Over the course of 1977,
Todd Rundgren moved
Utopia toward a more pop-oriented direction, winding up with the slick mainstream arena rock of
Oops! Wrong Planet. With that in mind, it makes sense that
The Hermit of Mink Hollow -- his first full-fledged solo album since
Initiation, if you discount the half-cover/half-original
Faithful -- finds
Rundgren in his pop craftsman persona. The difference is, he's heartbroken. His relationship with
Bebe Buell collapsed during 1977 and it's clear that the separation has pained him, since pain and melancholy underpin the album, whether it's on ballads ("Can We Still Be Friends") or on apparently joyous revelries, like "All the Children Sing." That said, this is a
Rundgren solo album and he has not abandoned his trademarks, which means that the lush ballads are paired with novelties ("Onomatopoeia," which sounds exactly how you hope it does), ersatz soul ("You Cried Wolf"), and pure pop ("Hurting for You").
Hermit is also the first record
Rundgren recorded completely alone since
Something/Anything? Where that record sounded like the inner workings of a madman, with each song providing no indication what the next would sound like,
Hermit is more cohesive. It also feels less brilliant, even if it is, in many ways, nearly as excellent as
Rundgren's masterwork, mainly because it doesn't have such a wide scope. Still, the reason
The Hermit of Mink Hollow is such a milestone in
Rundgren's career is because it's a small album, filled with details, and easily the most emotional record he made.