patti Smith wrote in her review for Creem: "Blasphemy even the gods smile on. Rock and roll for the skull. A very noble concept. Past present and tomorrow in one glance. Understanding through musical sensation. Todd Rundgren is preparing us for a generation of frenzied children who will dream in animation."[22] NMEШаблон:'s Nick Kent wrote that it was "a great record", praising its "versatility", and ended his review by saying it was "already destined to be one of my ten best-dressed of '73, and you deserve a kick in the pants if you don't purchase it."[23] Ron Ross of Phonograph Record deemed "Zen Archer" to be "Todd's most gorgeous single achievement yet" and said that the album "should stand as a final testament to the powerful musical and emotional emancipations of the 60s."[4] Playboy described it as "the usual maddening Rundgren smorgasbord", however, "[t]he first side is even more weird, incoherent, funny and, somehow, brilliant. Todd is surely not, as one of his titles would have it, 'Just Another Onionhead.'"[24] Jerry Gilbert of Sounds said the album was "truly amazing".[25]

The record elicited some mixed reactions.Шаблон:Sfn Billboard wrote: "Certainly an unusual LP from the singer/writer/producer, filled with varying vocal styles, strange sounds courtesy of Moogs and other exotic instruments, and fine songs from Rundgren and others. Set takes some time to grow, but ... FM stations should have a ball with this one.[17] Less favorably, CreemШаблон:'s Robert Christgau deemed Rundgren "a minor songwriter with major woman problems who's good with the board and has a sense of humor".[26] Rolling StoneШаблон:'s James Isaacs reviewed that it was "his most experimental, and annoying, effort to date ... I doubt that even the staunchest Rundgren cultists will want to subject themselves to most of the japery on side one, which would be better suited for a cartoon soundtrack. On the other hand, side two's restraint, its brimming good humor and its ambience of innocence is irresistible, and helps save A Wizard, A True Star from total disaster."[27]

Among retrospective assessments of Wizard, music journalist Barney Hoskyns called the record "the greatest album of all time ... a dizzying, intoxicating rollercoaster ride of emotions and genre mutations [that] still sounds more bravely futuristic than any ostensibly cutting-edge electro-pop being made in the 21st Century."[28]Шаблон:Refn In MusicHound Rock (1996), Christopher Scapelliti described Wizard as "a fascinating sonic collage that skews his pop-star image 180 degrees".[29] Evan Minsker of Pitchfork wrote it was "a trippy, constantly moving album that's as psychedelically detailed as it is (intentionally) creepy—not unlike the Sparks record he had recently helmed."[30] Sam Richards of The Guardian compared the album to be "harmonically richer and more ambitiously deranged than The White Album and prefigured Prince's Purple Rain by a decade."[8] Mojo editors deemed it "his finest hour."[14] In 2006, the album was included in the book 1001 Albums You Must Hear Before You Die.[31]

Conversely, Ben Sisario wrote in The Rolling Stone Album Guide (2004) that Wizard was "an endurance test of stylistic diversity, with just three fully realized songs ('Sometimes I Don't Know What to Feel,' 'International Feel,' and 'Just One Victory') stranded in the midst of so much half-baked sonic decoration."[32]

Influence and legacy

In 2017, Rundgren delivered a commencement speech to the Berklee College of Music in which he stated, in part: Шаблон:Blockquote

The album's musician admirers include Tame Impala[30] and the electronic bands Simian Mobile Disco, Daft Punk, and Hot Chip.[2] According to Stanley, the album's effervescent sound "predicted Prince in its playful R&B fizz, and a swathe of twenty-first-century electropop acts from the Avalanches to Hot Chip".[12] "International Feel" was prominently featured in Daft Punk's 2006 film Electroma.[30] In 2018, PitchforkШаблон:'s Sam Sodsky noted that the "fingerprints" of Wizard remain "evident on bedroom auteurs to this day, from Ariel Pink to Frank Ocean, who sampled its synths on 2016's Blonde."[1] Jellyfish and Imperial Drag co-founder Roger Joseph Manning Jr. praised the record for its unusual sound: "Stuff is distorting. Parts are panned all crazy; there’s so much nuttiness going on, but it ends up enhancing his songs because it adds that much more charm and character."[33]

There was no consideration to perform the album in its entirety at the time of release due to the difficulty in reproducing many of its sounds.[13] One song, "Just One Victory", did become a staple of Rundgren's concert performances as a closer. He later remarked that "People get pissed if we don't do it."Шаблон:Sfn In 2009, he toured Wizard for the first time, playing the album in its entirety. The concerts featured an elaborate theatrical effects and numerous costume changes.Шаблон:Sfn A second tour of the album was scheduled for 2020.[34]

Track listing

Шаблон:Track listing

Шаблон:Track listing

Personnel

Moogy & the Rhythm KingzШаблон:Sfn

Other musicians

Credits adapted from Mojo.[14]

Charts

Chart (1973) Peak
position
US Billboard 200 86[19]

Notes

Шаблон:Reflist

References

Шаблон:Reflist

Bibliography

Further reading

External links

Шаблон:Todd Rundgren

Шаблон:Authority control

Партнерские ресурсы
Криптовалюты
Магазины
Хостинг
Разное

  1. ↑ 1,0 1,1 1,2 Ошибка цитирования Неверный тег <ref>; для сносок pitchfork не указан текст
  2. ↑ 2,0 2,1 Шаблон:Cite web
  3. ↑ 3,0 3,1 3,2 Шаблон:Cite book
  4. ↑ 4,0 4,1 4,2 4,3 4,4 Шаблон:Cite web
  5. ↑ Шаблон:Cite book
  6. ↑ Шаблон:Cite AV media notes
  7. ↑ 7,0 7,1 7,2 Шаблон:Cite AV media notes
  8. ↑ 8,0 8,1 Шаблон:Cite web
  9. ↑ Шаблон:Cite book
  10. ↑ Шаблон:Cite magazine
  11. ↑ Шаблон:Cite web
  12. ↑ 12,0 12,1 12,2 Шаблон:Cite book
  13. ↑ 13,0 13,1 Шаблон:Cite web
  14. ↑ 14,0 14,1 14,2 14,3 14,4 Шаблон:Cite book
  15. ↑ 15,0 15,1 Шаблон:Cite book
  16. ↑ Шаблон:Cite web
  17. ↑ 17,0 17,1 Шаблон:Cite magazine
  18. ↑ Шаблон:Cite web
  19. ↑ 19,0 19,1 Шаблон:Cite web
  20. ↑ Ошибка цитирования Неверный тег <ref>; для сносок AMrev не указан текст
  21. ↑ Шаблон:Cite magazine
  22. ↑ "Todd's Electric Exploitation: Rock and Roll for the Skull," Creem, April 1973, p.56-57.
  23. ↑ Шаблон:Cite magazine
  24. ↑ Шаблон:Cite magazine
  25. ↑ Шаблон:Cite magazine
  26. ↑ Шаблон:Cite magazine
  27. ↑ Шаблон:Cite magazine
  28. ↑ Шаблон:Cite magazine
  29. ↑ Ошибка цитирования Неверный тег <ref>; для сносок MH не указан текст
  30. ↑ 30,0 30,1 30,2 Шаблон:Cite web
  31. ↑ Шаблон:Cite book
  32. ↑ Ошибка цитирования Неверный тег <ref>; для сносок Sisario не указан текст
  33. ↑ Шаблон:Cite web
  34. ↑ Шаблон:Cite web
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