Mustard is the second solo album by Roy Wood, who wrote and produced every track and painted the cartoon-style cover. It was completed and released about the same time as he disbanded his group Wizzard. He played all the instruments, and contributed all vocals apart from guest appearances by Annie Haslam, Phil Everly, ex-Move and Wizzard bassist Rick Price, and co-engineer Dick Plant.
Roy Buchanan is the guitarist's guitar hero. Singularly uninterested in rock stardom and the trappings of fame that go with it, Buchanan never achieved the popularity of his six-string peers; yet his unfathomable technique and ferocious Telecaster tone put him near the top of any serious listing of the greatest guitarists of all time. Stories abound about the regard with which other musicians held Roy (and the indifference with which he greeted their esteem); for example, legend has it he turned down the Rolling Stones for the job Mick Taylor got, and blew off playing with John Lennon, while Jeff Beck dedicated "'Cause We've Ended as Lovers" from Blow by Blow to him.
Roy Buchanan is the guitarist's guitar hero. Singularly uninterested in rock stardom and the trappings of fame that go with it, Buchanan never achieved the popularity of his six-string peers; yet his unfathomable technique and ferocious Telecaster tone put him near the top of any serious listing of the greatest guitarists of all time. Stories abound about the regard with which other musicians held Roy (and the indifference with which he greeted their esteem); for example, legend has it he turned down the Rolling Stones for the job Mick Taylor got, and blew off playing with John Lennon, while Jeff Beck dedicated "'Cause We've Ended as Lovers" from Blow by Blow to him.
This 21-song set is representative of Roy Wood's always inventive work with the Move, Wizzard, and as a solo artist. It contains no fewer than three U.K. number one hits, in addition to the seasonal "I Wish It Could Be Christmas Every Day," and which usually makes a chart appearance during the holidays. And the sound quality is uniformly fine, which certainly hasn't been the case with some reissues like The Best of & the Rest of Roy Wood & Wizzard, which is something of a companion piece to this disc.
Dan Morganstern makes an excellent point in his liner notes when he laments the tendency to refer to Roy Eldridge as a “link between Louis Armstrong and Dizzy Gillespie.” For one thing, Diz eschewed the kind of brilliant trumpet tone that characterized the work of Eldridge and Armstrong. Considered in this light, if one starts with Armstrong’s early achievements and then looks for anything like that kind of distilled joy in all the subsequent history of the music, one gets no further than the spectacular sides the man they called “Little Jazz” made for Columbia in January 1937. There’s just no one after that to “link” to, ever…
Who could have known that the much-loved Orbison would record his best album at this late stage in his career; furthermore, that he would be dead a few months later. The success of his role in the Traveling Wilburys gave him a much-deserved boost. Orbison had the great voice of pop and after many years of indifferent material he finally hit gold with great songs such as 'You Got It' (written with Lynne and Petty), 'Careless Heart' (written with Diane Warren) and 'A Love So Beautiful' (written with Lynne). Orbison's tragic dedication to us when he finished this album was 'don't give up before the miracle happens'. - 2014 Muze Inc.