I added this query at Bob Layton's site.  Anybody have anything to add?

Hi Bob,
Something's not right about this. You describe Iron Man (1968 series) #91 (Oct 1976)
and The Champions (1975 series) #9 (Dec 1976), but Woody didn't have any work at Marvel that year (or the year before). This would have been around the time of his All-Star Comics (1976 series) #62 (Sept/Oct 1976) at DC.

From http://www.boblayton.com/interview-with-bob-by-dolmen-magazine/

This interview was conducted in April of 2014 by Vicente García, Editor of Dolmen Magazine.

Bob: The close association with Charlton (and production wizard, Bill Pearson) led to my meeting Wally Wood and becoming one of his apprentices.  He was a brilliant teacher whose formula for clear, concise inking set the stage for the look of the modern age of comics. Woody hammered one, basic concept into my head; Time and again, he imparted to me that a good artist should be in service to the tale being told… a “slave to the story”. That served me well in the years that followed.  In the evening, Woody and I would sit out on his porch and play guitar together.  He was an accomplished folk guitarist and his style was reminiscent of a Wood Guthrie and Pete Segar.  The most valuable thing I learned as his apprentice was how to work for reproduction and to utilize black and white values to combat the poor color process of that era.  He taught me how to use Zip-a-tone shading films to create textures and more subtle values. That technique became a huge part of my later success as the artist on Iron Man.

Vicente: How did you started in Marvel in the 70’s?

Bob: Occasionally, I would deliver pages for Woody when I made a trip into NYC from Connecticut. One day, I was in the Marvel offices…handing in Woody’s pages to the production dept. So, I used the opportunity to show my samples around while I had ‘my foot in the door’. When I passed the Art Director’s office, I heard John Romita on the phone, frantically trying to find someone to ink a desperately late issue of Iron Man by George Tuska.  Blissfully unaware of the consequences, I stuck my head in his doorway and said I could get the job done in the four or five days that was left on the schedule.  It was an utter fabrication…but I REALLY wanted to work for Marvel Comics!  Johnny gave me the pages and said, “Show me what you can do, Kiddo.” Panicking, I ran down Madison Ave. to Continuity Associates, where a lot of my fledgling contemporaries worked for Dick Giordano & Neal Adams. (The gang at that time comprised of Terry Austin, Bob Wiacek, Joe Rubinstein, Bob McLeod, Carl Potts and others) Like the troupers that they all were, they pitched in on the inking and we finished the entire book in less than four days. Once I turned the job in, I never heard from anyone from Marvel for weeks.  I’m sure I have permanently destroyed any chance of ever getting work there again.  Then, about a month after the George Tuska job, a package arrives on my doorstep. I open it to find a complete issue of pencils on the Champions.  I presumed that it was sent to me in error, so I called the Marvel offices to see where they want me to forward the material.  But my utter amazement, John Romita tells me that I’m the new regular inker on the book.