Thomas Utopia

Utopia followed Swing to the Right, their first album for Elektra subsidiary Network, a mere six months after, dubbing the new album Utopia. Presumably, an eponymous release signaled a new beginning for the group, which is true to a certain extent. Utopia finally became a true collective here, with each member's contributions sounding remarkably similar, in performance and composition…

For much of the double-album Todd, Todd Rundgren was exploring weird instrumental avenues, creating a warped, synth-fueled variation of prog rock. This wasn't the culmination of the weirdness A Wizard, A True Star initiated – it was merely the beginning. Not long after completing Todd, Rundgren assembled Utopia, a prog rock group with no less than three synth players, plus guitar, bass and drums…

Utopia wandered into the wilderness with Deface the Music, losing much of the audience they won with Adventures in Utopia. If its follow-up Swing to the Right is any indication, the band didn't really care, since they doggedly pursue a weird fusion of new wave pop, arena rock, and soul, all spiked with social commentary…

For all their many attributes, Utopia was notoriously uneven on record. They were just as capable of turning out great pop tunes as they were to wander into meandering jams or directionless hard rock – and this applies not only to their earliest art rock records, but also to their mainstream pop/rock albums. That's what makes Rhino's Anthology (1974-1985) such a welcome addition to their catalog…

RA found Utopia moving away from the long, experimental instrumental jams that distinguished their first two albums, but what's surprising about it is how the group changed. Sure, the lineup was different but their approach changed on RA, as they moved away from prog rock and toward hard rock. In that regard, it makes sense that Rundgren's possessive has been stripped from Utopia's name, since the band no longer sounds like an indulgent spin-off of his own albums…