"We can do a lot more with this particular band than any other incarnation of the Rolling Stones," Keith Richard threatened during the Stones' 1975 tour of America. "With Ronnie the possibilities are endless."

Three years later that enthusiastic prediction will become public knowledge with the release of the Rolling Stones' first studio album since Black And Blue in 1976. Recorded during a period of transitional chaos, that LP featured numerous guitarists auditioning for the spot left vacant by Mick Taylor.

"The group is definitely more important than my solo career. -Ron Wood"

Despite widespread speculation, even the Stones were uncertain just who would fill this coveted position. Auditions quickly ceased when Ron Wood arrived in Munich. As Keith Richard admits: "Ronnie walked in and made the auditions a fuckin'joke."

Tentatively titled Some Girls, the new album marks a return to the glory days of Exile On Main Street. Vocal harmonies are more prominent with Wood blending in nicely between Jagger and Richard, adding that integral rough edge. Soulful Hot Chocolate harmonies and high register Billy Preston assistance has been replaced by the band. On one track Wood, Jagger and Richard sound like male Ronettes.

A landmark album for the Stones, Some Girls heralds the beginning of yet another era. It's the first album in a long time strictly as a five-piece band. As always, Ian Stewart contributes occasional piano slices; there's an unknown French harp player on one track, some horns on another. But basically the album is a showcase for the Rolling Stones.

From a list of 200 possible album titles, they briefly considered Don't Steal My Girlfriend and More Fast Numbers. Both are appropriate as many songs are about women while an equal number are authentic rockers that rip like the Stones' best. Variety abounds. There's a country and western tune where Wood plays lovely dobro. And a cover of the Temptations' "Imagination" that succeeds where "Ain't Too Proud To Beg" failed.

Anyone disappointed with the last several studio albums or the addition of Ron Wood need no longer worry. Avoiding nostalgia, the Stones have gone back to their rhythmic roots while simultaneously carving an exciting future. Far from sterile, the sound is electric and alive.

No longer hesitant to step out of Richard's powerfully chorded shadow, Wood has replaced apprehensive leads with confident solos. Any doubts concerning his musical ability created by his debut live performances are finally obliterated. After three years, Ronnie Wood is a Rolling Stone. More importantly, the Rolling Stones are a band. Again.

"These Paris sessions have made me realize how much of a Rolling Stone I always have been," a content Ronnie Wood reflected when the album was nearing completion. "It's really weird...I feel like I've been with them right from the start."

The band themselves are full of enthusiasm. Woody has been partially responsible for bringing the whole group closer. Although it's a delicate balance, Ron Wood has frequently been the necessary catalyst to bring Jagger and Richard closer together.

"When you've been playing together as long as they have, still knowing inside you're the best in that field, it's a buzz to have someone like me come along and reassure them," Woody grinned, lighting one of many Winstons. "My opinion is a good one for them to bounce off of. Although they wanted a producer but couldn't find anyone to fit the bill, I've helped as a third opinion to make it that bit easier."

Ironically, the Rolling Stones have given Ron Wood more confidence by allowing him the freedom to develop creatively by not imposing restrictive limitations.

"I'm a lot less musically frustrated than I was with the Faces although at the time I didn't realize I was frustrated," Wood admitted. "With this album I've definitely taken a stand with my playing. During the first Stones tour I couldn't get used to having the freedom to be able to do whatever I wanted because the Faces were limiting, where the Stones let me rip."

Keith Richard would be among the first to applaud Wood's musical progress. Encouraging Wood by lending support to his first solo endeavor, I've Got My Own Album To Do, Richard himself has been reignited with this latest Stones effort. Reminiscent of the early days when two guitars merged as one, the entire band has benefited from the change.

"The right kind of chemistry is there with Woody," Richard observed. "Woody is madefor two guitars but he just hasn't had the chance to do it 'til now. His strength, like mine, is to play with another guitar player, not the virtuoso clap-trap."

An ardent admirer of Richard's distinctive playing, Wood has begun to step into his own, meshing with Richard while adding his own unique sound. Although Wood admits that playing with Richard is "always a kick up the ass," he also realizes that he tended to play it safe on that first Stones tour.

"I was sticking to Certain safe formulas," Wood said of that tour, glad he's moved beyond self-imposed guidelines. "This album is more me because the numbers are being done for the first time. Now I'm an integral part of what's going on which) has given me a lot more .confidence of expression. That," he flashed a grin, "should come over in the live gigs."

At presstime, .there's talk that-an American tour will follow the release of the new album, a tour where recent band improvements will be on view. After Some Girls, the band is eager to tour as a five-piece. There's even a chance that the intimacy of last year's Canadian club dates will be attempted, coupled with larger concerts.

For the moment one must contend with th£ studio album, which should be enough to satisfy the hcmgriest fan's appetite.

"The Stones bring out the best in me," Wood remarked. "I think I'm most powerful when I'm with them. It's because they give me confidence but it's also that added ingredient that is the Stones, although no one really knows it is."

Whatever the nature of that elusive element, it is most prominent on this new album. Charlie Watts contributes his best ever percussive performance on this album.

"Charlie is absolutely the whole pivot on this album," said Ronnie. "Everything comes from him. Charlie was very inspirational. He picked up on all the guitar playing. And sometimes there were three guitars," he laughed. "Keith, me and Mick playing guitar is very prominent on this album. Mick didn't do a bad job either."

The right kind of chemistry is there with Woody. -Keith Richard

Charlie was similarly impressed with Wood's contributions to the album. Despite lengthy American and European tours, everything clicked in the studio.

"Woody has been a real surprise," Charlie said late one night, tinkering with his cymbals. "I knew he was good but these sessions proved he can really play."

Wood agreed. "It surprised everyone in the groupEven me," he said laughing: "They had a chance to hear me for the first time. And it's given me a chance to hear some real good ideas for my next album. Plus there's always that element of surprise which is a continual booster fqr me."

It's also been something of a studio education. Having wofked previously with the Jeff Beck Group, the Faces, and on his solo albums, Wood noticed an obvious difference in the way the Stones go about recording.

Acutely aware of their past, the Stones are intense perfectionists.

"This album has been different than any album I've worked on.before because the Stones really make you feel at ease while you're working. There's never any 'Oh that will do' or 'C'mon

let's get out of here': No half measures are accepted at all.

"There aren't any filler tracks on .this album. The band was most aware of avoiding that. From the start we knew the album was going to be full of strong tracks. Anything slightly dodgy was shelved. I know people expect this album to be great. The band is, aware of that. And," Ronnie said with a wink, "I don't think anyone will be disappointed."

Before entering the studio in a suburb of Paris, the Stones had one obvious advantage. Much like their early days, when they recorded club numbers they had played onstage continuously, the Stones were not going into the studio a virgin group. Although this is the first album to feature Ron Wood so prominently, he had the distinct advantage of exercising onstage with the band for two fruitful years.

"It was definitely a huge advantage, having toured with the band so much before making this album," Wood instantly agreed. "Keith pointed it out the other day; that I'd come straight into a touring vibe. Two years of it. That's one of the reasons why I think this is the best playing I've done on record. It's given me a huge bolt of confidence for our next album and for the next album 4'm going to do."

Having moved from Warner Brothers to Columbia, Wood is most optimistic about his future solo plans although he'll admit that the Rolling Stones always come first on his priority list.

"I'd never do any long term solo stuff," Wood stressed loyalty to the band. "It's purely ideas to get off my back that I can do on my own. The group is definitely mote important than my solo career. The Stones come first every time but it's a great feeling to be able to go off and do something on your own." •

Ideally, Wood planned to begin recording his third solo album in April, breaking for the Stones tour, then resuming the project. Invigorated by the Paris sessions, he is most eager to begin work on his own project. This time he doesn't feel the need to surround himself with all-stars.

"This time that's much less important. I don't need that confidence now," he enthused. "This album will be much more a showcase for me. I want to play sorpe bass, more dobro and a lot more solo guitars. That's why this time I want a producer who's into showcasing me."

Although no concrete plans have been made, Wood has definite ideas about what he wants. Eager to use Charlie Watts as a drummer, he would also like to include Rick Danko and Willie Weeks. And he's got a long list of potential producers.

"I'll definitely use a producer. I may try using the guy who does Queen— Roy Thomas Baker. I heard he was interested in working with me and he does get a good sound. I don't know how good Queen are," Ronnie laughed, "but he certainly seems to make them sound good, especially the vocals."

Singing with the Stones has given Wood confidence jn his own voice.

"I'm definitely ready to start now," he said, charged with excitement. "I wanna start as soon as I can when I've still got confidence in my voice. In Los Angeles I might team up with Mike Finnigan to sing with for awhile. He's like a white*Billy Preston. He helps get all the good things out of your voice."

"I'm a lot less musically frustrated than I was with the Faces. —Ron Wood"

Wood depended heavily on Bobby Womack for vocals for his last solo LP Now Look. One got the impression the album contained too much Womack and not enough Wood.

"There was too much respect for his singing," Ronnie agreed. "Looking back on it I shouldn't have gone with that attitude at all. Now I want to please myself a lot more. I never put much weight on producers before. Doing it in my own back room, working amongst friends, I never realized the importance of a producer."

He does, however, realize the importance of playing down past and present famous affiliations. With his first two solo albums, Wood refused to exploit the Faces, Rod Stewart or Rolling Stones.

"I don't want to use the group as a leverage to sell my album," he said adamantly. "I don't want the record cheapened like that. People don't like to see things that way; in the mirror of the Rolling Stones. I don't need Ringo and a cast of thousands. I'm just really looking forward to playing with Charlie."

"No matter what goes down the group is still together," Wood sighed, referring to the traumatic events of the last year. "Nothing can bypass the energy the group creates. What's great is they don't rely on longevity to keep the group together. When the band gets together they still have that original impetus that must have been there back in Ken Colyer's club or Brian's bedroom."

Because their motivations are genuine and their convictions real, the Stones keep ego clashes at a minimum. It is more than ironic that Ron Wood would feel more satisfaction and personal recognition in the Stones than he would in the Faces, dwarfed by Rod Stewart's heavily made-up shadow.

"Keith has the same kind of inner £ confidence I have,". Wood admitted. 1 "When I was with Rod, it was always | Rod, Rod, Rod! But no one can say it's | all Mick with the Stones. Whatever limelight Mick demands or even if he doesn't demand it, whatever limelight he gets is great for the band. And Keith is most of the band."

Regarding the possibility of future Stones tours, Ron Wood is most excited. A noticable improvement in his playing was obvious during their 1976 European tour. Even more prominent were his performances at Toronto's El Mocambo where his guitar playing began to really mesh with the band. And he's the first to admit that he enjoys a bit of looning about onstage.

"When I get up to the mike with Mick and push and shove, I can see Keith in the back sort of going 'Oh fuck'," Ronnie laughed. "But Keith knows it's got to be done. If I didn't do all that goofing around, he'd have to. And he hates doing that.

"Then again, when Keith does do that it's fun. That's where with me in the band we can have these great funny exchanges and it spreads to Charlie or Bill. Mick is very aware of it. I'll tell ya," he threatened, "there's some good times ahead."

Ron Wood is perfectly right to say he feels like he's always been a Rolling Stone for in many ways he has. A musical junkie, he travels from hotel to hotel no matter the country with his trusty cassette machine and infinite cassette collection, ranging from reggae to Jimmy Reed to Arthur Crudup but always coming back to the Stones.

During some of the Paris sessions, Wood's hotel suite served as the band's meeting quarters. So thunderous was the noise from their tapes one night that a lady in a neighboring room climbed across an iron balcony in her nightdress to complain. She ended up having a drink with the band.

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Perhaps because Wood and Richard share a deep musical affinity and friendship, Ronnie respects Keith's opinion highly. One night when Richard didn't make, a session, Ronnie couldn't wait to play Keith the track which contained only his guitars. Bursting with pride, he put the track on when Keith entered his hotel room the next evening.

After several playbacks, Wood, smiling apprehensively, waited for Keith's approval. Always one to maintain a sense of humor, Richard looked up somberly when the tape had ended.

"What did ya think?" Woody asked with boyish enthusiasm.

"Rubbish, absolute rubbish," Richard deadpanned. "Worst fuckin' guitar sound I've ever heard."

Ronnie was all smiles. Could anyone ask for higher praise?

©1978 CREEM Mag., Inc. All rights reserved.