Currently spinning in the ‘rock room’ is one of those special records that is held near and dear to those in the know and becomes an amazing revelation to those who discover it.  In the ‘rock room’s humble opinion this record is one of the finest LP’s to come out of the 1970’s and possibly one of the top rock albums of all time.Those who frequent the ‘rock room’ know that I am prone to using the ‘greatest’ moniker frequently, but in the case of this album it completely deserves the highest praise. Ronnie Wood’s 1974 debut solo album, I’ve Got My Own Record to Do finds the famed guitarist on his way out of the Faces and rolling into the Stones. During this transition, Wood recorded his debut solo record with members from both bands and a host of friends at his home studio at ‘The Wick’ in South London. There is a high and lonesome, low and loose vibe to the record that comes across as clearly today as during the sessions that created it forty years ago.

Recorded over the course of several sessions from late 1973 and into summer 1974 the album is a unknown commodity to many. The record, in fact, just celebrated its 40th anniversary with no reissue at all in spite of the probability of a multitude of glorious outtakes available. The low key sessions resulted in a relaxed and often amazing collection of songs. With the sturdy rhythm section of Willie Weeks (bass) and Andy Newmark (drums) on the majority of the songs, a plethora of legends fill in the cracks including but not limited to Keith Richards, David Bowie, Rod Stewart, Mick Jagger, George Harrison and ‘Faces’ bandmates Ian McLagan, and Kenney Jones. Keith Richards actually showed up one evening and didn’t leave for four months, so he should be considered a member of the house band! The LP is brimming with potential classics and songs that would become cornerstones of Woody’s own solo shows throughout his career. One thing that is obvious from the enjoyment of this record is that it is the result of Woody patiently collecting stray riffs, lyrics, and melodies before taking the appropriate time to document and share them.

The album opens with smouldering drums signaling the Ronnie Wood composition, “I Can Feel the Fire’. The sweaty island groove is driven by the weaving of Richards and Wood’s guitars. The lyrics are shared by Mick Jagger and Woody who join together on choruses. A careful listen reveals one David Bowie who also lends some well timed interjections. Interestingly, this is the song that helped initiate Woody into the Rolling Stones. It was the collaboration between Wood and Jagger on this tune that birthed the Stones classic, ‘It’s Only Rock and Roll’. Jagger got assistance with ‘rock and roll,” Woody got help with ‘Fire,’ and the Stones eventually gained a guitarist.

The second song on side one is a George Harrison composition, ‘Far East Man’ which features Hari on slick slide guitar and dreamy backing vocals. Harrison would later record the song for his own 1974 Dark Horse album, but this reading contains a different mojo. Mick Taylor takes the bass playing seat,locking in with Newmark on the funky high hat driven groove. I live for cuts like this, tucked away on a dusty vinyl side waiting patiently for the needle to drop. Harrison’s aforementioned slide work dresses the song in musical silly string, coloring the structure with perfect exclamations.

Keeping the tempo jive and the lights down low, Woody’s ‘Mystifies Me’ is a high caliber soul ballad featuring Rod Stewart’s rhythm section of Micky Waller (drums) and Pete Sears (bass) as well as Stewart’s acoustic guitar playing mate Martin Quittenton. A dispersed and airy arrangement develops with Woody’s   watery Curtis Mayfield-esque licks pooling around the songs base. Woody sings the shit out of this one, sounding like his future band mate Keith Richards at points. The chorus discovers Rod Stewart singing in gritty harmony and taking the emotional content to an ascendant level.  In addition, Wood’s ‘Faces’ mate Ian McLagan loans a transparent sheet of mystical organ over the track for good measure. Beautiful.

‘Take a Look at the Guy’ follows in the same vein as ‘Can You Feel the Fire,’ high tempo, percussive, and propellant with a multitude of rock riffing courtesy of Mick Taylor and Woody. The collaborative vocals again find Stewart tearing fabric and shattering glass with his push on the chorus. The song climbs rungs then fades out into an interesting groove that dissipates way too soon! I wonder if a deluxe edition of this set would reveal where this interesting eventuality would lead?! A smoking rocker.

‘Take a Look at the Guy’ segues quickly into the mushy Fender Rhodes introduction of the Jagger/Richards composition ‘Act Together’.  There is a huge chorus of backing singers featured here that contribute to the grandeur of the song. Richards and Wood join together on their axes as well as the microphone, chopping out angular funky riffs, while crooning earnestly. Richards also overdubbed some piano allowing for ‘Ian McHooligan’ to fill space with whistling organ glue lending the song its large secular feel. The song true definition of a Glimmer Twins, ‘lost classic’ thankfully donated to Woody’s musical mission.

The first side of the LP concludes with a  hard and deep thrusting cover of ‘Am I Groovin You’ first recorded by Freddie Scott in 1967. Richards and Wood slash the beat into ribbons, while alternating abrasive and chunky chording. McLagan lends a black groan of an ARP synth that injects the song with a guttural growl.

The flip side of the record begins auspiciously with the Wood composition, ‘Shirley’. The song is uniquely arranged with spiky guitar and some tubular sound wave keyboards. Once the track settles in on Mick Taylor’s bass, Woody plays some of the most intense licks on the record. During the mid section Woody proceeds to throw a ball down the stairwell, bounding into some joyous reverberant riffing. His overdriven guitar touches the burned edges of distortion and runs concurrent with McLagan’s keyboard for well timed quotes that blend into a sugary rendition of the melody line. This tune sets the theme for the entire second side which feelsmore like an unbuttoned jam session. The cigarette smoke, laughter, and assorted powders are tangible through the aural spread.

 

‘Cancel Everything,’ follows from the pen of Ronnie Wood. Painted over in a florescent highlighter, Richards backing vocals on this song are wonderful and easily initiate a shiver and a smile. The track settles into a slot, hitting on a high tempo plea to just save some time for one another. This time Jean Rousell shakes the keys, providing the song with a beauty that contrasts the edgy guitars coming from Richards and Wood. 

‘Sure the One You Need’ is the second song donation by Jagger/Richards and provides another chance for the band to boogie and also for Keith Richards to take on a lead vocal. McLagan bangs on the black and whites like a cop responding to a house party. Woody gives us some neck as the two guitar blend injects this song with a ‘Stones’ feel….I wonder why?

The LP concludes with a duo of cover songs, the first, ‘If You Gotta Make a Fool of Somebody’ is a song James Ray made popular, and took to the R and B charts in 1962. The song feels tailor made for ‘Faces,’ who could take a classic R and B cover and make it uniquely theirs. Both< Stewart and McLagan play on this one along with Mick Taylor and Keith Richards who all squeeze onto the instrumental couch. Rough hewn and heartfelt, this song epitomizes the intent and vibe of the sessions.

The album then closes with a substantial six minute jam on the Willie Weeks composition ‘Crotch Music’. The song opens on the electronic pulse of a drum machine which is soon joined by skin covered drums. Weeks is clearly the focus with his nimble fingers plucking out a smooth lead bass line right off the bat.  Scratchy rhythm licks scrubbed out by Richards and Wood mobilize the song at a dizzying and accelerating groove. As the jam concludes, Woody comes in and spreads a buttery guitar line that jumps from my speakers. A fun finale and proper conclusion to an album where joy comes from the grooves with every listen.

While Ronnie Wood is famously recognized as Keith Richards better half in the Rolling Stones, his solo career spans his early work with Jeff Beck, his career with the Faces, as well as several solo albums. His 1974 debut solo LP, I’ve Got My Own Record to Do is the cumulative effect of what he had learned, observed, and created from his earliest days in rock and roll. The album is the result of Woody reaching a creative peak, his ambition to be recognized on his own merits and the karmic payback from all of the musicians he befriended and worked with throughout his career. The album is SO deserving of a deluxe edition with plenty of outtakes and bonus tracks we can only hope it happens in the future. The ‘rock room’ wants to spearhead this movement! But in the meantime throw the original LP on the platter, it’s all we got, but it sure is enough.

I’ve Got My Own Record to Do (Entire)