I was going through the contents of a box in the attic and stumbled on this LP.
Anyone out there who can give me some info on this one?
TIA!








.

Chris from Belgium

[en.wikipedia.org]
I must not understand your request

Quote
blakeeik
[en.wikipedia.org]
I must not understand your request

Both the sleeve and the label on the LP mention "Demonstration Not For Sale"


.

Chris from Belgium

Woodys "Gimme some neck" white label promo...looks like usa version

Quote
detroitken
Woodys "Gimme some neck" white label promo...looks like usa version

Thanks!

Fun fact: on the sticker it says that playing "F.U.C. Her" should be decided on by a senior member of the radio station, lol!


.

Chris from Belgium

It's a great album. "Buried Alive" is the best song on it. I love Jagger's vocals at the end of the song which shows how intense his vocals are.

"Lost and Lonely" is another great one!

"Seven Days" is probably the most popular song on the album. Bob Dylan wrote it and gave it to Ron. I forget the story (maybe somebody here knows). I think Ron recorded it first then Dylan recorded it later if I remember correctly.

ExileStones

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Gimme Some Neck, came out in 1979. To promote it, Wood formed and toured with the New Barbarians, playing 20 concerts in Canada and the US in April/May and the Knebworth Festival in the UK in August.

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Ron Woodeven Days Lyrics
This song is performed by Ron Wood and appears on the album Gimme Some Neck (1979) and on the compilation Bob Dylan - The 30th Anniversary Concert Celebration (1993). "Seven Days" stems from the No Reason To Cry sessions with Eric Clapton and Bob Dylan in early 1976.

more:
[mastermindmaps.wordpress.com]

Is Seven Days a Desire outtake or written for Clapton’s No reason to cry?

Isn’t it striking that Dylan performed the song only five times in 1976 and to return to it exactly 20 years later?

Why was the copyright renewed in 2004?

Listen to Dylan performing the song 20 years after he wrote it.

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By 1979, British guitarist Ronnie Wood had carved out for himself a niche as a sideman, first with the Jeff Beck Group, then the Faces and the Rolling Stones. But his previous two efforts at solo success had eluded him. That would change with the April 20, 1979 release of ‘Gimme Some Neck.’
Produced by Roy Thomas Baker (Queen, the Cars) and featuring cover art by the guitarist himself, the album had a more polished feel than the more organic, basement qualities of Wood’s previous work. Wood had also evolved by this time into a more formidable guitar player and singer since earlier in the decade. While still a ragtag wild boy of rock ‘n roll, he now possessed a depth and maturity best illustrated on songs like ‘Lost and Lonely’ and ‘We All Get Old.’
Yes, there were the by-now expected appearances of close pals including Mick Jagger, Keith Richards, Dave Mason, Mick Taylor, Charlie Watts, Mick Fleetwood and others, adding their chops to bluesy, rootsy raves including the similarly named ‘Worry No More’ and ‘Don’t Worry.’ But there was one song in particular that stood out.
In his memoir, ‘Ronnie,’ Wood tells a story of hanging out one night in 1975, in the studio with Eric Clapton, who was working on his album ‘No Reason To Cry.’ Bob Dylan was also taking part in the sessions, which took place not far from his home in Zuma Beach, California.
“He {Dylan) was writing a song at the time called ‘Seven Days.’ I know he liked me because, out of the blue he just gave it to me. He said, ‘You can have this one, Woody.’”
That song stands out on the record as a true tour de force, a rollicking and rambling road ode that almost feels as if Wood is channeling Dylan throughout.
‘Gimme Some Neck’ became Wood’s best-selling solo album, reaching No. 45 on the Billboard 200. As a result of the album’s success, coupled with the fact that the Stones had no tour 1979 plans (save for a couple of benefit shows played as a result of Keith Richards arrest) , Wood took a band on the road to promote the album.
Called the New Barbarians, they toured throughout the spring of 1979 across North America and in August of that year opened for Led Zeppelin at the Knebworth Festival in England. The band included Keith Richards, bassist Stanley Clarke, former Faces keyboard player Ian McLagan, saxophone player Bobby Keys and drummer Joseph “Ziggy” Modileste of the Meters. The set list featured many tunes from ‘Gimme Some Neck’ along with a smattering of Stones tunes and cuts from Wood’s earlier solo albums.
The Stones soon returned to the studio to begin work on the next year’s ‘Emotional Rescue.’ But for fans of Ronnie Wood, 1979 will forever stand out as the time when he released his most solid solo album while also embarking on a typically gypsy-style tour built not around a dynamic front man, but the seductive, artistic weaving between he and his musical soul mate, Keith Richards.

Watch Ron Wood and the New Barbarians Perform ‘Seven Days’
[www.youtube.com]


Read More: 35 Years Ago: Ronnie Wood Releases 'Gimme Some Neck' | [ultimateclassicrock.com]


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Seven Days was copyrighted with Rams Horn Music in 1976, which doesn’t help us too much with the date of composition, but, according to Ron Wood, Dylan tried this song out in the studio some 5 months after the end of the Desire sessions, (during the Eric Clapton sessions, which produced Sign Language, at the Shangri La Studios, Malibu, in late March1976.) As Ron Wood tells it Dylan tried out a version of Seven Days: “he played it for me and Eric in the studio and we recorded it. There’s a copy of that somewhere around” and “That’s where I got Seven Days from. Bob said to Eric, though 1 was there too – he said “You can have this song if you want it”. And I took him up on it and Eric didn’t”. (Clinton Heylin confirms these dates in Day By Day 1941-1995. Ron Wood goes into detail to explain how, after these sessions, Dylan retired to a tent with a girI in a plaster cast and, if the story isn’t apocryphal, it suggests that although Desire appears to have been Dylan’s attempt at a reconciliation with Sara it was unlikely to work!

more:
[www.paullyrics.com]


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"Cun really did you in." - F.U.C. Her


[www.youtube.com]

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Video: Ronnie Wood Pays Tribute To Bob Dylan With 'Seven Days'
The Bob Dylan 30th Anniversary Concert in 1992 assembled a dazzling array of talent to pay tribute to the iconic artist. Here's Rolling Stones guitarist Ronnie Wood performing Dylan’s “Seven Days” from Bob Dylan: The 30th Anniversary Concert Celebration, available on DVD, Blu Ray and CD.


[www.bobdylan.com]

I have a copy of this - a UK white label, where the label is totally white and blank.

I agree it's a great record.

Thanks for all the info!
One last question; is this promo rare and worth keeping, or is it widely available?


.

Chris from Belgium

I don't think it's worth a lot, but I wouldn't sell mine!

-



Edited 1 time(s). Last edit at 2014-11-13 23:22 by dcba.

Seven Days Ron Wood 1979
Seven Days Bob Dylan 1991
Seven Days Rob Stoner 1980
Seven Days Joe Cocker 1982
Seven Days Jimmy Barnes 1987
Seven Days The Revelators 1994
Seven Days Michel Montecrossa 2003
Seven Days Mountain 2007

IORR - Seven Days





GIMME SOME NECK

Review by William Ruhlmann

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.


Artist Credit
Roy Thomas Baker Producer
Bob Dylan Composer
Amina Figarova Composer
Mick Fleetwood Drums
Mick Jagger Guitar, Vocals
Jim Keltner Drums
Bobby Keys Saxophone
Dave Mason Guitar
Ian McLagan Keyboards
Harry Phillips Piano
Robert "Pops" Popwell Bass
Keith Richards Guitar, Vocals
Swamp Dogg Piano
Mick Taylor Bass, Guitar
Traditional Composer
Charlie Watts Drums
Jerry Lynn Williams Composer
Ron Wood Composer, Guitar, Primary Artist, Vocals


1979 - Gimme Some Neck The Billboard 200 #45

CD Gimme Some Neck Columbia 1979

LP Gimme Some Neck CBS Records 1979

CD Gimme Some Neck Sony Music Distribution 2006

CD Gimme Some Neck Sony BMG 2008

LP Gimme Some Neck Hi Horse Records 2009

CD Gimme Some Neck 2014

CD Gimme Some Neck MIG Music 2014

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Rolling Stone

ron-wood-sticks-his-neck-out




Ron Wood performs at Madison Square Garden in New York City, New York on May 7th, 1979.




By Mikal Gilmore | May 31, 1979

A squall of typhonic guitars blares through the walls of a Culver City soundstage, as if in retort to the blustery wind that's been slamming around this bare movie lot for the last hour or so. Inside, Ron Wood is guiding Keith Richards through the chord changes to "Come to Realise," one of Wood's catchier odes to sexual possession. Gradually, almost mincingly, Richards alters his phrasing — yanking up hard on the offbeat, then suspending crucial beats in the "Tumbling Dice"-like chorus — until Wood follows suit with a bemused grin, parroting the movements of Keith's lithe hands.

From that point on, it becomes a classic display of the two Rolling Stones guitarists' near-telepathic affinity: Woody careens through the song, playing smoothly crafted, clarion leads and rhythms, while Richards complements him with funky rhythmic embellishments and terse leads. Yet somewhere Wood's and Richards' styles merge, until it's hard to tell where one ends and the other begins.

Actually, this rock & roll communion is merely the two guitarists' way of killing some spare time as they rehearse for their most provocative venture yet: a Rolling Stones-proportion tour of America, minus the rest of the Rolling Stones. It's a one-shot blitz designed foremost to promote Wood's raucous new album, Gimme Some Neck, and at present, the band — which calls itself the New Barbarians and which made its debut at Richards' April 22nd benefit shows for the Canadian National Institute for the Blind — includes former Small Faces pianist Ian McLagan, Meters drummer Joseph "Zigabo" Modeliste, saxophonist Bobby Keyes and former Return to Forever bassist Stanley Clarke.

Beyond that, though, Wood — who's never led his own tour before and doesn't seem overly enthralled with the idea of being alone in the spotlight — has also invited Neil Young, Bob Dylan, Jeff Beck, David Bowie, Jimmy Page, Mick Jagger and Rod Stewart (who has his own tour to do) to appear separately or jointly at several of the shows. Suddenly, the post-Woodstock fantasy about the leading rock stars all materializing on the same stage seems like it may become a reality. In fact, only Jeff Beck has flatly refused to play.

Ron Wood: Rolling Stones Are Born, Not Made

Of course, whether any of the others actually turn up is another matter. But the list of Wood's friends speaks well for his standing in the British-cum-Malibu rock community. "I'd especially hoped that Neil Young would join us," Wood tells me. "After all, he's the one who named us the New Barbarians. But I think his film and new baby have weighed a lot heavier on him than he expected. Last I heard, he still wants to turn up for a few shows. I think even Mick — who'd said he was going to do some filming while we toured — is considering joining us for as many gigs as possible.

"Actually, it would be nice if ticket buyers see it as a Rolling Stones tour," Wood chortles, and then deadpans: "No, I shouldn't say that, not with people like Stanley Clarke helping out. I don't want to misrepresent it, and I don't want people coming in the hope of hearing Mick. I'm doing most of the singing, and if it's a disaster, then let it fall on me. Actually, I wasn't thinking of touring at all, but Gimme Some Neck came out so well that I thought it was the right time. I just need a little reassurance; then I'll throw my energies back into the Stones and that'll be it."

At one a.m., Clarke, who's just completed a twelve-hour mixing session for his own album, strides into the rehearsal, toting his custom-made Alembic bass like a featherweight tennis racket. Immediately, the band assembles for a run-through of the still-evolving repertoire, with Wood and Richards sharing a double-headed microphone in the center of a stage painted in blood-red swirls.

As the band members work their way through a sprinkling of songs from Wood's three solo albums, plus a couple of reggae and South African tunes, it becomes apparent that this unit is even more rhythm-obsessed than the Stones. In some songs, like the funky blues "Am I Groovin' You," the whole focus and texture of the rhythm section inverts, with Wood and Richards preserving a thrumming version of the basic pulse while Modeliste and Clarke overlay it with a fervid melodic-percussive dialogue.

Modeliste was suggested to Wood by Rolling Stones drummer Charlie Watts, who had been impressed by his ability to play both a no-frills backbeat and a galloping lead bass; Clarke joined the band after he and Wood met at a London club and expressed mutual admiration for each other's work.

"It's funny," says Clarke, "but some people have said, 'Stanley, you're a jazz artist. How can you do this?' Jazz may be more progressive, but in some ways this music is less restrictive. This band may not be quite as tight, say, as Return to Forever, but then in rock & roll and rhythm & blues, music is secondary to emotion. In that respect, this is some serious shit we're playing."

In a way, the biggest charge of this event for me is seeing Keith Richards and Stanley Clarke in the same band. Not only does Clarke stand a head taller than Richards — or anyone else in the band, for that matter — but he cut his teeth on the music of Oscar Pettiford, Charles Mingus and Scott LaFaro, while Keith learned from the songs of Robert Johnson, Howlin' Wolf and Chuck Berry. What's being created here hardly qualifies as "fusion" music, but it does seem at moments — like during Clarke's and Richards' funky contrapuntal dialogue in "Infekshun" — that two forks of the same blues-based tradition have been forged in some mighty floodwaters. Richards himself, dressed in a Rastafarian T-shirt and dancing to his own rhythms like a giddy eel, looks more electrified than I've ever seen him onstage.

It's a little rough being objective with a coliseum-size sound system raging away twenty feet in front of my face, but it seems to me that this band, even without any extra stellar bonuses, might be the liveliest thing to happen to rock & roll since, well, punk.

Ron Wood, at thirty-one the youngest Rolling Stone, has always had a knack for kicking up the right band. His first solo effort, I've Got My Own Album to Do, recorded in 1974 when the Faces were still together, featured a support group composed of, among others, Keith Richards, Mick Jagger, Mick Taylor, Rod Stewart, George Harrison and Paul McCartney. His second LP, Now Look, released in the middle of his maiden 1975 tour with the Stones, was reproduced by Bobby Womack (who wrote "It's All Over Now," one of Stewart and the Faces' best concert songs). Both were very much the records of a man — and rock sensibility — in transition, moving from the fading funkiness of the Faces to the intense luster of the Stones.

The new Columbia album, Gimme Some Neck, is the first on which Wood's bawdy, guileless personality clearly reigns (although Jagger, Richards, Dave Mason and Mick Fleetwood make brief appearances). It's a clamorous, crass, raw rock & roll record — something like a cross between the Faces' A Nod's as Good as a Wink and the Stones' Some Girls — and at the heart of it is one of the most massive guitar-and-drum alliances (the latter played by Charlie Watts) ever recorded. But perhaps the most striking thing about the album is Wood's vocals; with his thick-tongued, slithering inflections, Woody sounds like a stormy Bob Dylan (especially on "Seven Days," a song Dylan wrote).

"It's strange. I spend a lot of my time singing with Mick and Keith and I end up sounding like Dylan," muses Woody, seated on a paunchy sofa in the retreat-like grandeur of his Pacific Palisades home. The flare from a burning fireplace illuminates the lines of exhaustion settling into his gaunt face after a week of rehearsals. Still, Woody's an animated, avid host, giving me a modest tour of his drawings and antiques, carting out his new toy — a tenor saxophone — to demonstrate his reed facility ("Bowie's very impressed; my family's very pissed"), and proudly playing a videotape that features a sextet of Ron Wood's mugging their way through "Seven Days." As we watch it, he says, "My singing here reminds me a bit of that Mark Knopfler guy in Dire Straits. I asked Dylan about him and he said, 'Yeah, he sounds like the way I used to sound.' Wait till he hears this."

Gimme Some Neck is also Woods first effort with producer Roy Thomas Baker, who works with Queen and the Cars as well. "I guess I kind of fall somewhere in between them, don't I?" Wood titters. "Roy had heard the earlier records, and the first thing he said was, 'We don't want to make a second-rate Stones album, and we don't want your vocals to go down the way they did before.' He always seemed so unimpressed with what I was doing that I began hearing myself more critically, too. All I wanted on those first records was a one-off, back-room sound. This time, I got a back-room sound produced to the full.

"But I refuse to get too refined about making records. I like the earthy approach to rock & roll, which is why the Stones aren't real different for me. They've been saying all along what I've been trying to get at."

Looking back, Wood's ascension into the Rolling Stones seems more a product of rock's version of natural selection than an act of his own artful ambition. Ever since his mid-Sixties stint with an R&B-influenced Mod group from London called the Birds — which enabled him to form friendships with Eric Clapton, Pete Townshend and Mick Taylor — Wood has been acquiring a reputation as one of British rock's most eager and valuable players, as well as one of its most jovial. Woody is considered a bit of a self-styled clown, which is not to be confused with a buffoon: his comic exuberance is a welcome respite from the coolness of so many of his British colleagues.

"I don't mind blundering in on someone, and I think that's why I get along well with so many 'rock illuminaries,'" laughs Wood. "I just figure they can't be as hard as you'd think. If somebody was offish, I'd leave, but nobody has been. That's how I came to know Mick and Keith and George Harrison. Thats also how I came to join Jeff Beck. I just rang him up after he left the Yardbirds and said, 'What're you doing?'"

After things with Beck soured in 1969, and Steve Marriott left the Small Faces to form Humble Pie with Peter Frampton, Wood persuaded Ronnie Lane, Ian McLagan and Kenney Jones to carry on as the Faces — with him as their new guitarist. After a little time, when no one wanted to be the lead singer, Wood helped encourage his brandy-voiced comrade from the Jeff Beck Group, Rod Stewart, to sit in. Soon after, the Faces became one of the most exciting and enigmatic English bands. While their endearing brand of inebriated camaraderie never translated that well on to record, Stewart and Wood flowered as unforgettable songwriters and showmen. (Once, during the group's early peak period, Mick Jagger tried to contact Wood to see if he had any interest in the Stones. Instead, he spoke to Ronnie Lane, who said, "No thanks. Ronnie's very happy with the Faces." Later, Lane was the first to leave the group.) But Stewart, whose solo career outdistanced the Faces both commercially and artistically, grew restless about music and romance, and by 1974 the Faces' future looked uncertain.

That same year, Mick Taylor left the Rolling Stones, and Jagger and Richards began auditioning guitarists to join them in Munich for their next album, Black and Blue. "Just prior to that," recounts Wood, "I was sitting in the back seat of a car with Mick and Marshall Chess [at that time, president of Rolling Stones Records], and Mick said to me, 'I don't want to split up the Faces — I really dig them — but if you ever want to move on, would you come with us?' I said, 'There's nothing more I'd like, but I am committed in every way to the Faces, so if you could find someone else, that would be better. If you get real desperate, though, ring me up.'

Photos From 'The Faces 1969 to 1975'

"A year later Mick tracked me down in L.A. and said. 'Woody, I'm desperate.' I said, 'Does that mean you want me? Things are a little rough with the Faces and I was planning on dropping by Munich to see how you're getting on.' After Black and Blue and that first tour, I was willing to play with both bands — which I did for a while in 1975 — but then Rod threw in his cards and that made my choice easier. I thought, 'These are my marching orders to work with the Stones full time.'"

Ron pauses, squinting wearily at the fading embers in his fireplace. "I think in his heart Rod wanted me to carry on with him," he says. "But he knew the Stones were much hotter on my list. I knew I'd have no problems with them. Keith, though, had some reservations: he thought we played too similarly. But at this point, the rapport in our styles is perfect; without saying anything, each of us knows when the other is going to cut back to rhythm from a lead, or vice versa. We never even talk about it."

In spite of the spotty Black and Blue (Wood joined during the album's final stages), the Stones seem to be enjoying a creative resurgence since drafting Wood. They have been writing, touring and recording incessantly, and last year they produced one of the decades definitive albums, Some Girls. Several of the band's critics and friends think Woody's chummy restlessness and gritty guitar obsessions have helped fire that rejuvenation, but Wood, typically, discounts his own influence. "I think what I do is give them just a little breathing room, since they know they don't have to accommodate my writing to their playing. With me, it's all just water off a duck's back.

"I'll tell you where my influence really paid off, though, on Some Girls; giving Mick guitar lessons. I encouraged him to play things like 'Respectable,' 'Lies,' 'When the Whip Comes Down' — all that upbeat, punky stuff. Mick felt very punky at the time."

I ask why none of his songs has appeared yet on a Stones album, and Wood draws his face into a bashful shrug. "Because there simply isn't the room," he says. "Whenever I get together with Mick, we play for each other what we've just written, even if it's only a couple of chords toward a song. They're welcome to any of my songs they want; I'm not hoarding them. But coming into the group late, I already had a solo career going, and I thought — as the rest of the boys did — why sacrifice it? I do have a lot of songs that don't fit the Stones, so why not keep that outlet going? At the moment, it's all very cool — I have a fair opportunity with the Stones."

Theoretically, I point out, Keith Richards is still in jeopardy: Canada's federal crown prosecutor has appealed Keith's sentence to the Supreme Court of Ontario as being "too lenient," seeking six months' imprisonment instead. If Keith had been sentenced to a jail term the first time — or is yet sentenced — where would that leave the Rolling Stones — and Woody?

He peers at the hardwood floor, then answers: There was a time when Keith wasn't showing up much for rehearsals and we had to get used to doing without him. But he spent a lot of time alone in Toronto after that arrest, and faced up to the whole thing. He came out of it with a very confident, clearheaded view of himself, and without a substitute dependency on anything other than his music and his band. I doubt if the group's ever been more solid than it is now. It's a secure feeling knowing the Stones aren't going to be swayed from rock & roll. It's a feeling I need.

"We'll stay onstage for a long time — that's where we feel alive the most. I never want just to make records. That's like being a movie or TV actor — you're never doing it in front of a real audience. I couldn't stand that. You could be seen by millions of people every day and still be the loneliest person in the world."

This is a story from the May 31, 1979 issue of Rolling Stone.

From The Archives Issue 292: May 31, 1979


Read more: [www.rollingstone.com]-



Edited 1 time(s). Last edit at 2014-11-14 04:23 by exilestones.

"Gimme Some Neck", the title of Ron Wood's third solo album from 1976, refers not to any vampiric tendencies on the ace guitarist's part but rather to his exuberant attitude towards playing anything with four or more strings. Give this man enough neck and you're liable to wind up with a pair of terminally scrambled frontal lobes.

Ron Wood responded to the challenge of his third solo album with a top-notch collection of songs that offer ample proof of his skills as a compelling songwriter, convincing vocalist and superb instrumentalist. He's sympathetically aided by a number of heavy friends - fellow Stones Mick Jagger, Keith Richards and Charlie Watts, old Face compatriot Ian McLagen, Jim Keltner, Dave Mason and Bobby Keys represent the rock contingent while Crusaders' bassist "Pops" Popwell adds his funky flavorings to the proceedings.

Producer Roy Thomas Baker has done his usual excellent job of capturing a sound that boasts the kind of loose, roadhouse feel that has always been at the core of great rock and roll from day one. There's a music vitality in these grooves that's far removed from the sterile product that so often pops out of studios.

The stand-out track here is "Seven Days", a song penned exclusively for Wood by Bob Dylan. Powered by the man behind the beat for the big Mac, Mick Fleetwood, the tune sets Wood's searing pedal steel work against a remarkably expressive, Dylanesque vocal. You'll probably find it hard to believe that Mr. Dylan didn't drop by the studio to do the singing himself.

Wood composed eight of the eleven selections and most of them are blazing examples of classic British Rock'n'Roll, centered around the slashing rhythm stylings that helped establish the faces as one of the premier rock bands of the 70's and contributed so much to the recent rejuvenation of the Stones. "Infeckshun" sports a superb mid-song jam that only comes from complete empathy between the musicians, "Buried Alive" features the full Stones complement on the album's hardest-driving rocker. "F.U.C. Her" blends incisive, witty lyrics with a musical marriage between Chuck Berry and funk. The album closes with what could well be Wood's motto towards Rock'n'Roll and life in general, "Don't Worry."

[www.propermusic.com]

reissued April 14, 2014 Mig Music Digipak


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rod45 Dec 22 2013 3.50 stars
What a great idea, write some solid blues rock tunes then invite the Rolling Stones to be your back up band. Sound like a good idea? Think that might work?

Published
39steps Mar 01 2012 4.00 stars
This is actually my favourite Rolling Stones record.
Published
rocketfrogs Jul 01 2010 2.50 stars
Best Track: Seven Days
Published
PAULLONDON May 16 2010

INDEED...Roy Thomas Baker...was the hot boy to do your albums then,It suited Queen quite well, but not Ronnie's laid back groove.

"Breakin; My Heart"
"Buried Alive"
"Seven Days"
Are the only tracks that slightly survived this @#$%& up.

It's a bloody shame this. Ronnie Wood is capable to deliver the goods, proof is in his previous two solo offerings.

Things went the right way again with his next 1-2-3-4.
Which was criminally overlooked however.


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ChelseaDrugstore May 15 2007 4.50 stars

This album came out at the height of the Stones' success in 1978 of "Some Girls". They ruled NYC; it was the first full length studio album with Ronnie. They had wrapped up the chaotic, but successful US Tour, done SNL. Ronnie put together the New Barbarians to tour behind this solo album. He made to cover of Rolling Stone. Top of his game there. The writing, the playing and the personnel is first rate. The reason this might be the worst Ron album is the absolute atrocious production by Roy T. Baker. Certainly a very able producer, he was just wrong for this job. They used every inch of 24 tracks. Any Stones fan knows this is not the way to get the true raunch. Charlie Watts' snare booms like a steel can in an empty hangar. It is really a shame because the songs are great. Book-ended by Ron's philosophy "Worry no More" and "Don't Worry" this was another Stones album without the wait.

Jagger, Keith, Charlie are all over the album. Ron'w vocals sound eerily like Dylan. Matter of fact one of the best songs was furnished by Dylan himself. The songs are charming and optimistic. "We all get old", and "Come To realize" are very melodic in best Stones "Black and Blue" vein. While "FUC Her" and "Infekshun" bring the rock from Chuck Berry' riffs. "Lost and Lonely" is the ballad. What was good about this album is that the all really worked on the live stage. Many hardcore Stones fans still hope for the day that Ron will be allowed his solo spot on the Stones stage.

[rateyourmusic.com]

Notes: A great little bar band led by Mr. Wood. He surrounds himself with many familiaer names and faces and produces a fun set of tunes to kill time until the next Stones project.

The track "Seven Days" was at that time an unreleased Bob Dylan tune and was a bit of a bonus.

The big draw for me at the time was the art of Ron adorning not only the covers, but the inner sleeves as well. A nice addition to your collection of Stones/Faces musical side paths.

I always love to here Bobby Keys on sax.








Artist: Ron Wood

Title: Gimme Some Neck

Date: 1979

Label: Columbia Records - AL35702

All Art By: Ron Wood

Line Up:

Ron Wood: guitars, vocals

Guitar and Vocals: Mick Jagger, Keith Richards

Guitar: Dave Mason

Bass: Mick Taylor, Robert Popwell

Drums: Mick Fleetwood, Jim Keltner, Charlie Watts

Keyboards: Ian McLagan

Piano: Harry Phillips, Swamp Dogg

Sax: Bobby Keys

Produced by: Roy Thomas Baker



Track Listing

Side 1

Worry No More
Breakin' My Heart
Delia
Buried Alive
Come to Realise
Infekshun

Side 2

Seven Days
We All Get Old
F.U.C. Her
Lost and Lonely
Don't Worry

[tralfaz-archives.com]


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Ron Wood's next album, "Gimme Some Neck" was recorded in Paris between January and March 1978 during the Rolling Stones 'Some Girls' sessions. The basic tracks were recorded in ten days by Ron Wood, Pops Powell and Charlie Watts. This album marked the first release of any Stone on CBS.

'Seven Days' stems from the 'No Reason To Cry' sessions with Eric Clapton and Bob Dylan in early 1976. Mick Jagger wrote much of the lyrics to 'Infekshun'


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Ron Wood Solo Albums



I've Got My Own Album to Do (1974)

I Can Feel the Fire (Wood)
Far East Man (Harrison/Wood)
Mystifies Me (Wood)
Take a Look at the Guy (Wood)
Act Together (Richards/Jagger)
Am I Grooving You (Berns/Barry)
Shirley (Wood)
Cancel Everything (Wood)
Sure the One You Need (Wood)
If You Got to Make a Fool of Somebody (Clarke)
Crotch Music (Weeks)

Now Look (1975)

I Got Lost When I Found You (Wood/Womack)
Big Bayou (Gib Gilbeau)
Breathe On Me (Wood)
If You Don't Want My Love (Womack / Witty)
I Can Say She's Allright (Wood/Womack)
Caribbean Boogie (Wood)
Now Look (Wood)
Sweet Baby Mine (Ford/Womack)
I Can't Stand the Rain (Bryant/Miller/Miller)
It's Unholy (Wood)
I Got a Feeling (Womack/McLagan/Roussell)


Mahoney's Last Stand (1976)Click for Larger Image
(all songs by Lane, Wood)

Tonight's Number
Kenney Jones- drums
Ronnie Lane- bass
Ron Wood- guitar
Pete Townshend- guitar
Ian McLagan- piano
Bobby keys- brass
Jim Price- brass, baritone horn solo
From the Late to the Early
Bruce Rowlands- drums
Benny Gallagher- bassmahoneys.jpg (2102 bytes)
Ron Wood- guitar, harp, vocals
Ronnie Lane- guitar, vocals
Chicken Wire
Bruce Rowlands- drums
Rick Grech- bass
Ron Wood- guitar
Ronnie Lane- banjo
Ian McLagan- harmonium
Chicken Wired
Bruce Rowlands- drums
Ron Wood- guitar,vocals
Ronnie Lane- bass, banjo, vocals
Ian McLagan- piano
I'll Fly Away
The Wood / Lane vocal ensemble:
Ron Wood, Ronnie Lane, Glyn Johns, Bruce Rowlands, Billy Nicholls
Title One
Bruce Rowlands- drums
Ron Wood- guitar
Ronnie Lane- bass, guitar, percussion
Bobby Keys and Jim Price- brass
Just for a Moment (Instrumental)
Bruce Rowlands- drums
Ron Wood- guitar, harp
Ronnie Lane- guitar, percussion
Mona- The Blues
Rick Grech- drums
Ron Wood- guitar,vocals, harp
Ronnie Lane- bass
Car Radio
Bruce Rowlands- drums
Ron Wood- guitars
Ronnie Lane- bass
Ian McLagan- piano
Pete Townshend- percussion
Bobby Keys- tenor sax
Hay Tumble
Micky Waller- percussion
Ron Wood- bass, guitars, harp
Ronnie Lane- guitar
Rick Grech- violin
Woody's Thing
Bruce Rowlands- drums
Ron Wood- guitars
Ian Stewart- piano
Rooster Funeral
Ron Wood- guitar,vocals
Ronnie Lane- vocals
Rick Grech- violin
Just for a Moment
Bruce Rowlands- drums
Ron Wood- guitar,vocals, harp
Ronnie Lane- bass, percussion, vocals


Gimme Some Neck (1979)

Worry No More (J. Williams)
Breakin' My Heart (Wood)
Delia (Trad.)
Buried Alive (Wood)
Come to Realise (Wood)
Infekshun (Wood)
Seven Days (Dylan)
We All Get Old (Wood)
F. U.C. Her (Wood)
Lost and Lonely (Wood)
Don't Worry (Wood)


1234 (1981)

1234 (Wood)
Fountains of Love (Wood/Ford)
Outlaws (Wood/Ford)
Redeyes (Wood)
Wind Howlin' Through (Wood)
Priceless (Wood/Womack)
She Was Out There (Wood)
Down to the Ground (Wood)
She Never Told Me (WoodFord)
Live at the Ritz (w/ Bo Diddley) (1988)

Roadrunner (Diddley)
I'm A Man (McDaniel)
Crackin' Up (McDaniel)
Hey! Bo Diddley (McDaniel)
Plynth (Water Down the Drain) (Hopkins/Stewart/Wood)
Ooh La La (Lane/Wood)
They Don't Make Outlaws Like They Used To (Wood/Ford)
Honky Tonk Women (Jagger/Richards)
Money to Ronnie (McDaniel)
Who Do You Love? (McDaniel)
Slide On This (1992)

Somebody Else Might (Fowler/Wood)
Testify (Clinton/Taylor)
Ain't Rock and Roll (Fowler/Wood)
Josephine (Fowler/Wood)
Knock Yer Teeth Out (Fowler/Lloyd/Wood)
Ragtime Annie's (Lillie's Bordello) (Trad)
Must Be Love (Williams/Williams)
Fear for Your Future (Fowler/Wood)
Show Me (Williams)
Always Wanted More (Fowler/Wood)
Thinkin' (Fowler/Wood)
Like It (Fowler/Wood)
Breathe On Me (Wood)
Slide On Live (1993)

Testify (Clinton/Taylor)
Josephine (Fowler/Wood)
Pretty Beat Up (Jagger/Richards/Wood)
Am I Grooving You (Berns/Barry)
Flying (Lane/Stewart/Wood)
Breathe On Me (Wood)
Silicone Grown (Stewart/Wood)
Seven Days (Dylan)
Show Me (Williams)
Show Me (Groove) (Williams)
I Can Feel the Fire (Wood)
Stay With Me (Stewart/Wood)
I Don't Know What You've Got ()
You've Really Got A Hold On Me) ()


Live and Eclectic (1988)

Show Me (Williams)
Flying (Lane/Stewart/Wood)
Testify (Clinton/Taylor)
Pretty Beat Up (Jagger/Richards/Wood)
Always Wanted More (Fowler/Wood)
Breathe On Me (Wood)
Silicone Grown (Stewart/Wood)
Black Limousine (Jagger/Richards)
Little Red Rooster (Dixon)
Stay With Me (Stewart/Wood)
Josephine (Fowler/Wood)
(I Know) I'm Losing You (N. Whitfield/E. Holland/C. Grant)
It's Only Rock'n'Roll (Jagger/Wood)


Not for Beginners (2002)

1. Wayside performed by Wood / Mark Wells / Martin Wright - 2:36
2. Rock N' Roll Star performed by Wood / Jesse Wood / Martin Wright - 3:24
3. Whadd'ya Think performed by Wood / Kelly Jones / Jesse Wood - 2:58
4. This Little Heart performed by Wood / Leah Wood / Martin Wright - 3:39
5. Leaving Here performed by Wood / Leah Wood / Martin Wright - 3:16
6. Hypershine performed by Wood / Martin Wright / Jesse Wood - 3:36
7. R. U. Behaving Yourself? performed by Wood / Willie Weeks / Ian McLagan - 3:23
8. Be Beautiful performed by Wood / Jesse Wood / Martin Wright - 3:16
9. Wake up You Beauty performed by Wood / Jesse Wood / Martin Wright - 3:19
10. Interfere performed by Wood / Willie Weeks / Scotty Moore - 4:39
11. Real Hard Rocker performed by Wood / Martin Wright / Mark Wells - 3:07
12. Heart, Soul and Body performed by Wood / Martin Wright / Mark Wells - 3:23
13. King of Kings performed by Wood / Bob Dylan - 3:36
Bob Dylan - Guitar
Ron Wood - Guitar, Vocals, Producer, Paintings, Cover Painting
Ian McLagan - Piano, Keyboards
Scotty Moore - Guitar
D.J. Fontana - Drums
Bob Ludwig - Mastering
Eoghan McCarron - Engineer
Andy Newmark - Drums
Willie Weeks - Bass
Mark Wells - Bass, Guitar, Drums, Guitar (Bass), Vocals, Guitar (12 String), Producer, Engineer
Martin Wright - Percussion, Drums, Vocals, Vocals (bckgr), Producer
Leah Wood - Vocals, Vocals (bckgr)
Steve Bush - Mixing
Kelly Jones - Vocals
Jesse Wood - Guitar (Acoustic), Guitar, Guitar (Bass)

[www.the-faces.com]

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RONNIE WOOD Gimme Some Neck (1979 Japanese CBS Sony label 10-track vinyl LP featuring contributions from Mick, Charlie and Keith plus Bobby Keys and Ian McLagan, housed in a colour picture sleeve complete with the original inner, Japanese text biography/lyric insert and title obi-strip! 25AP 1580).


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RONNIE WOOD Gimme Some Neck (Rare 1979 US Columbia press pack incl press release, 5-pg biog & 3 promo photos, in custom envelope!) .

[eil.com]

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RONNIE WOOD Gimme Some Neck (UK white label LP test press, p/s)

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Chris, Is this the white label promo you have?

Gimme Some Neck White Label Promo


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RONNIE WOOD Seven Days (1979 Dutch manufactured 2-track 7" vinyl single, also including Lost And Lonely, housed in a unique textured picture sleeve with French language cheese promotional labels on both sleeve and label!).

1. Seven Days
2. Lost And Lonely

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RONNIE WOOD Seven Days (Scarce 1979 Japanese 2-track CBS/Sony white title label promotional sample issue vinyl 7" single, also includes Lost & Lonely. Housed in a generic CBS/Sony records paper sleeve complete with the unique picture insert withlyrics on reverse 06SP326).

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RONNIE WOOD Gimme Some Neck (Rare official US 180 piece full colour 12" x 12" jigsaw puzzle featuring the superb montage sleeve artwork from the 1979 album. This copy is still in put together state and remains factory SEALED, unopened and unused,complete with a personalised facsimile note from Woody! A fantastic collector's item and top fun for any fan alike).

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Felix Appli - more: [aeppli.ch]



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Guests: Mick Fleetwood, Mick Jagger, Jim Keltner, Bobby Keys, John Lind, Dave Mason, Ian (Mac) McLagan, Harry Phillips, Robert (Pops) Popwell, Keith Richard(s), Swamp Dogg (Jerry Williams, Jr.), Charlie (Charles Robert) Watts


Bob Dylan (Robert Allen Zimmerman) (Songwriter), Jerry (Lynn) Williams (Songwriter), Ron(nie) Wood (Songwriter), Tony Lane (Design), Roy (Thomas) Baker (Produced By)


Review written by John Fitzgerald, January 24th, 2005

You'll probably be able to predict what this album will sound like without even hearing it as it does in fact sound like Rolling Stones retreads though some such as the shuffling "Break my heart" will make you smile if nothing else.

Also in this vein are the ragged funky "Buried alive" and the faster "Come to realize" which has a very good hook and perhaps it is tracks like this that make Wood wish to release solo albums since the Stones, for whatever reason, may have passed on this one.

The only musical turn we take here outside of this realm is "Delia" which is a 42 second acoustic guitar interlude and therefore the track you'll most likely enjoy instantly though "Lost and lonely" is the next mellowest track here which will be a good change of pace once you get there but it doesn't have a great hook.

In contrast, "Infekshun" is the most rocking track with that train like sounding energy and the closing "Don't worry" isn't far behind with it's punchy gravelings.

Mick Fleetwood plays drums on a cover of Bob Dylan's "Seven days" which overall is OK I suppose which sounds upbeat though it has Mick's typical shuffle type drum sound.

Dave Mason plays on the rocker "F.U.C. Her" with it's Chuck Berry type feel, it's rather banal next to the other tracks and I wouldn't say Mason stands out particularly well here anyways.

Many tracks do suffer from a mid tempo faceless bland taste like "We all get old" and the piano featured chugging barrel house opener "Worry no more" but if it's just the good time barrel house party rocking feel you're after, then this may be just enough to suit your needs.



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Music : Rock : Lossless
Here it is.Hard to find Ron`s album "Gimme Some Neck".This is not remastered version.This is my rip from original silver disc done by EAC (log included)

Enjoy,
Captain Acid

[www.demonoid.ph]

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Already a member of the Rolling Stones for four years by 1979, Ron Wood issued his fourth solo release, GIMME SOME NECK. Like his first two solo albums (1974's I'VE GOT MY OWN ALBUM TO DO and 1975's NOW LOOK), NECK boasts an all star guest list.

The list is long, but such renowned rockers as Dave Mason, Mick Fleetwood, Ian McLagan, and such fellow Stones members as Mick Jagger, Keith Richards, and even the man Wood replaced in the Stones, Mick Taylor, appears. Featured are the previously unheard Bob Dylan original "Seven Days" and the guitar-heavy rocker "Buried Alive."

Producer Roy Thomas Baker keeps things simple (unlike his work with Queen and the Cars), which makes GIMME SOME NECK another tasty slice of fun and sloppy rock n' roll.



CBS 466331 2

Personnel:
Ronnie Wood - lead vocals, guitar
Mick Jagger - guitar, backing vocals
Keith Richards - guitar, backing vocals
Dave Mason - guitar
Mick Taylor - bass, guitar
Robert "Pops" Popwell - bass
Charlie Watts - drums
Jim Keltner - drums
Mick Fleetwood - drums
Ian McLagan - keyboards
Swamp Dogg - piano
Harry Phillips - piano
Bobby Keys - saxophone
Jerry Lynn Williams - piano, backing vocals
Jon Lind - backing vocals

[thepiratebay.net.co]


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[www.iorr.org]



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-- 1979 by Henry Diltz

--- 1979 by Ebet Roberts









--- 11 August 1979 by Denis O'Regan

[shidoobeewithstonesdoug.yuku.com]

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Largo MD (DC)




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also 1979: Run Rudolph Run IORR