After co-writing and co-producing the first ELO album and taking the adventurous unit on the road, Roy decided to look elsewhere for a fresh challenge and a new direction. Experimentation with a stage costume to represent The Move’s hit "Brontosaurus" eventually evolved into the delightfully fearsome "accident in a paintshop" appearance of Wizzard. 

Woody seemed to have heard the band’s sound in his head and interpreted it so boldly and literally with a visual image of wildly multi-coloured hair, bizarre face paint, and a dress sense that made Ziggy Stardust look subtle! The combined sight and sound of Wizzard was stunning; what the eyes could hear, the ears could see! Wizzard roared across the pop scene like Santa Claus on a Harley Davidson, scattering a well established musical sobriety in all directions.

Debuting in the charts at No. 4 with "Ball Park Incident", Wizzard followed up with two No. 1’s in "See My Baby Jive" and "Angel Fingers" and a Christmas classic that still sounds today as fresh as a snowflake! Meanwhile, Roy was enjoying hits under his own name and gave new meaning to the term "solo album" when he wrote, produced and played everything on the L.P., "Boulders". Recorded at Abbey Road, it further intrigued all the pop kids who had bought the "Wizzard Brew" L.P. expecting a dozen more cuts like the gloriously commercial "See My Baby Jive".

Musical schizophrenia pervaded everything Roy laid his hands upon, from the darkly whimsical "Dear Elaine" to the full blown jazz found on the Wizzard B-sides. Their "Top Of The Pops" appearances courted infamy. Gorillas, ballet dancers and angels-on-rollerskates cavorted with gay abandon whilst well-deserving DJ’s were the unsuspecting recipients of custard pies. Roy steered his band between the Spectorish "Wall Of Sound", through the brilliantly witty rock ’n roll pastiche of the "Eddy And The Falcons" L.P. to the be-bop influenced "Are You Ready To Rock?".

By the end of 1975, Roy had almost single-handedly created a total of eleven band and solo hit singles, two Wizzard albums, and added a second solo album, "Mustard". After enjoying one of the highest profiles on the music scene, contractual problems combined with a heavy dose of over-work led to a temporary slowing down process in which live work was abandoned, Wizzard disintegrated and record releases were less frequent.

The following two years were spent writing and recording for the next venture, The Wizzo Band, a large brass - based ensemble which released one  album and made it’s only appearance on T.V’s "Sight and Sound" concert series, showcasing jazz treatments of Roy’s songs. Around this time, Roy worked in America with Brian Wilson, playing sax on the Beach Boys album, "15 Big Ones", and also produced and played on Annie Haslam’s refreshingly varied L.P., "Annie in in Wonderland". 

Following a third solo album, "On The Road Again", which featured Led Zeppelin’s John Bonham on drums, Roy was responsible for the production on one of the decade’s liveliest albums, "Dart Attack", providing Darts with their most successful period.