Roy Wood's songwriting legacy is a testament to his creative genius and innovative approach to music. Among his vast discography, here are 20 tracks that showcase his skill as a songwriter and performer.
One of these lesser-known gems is Ayshea, which was written by Roy Wood for his girlfriend Ayshea Brough in 1973. This song demonstrates Wood's idiosyncratic pop skills and kitchen-sink approach to arrangement. The combination of kettle drums, oboe, and catchy melody makes this a standout track.
Another notable song is Me and You (1989), a collaboration between Roy Wood and Jeff Lynne that never saw the light of day as an ELO release. This tantalizing glimpse into what the duo might have sounded like had Wood never left showcases their creative potential.
Wizzard's Indiana Rainbow, recorded in 1976 for the rejected Main Street album, is another notable track. Grafting a charming big band-influenced arrangement onto a thunderous dancefloor-adjacent drumbeat creates music that sounds surprisingly like the disco-swing hybrid of Dr Buzzard's Original Savannah Band.
The Move's Brontosaurus (1970) exemplifies Wood's proto-metal sound, yet it still packs a great pop melody. This track highlights his versatility as a songwriter and his ability to blend different styles.
Wizzard's Meet Me at the Jailhouse (1973), an 13-minute centrepiece on their album Wizzard Brew, showcases the band's experimental side. The song shifts between heavy riffing and rhythmless free jazz improv, featuring bracingly angular guitar shredding.
Roy Wood's solo track Why Does Such a Pretty Girl Sing Those Sad Songs (1975) is a beautiful Beach Boys homage. This luscious and melancholic song demonstrates Wood's mastery of melody and his ability to evoke emotion through music.
The Move's Hello Susie (1970) features the band's baroque pop sound, with Byrds-y jangle, incredible vocal harmonies, and twanging Duane Eddy guitar licks. This masterclass in pop songwriting is a standout track in The Move's discography.
Roy Wood's Songs of Praise (1973), written for the New Seekers as an Eurovision entry, showcases his ability to craft melodies that sound instantly familiar yet timeless.
Wizzard's Rock 'n' Roll Winter (Loony's Tune) (1974) offers a more subtle sequel to I Wish It Could Be Christmas Everyday. This song features a wistful optimism and a kind of tinsel-festive atmosphere, with the cash register opening providing a winning speck of cynicism.
The Move's Wild Tiger Woman (1968), despite failing on the charts, is an incredibly exciting single that showcases their innovative sound. The combination of rock'n'roll influence, dense production, and fizzy overheated sound makes it sound less like a product of the late 60s than the glam era.
ELO's Look at Me Now (1971) features Wood's cello- and oboe-bedecked take on baroque classical music. This song represents a pivotal moment in ELO's history, showcasing Lynne and Wood's differing musical directions.
Wizzard's I Wish It Could Be Christmas Everyday (1973), the band's most iconic hit, is both a masterpiece and one of the maddest 70s chart toppers. With its super-popular chorus, teeming sonic maximalism, and unexpected key changes, this song remains a joyous classic.
Wizzard's Ball Park Incident (1972) is another standout track that showcases Wood's creative vision. The song features two drummers, umpteen brass and woodwind instruments, honky-tonk piano, and distorted guitars, creating a raw-throated vocal experience.
The Move's Blackberry Way (1968), an early hit for the band, features their baroque pop sound with Byrds-y jangle and incredible vocal harmonies. This song showcases Wood's ability to craft catchy melodies and poignant lyrics.
Roy Wood's Forever (1973) is a gorgeous, Beach Boys-inspired track that highlights his skill as a songwriter. The song features a loving blend of the Beach Boys' sound and Neil Sedaka's style.
The Move's I Can Hear the Grass Grow (1967), one of their psychedelic tracks, showcases the band's experimental side. This snarling, superior song about acid initiates undercutting "the people all in line" remains an awe-inspiring track.
Wizzard's See My Baby Jive (1973) is a brilliant pop song featuring a euphoric chorus and chaotic sonic maximalism. With its five-minute length and multiple key changes, this song represents the epitome of 70s chart toppers.
Overall, these tracks demonstrate Roy Wood's incredible range as a songwriter and performer, from psychedelic rock to baroque pop to catchy chart-toppers. His legacy is a testament to his innovative spirit and creative genius.
One of these lesser-known gems is Ayshea, which was written by Roy Wood for his girlfriend Ayshea Brough in 1973. This song demonstrates Wood's idiosyncratic pop skills and kitchen-sink approach to arrangement. The combination of kettle drums, oboe, and catchy melody makes this a standout track.
Another notable song is Me and You (1989), a collaboration between Roy Wood and Jeff Lynne that never saw the light of day as an ELO release. This tantalizing glimpse into what the duo might have sounded like had Wood never left showcases their creative potential.
Wizzard's Indiana Rainbow, recorded in 1976 for the rejected Main Street album, is another notable track. Grafting a charming big band-influenced arrangement onto a thunderous dancefloor-adjacent drumbeat creates music that sounds surprisingly like the disco-swing hybrid of Dr Buzzard's Original Savannah Band.
The Move's Brontosaurus (1970) exemplifies Wood's proto-metal sound, yet it still packs a great pop melody. This track highlights his versatility as a songwriter and his ability to blend different styles.
Wizzard's Meet Me at the Jailhouse (1973), an 13-minute centrepiece on their album Wizzard Brew, showcases the band's experimental side. The song shifts between heavy riffing and rhythmless free jazz improv, featuring bracingly angular guitar shredding.
Roy Wood's solo track Why Does Such a Pretty Girl Sing Those Sad Songs (1975) is a beautiful Beach Boys homage. This luscious and melancholic song demonstrates Wood's mastery of melody and his ability to evoke emotion through music.
The Move's Hello Susie (1970) features the band's baroque pop sound, with Byrds-y jangle, incredible vocal harmonies, and twanging Duane Eddy guitar licks. This masterclass in pop songwriting is a standout track in The Move's discography.
Roy Wood's Songs of Praise (1973), written for the New Seekers as an Eurovision entry, showcases his ability to craft melodies that sound instantly familiar yet timeless.
Wizzard's Rock 'n' Roll Winter (Loony's Tune) (1974) offers a more subtle sequel to I Wish It Could Be Christmas Everyday. This song features a wistful optimism and a kind of tinsel-festive atmosphere, with the cash register opening providing a winning speck of cynicism.
The Move's Wild Tiger Woman (1968), despite failing on the charts, is an incredibly exciting single that showcases their innovative sound. The combination of rock'n'roll influence, dense production, and fizzy overheated sound makes it sound less like a product of the late 60s than the glam era.
ELO's Look at Me Now (1971) features Wood's cello- and oboe-bedecked take on baroque classical music. This song represents a pivotal moment in ELO's history, showcasing Lynne and Wood's differing musical directions.
Wizzard's I Wish It Could Be Christmas Everyday (1973), the band's most iconic hit, is both a masterpiece and one of the maddest 70s chart toppers. With its super-popular chorus, teeming sonic maximalism, and unexpected key changes, this song remains a joyous classic.
Wizzard's Ball Park Incident (1972) is another standout track that showcases Wood's creative vision. The song features two drummers, umpteen brass and woodwind instruments, honky-tonk piano, and distorted guitars, creating a raw-throated vocal experience.
The Move's Blackberry Way (1968), an early hit for the band, features their baroque pop sound with Byrds-y jangle and incredible vocal harmonies. This song showcases Wood's ability to craft catchy melodies and poignant lyrics.
Roy Wood's Forever (1973) is a gorgeous, Beach Boys-inspired track that highlights his skill as a songwriter. The song features a loving blend of the Beach Boys' sound and Neil Sedaka's style.
The Move's I Can Hear the Grass Grow (1967), one of their psychedelic tracks, showcases the band's experimental side. This snarling, superior song about acid initiates undercutting "the people all in line" remains an awe-inspiring track.
Wizzard's See My Baby Jive (1973) is a brilliant pop song featuring a euphoric chorus and chaotic sonic maximalism. With its five-minute length and multiple key changes, this song represents the epitome of 70s chart toppers.
Overall, these tracks demonstrate Roy Wood's incredible range as a songwriter and performer, from psychedelic rock to baroque pop to catchy chart-toppers. His legacy is a testament to his innovative spirit and creative genius.
i mean, you got songs that are like super catchy pop hits (hello susie) and then other ones that are more experimental and psychedelic (i can hear the grass grow). but what really impresses me is how he could blend different styles - from baroque pop to proto-metal to beach boys-inspired melodies 
. anyhooo, if u haven't listened to his stuff yet, u gotta give it a shot!
It's pretty impressive.
The dude was a genius! I mean, have you heard Ayshea? That song is like nothing else 
. Anyway, these tracks show just how versatile the guy was as a songwriter and performer. He could do anything! 
I just love seeing all the hidden gems in Roy Wood's discography! It's like he was a musical chameleon, effortlessly blending different styles and genres into these incredible tracks 
. And can we talk about how ahead of his time ELO was? Jeff Lynne and Roy Wood's partnership is still giving us life today 
It's amazing how songs like Ayshea and Me and You (which was never released as an ELO track) still hold up today, showcasing Roy Wood's unique pop sensibilities. The way he blended different styles, from heavy riffing in Brontosaurus to Beach Boys-inspired melodies in Forever, is truly inspiring 
From Indiana Rainbow's big band vibes to Rock 'n' Roll Winter's tinsel-festive atmosphere, these tracks are the epitome of 70s excess and joy 
The fact that some of these songs have become iconic chart-toppers is just a testament to Roy Wood's genius as a songwriter and performer 
Who else loves revisiting these classic tracks? 
What's so interesting about the lesser-known gems of Roy Wood's discography? Is it because they highlight his unique songwriting skills or his collaborations with other artists? 
And what's up with the different directions of ELO in Look at Me Now (1971)? Was that just a musical evolution or something more? 