Slide on This is Ronnie Wood's best record. Written in collaboration with Bernard Fowler (backing vocalist of the Rolling Stones, and lead singer in several Charlie Watts'records) is very inspired and very intriguing. Testify, Breathe on Me and Always Wanted More are among Ronnie's best songs ever–they're as fresh as 'I can feel the fire' but they have better lyrics. The record is enriched by (the reproduction of) Ronnie's paintings. It's kind of curious that the Stones have only sporadically (pretty Beat Up, Dance, ..) used Ronnie's compositions. In any case, Slide on this is a must.
Two CD set featuring the first official release of this legendary live performance, recorded in Maryland in 1979. The New Barbarians were a live-only band consisting of Rolling Stones members Keith Richards and Ronnie Wood, Jazz great Stanley Clarke, former Faces/Small Faces keyboardist Ian McLagan, Bobby Keys and Ziggaboo Modeliste. 20 tracks including 'Sweet Little Rock 'N Roller', 'Love In Vain', 'Let's Go Steady', 'Before They Make Me Run', 'Jumping Jack Flash', 'Seven Days' and more. Includes an eight page full color booklet with extensive liner notes. Released on Ron Wood's Wooden Records label.
Wood's mission was straightforward enough here: promote his album of the time, Slide on This, before raiding the Faces' treasure trove and solo standards like "I Can Feel the Fire" and "Am I Grooving You," the latter done with sassily funky aplomb. Don't expect any surprises; you know Wood's guitar will charge out front, with some type of Hammond organ or boogie-woogie piano banging away behind him. Anyone who got this album originally knew what they wanted and what they'd be getting. Four songs capably hoist the banner for Slide on This: "Testify," "Show Me," "Josephine," and the shimmering ballad "Breathe on Me," where vocalist Bernard Fowler truly excels. Wood's trawl through the Faces' back pages includes feisty versions of "Stay With Me" and "Silicon Grown." However, an extended run on "Flying" – in which the early Faces talked of their homesickness while slogging away on tour – is the standout, if only because you haven't heard it a million times.
Wood's mission was straightforward enough here: promote his album of the time, Slide on This, before raiding the Faces' treasure trove and solo standards like "I Can Feel the Fire" and "Am I Grooving You," the latter done with sassily funky aplomb. Don't expect any surprises; you know Wood's guitar will charge out front, with some type of Hammond organ or boogie-woogie piano banging away behind him. Anyone who got this album originally knew what they wanted and what they'd be getting. Four songs capably hoist the banner for Slide on This: "Testify," "Show Me," "Josephine," and the shimmering ballad "Breathe on Me," where vocalist Bernard Fowler truly excels. Wood's trawl through the Faces' back pages includes feisty versions of "Stay With Me" and "Silicon Grown." However, an extended run on "Flying" – in which the early Faces talked of their homesickness while slogging away on tour – is the standout, if only because you haven't heard it a million times.
Every aspect of this Rolling Stone's solo album screams of superstar indulgence, from its bizarre cover shot - look, there's Ron riding a camel under some jets - to co-producer Andy Johns' fawningly surreal back cover exhortation to "don't let anybody tape it because the label needs the money." There's no chance of such an occurrence: three studios are credited - and every track boasts a different lineup. Many of the usual suspects appear, including sub-Stones keyboardist Ian McLagan, pianist Nicky Hopkins, and saxophonist Bobby Keys; R&B vocalist Bobby Womack; and pianist Nicky Hopkius. Even Stones drummer Charlie Watts pops up on a couple of tracks. Also, this rarefied company didn't have decent material to stretch out their chops…
Every aspect of this Rolling Stone's solo album screams of superstar indulgence, from its bizarre cover shot - look, there's Ron riding a camel under some jets - to co-producer Andy Johns' fawningly surreal back cover exhortation to "don't let anybody tape it because the label needs the money." There's no chance of such an occurrence: three studios are credited - and every track boasts a different lineup. Many of the usual suspects appear, including sub-Stones keyboardist Ian McLagan, pianist Nicky Hopkins, and saxophonist Bobby Keys; R&B vocalist Bobby Womack; and pianist Nicky Hopkius. Even Stones drummer Charlie Watts pops up on a couple of tracks. Also, this rarefied company didn't have decent material to stretch out their chops…
Ron Wood had a rough couple years following the publication of his 2007 autobiography, splitting with his wife of over 20 years and entering rehab for yet another time, but you never would be able to tell this based on his 2010 album I Feel Like Playing. Like his previous six solo albums, it has nothing more on its mind than a good time, a studio party where everybody is invited. This time around, Slash, Billy Gibbons, Bobby Womack and Flea all drop by to have a little fun on a collection rockers, reggae, blues and boogie, the sounds that have been Woody’s stock in trade since 1974’s I’ve Got My Own Album to Do.
Wood leads a pickup band that includes, on various cuts, fellow Rolling Stones Charlie Watts, Mick Jagger, and Keith Richards, plus Mick Fleetwood, Dave Mason, and other notables. The highlight is a then-unreleased Bob Dylan song called "Seven Days," where the rough-voiced Wood sounds uncannily like Mr. D himself.
Live from Kilburn, the second in what may be an ongoing series of archival releases from Ron Wood's vaults, is rawer and rougher than the first, Buried Alive: Live in Maryland. Essentially, this is an official bootleg – containing a CD and a DVD of the entire show – of the first solo concert Woody played in support of his first album, 1974's I've Got My Own Album to Do. When Ronnie took to the stage he was supported by his new Stones bandmate Keith Richards, his old bandmate keyboardist Ian McLagan, bassist Willie Weeks, and drummer Andy Newmark – in other words, this is not the New Barbarians of the late '70s, but close enough that it's cleverly billed as the First Barbarians on this release.