OOPS ! WRONG PLANET

Entering more definitively into the late-70s, Todd Rundgren's project Utopia had solidified into its formal 4-man lineup directly following their first with Ra. The changes seen here reflect numerous variables at play. Pop Rock was becoming heavier (Todd essentially the main force introducing American Power Pop to the world, years prior), Hard Rock was in turn becoming poppier and more radio-friendly, and clear here, years before the high-gloss of '80s Glam and Hair Metal, AOR (the vaguely termed Album-Oriented Rock radio-format-turned-maybe-genre) was ruling the charts. To my ears, there are still plenty of artful and progressive moments and signifiers throughout this and their next album, Adventures in Utopia (1980), both of which I've not listened through in a very long time. But also, in mentioning Ra, this being released the same year as that, their second, this album shows a pretty monumental shift in the band's sound. Tracks most similar, from there compared to here, if anything, are "Jealousy" and "Eternal Love", solid tracks in their own right, though signs of expected 'other' influence in the band. Todd Rundgren always wore his Philly Soul heart on his sleeve, for instance. It's over the top, but "Eternal Love" specifically is some of the shiniest, most wondrous (and, even then, progressive) love songs I know. He knows the inner workings of my heart haha. At least Oops! Wrong Planet possesses some of that same mysterious magic.

The whole affair kicks off with the very of-the-time AOR-style opener "Trapped", a track I've long been fond of. Lead vocals for verses are handled by bassist Kasim Sulton, providing his soft tenor before the solid, chugging heaviness of the choruses, lead vocally by Todd's well-matched, shredded yells. I think it's artful enough to please plenty here, although classic-era Proggers will likewise likely already be warned. Synth choices are plastic. If it matters that much to you, I would say this track resembles some of Styx's catalog around this same time. Nice, though, to get a searing guitar solo from Todd this early in the disc. Next, a reflection of those aforementioned 'other' influence, is the soft rock "Windows", written and lead by keyboardist Roger Powell. It's a lot less offensive than I remember--I'm sure I haven't heard this song in like 10 years haha--although, I'd rather listen to, I dunno, "You Can Do Magic" by latter-day, post-Peek America. It's a bit boring; they do a similar thing with significantly more success on the classic closer, "Love Is the Answer". The occasioned soloing from Todd and Roger are nice, but aren't gonna win you or me over any time soon.

Up next is the chunky, rootsy Rock of "Love in Action", a sort of familiar Pop Rock style Todd has dipped into throughout his career, e.g. Ra's "Jealousy", and from his solo material, "Slut", and "Is It My Name?". Although I haven't heard this song in years also, I have fonder feelings about it, for sure. It has a memorable and simple chorus, and the verses are nearly Glam-ready. I like it! Straight up sounding like the title of a contemporary Styx number is drummer John Wilcox's "Crazy Lady Blue", which honestly sounds like a B-side to any likewise-contemporary Billy Joel album [Genuinely, I'm actually a big fan of The Stranger, I feel I must add]. Decent chorus, featuring expectedly solid group vocals, but honestly not a track I've enjoyed returning to in years past; it's kinda boring? The post-chorus composition is vaguely neo-classical. But then we do have this more than delightful guitar solo I've utterly forgotten from Todd; kind of a special moment, surprisingly. Another ever-skipped is up next, "Back on the Street". Probably Kasim Sulton's weakest vocal performance on the first verse... The chorus is pretty alright, with a solid Rundgren melody, at least. I feel honestly, though, this song did continue to improve... For whatever it's now worth. You will definitely be able to identify this as Utopia haha /s.

One I played certainly more than the prior two is "The Marriage of Heaven and Hell"! The verse is solid Hard Rock Todd, and the chorus is actually the origin of our album's title. It's good, but nothing too special... But then this bridge!!! Sulton back in finer form, this is the reason I always returned to it... And as it goes, it just dips me into euphoric frisson (aside from the fact that this now counts as 'nostalgia' for me). It's a fun, light cabaret ballad thing. Then, I don't know what it could be exactly, but Mr. Rundgren was a master of writing these infectious, anthemic singalongs, which sort of acts as the bridge's second half. This song is followed by easily, and definitely, my favorite track of the whole, "The Martyr", again with the talented Kasim Sulton doing one of the things he's best at (ya know, along with prodigy-bassist-talent aplenty). The glassy guitar tone at the start is just... wow... This track booms, and it soars. I think it's got the f*ckin' knack, man. This specifically is the moment most resembling that special sort of magic that "Eternal Love" had. Another infectious chorus with excellent group vocals, another delicious bridge. At the end of the latter, Kasim's piercing falsetto on the final note lighty bleeds beautifully into lead guitar, not totally unreminiscent of that wonderful moment in Boston's "More Than A Feeling" from a year before this.

Roger Powell comes to try to cool us down on "Abandon City". I really like the rhythm here. The soulful, even funky, group vocals are lovely. These sorts of moments will be defined beforehand, based upon your own tastes. I know it's not gonna be for everyone. And honestly again, I'm pleasantly surprised hearing this now after so long. Funky, spunky keys through and through, and then in an even greater surprise to me, something I don't remember at all, Roger Powell then plays a frankly sizeable trumpet solo?! Just as depending-on-your-tastes is "Gangrene" up next, with John back on lead vox. This is literally "Jealousy 2.0" to my ears haha. This is like... Meatloaf. It's not really something I'm into. At least they're good at it?... They're good at schlock HA! Back into cool? Yes please! Next is the blue-eyed soulful "My Angel", in which Kasim and Todd trade lines. I forgot about this one hahaha. I like it; but I also like Todd in so many of his varied stripes. Hopefully people can look at tracks like this with at least respectful frames... This is so Philly Soul. So, also, speaking of whiteys, if you're a fan of earlier Hall & Oates, here's this track!

Coming to the close, we have the obviously terribly awkwardly named "Rape of the Young"... I'm sure the title is not the reason I seldom heard this one back when. But... it's actually a lot of fun! Like some of the material off of the AWATS medley, or Todd! Certainly bordering on the--to be completely transparent--Rock 'n Roll Boomer schlock that I abhor. It's faster. It's tastier. There's a sick guitar solo. I mean, I guess it's not rocket science why this works haha. And we are finally here, the Todd anthem to end all Todd anthems, the give-your-mama-chills ballad, "Love Is the Answer". I mean, this is a great song. England Dan & John Ford Coley had a big hit with their rendition.

Ummm... And that's all I have to say! This is an interesting album at an interesting time in popular music. It has its moments, but it also has its unfortunate markings of age. How progressive is the majority of this release? Not a whole lot. Some tasty flavorings here and there, some still rather interesting compositional moments throughout. It's for you to decide, but I certainly hope this can provide some direction [and from a millennial, too?].

True Rate: 2.75/5.00