Roll Pussy", a song aimed at former Beatle John Lennon and so-called "limousine radicals". 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. 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." Wizard, at different points, incorporates prog, psychedelic rock, Broadway show tunes, bubblegum pop, and Philadelphia soul. Other influences were drawn from jazz and funk. Schuckett said that Rundgren often spoke of Ravel as his favorite classical composer at the time, although "I don't think Todd really listened to much funk, so [me and Moogy] were kind of showing him that stuff." 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." Harrison added that few artists in this period chose to emulate the Beach Boys' experiments due to the band's poor commercial standing. Overall, music writers have described Wizard as a work of progressive pop, psychedelia and avant-pop. 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. 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." In a 1973 interview, Rundgren suggested that he aimed to advance utopian ideals with the album, that Wizard was the first album not to rely on "complete songs" to determine feel, pacing, length, or mood, and that "[i]t may [someday] come to a point where people take rock and roll musicians more seriously than they take politicians." Elsewhere, in 1972, he