Doc Mustard (Andrew Roland Oliver) - A Tribute

Doc Mustard (Andrew Roland Oliver) - A Tribute

by Pete Clemons

Andrew Rolland Oliver, variously know in musical circles as Ollie, Doc Mustard, The Rhythm Balladeer, Slim Dog Chilli and more, was born near Matlock. He passed away in 2019 down in Penzance. I met him when he moved to Coventry in 1973. I was typing an issue of Hobo (Coventry's Music and Arts Magazine) in the office of  the Sunshine Music agency in Gulson Road Coventry. Sunshine was run by Craig Ward, Bob Young and others and Ollie walked in, looking less eccentric than he did in later years - I think he had a suit on!! He was playing bass in a rock band called SMACK and I gave the band a write up in the magazine. My biggest memory of Ollie was in the late 70's / early 80's in a a ska band called Machine - Hot Snacks. he went on to busk in Coventry and Cornwall and play in reggae bands and more. Doc Mustard did the sound and played at The Stoker venue, organised by Steve Ashwell in Coventry. Pete Clemons offers some interesting insights into the DOC's musical influences. Trev Teasdel

It is fair to say I think that Andrew Roland Oliver, or Doc Mustard or Ollie as more widely known, led an alternative lifestyle. Ollie was non-mainstream, he believed in conspiracy theories, particularly those involving aliens, and, in general, lived outside of the cultural norm.

Ollie moved to Coventry during 1973. Coventry folk of a certain age will remember Doc Mustard as a busker who pitched up, with his dog Paxo, around various locations in the city centre. This led to a partnership with former Tubulah Dog and Crokodile Tears guitarist, Jerry Richards, who became known as the Cobalt Kid.

Ollie then moved onto Cornwall during the early 1990s. Firstly calling in at Mousehole and then eventually settling in at Penzance.

Despite his life style, and the fact they clearly enthused him enough to get up and play, Ollie’s musical influences would suggest that he was not that different from you and me.

The following are a few of Ollie’s quotes on albums that had an effect in his early years:

‘Flowers of Evil’ by Mountain: ‘Back in early 70's Matlock I was bass player in a rock trio called The Doughnut Band. We got a gig at The Cavern. As I walked down the steps into the basement club there was what sounded like PA feedback and I'm thinking it's the sound engineer setting up. Wrong. It was the DJ who was spinning the Dream Sequence from this album and I'd arrived at the point where Leslie West holds a sustained note before breaking into Roll Over Beethoven. I was ecstatically blown away’.

‘Tons of Sobs’ by Free: ‘Whilst living in The Horse Shoe, Matlock Green during respite from boarding school, my friend a few doors along towards Tansley, Tom, who is wholly responsible for my guitar obsession thanks to his Watkins Rapier if my memory serves me well and also his album collection, would regale me with tales from his college adventures including rave reviews of this amazing band he'd seen called Free’.

‘The Eagles’ by The Eagles: ‘Back in the mid 70's I saw Horace (Panter) in Gosford Street, Coventry on his way to Hits, Misses and Vintage records to part with some Eagles albums so we came to a satisfactory financial arrangement. Even before Joe Walsh they were awesome’.

‘Babylon by Bus’ by Bob Marley and the Wailers: ‘Living in multi-cultural Coventry from '73-'91 I was blessed with an infusion of uplifting music. Here's a top live album that helped to steer me towards the post of Keyboard player for an awesome Cov reggae band 'The Ring'.

‘96 Degrees in the Shade’ by Third World: ‘I don't take holidays as travel advertising in the name of global consumerism doesn't appeal to me also I'm not a slave in need of respite despite having to report to the taxman annually. This album takes the mind on a vacation so here we are with the sun blasting away outside’.

‘Can’t Buy a Thrill’ by Steely Dan: ‘I was living in Coventry when I heard this. Utterly ground-breaking harmonies, melodies and rhythms seriously fed my musical appetite. Can't imagine how life would have been without them’.

‘Talking Book’ by Stevie Wonder: When I moved to Coventry in '73 as a bass player in a trio we were introduced to a drummer, Nick, who put us up temporarily in his flat in Radcliffe Road. Earlsdon. His dog Freddie always went apeshit every time the ‘Crossroads’ title theme came up on ITV. Nevertheless, this is an album that was a popular spin on the turntable.

Ollie had just recently put together a trio called The Cobalt Kids. This involved former Coventry residents Alan Varney on bass guitar and Robert Brown on drums.

According to Alan ‘Doc Mustard and the Cobalt Kids were just ready to do gigs and we had a lot booked and even got 26 songs recorded 13 of which are on a CD, but just as it was about to be unleashed on the public Ollie took ill and within 12 weeks sadly passed away’.

Alan continued ‘Of the 26 songs we put together for gigs and recording, about 13 are Ollie's lyrics, with my bass and Robs drum parts. Just up to date versions of Ollie's busking songs which are a mix of Boogie/Reggae/Ballad/rock feel songs’. ‘I met up with Ollie here in Penzance this year the last time we met was in the 70s in Coventry. He called it Serendipity the way we met again after so many years. We jammed for an hour or so and then found we just clicked and had a great sound and Ollie loved it’.

...................................

Here is a recent tribute from Cornwall Live https://www.cornwalllive.com/news/cornwall-news/one-cornwalls-best-loved-buskers-3204360?fbclid=IwAR3obkBrIAJXbJS3cW2Nx97srImjd4OH-ipTgo60FZmCK6Pw2vuxWHEjxF4

Doc Mustard playing bass with Machine / Hot Snacks in the early 80's. The original drummer of the band was Silverton Hutchinson who was also the original drummer of The Specials before John Bradbury joined. The band performed Two Tone band The Selecter on occasions.

Below - Ollie with a tale about his busking career!

The Ring - Reggae band

Doc Mustard's appearance on May the Best House Win.

More of Doc Mustards musical videos here

https://www.youtube.com/user/ibrowze/videos

https://sites.google.com/site/bandsfromcoventrypart2/home/hot-snacks-machine?pli=1 More about Machine / Hot Snacks on this link. 

The Ring

Craig Ward's publicity sheet with Sunshine Music Agency Coventry 1974 for SMACK - Ollie played bass and sang vocals in the band.

The following are two news items from Hobo Coventry Music and Arts Magazine (edited by Trev Teasdel) 1974.

SMACK! ...MISS UNDERSTOOD (From Hobo Jan 1974)
"SMACK! formed from the now defunct Pug-ma-Ho, are now completing a tour of Germany. a single is due out around Christmas time on the Bell label.

The number is entitled "Miss Understood" and was written by Bob Young. The line up of the band consists of Gordon Reaney on lead guitar; Ollie Oliver on bass guitar; Nicky Trevisthick on drums and a female vocalist by the name of Margo- Buchanan-Reid-Smith (Later a backing vocalist with Mud)."

From Hobo  (February 1974)

SMACK! PLAY GERMANY
Just returned from a successful tour of Germany are SMACK!. The group who are Coventry based, hail mainly from Matlock. This phunky rock band who play original material, consists of these curios Smackeroos - Gordon Reaney - lead guitar, Ollie Oliver - bass and vocals, Margo-Buchanan-Reid-Smith on Vocals and smiles and Nicky Trevisthick on drums.

Doc Mustard at the Stoker venue in Coventry c 1989 / 91, organised by Steve Ashwell

Doc Mustard with Simon Baker at the Stoker.

The following are Ollie's press cuttings sent to me by Al Varney.

Discordia - Eris

Madness - 40th Anniversary .

Madness - 40th Anniversary.

By Pete Clemons

With the 2 Tone music genre rightly being applauded during 2019 for its fortieth anniversary, another branch of the movement will, this year, also have a fortieth anniversary to celebrate.

Although they were formed as The Invaders during 1976 and having had a turbulent early settling down period together, those nutty boys from North London, Madness, had to wait a while before they had their first chart success with ‘The Prince’ which was released on the 2 Tone Label during August 1979.

Legend has it that after a Specials gig in London audience member, Suggs, spoke afterwards with Jerry Dammers about the creation of the 2 Tone label. Jerry ended up staying the night at Suggs Mum’s flat. Madness recorded ‘The Prince’ and its B side ‘Madness’ and it unexpectedly peaked at number 16 as the single captured the moment perfectly.

A month after the singles release Madness had signed for a different label. A clause apparently existed in the 2 Tone set up where bands could leave after just one single. And that is exactly what happened by Madness as their next single ‘One Step Beyond’ was released on Stiff records during October 1979. Stiff records label manager Dave Robinson using his wedding day as a chance to audition the band.

Despite the label change Madness appeared on the legendary 40 dates 2 Tone tour alongside The Specials and the Selecter, during October and November 1979. However, they were replaced by Dexy’s Midnight Runners after, presumably being pulled from it by their new management.

On the 8th November 1979 each of the three two tone touring bands appeared on top of the pops. The Specials performed ‘A Message to You Rudy’ in the studio, The Selecter did ‘On My Radio’ via a previous TotP recording while Madness showcased ‘One Step Beyond’ – again, from the studio.

In just a few short months the 2 Tone movement, along with its label and music, had gone from an indie operation to a nationwide giant.

As a point of interest, also appearing on top of the Pops that evening was Matchbox with ‘Rockabilly Rebel’, Herb Alpert with ‘Rise’ (danced to by Legs and Co.), Sham 69 with ‘You’re a Better Man Than I’, Lena Martell ‘One Day at a Time’ and many others.

Madness were undoubtedly a charismatic and great visual band. All dance and movement. Musically they were sax heavy with very few guitar riffs. And they had an abundance of ammunition in their armoury of talent.

‘One Step Beyond’, by all accounts, was not intended to be a single and the band had only recorded a 30 second version of the tune. It was apparently, Stiff’s Dave Robinson who, after hearing it, suggested adding some studio magic to expand the riff and releasing the three-minute hit, top 10 hit.

The band’s debut album, also titled ‘One Step Beyond’ was also released during October 1979. And those with sharp eyes will notice that only 6 of the band featuring on the iconic ‘Nutty Train’ album sleeve. Well that was because Chas Smash, who came up with the ‘Hey you, don’t watch that! Watch this!’ phrase was not yet an official member of the band at the time that image was taken.

The next single was ‘My Girl’ released toward the end of 1979 which, by early 1980 had reached Number 3. This was the song that arguably shaped the future of the band as it thrusted lead singer Suggs to the fore as the accompanying video gave him the front man image.

Incredibly Madness’s first 20 singles all made the top 20. More surprisingly was that it was only ‘House of Fun’, released during 1982, that became the bands only number 1.

That aside, Madness were one of the most successful bands of the 1980s, having had 15 top 10 records and totalling more than 200 weeks in the singles chart.

All these facts and figures coming about because Madness were a multi-talented band with many of its members being credited in the song writing process.

Having said that, after keyboard player Mike Barson left in 1984 the band, apart from the odd reissue, failed to break into the top 10 again. Madness announced they were splitting during 1996.

However, the nutty boys regrouped once more during 1992 and have since remained an extremely popular touring band and with Suggs still fronting the band alongside Mike Barson, guitarist Chris Foreman, saxophonist Lee Thompson, drummer Dan Woodgate and bass player Mark Bedford still finds itself mainly intact from the days of its classic line up. Trumpeter and dancer Chas Smash leaving during 2014.

Santana - 50th anniversary of Woodstock

Santana - 50th Anniversary of Woodstock 

by Pete Clemons

August 2019 sees the 50th anniversary of the Woodstock Music and Art Festival held in Bethel, a suburb of New York. By the end of the festival, and possibly on the back of the resulting Woodstock film released a year or so after the festival, the musical careers of so many of the bands and artists involved suddenly took off massively as their talents reached an even wider audience.

Overall, the film captured the mood, spirit, and music of the times wonderfully. The film has also, been described, as being one of the very best commentaries ever. The depth and breadth of coverage is nothing short of spectacular. In between the musical acts the camera wanders through the audience where it just seems to eves drop on various scenes. Together with on stage announcements the entire magic of the festival has been preserved for all time.

One of the bands that without doubt gained from all the publicity was Santana. After moving to San Francisco from Tijuana in Mexico, guitarist Carlos Santana was in at the beginning of the Haight-Ashbury music explosion of the late 1960s.

Initially a fluid band, in terms of line-up, the Santana band by the time of the Woodstock festival had settled on Carlos Santana, lead guitar, Gregg Rolie, keyboards, David Brown on bass, and Michael Shrieve on drums. To distinguish themselves, and add a Latin flavour to the music, the band added congas and other percussion instruments. These being played by Mike Carrabello and Jose ‘Chepito’ Areas.

And it was the above line-up that cut the self-titled debut album, titled Santana, during the summer of 1969. It immediately established the band as one of the most exciting and energetic groups to emerge from the San Francisco scene.

The music and rhythms created by Santana were compelling for their uniqueness at that time. And this debut release coincided with a memorable appearance at the Woodstock that, even today, remains as one of the astonishing stories from that festival.

At 2pm on Saturday 16th August 1969, the Santana band were relatively unheard of outside of San Francisco. Less than an hour later they had conquered the whole of America as news of their incendiary performance spread like wildfire.

A year later, after the release of the film, people from other parts of the world, who had yet to discover this band, were blown away by the version of Santana’s ‘Soul Sacrifice’ included within it.

The Woodstock film’s editing highlights so many memorable musical performances. From Richie Havens wonderful festival opener through to Jimi Hendrix finale there is so much magic within. Canned Heat, Country Joe and the Fish, Joe Cocker, The Who and Ten Years After. So many early performances were captured, for example Crosby Stills Nash and Young were playing only their second ever gig together. Even Sha-Na-Na, who took everyone back to the 1950s, were revered afterwards.

Guitarist Miller Anderson tells a wonderful story of his then band, The Keef Hartley band, and their first gig in America. It happened to be at the Woodstock festival. Miller mentions how they were standing at the side of the stage before it was their turn to go on. The stage announcer then introduced the band who were scheduled to be on immediately before them. A new band from San Francisco called Santana. Watching Santana so closely was jaw dropping, says Miller and it quickly dawned on the Keef Hartley band that they had to follow them. Fortunately, says Miller, John Sebastian turned up and the organisers let him do 20 minutes. This came as a relief to the Keef Hartley band as John calmed the audience down somewhat.

As for the Santana band, the above line up went on to record the acclaimed ‘Abraxas’ album during 1970. ‘Abraxas’, kept the Latin influence but was boarder in as much that the album began to dip into other influences. Carlos Santana had seen Peter Green’s Fleetwood Mac perform and was taken by his tune ‘Black Magic Woman’. Santana included their own version on ‘Abraxas’.

By the time of the third Santana album, Carlos Santana began to introduce more newcomers to the band in the shape of Coke Escoveda and guitar protégé Neil Schon.

Then began a series of excursions away from the main band, for Carlos, as he began to work with the likes of Buddy Miles and John McLaughlin.

Extensive reshuffles of the Santana band began as it only followed its own rules. They produced a series of albums where Latin and jazz were fused together. Some say successfully, others would beg to differ. The band would however return, at times, to its roots.

At their best Santana were totally distinctive. Famed for guitar improvisations, purity and sweetness of tone. That was combined with Carlos’s own ability to sustain notes of feedback for almost any length of time.



Had it not been for the film, would the Woodstock festival have been remembered about as fondly today? Who knows. One thing is for sure though, it opened the ears of the listening public to a whole host of bands and wide range of music.