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* ''The Move'' (Music/TheMove) (1968)
* ''Shazam'' (Music/TheMove) (1970)
* ''Looking On'' (Music/TheMove) (1970)
* ''Message from the Country'' (Music/TheMove) (1971)
* ''Shazam'' (Music/TheMove) (1970)
* ''Looking On'' (Music/TheMove) (1970)
* ''Message from the Country'' (Music/TheMove) (1971)
to:
* ''The Move'' (Music/TheMove) (1968)
(1968) (A compilation of pop singles previously released by the band)
* ''Shazam'' (Music/TheMove)(1970)
(1970) (The Move's first deliberate album; an amalgam of psychedelic pop and hard rock)
* ''Looking On'' (Music/TheMove)(1970)
(1970) (A heavy psychedelic/hard rock album; Wood's first collaboration with Jeff Lynne)
* ''Message from the Country'' (Music/TheMove)(1971)(1971) (A more roots-rock influenced album, technically recorded concurrently with ELO's debut)
* ''Shazam'' (Music/TheMove)
* ''Looking On'' (Music/TheMove)
* ''Message from the Country'' (Music/TheMove)
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* ''ELO 2'' (Music/ElectricLightOrchestra) (1973)
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* ''ELO 2'' (Music/ElectricLightOrchestra) (1973)(1973) (Owing to his departure from the group, Wood is credited as playing on only two of the album's tracks)
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Changed line(s) 8,9 (click to see context) from:
Roy Wood (born 8 November 1946) is a British singer-songwriter and multi-instrumentalist, hailing from Birmingham and best known for his band Wizzard's undying 1973 Christmas hit, "I Wish It Could Be Christmas Everyday". However, there is a ''lot'' more to his career than that. Roy got his start as the creative lead of Music/TheMove, formed in 1965. After The Move came to an end in 1971, Roy, along with Jeff Lynne and Bev Bevan, went on to form Music/ElectricLightOrchestra, which in its initial incarnation was a ''very'' different band to the lush, Beatlesque pop band they became under Lynne's leadership, being much more raw, experimental and ProgressiveRock-influenced, as exemplified by their early single "10538 Overture". However, Roy's tenure in ELO was short-lived, only appearing on their first two albums, as CreativeDifferences between Wood and Lynne resulted in Wood departing partway through the sessions for ''ELO 2'' and forming the GlamRock band Wizzard.
to:
Roy Wood (born 8 November 1946) is a British singer-songwriter and multi-instrumentalist, hailing from Birmingham and best known for his band Wizzard's undying 1973 Christmas hit, "I Wish It Could Be Christmas Everyday". However, there is a ''lot'' more to his career than that. Roy got his start as the creative lead of Music/TheMove, formed in 1965. After The Move came to Initially a harder-edged blues band, Wood increasingly revamped the group into an end esoteric art-rock band employing a GenreRoulette of styles (chiefly psychedelia, boogie, doo-wop and, in 1971, Roy, along later years, heavy metal) adorned with intricate production. While several of The Move's singles were major hits (most notably the psychedelic pop tracks "Flowers in the Rain" and "Blackberry Way"), the group's revolving door of personnel (save for Wood and founding drummer Bev Bevan) gradually catalyzed the group's dissolution, despite the late addition of up-and-coming Birmingham guitarist and songwriter Jeff Lynne as a second creative lead in 1970. The following year, Roy, alongside Lynne and Bev Bevan, went on to form Music/ElectricLightOrchestra, which in its initial incarnation was a ''very'' different band to the lush, Beatlesque pop band they became under Lynne's leadership, being much more raw, experimental and ProgressiveRock-influenced, as specializing in rawer orchestral experimentation with an audible ProgressiveRock influence (as exemplified by their early single "10538 Overture". Overture"). Contrary to rumor, The Move was not dissolved upon ELO's foundation, but was retained as a side project and repository for Wood and Lynne's more "commercial" material. However, Roy's tenure in ELO was short-lived, only appearing on their first the increased ambition of both lead songwriters and the strain of operating two albums, as bands simultaneously sparked CreativeDifferences between Wood and Lynne resulted Lynne, resulting in Wood departing partway through the sessions for ''ELO 2'' and forming the GlamRock band Wizzard.
Wizzard; The Move would finally be dissolved upon his departure.
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After recording and releasing ''Boulders'', Roy moved full-time into working with Wizzard, and developed an interesting formula. The band's singles would all be catchy GlamRock, but their albums would be whatever Roy wanted them to be. Wizzard's first album, 1973's ''Wizzard Brew'', is a good example of this, being a Jazzy ProgressiveRock album that was pretty much completely unlike the singles the band was releasing at the time. Roy then decided to follow this up with something even more ambitious, a double album consisting of one disc of 50s RockAndRoll pastiches and another disc of experimental jazz-rock. Unfortunately, the label balked at this, instead releasing the Rock&Roll disc in 1974 as ''Introducing Eddy and the Falcons'', while the jazz-rock disc only saw release in 2000 under the name ''Main Street''.
to:
After recording and releasing ''Boulders'', Roy moved full-time into working with Wizzard, and developed an interesting formula. The band's singles (among them the enormously-successful "Angel Fingers", "See My Baby Jive" and "Christmas Everyday") would all be catchy GlamRock, comprise catchy, upbeat, Phil Spector-esque GlamRock with lushly-orchestrated production, but their albums would be whatever Roy wanted them to be. Wizzard's first album, 1973's ''Wizzard Brew'', is a good quintessential example of this, being a Jazzy lo-fi, experimental ProgressiveRock album amalgamating hard rock, freeform jazz, psychedelia and (yet again) '50s rock-and-roll that was pretty much completely unlike the singles the band was releasing at the time. Roy then decided to follow this up with something even more ambitious, a double album consisting of one disc of 50s RockAndRoll pastiches and another disc of experimental jazz-rock. Unfortunately, the label balked at this, instead releasing the Rock&Roll disc in 1974 as ''Introducing Eddy and the Falcons'', while the jazz-rock disc only saw release in 2000 under the name ''Main Street''.
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* OverlyLongTitle: "Why Does Such A Pretty Girl Sing Those Sad Songs"
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Up To Eleven is a defunct trope
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* IAmTheBand: Taken UpToEleven. On ''Boulders'', he plays ''every single instrument on every single track'', save for a harmonium on "Songs Of Praise".
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* IAmTheBand: Taken UpToEleven. On ''Boulders'', he plays ''every single instrument on every single track'', save for a harmonium on "Songs Of Praise".
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* SelfBackingVocalist: Roy takes this UpToEleven, by recording multiple different audio tracks from different positions away from the microphone, then altering the pitches and overdubbing, creating gospel-style vocals using only his own voice.
to:
* SelfBackingVocalist: Roy takes this UpToEleven, by recording records multiple different audio tracks from different positions away from the microphone, then altering the pitches and overdubbing, creating gospel-style vocals using only his own voice.
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[[caption-width-right:350:''"Well everyone you meet coming down the street just to see my baby jive!"'']]
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[[caption-width-right:350:''"Now and then, I look out my window, but my only world is songs that I see and hear."'']]
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In the meantime, Roy had recorded and released his first solo album, ''Boulders'', generally regarded as his best work, and bringing his GenreRoulette and NeoclassicalPunkZydecoRockabilly tendencies to the forefront, shifting from [[Music/TheBeachBoys Beach Boys]]-influenced BaroquePop, to folk, to 50s-style classic RockAndRoll, to gospel and then back again. Not only that, but Roy played nearly ''every single instrument'' on the album, including unusual instruments such as the Cittern or Bouzouki. ''Boulders'' was critically acclaimed, and has gone down in history as one of the underrated pop gems of TheSeventies.
to:
In the meantime, Roy had recorded and released his first solo album, ''Boulders'', generally regarded as his best work, and bringing his GenreRoulette and NeoclassicalPunkZydecoRockabilly tendencies to the forefront, shifting from [[Music/TheBeachBoys Beach Boys]]-influenced BaroquePop, to folk, to 50s-style classic RockAndRoll, to gospel and then back again. Not only that, but Roy played nearly ''every single instrument'' on the album, including unusual instruments such as the Cittern or Bouzouki. ''Boulders'' was critically acclaimed, and has gone down in history as one of the underrated pop gems of TheSeventies.
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Wizzard broke up in 1975, leaving Roy to start work on his next solo album, 1975's ''Mustard'', which was a much more ambitious and densely-produced album than the eccentric, homemade ''Boulders'', but was still an unusual album, showing that Roy's eclectic GenreRoulette and NeoclassicalPunkZydecoRockabilly sensibilities were still in full flow, with the title track being a pastiche of 1940s singers The Andrew Sisters, "Get On Down Home" being very Music/LedZeppelin-esque, and other tracks showing his love for 50s RockAndRoll and Music/TheBeachBoys. The album also makes heavy use of the bagpipes, and features Phil Everly of Music/TheEverlyBrothers on vocals on "Get On Down Home".
to:
Wizzard broke up in 1975, leaving Roy to start work on his next solo album, 1975's ''Mustard'', which was a much more ambitious and densely-produced album than the eccentric, homemade ''Boulders'', but was still an unusual album, showing that Roy's eclectic GenreRoulette and NeoclassicalPunkZydecoRockabilly sensibilities were still in full flow, with the title track being a pastiche of 1940s singers The Andrew Sisters, "Get On Down Home" being very Music/LedZeppelin-esque, and other tracks showing his love for 50s RockAndRoll and Music/TheBeachBoys. The album also makes heavy use of the bagpipes, and features Phil Everly of Music/TheEverlyBrothers on vocals on "Get On Down Home".
* GenreMashup: As the quote at the top of the page shows, Roy wanted to do ''everything''.
** A good example of this is his 1974 single "Goin' Down The Road", which can best be described as ''Scottish Reggae''.
** A good example of this is his 1974 single "Goin' Down The Road", which can best be described as ''Scottish Reggae''.
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* NeoclassicalPunkZydecoRockabilly: As the quote at the top of the page shows, Roy wanted to do ''everything''.
** A good example of this is his 1974 single "Goin' Down The Road", which can best be described as ''Scottish Reggae''.
** A good example of this is his 1974 single "Goin' Down The Road", which can best be described as ''Scottish Reggae''.
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TRS cleanup
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* SomethingCompletelyDifferent: The title track of ''Mustard'' is unusual, even by Roy Wood's standards, being an AffectionateParody of 1940s music. [[StylisticSuck It even has a similar tinny audio quality.]]
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* ContemptibleCover: ''Main Street'', which looks like it was hastily thrown together in photoshop. Fortunately, the rest of his album covers fall into DesignStudentsOrgasm.
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* EarWorm: All over the place, the man knows his way round a melody.
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Roy Wood (born 8 November 1946) is a British singer-songwriter and multi-instrumentalist, hailing from Birmingham and best known for his band Wizzard's undying 1973 Christmas hit, "I Wish It Could Be Christmas Everyday". However, there is a ''lot'' more to his career than that. Roy got his start as the creative lead of Music/TheMove, formed in 1965. After The Move came to an end in 1971, Roy, along with Jeff Lynne and Bev Bevan, went on to form Music/ElectricLightOrchestra, which in its initial incarnation was a ''very'' different band to the lush, Beatlesque pop band they became under Lynne's leadership, being much more raw, experimental and ProgressiveRock-influenced, as exemplified by their early single "10538 Overture". However, Roy's tenure in ELO was short-lived, only appearing on their first two albums, as creative differences between Wood and Lynne resulted in Wood departing partway through the sessions for ''ELO 2'' and forming the GlamRock band Wizzard.
to:
Roy Wood (born 8 November 1946) is a British singer-songwriter and multi-instrumentalist, hailing from Birmingham and best known for his band Wizzard's undying 1973 Christmas hit, "I Wish It Could Be Christmas Everyday". However, there is a ''lot'' more to his career than that. Roy got his start as the creative lead of Music/TheMove, formed in 1965. After The Move came to an end in 1971, Roy, along with Jeff Lynne and Bev Bevan, went on to form Music/ElectricLightOrchestra, which in its initial incarnation was a ''very'' different band to the lush, Beatlesque pop band they became under Lynne's leadership, being much more raw, experimental and ProgressiveRock-influenced, as exemplified by their early single "10538 Overture". However, Roy's tenure in ELO was short-lived, only appearing on their first two albums, as creative differences CreativeDifferences between Wood and Lynne resulted in Wood departing partway through the sessions for ''ELO 2'' and forming the GlamRock band Wizzard.
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* EchoingAcoustics: "See My Baby Jive" and especially "Angel Fingers" are influenced by the production style of Music/PhilSpector, so this is a given.
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''Mustard'', while critically acclaimed, was a commercial flop, and much like ''Boulders'' before it, has attained a reputation as an underrated lost classic. Roy's output began to slow after this, and particularly since the start of TheEighties, has largely focused on touring and performing out of disillusionment towards the music industry. However, his position as one of Britain's pop geniuses, albeit a relatively unsung one, remains secure.
to:
''Mustard'', while critically acclaimed, was a commercial flop, and much like ''Boulders'' before it, has attained a reputation as an underrated lost classic. Roy's output began to slow after this, and particularly since the start of TheEighties, has he's largely focused on touring and performing out of disillusionment towards the music industry. However, his position as one of Britain's pop geniuses, albeit a relatively unsung one, remains secure.
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* EverythingsLouderWithBagpipes: Roy is clearly fond of the bagpipes, and uses them on many of his albums, particularly from ''Mustard'' onwards.
** Notable examples include "Interlude" from ''Mustard'' and "Jimmy Lad" from ''On The Road Again''.
** Notable examples include "Interlude" from ''Mustard'' and "Jimmy Lad" from ''On The Road Again''.
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* DesignStudentsOrgasm: Many of his album covers, but especially ''Boulders'' and ''Mustard''.
* {{Disco}}: ''On The Road Again'' dabbles in this at times, most notably on "Dancin' At The Rainbow's End".
* {{Disco}}: ''On The Road Again'' dabbles in this at times, most notably on "Dancin' At The Rainbow's End".
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* DesignStudentsOrgasm: Many of his album covers, but especially ''Boulders'' and ''Mustard''.
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** ''Mustard'' delves into this genre at times, in addition to featuring a painting of him in full glam rock regalia on the album cover.
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In the meantime, Roy had recorded and released his first solo album, ''Boulders'', generally regarded as his best work, and bringing his GenreRoulette and NeoclassicalPunkZydecoRockabilly tendencies to the forefront, shifting from [[Music/TheBeachBoys Beach Boys]]-influenced BaroquePop, to folk, to 50s-style classic Rock&Roll, to gospel and then back again. Not only that, but Roy played nearly ''every single instrument'' on the album, including unusual instruments such as the Cittern or Bouzouki. ''Boulders'' was critically acclaimed, and has gone down in history as one of the underrated pop gems of TheSeventies.
After recording and releasing ''Boulders'', Roy moved full-time into working with Wizzard, and developed an interesting formula. The band's singles would all be catchy GlamRock, but their albums would be whatever Roy wanted them to be. Wizzard's first album, 1973's ''Wizzard Brew'', is a good example of this, being a Jazzy ProgressiveRock album that was pretty much completely unlike the singles the band was releasing at the time. Roy then decided to follow this up with something even more ambitious, a double album consisting of one disc of 50s Rock&Roll pastiches and another disc of experimental jazz-rock. Unfortunately, the label balked at this, instead releasing the Rock&Roll disc in 1974 as ''Introducing Eddy and the Falcons'', while the jazz-rock disc only saw release in 2000 under the name ''Main Street''.
Wizzard broke up in 1975, leaving Roy to start work on his next solo album, 1975's ''Mustard'', which was going to be much
!!''Any old trope will do'':
After recording and releasing ''Boulders'', Roy moved full-time into working with Wizzard, and developed an interesting formula. The band's singles would all be catchy GlamRock, but their albums would be whatever Roy wanted them to be. Wizzard's first album, 1973's ''Wizzard Brew'', is a good example of this, being a Jazzy ProgressiveRock album that was pretty much completely unlike the singles the band was releasing at the time. Roy then decided to follow this up with something even more ambitious, a double album consisting of one disc of 50s Rock&Roll pastiches and another disc of experimental jazz-rock. Unfortunately, the label balked at this, instead releasing the Rock&Roll disc in 1974 as ''Introducing Eddy and the Falcons'', while the jazz-rock disc only saw release in 2000 under the name ''Main Street''.
Wizzard broke up in 1975, leaving Roy to start work on his next solo album, 1975's ''Mustard'', which was going to be much
!!''Any old trope will do'':
to:
In the meantime, Roy had recorded and released his first solo album, ''Boulders'', generally regarded as his best work, and bringing his GenreRoulette and NeoclassicalPunkZydecoRockabilly tendencies to the forefront, shifting from [[Music/TheBeachBoys Beach Boys]]-influenced BaroquePop, to folk, to 50s-style classic Rock&Roll, RockAndRoll, to gospel and then back again. Not only that, but Roy played nearly ''every single instrument'' on the album, including unusual instruments such as the Cittern or Bouzouki. ''Boulders'' was critically acclaimed, and has gone down in history as one of the underrated pop gems of TheSeventies.
After recording and releasing ''Boulders'', Roy moved full-time into working with Wizzard, and developed an interesting formula. The band's singles would all be catchy GlamRock, but their albums would be whatever Roy wanted them to be. Wizzard's first album, 1973's ''Wizzard Brew'', is a good example of this, being a Jazzy ProgressiveRock album that was pretty much completely unlike the singles the band was releasing at the time. Roy then decided to follow this up with something even more ambitious, a double album consisting of one disc of 50sRock&Roll RockAndRoll pastiches and another disc of experimental jazz-rock. Unfortunately, the label balked at this, instead releasing the Rock&Roll disc in 1974 as ''Introducing Eddy and the Falcons'', while the jazz-rock disc only saw release in 2000 under the name ''Main Street''.
Wizzard broke up in 1975, leaving Roy to start work on his next solo album, 1975's ''Mustard'', which wasgoing a much more ambitious and densely-produced album than the eccentric, homemade ''Boulders'', but was still an unusual album, showing that Roy's eclectic GenreRoulette and NeoclassicalPunkZydecoRockabilly sensibilities were still in full flow, with the title track being a pastiche of 1940s singers The Andrew Sisters, "Get On Down Home" being very Music/LedZeppelin-esque, and other tracks showing his love for 50s RockAndRoll and Music/TheBeachBoys. The album also makes heavy use of the bagpipes, and features Phil Everly of Music/TheEverlyBrothers on vocals on "Get On Down Home".
''Mustard'', while critically acclaimed, was a commercial flop, and much like ''Boulders'' before it, has attained a reputation as an underrated lost classic. Roy's output began tobe much
slow after this, and particularly since the start of TheEighties, has largely focused on touring and performing out of disillusionment towards the music industry. However, his position as one of Britain's pop geniuses, albeit a relatively unsung one, remains secure.
!!''Any old trope willdo'': do'':
* TheCameo: Phil Everly of Music/TheEverlyBrothers on "Get On Down Home".
After recording and releasing ''Boulders'', Roy moved full-time into working with Wizzard, and developed an interesting formula. The band's singles would all be catchy GlamRock, but their albums would be whatever Roy wanted them to be. Wizzard's first album, 1973's ''Wizzard Brew'', is a good example of this, being a Jazzy ProgressiveRock album that was pretty much completely unlike the singles the band was releasing at the time. Roy then decided to follow this up with something even more ambitious, a double album consisting of one disc of 50s
Wizzard broke up in 1975, leaving Roy to start work on his next solo album, 1975's ''Mustard'', which was
''Mustard'', while critically acclaimed, was a commercial flop, and much like ''Boulders'' before it, has attained a reputation as an underrated lost classic. Roy's output began to
!!''Any old trope will
* TheCameo: Phil Everly of Music/TheEverlyBrothers on "Get On Down Home".
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* NeoClassicalPunkZydecoRockabilly: As the quote at the top of the page shows, Roy wanted to do ''everything''.
to:
* NeoClassicalPunkZydecoRockabilly: NeoclassicalPunkZydecoRockabilly: As the quote at the top of the page shows, Roy wanted to do ''everything''.
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* NewSoundAlbum: ''[[PunctuatedForEmphasis All. The. Time.]]''
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Changed line(s) 10,13 (click to see context) from:
In the meantime, Roy had recorded and released his first solo album, ''Boulders'', generally regarded as his best work, and bringing his GenreRoulette and NeoclassicalPunkZydecoRockabilly tendencies to the forefront, shifting from [[Music/TheBeachBoys Beach Boys]]-influenced BaroquePop, to folk, to 50s-style classic Rock 'N' Roll, to gospel and then back again. Not only that, but Roy played nearly ''every single instrument'' on the album, including unusual instruments such as the Cittern or Bouzouki. ''Boulders'' was critically acclaimed, and has gone down in history as one of the underrated pop gems of TheSeventies.
After recording and releasing ''Boulders'', Roy moved full-time into working with Wizzard, and developed an interesting formula. The band's singles would all be catchy GlamRock, but their albums would be whatever Roy wanted them to be. Wizzard's first album, 1973's ''Wizzard Brew'', is a good example of this, being a Jazzy ProgressiveRock album that was pretty much completely unlike the singles the band was releasing at the time.
After recording and releasing ''Boulders'', Roy moved full-time into working with Wizzard, and developed an interesting formula. The band's singles would all be catchy GlamRock, but their albums would be whatever Roy wanted them to be. Wizzard's first album, 1973's ''Wizzard Brew'', is a good example of this, being a Jazzy ProgressiveRock album that was pretty much completely unlike the singles the band was releasing at the time.
to:
In the meantime, Roy had recorded and released his first solo album, ''Boulders'', generally regarded as his best work, and bringing his GenreRoulette and NeoclassicalPunkZydecoRockabilly tendencies to the forefront, shifting from [[Music/TheBeachBoys Beach Boys]]-influenced BaroquePop, to folk, to 50s-style classic Rock 'N' Roll, Rock&Roll, to gospel and then back again. Not only that, but Roy played nearly ''every single instrument'' on the album, including unusual instruments such as the Cittern or Bouzouki. ''Boulders'' was critically acclaimed, and has gone down in history as one of the underrated pop gems of TheSeventies.
After recording and releasing ''Boulders'', Roy moved full-time into working with Wizzard, and developed an interesting formula. The band's singles would all be catchy GlamRock, but their albums would be whatever Roy wanted them to be. Wizzard's first album, 1973's ''Wizzard Brew'', is a good example of this, being a Jazzy ProgressiveRock album that was pretty much completely unlike the singles the band was releasing at the time. \n Roy then decided to follow this up with something even more ambitious, a double album consisting of one disc of 50s Rock&Roll pastiches and another disc of experimental jazz-rock. Unfortunately, the label balked at this, instead releasing the Rock&Roll disc in 1974 as ''Introducing Eddy and the Falcons'', while the jazz-rock disc only saw release in 2000 under the name ''Main Street''.
Wizzard broke up in 1975, leaving Roy to start work on his next solo album, 1975's ''Mustard'', which was going to be much
After recording and releasing ''Boulders'', Roy moved full-time into working with Wizzard, and developed an interesting formula. The band's singles would all be catchy GlamRock, but their albums would be whatever Roy wanted them to be. Wizzard's first album, 1973's ''Wizzard Brew'', is a good example of this, being a Jazzy ProgressiveRock album that was pretty much completely unlike the singles the band was releasing at the time.
Wizzard broke up in 1975, leaving Roy to start work on his next solo album, 1975's ''Mustard'', which was going to be much
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* PromotedFanboy: Roy is a big fan of Music/BrianWilson and considers him to be one of his main influences. In 1976 he was able to perform saxophone on their single "It's OK" from their album ''15 Big Ones''.
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Roy Wood is a British singer-songwriter and multi-instrumentalist, hailing from Birmingham and best known for his band Wizzard's undying 1973 Christmas hit, "I Wish It Could Be Christmas Everyday". However, there is a ''lot'' more to his career than that. Roy got his start as the creative lead of Music/TheMove, formed in 1965. After The Move came to an end in 1971, Roy, along with Jeff Lynne and Bev Bevan, went on to form Music/ElectricLightOrchestra, which in its initial incarnation was a ''very'' different band to the lush, beatlesque pop band they became under Lynne's leadership, being much more raw and experimental
to:
Roy Wood is a British singer-songwriter and multi-instrumentalist, hailing from Birmingham and best known for his band Wizzard's undying 1973 Christmas hit, "I Wish It Could Be Christmas Everyday". However, there is a ''lot'' more to his career than that. Roy got his start as the creative lead of Music/TheMove, formed in 1965. After The Move came to an end in 1971, Roy, along with Jeff Lynne and Bev Bevan, went on to form Music/ElectricLightOrchestra, which in its initial incarnation was a ''very'' different band to the lush, beatlesque Beatlesque pop band they became under Lynne's leadership, being much more raw raw, experimental and experimentalProgressiveRock-influenced, as exemplified by their early single "10538 Overture". However, Roy's tenure in ELO was short-lived, only appearing on their first two albums, as creative differences between Wood and Lynne resulted in Wood departing partway through the sessions for ''ELO 2'' and forming the GlamRock band Wizzard.
In the meantime, Roy had recorded and released his first solo album, ''Boulders'', generally regarded as his best work, and bringing his GenreRoulette and NeoclassicalPunkZydecoRockabilly tendencies to the forefront, shifting from [[Music/TheBeachBoys Beach Boys]]-influenced BaroquePop, to folk, to 50s-style classic Rock 'N' Roll, to gospel and then back again. Not only that, but Roy played nearly ''every single instrument'' on the album, including unusual instruments such as the Cittern or Bouzouki. ''Boulders'' was critically acclaimed, and has gone down in history as one of the underrated pop gems of TheSeventies.
After recording and releasing ''Boulders'', Roy moved full-time into working with Wizzard, and developed an interesting formula. The band's singles would all be catchy GlamRock, but their albums would be whatever Roy wanted them to be. Wizzard's first album, 1973's ''Wizzard Brew'', is a good example of this, being a Jazzy ProgressiveRock album that was pretty much completely unlike the singles the band was releasing at the time.
!!''Any old trope will do'':
* GenreRoulette: He has a tendency to switch genres enough to give you whiplash. Most prominent on ''Boulders'', but appears throughout all his work.
* GlamRock: Wizzard was Roy's glam rock phase, at least on their singles.
* NeoClassicalPunkZydecoRockabilly: As the quote at the top of the page shows, Roy wanted to do ''everything''.
** A good example of this is his 1974 single "Goin' Down The Road", which can best be described as ''Scottish Reggae''.
* ReclusiveArtist: Pretty shy and rarely gives interviews. Does tour quite frequently though.
In the meantime, Roy had recorded and released his first solo album, ''Boulders'', generally regarded as his best work, and bringing his GenreRoulette and NeoclassicalPunkZydecoRockabilly tendencies to the forefront, shifting from [[Music/TheBeachBoys Beach Boys]]-influenced BaroquePop, to folk, to 50s-style classic Rock 'N' Roll, to gospel and then back again. Not only that, but Roy played nearly ''every single instrument'' on the album, including unusual instruments such as the Cittern or Bouzouki. ''Boulders'' was critically acclaimed, and has gone down in history as one of the underrated pop gems of TheSeventies.
After recording and releasing ''Boulders'', Roy moved full-time into working with Wizzard, and developed an interesting formula. The band's singles would all be catchy GlamRock, but their albums would be whatever Roy wanted them to be. Wizzard's first album, 1973's ''Wizzard Brew'', is a good example of this, being a Jazzy ProgressiveRock album that was pretty much completely unlike the singles the band was releasing at the time.
!!''Any old trope will do'':
* GenreRoulette: He has a tendency to switch genres enough to give you whiplash. Most prominent on ''Boulders'', but appears throughout all his work.
* GlamRock: Wizzard was Roy's glam rock phase, at least on their singles.
* NeoClassicalPunkZydecoRockabilly: As the quote at the top of the page shows, Roy wanted to do ''everything''.
** A good example of this is his 1974 single "Goin' Down The Road", which can best be described as ''Scottish Reggae''.
* ReclusiveArtist: Pretty shy and rarely gives interviews. Does tour quite frequently though.
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Roy Wood is a British singer-songwriter and multi-instrumentalist, hailing from Birmingham and best known for his band Wizzard's undying 1973 Christmas hit, "I Wish It Could Be Christmas Everyday". However, there is a ''lot'' more to his career than that. Roy got his start as the creative lead of Music/TheMove, formed in 1965.
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Roy Wood is a British singer-songwriter and multi-instrumentalist, hailing from Birmingham and best known for his band Wizzard's undying 1973 Christmas hit, "I Wish It Could Be Christmas Everyday". However, there is a ''lot'' more to his career than that. Roy got his start as the creative lead of Music/TheMove, formed in 1965. After The Move came to an end in 1971, Roy, along with Jeff Lynne and Bev Bevan, went on to form Music/ElectricLightOrchestra, which in its initial incarnation was a ''very'' different band to the lush, beatlesque pop band they became under Lynne's leadership, being much more raw and experimental
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->''"Roy Wood loved pop. He was a super-fan. He wanted to be all of pop, all at the same time."''
-->-- "'''Yeah Yeah Yeah: The Story of Modern Pop'''", ''Bob Stanley'', 2013
-->-- "'''Yeah Yeah Yeah: The Story of Modern Pop'''", ''Bob Stanley'', 2013
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->''"Roy Wood loved pop. He was a super-fan. He wanted to be all of pop, all at the same time."''
-->-- "'''Yeah Yeah Yeah: The Story of Modern Pop'''", ''Bob Stanley'', 2013
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Roy Wood is a British singer-songwriter and multi-instrumentalist, hailing from Birmingham and best known for his band Wizzard's undying 1973 Christmas hit, "I Wish It Could Be Christmas Everyday". However, there is a ''lot'' more to his career than
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[[caption-width-right:''"I've been wasting my chances too, you know any old time will do."'']]
Roy Wood is a British singer-songwriter and multi-instrumentalist, hailing from Birmingham and best known for his band Wizzard's undying 1973 Christmas hit, "I Wish It Could Be Christmas Everyday". However, there is a ''lot'' more to his careerthanthan that. Roy got his start as the creative lead of Music/TheMove, formed in 1965.
[[caption-width-right:''"I've been wasting my chances too, you know any old time will do."'']]
Roy Wood is a British singer-songwriter and multi-instrumentalist, hailing from Birmingham and best known for his band Wizzard's undying 1973 Christmas hit, "I Wish It Could Be Christmas Everyday". However, there is a ''lot'' more to his career
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Added DiffLines:
->''"Roy Wood loved pop. He was a super-fan. He wanted to be all of pop, all at the same time."''
-->-- "'''Yeah Yeah Yeah: The Story of Modern Pop'''", ''Bob Stanley'', 2013
Roy Wood is a British singer-songwriter and multi-instrumentalist, hailing from Birmingham and best known for his band Wizzard's undying 1973 Christmas hit, "I Wish It Could Be Christmas Everyday". However, there is a ''lot'' more to his career than
-->-- "'''Yeah Yeah Yeah: The Story of Modern Pop'''", ''Bob Stanley'', 2013
Roy Wood is a British singer-songwriter and multi-instrumentalist, hailing from Birmingham and best known for his band Wizzard's undying 1973 Christmas hit, "I Wish It Could Be Christmas Everyday". However, there is a ''lot'' more to his career than
