Ronnie Wood Live at Electric Ladyland is a welcome archival addition to Wood’s extensive discography. Circulating for several years as a “unofficial” recording, it has been recently released in a refurbished official edition. Wood’s long career is full of enduring melodies and confident rockers. This remastered collection spotlights a cross-section of some of his best. The set is comprised of Rolling Stones, Faces, solo cuts, and off course a bit of the blues.

Wood said on his website, “I recorded the album live at the Electric Ladyland Studio in New York on the 2nd November 1992, and I’m so happy it’s finally officially released for the very first time! This special, fully remastered, live recording includes 9 of my favorite tracks, and my Slide on Live band of all stars!”

Available on streaming platforms (and hopefully on physical media at some point) is Ronnie Wood and his Slide on Live band: Bernard Fowler on vocals, Faces mate Ian McLagan on keyboards, Johnny Lee Schell on guitar, Shaun Solomon on bass, Wayne P. Sheehy on drums, and the legendary Chuck Leavell on additional keyboards.

Originally broadcast on WNEW FM US radio on November 12^th, 1992, in the intimate confines of Electric Ladyland, Woody and his rough and rowdy band play an hour-long set. You can always count on Woody to put forth a rollicking performance of straight-shooting rock and roll. At the time of this performance, it could be argued that his band of all stars was performing at a level that may have equaled that of his “other group.”

Introduced by the emcee Pat St. John, Wood reveals his Band with “Show Me,” the lead single from his current at the time Slide on This record. The band corners hard into the high tempo cut with the dual keyboard attack of McLagan and Leavell taking center sound stage. Woody takes a sawblade slide solo and the band is already in ass shaking glory.

Wood says at the song’s conclusion, “I’d like everybody out there in radio land to know that we are playing naked.” Longtime Stones vocalist and Woody mate Bernard Fowler, takes the lead vocals on an ethereal rendition of Faces, “Flying,” a song from their debut record which soars to new heights in its contemporary reading. It’s not an easy task to recreate Rod Stewart and Fowler does so stunningly. Again, the keyboards of Leavell and McLagan are a highlight.

“Testify,” the second song from Wood’s Slide on This record to be played and is a mushy cover of Parliament’s 1974 cover of the Parliament’s 1967 single “(I Just Want To) Testify”. The crowd bears witness to a funky collaboration of group vocals and a brisk solo by Johnny Lee Schell.

 A rare reading of the song “Pretty Beat Up,” follows. The cut closed the Rolling Stones 1983 Undercover record and is credited to Jagger/Richard/Wood. Similarly to other Woody vamps like “Hey Negrita” and “Am I Groovin’ You,” the bluesy mantra rolls on in hypnotic fashion. Woody plays some slide, blows some harp, and Fowler shreds his voice over the bruised vamp.

Two slower songs bring introspective respite illustrating Woody’s inherent ability to tug on the heart strings with endearing ballads. “Always Wanted More,” is sung as a duet with Fowler (Joe Elliott appeared on the Slide on This studio version) and is beautifully rendered.

One of Wood’s best songs, “Breathe on Me,” is played next. Originally a left over from the 1974 I’ve Got My Own Record to Do sessions it ended up as the closing track on 1975’s Now Look. On that record it was performed in a sparce and elegantly wasted guise with rickety backing vocals contributed by Keith Richards.

The reading was almost like a demo, here, the updated version pulls the melody to the surface and finds the warm sensual center of the tune. It begins as an almost acoustic duet and concludes as an emotive full band rendition. A highlight of the set.

A Faces deep cut from their last studio record together, “Silicone Grown,” lets Woody’s long time bandmate Ian McLagan lay down the boogie-woogie with some heavy-handed glissandos.  Woody adds some signature crunchy chording and the solo spot sizzles with a boozy Faces attitude. Again, Fowler sings his parts with power and grace.

Originally on the Rolling Stones Tattoo You, record “Black Limousine,” is another Jagger/Richard/Wood cut, and this live version features some sleek Woody slide and whiney harp licks.

Wood said in the 2003 book, According to the Rolling Stones, “Black Limousine,” came about from a slide guitar riff that was inspired in part by some Hop Wilson licks from a record that I once owned … And there was another guy called Big Moose, who I’ve never heard of before or since. He was an old slide guitar guy who had one particular lick that he would bring in every now and again. I thought, ‘That’s really good, I’m going to apply that,’ and so subconsciously I wrote the whole song around that one little lick, building on it, resolving it and taking it round again.”

“Little Red Rooster,” gets to strut around the barnyard with crowing slide work by Wood and a prickly solo response by Schell. Wood wails on the harp for the second break while Mac and Levell mix it up on piano and organ. “Rooster,” segues seamlessly into a breathless reading of Faces, “Stay with Me.” Grinding guitar and a high tempo groove equate to a fresh version tighter than the off the rails Faces readings. The song burns and crashes into concluding highlight breaks for each member of the band closing the show definitively.

Ronnie Wood is an artist who despite his place in the “world’s greatest rock and roll band,” has constructed a substantial career on his own. Through his art, solo career, collaborations and live performances he has left a legacy music that stands firmly on its own accord. From his invaluable contributions to the Jeff Beck Group, Faces and the Stones, to his seven solo records, and numerous live recordings, Wood continues to stay creative and vital while recognizing his past glories. Live at Electric Lady is one of those victories thankfully immortalized for continued listening.