Roy Wood – Mustard
Roy Wood, prog rock or not? Discuss…
Although Birmingham’s finest beard (and bard) can boast a finger jabbed deep into many a musical pie, as far back as his early days in The Move there has been an experimental edge asserting its authority over the poppier elements. The Move’s third album, Looking On, was as progressive as they come, and then there’s both ELO’s debut and Wizzard’s Wizzard Brew, the latter a heavy, eclectic mixture that’s the sonic equivalent of a progressive brick wall falling on your head.
Roy Wood’s second solo album, 1975′s Mustard, is no exception. Traditional prog rock, in the vein of Yes, ELP or King Crimson, this is not, but the scope of its invention and the refusal to adhere to what might be regarded as common musical strictures makes it equally as progressive as a Gentle Giant album. The fact that, as with his previous solo excursion Boulders, Roy Wood wrote, arranged, produced, sang and played all the instruments himself only adds to this unconventional approach and justification of the prog label I’ve bestowed upon it. I like to label things, see?
On Mustard, Wood effortlessly creates the sound of a full band, and in the case of ‘The Rain Came Down on Everything’ and ‘The Song’ a full symphony orchestra, long before sampling and digital trickery made it possible to do from the comfort of one’s own bedroom. He also double tracks and speeds up his own vocals to give the impression of an accompaniment of female backing singers. All of this in 1975.
Aside from a few brief vocal contributions from Phil Everly (yes, that one), Annie Haslam and regular collaborator and ex-Move bassist Rick Price, this (like Boulders) is a solo album in every sense of the word. It’s also Roy Wood’s last great album under any guise.
Dependant on the version you’re listening to, Mustard either kicks off with the title-track ‘Mustard’, an Andrews Sisters pastiche relayed through the scratchy speaker of two-valve radio, or, in my case, the thundering single ‘O What a Shame’. It’s then onwards into a fine selection of songs that include the aforementioned symphonic excursions, ‘The Rain…’ and ‘The Song’, and another single and Roy Wood favourite, the infectious ‘Look Thru the Eyes of a Fool’. The highlight has to be ‘You Sure Got it Now’, a multilayered, hectic blend of styles that Wood himself describes as “The Andrews Sisters backed by John Mayall.” Such a description fails to do justice to what’s a track bustling with energy, off-kilter nuances and the familiar brand of Roy Wood humour. ‘Get on Down Home’ is a rousing close to the album, featuring the vocal insert by Phil Everly, and harks back to the weighty rock ‘n’ roll blend that fought for air throughout the Wizzard debut.
Give Roy Wood a kitchen sink and he’d probably get a half-decent tune out of it, and Mustard, like its 1973 predecessor Boulders, serves as a terrific showcase of the man’s love of music and his mastery of the instruments he chooses to incorporate. Of the two, Mustard, controversially, remains the HFoS favourite. It may have flopped because of record company apathy but it retains a stronger edge than the patchy-in-places Boulders. That said, both are must-haves for fans of Wood’s considerable body of work and easily knock anything he released post-1975 into a thoroughly cocked hat.
Progressive rock, progressive pop, progressive pop-crossover… Whatever you want to label it, Mustard is a golden dollop of Roy Wood at his inventive best, guaranteed to leave your musical taste-buds a-tingling.
Unfortunately Mustard is presently deleted and only available to those with an aversion to money through Amazon.co.uk
Don’t just read and applaud. Subscribe to the rather splendid RSS Feed
Recent Comments