Wood hoped to play at the Royal Festival Hall in London in Christmas 1975, playing songs from his solo albums with an orchestra, but the plan was cancelled due to a limited time-frame for planning. Critical reception and legacy In a contemporary review for Sounds, Jonh Ingham hailed Wood as "pop's lovable eccentric, answerable only to himself", and conceded that, despite minor drawbacks, Mustard largely showed "undiluted good Roy Wood, which is to say humorous, full of memorable melodies and well over the top with neat noises and effects". Alan Betrock of Phonograph Record felt the album was "a highly respectable effort" that was perhaps indicative that Wood "may be leaving his roots behind and once again planning to create adventurous and original modern pop". He nonetheless felt some songs were too lengthy and dense with layered styles, rehashing "previously overworked territory". A reviewer for Stereo Review deemed the album inferior to Wizzard's Introducing Eddy and the Falcons, but highlighted the title track and "You Sure Got It Now" as songs "that would be outstanding in any company". Peter Harvey of Record Mirror & Disc hailed Wood's multiple talents but felt he worked too hard on Mustard, calling it "a complex mish-mash of styles and ideas which only add up to the eccentric experimenting of a studio/musical dilettante". He did however hail the "camp" style of the title track and "You Sure Got It Now" as "a refreshing progression". In 1999, Edsel Records released a CD edition of Mustard with seven bonus tracks, all of which were A- or B-sides to non-album singles, two of which had appeared on the 1977 Australian release of the album which was renamed The Wizzard Roy Wood. In a review of the Edsel reissue, Stephen Thomas Erlewine of AllMusic hailed Mustard as "a shining, glittering pop record" with an attractively smooth flow, and concluded that "Mustard might not equal the brilliantly maverick Boulders, yet it's easily one of the best, most cohesive records Wood ever made and one of the few to capture him as a (relatively) focused pop craftsman." Alexis Petridis of The Guardian considers Boulders and Mustard to be "extraordinary, maverick solo albums", while Michael Bonner of Uncut views the albums as the "twin high points" of Wood's career. Colin Larkin, writing in The Virgin Encyclopedia of Popular Music, considers both albums to be "uneven", but notes how they revealed Wood's "surplus