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." Now relocated back to New York and experimenting with a host of psychedelic drugs, he began to think that the writing on Something/Anything? was largely formulaic and borne from laziness, and sought to create a "more eclectic and more experimental" follow-up album. His music tastes also started to lean toward the progressive rock of Frank Zappa, Yes, and the Mahavishnu Orchestra. In 2017, while giving a commencement speech at the Berklee College of Music, he described the record as: The sound and structure of Wizard was heavily informed by Rundgren's hallucinogenic experiences. It was envisioned 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. He said: "With drugs I could suddenly abstract my thought processes in a certain way, and I wanted to see if I could put them on a record. A lot of people recognized it as the dynamics of a psychedelic trip—it was almost like painting with your head." Rundgren and Moogy Klingman established a professional recording studio, Secret Sound, to accommodate the Wizard sessions. 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, although he maintained that the album still felt "kind of rushed through because the studio wasn't finished". Some of the other influences on the album included musical theater, jazz, and funk. A Wizard, a True Star was released in March 1973. 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. Its release coincided with the success of the "Hello It's Me" single, which gave Rundgren a reputation as a ballad singer, in marked contrast to the content on Wizard. Although critical reception to the album was mixed, Wizard became highly influential to musicians in the ensuing decades. In 2003, 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." In 2018, Pitchforks Sam Sodsky wrote