Roy Wood (May 1972) Four‑Page Profile

Publication: Creem Magazine

Date: May 1, 1972

Country: USA

Section / Page: Feature – p.18 Format: Article / Artist Profile

Overview

A surreal, sharp‑tongued commentary on Roy Wood’s eccentric genius and his uneasy place between pop spectacle and rock credibility. This four‑page Creem feature captures Wood in full transition — leaving The Move, edging toward solo experimentation, and cultivating a persona that baffled critics as much as it fascinated them. The tone is sardonic, stylish, and unmistakably Creem: half‑admiring, half‑exasperated, and wholly captivated by Wood’s unpredictability.

What the Clipping Shows

A minimalist, modernist Creem layout dominated by a circular photograph of Roy Wood: wild hair, geometric face paint, and a theatrical stare. The title — “Thoughts on The Move and Roy Wood in Particular” — curves around the image, giving the page a poster‑like visual punch. The upper half is almost entirely image; the lower half flows into a single column of text, clean serif type, and Creem’s trademark blend of wit and critique.

The feature documents Wood’s shift from The Move toward more avant‑garde impulses, highlighting the tension between his flamboyant stage persona and the mainstream pop world he both mocked and manipulated.

“Wood’s mind would blow a hip computer.”   “The no‑man’s land between pop and rock is where he seems destined to live.”

The Story Behind It

The article opens with a sardonic jab: Roy Wood’s mind would “blow a hip computer.” From there, the writer frames Wood as a cultural contradiction — a man who could appear on Eurovision yet look like a “hell’s angel at a youth club.” His eccentricity is contrasted with Cliff Richard’s wholesome BBC‑friendly image, setting up the article’s central tension: Wood as the chaotic disruptor in a world of polished pop.

A key passage describes Wood’s appearance and persona:

“Wood’s exterior is identikit Jesus in national health specs. You could mistake him for the egged‑on, crime‑prone, hippie character in A Man Called Ironside.”

The Eurovision misfire of “Songs of Praise” becomes a focal point — a moment where Wood’s irreverent artistry collided with a conservative audience.

“Perhaps Cliff’s congregation thought ‘Songs of Praise’ was a piss‑take, or Wood’s presence was a bit of a blasphemy. Whatever, the song bombed.”

The piece closes with a reflection on Wood’s limbo between pop and rock — a space where chart success becomes a liability, yet his creativity remains undeniable. The wistful reference to “Blackberry Way” serves as a bittersweet reminder of his paradoxical fame.

Source Details

Publication: Creem Magazine

Date: May 1, 1972

Format: Article / Artist Profile

Provenance Notes: Original 1972 magazine feature

Related Material

• Do Ya Maxi – Review (Apr. 1972)   A contemporary review of the Do Ya maxi‑single, capturing The Move’s final burst of studio activity before the transition into ELO.

• The Move on Stage – News Article (Apr. 1972)   Live‑performance reporting from April ’72, documenting the band’s evolving stage identity during their late‑period lineup.

• California Man – Single (Apr. 1972)   Coverage of the band’s final official single — a glam‑leaning, high‑energy release that became a UK Top 10 hit.

• Additional entries listed in the scrapbook tag index

© Copyright Notice —

Roy Wood (May 1972) Creem Magazine Feature

All original magazine photographs, artwork, and text remain the property of their respective copyright holders. This scrapbook entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference.

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