Let It Bleed
The Rolling Stones
1969
Album Summary
Let It Bleed is the 8th British and 10th American studio album by the English rock band the Rolling Stones, released on 28 November 1969 London Records in the United States and shortly thereafter by Decca Records in the United Kingdom. Released shortly after the band's 1969 American Tour, it is the follow-up to 1968's Beggars Banquet. As with Beggars Banquet, the album marks a return to the group's more blues-sound approach that was prominent in the pre-Aftermath period of their career. Additional sounds on the album draw influence from gospel, country blues and country rock. The album was recorded during a period of turmoil in the band; Brian Jones, the band's founder and original leader, had become increasingly unreliable in the studio due to heavy drug use, and during most recording sessions was either absent, or so incapacitated that he was unable to contribute meaningfully. He was fired in the midst of recording sessions for this album, and replaced by Mick Taylor. Jones appeared on this album on only two songs, playing backing instruments, and died within a month of being fired. Taylor had been hired after principal recording was complete on many of the tracks, and appears on two songs, having recorded some guitar overdubs. Keith Richards was the band's sole guitarist during most of the recording sessions, being responsible for nearly all of the rhythm and lead parts. The other Stones members (Mick Jagger, Bill Wyman and Charlie Watts) appear on nearly every track, with contributions by percussionist Jimmy Miller (who also produced the album), keyboardists Nicky Hopkins and Ian Stewart, and guest musicians including Ry Cooder. The album charted top ten in several markets, including reaching number one in the UK and number three in the US. While no high-charting singles were released from the album, many of the album's songs became staples of Rolling Stones live shows and on rock radio stations for decades to come, including "Gimme Shelter" and "You Can't Always Get What You Want", both of them listed on "best ever" songs lists. The album was voted number 40 in Colin Larkin's All Time Top 1000 Albums 3rd edition (2000). In 2005, the album was inducted into the Grammy Hall of Fame, and is on Rolling Stone's 500 Greatest Albums of All Time list.
WikipediaPossibly even better than I remembered. It probably deserves 5 stars just from the album opener (Gimme Shelter) and closer (You Can't Always Get What You Want) alone. You've heard most of these songs in your favorite Scorsese movies. There's a reason most of these songs continue to score movie soundtracks. This is about as good as it gets. I just love this album. There's plenty of Stones on this list (too many, or too few?), but this is without a doubt one of their essential albums, during that incredible 4-album stretch over 4 years. It may not be my favorite Stones album (that one is still to come), but anyone who claims Let It Bleed is their best album will get no argument from me.
Really carried by the two huge songs, I’m not interested in British faux honkey tonk
Bookended by two stone cold classics, the Stones try their hand at numerous genres and pretty much nail every one. A classic album in every essence.
I mean, it's The Rolling Stones, right? So much good stuff here. For the most part, The Stones have really aged well (musically, at least - let's not talk about the immortal Mr. Richards) and these tracks are still immensely enjoyable. Really jammy and fun, it feels like they were just having a good time and not taking anything too seriously. Which is odd given the lyrical content of the album, which is often kinda dark. There's an almost punk ethos to it. Kind of a, "things are really gross and ugly so we might as well party" mentality. The result is just a really fun album. I have no negative thoughts, only positive vibes. Full marks.
Gimmie Shelter starts us off strong and damn is it a fine-ass song. Like, one of the best of it's kind. After that banger of an intro, it reels itself in and stays pretty lackluster for the rest of the album. It kind of makes me wish they had brought the same talent and energy that they did for Gimmie Shelter, which shows us better energy and songwriting overall. The closest it gets to piquing my interest again is Monkey Man and maybe Midnight Rambler. It stays in this low until the very end of the album when it closes with the classic You Can't Always Get What You Want. Guess they were trying to tell me something there.
The peak of the Stones at their bluesiest, but honestly this thing gets 3 of these stars just for Gimme Shelter.
Great album, it's hard to believe despite all the turmoil the band was going through they were able to produce something this damn good.
A perfect exemplification of all the elements that make The Rolling Stones one of the greatest bands in popular music. So deep rooted in blues and Country music but with a twist that still sounds modern and distinctive.
Combines so many genres - blues, country, gospel - with rock to produce something unique and interesting. "Gimme Shelter" and "You Can't Always..." are beyond perfection. "Love in Vain" is my favorite ballad which best represents their return to blues, frequently heard throughout the rest of their tracks. Love the "Country Honk" meme. The blues masterpiece "Midnight Rambler" and funky / punkish "Monkey Man" are enough to lift this album beyond the mortal realm. Subject matter is gritty and leaves the audience feeling... bled on?
Powerful. Absolutely humongous sax on Live With Me. Everyone's playing like absolute demons for the entire 42 minutes. Love Mick's freaky shouts and screams especially in Monkey Man, can understand why some might have associated them with the satanic. Recently been lots of talk about how much of a monster Charlie Watts was and it all makes absolute sense when you listen out for him. What a genius, especially the total control he exercises over Midnight Rambler (also my album highlight).
Stones near the height of their prowess. An almost overzealous attempt to capture the American blues/folk sound that many (somewhat unfairly) try to claim the Stones appropriated from African Americans. I struggle to make that jump since there are plenty of Appalachian folk influences present here, and the Stones never tried to hide the fact that they were disciples of old, Black bluesman that white audiences chose to ignore. Still, not my favorite band by any stretch, but I cannot deny that Gimme Shelter is an S tier song.
As always with the stones, the hits hit hard, but the deep tracks tend to be very inconsistent.
I'm still only really of the opinion that the Stones are one of the best greatest hits bands. One of the best album openers of all-time and a great closing track but with a collection of middle of the road rock tunes in between. Best track: Gimme Shelter
Gimme Shelter is one of the best opening tracks of all time and You Can’t Always Get What You Want is one of the best closers.
There is no "trying to make an album like Sgt Pepper" bullshit here. This album is a lot of raw energy poured into blues and country driven rock and roll. Nobody does this better than Keith and the boys. There is no pretension with the skinnied down version of the band. Keith stepped up to the challenge and was front and centre. Gimme Shelter is a classic. It shows how excellent Keith's rhythm guitar playing is. He is also the best, bar none, at opening riffs that grab you and make the song. Love in Vain is a killer good song with excellent sliding. In fact there’s a lot of good sliding on the album which is interesting since Brian used to contribute the slide in the past and Ron Wood added his own sliding in that later incarnation. Country Honk sounds like a spoof. I now like it more than I like Honkey Tonk Woman. Live with Me gives us the slimy Stones lyrics we've come to love. This would be a song I could take or leave except Bobby's sax solo makes it a keeper.. Let it Bleed is another great example of the raw rock and roll sound that Keith can deliver. Midnight Rambler is a killer song. Keith's opening riff once again makes the song. I prefer the live version (from Get yer ya yas out) as the last 2 1/2 min. (starting with “Ya heard about the Boston“) is much stronger and more entertaining. You Got the Silver is the first in a long line of classic songs sung by Keef. Monkey Man is a great jam but the song itself is just OK and Mick's screaming in the fade is irritating. Stones fans would find it sacrilegious to say anything negative about You Can't Always Get What You Want, BUTTTTT I never understood what the choir added to the studio version. I quite liked seeing them play it live (sans choir). Once the choir does its business, the song properly begins with yet another classic opening riff by Keith. I guess the choir kicking it off makes it a good song to play at a funeral. In fact, if this song isn’t played at my funeral, then I’m not going. (I feel like I stole that joke but if not then: Fuck I’m funny!)
I like to take a tiered approach when summarising the songs on "Let it Bleed", much like the cake/bizarre sculpture on the cover. The icing (and little Stones-alike figurines): Merry Clayton's searing performance in "Gimme Shelter" (what a great decision to include her) and the fantastic choir in "You Can't Always Get What You Want", their rising vocals at the end sending the coda into sheer euphoria. The top tier (Delia Smith's cake): The unbelievable songs that bookend the album, both referenced above: thoroughly deserving of their renown as two of the band's best songs. "Gimme Shelter" is a dark, menacing, apocalyptic opening and "You Can't Always Get What You Want" surpasses "Hey Jude" as a late 60's anthem, a perfect blend of earnest and cynical. It will always be my all-time favourite Rolling Stones song. Second tier (bicycle tyre): "Midnight Rambler", coming straight in with a cracking riff from Richards and a classic Stones-y shuffling swagger. "Monkey Man" is a masterclass in sleaze by Jagger and holds a wonderful slide instrumental (does anyone else see a helicopter?) "Let It Bleed" is one of the more country flavoured songs on here, but it's pulled off with aplomb and has an irresistible sing-along refrain. Third tier (pizza): "Live With Me" is pretty basic but gives some much needed straight-rock to proceedings in the first half (the Bill Wyman bassline steals it). "You Got The Silver" is Keith Richards' first vocal performance- he turns in a fine performance if obviously not as spirited as Jagger. It's light, but fun. Bottom tier (clock, film canister and whatever the hell else): "Country Honk". For me it's just pushing over into a "let's go country" gimmick with incessant fiddle running all the way through, and I much prefer the single version. "Love in Vain" is a very sparse ballad that feels a bit uninspired to me, up against the rest of the material. So it's uneven, sure, and there are at least three Rolling Stones albums I'd put above this one (all included in the 1001 list) but hey, sometimes if you want to enjoy an iced cake masterpiece you've got to chew through the face of a clock.
The Rolling Stones made so many songs. Its almost weird to listen in album format... But seeing the context for Gimme Shelter and You Can't Always Get What You Want is interesting. If I died before listening to this I think I would have been OK, but it wasn't bad.
A mixed bag of an album for me. Some accomplished old school but uninspiring blusey tracks and some classic and brilliant songs with Gimme Shelter being the standout
Michel Sardou est un artiste de légende, ayant marqué le paysage musical français, cela va sans dire. Je vais néammoins aujourd'hui vous révéler le gros problème qu'aura connu Michel Sardou tout au long de sa vie. Nous sommes en 1982, quand Michel Sardou, déjà auréolé de sa couronne d'artiste majeur de la chanson française, s'en va en studio nous produire un titre qui va complétement changer sa vie. La chanson "Les lacs du Connemara" était née. En l'espace de quelques semaines, la chanson devint tout simplement virale. Le succès était phénoménal, et Michel Sadou se réjouissait de cette situation. Mais c'était la le début des problèmes pour Michel. Après quelques semaines, le tube était toujours sur toutes les langues. Les gens interpellaient Michel dans la rue de façon de moins en moins subtile. "Eh Michel, comment ça va au Connemara ?" "Eh Michel, tu peux nous faire la météo du ciel irlandais ?" *Eh Michel, t'es là... baaaaaaas au Connemara ? C'est ta chanson les lacs du Connemara Michel !" Cela commençait à devenir tout bonnement invivable. Le problème, c'est que le titre était devenu un hymne pour toute la population des différents bars de France. Et cette tradition perdure encore, des années après, les jeunes en manque d'identité n'hésitant pas à rappeler qu'ils adorent la chanson "Les lacs du Connemara" afin de montrer qu'ils appartiennent au groupe social des buveurs de bière. Michel Sardou ne parviendra jamais à se détacher de sa chanson, qui lui collera à la peau pendant des années, et lui colle aujourd'hui encore à la peau, faisant oublier le reste de sa discographie pourtant de bonne qualité.
Le problème avec Michel Sardou, et eltrapeze l'a très bien dit, c'est que sa carrière a été éclipsée par Les lacs du Connemara. Son image est désormais liée aux étudiants en école de commerce portant un bracelet fluorescent leur offrant des réductions sur certaines bières blondes et autres mojitos.
What a great album, some classics, some good songs and possibly my favorite song of all time "you can't always get what you want".
I love 'classic' rock, yet I've never given the Stones an honest, full album listen until today. I loved this, lots of more classic blues-infused tunes, along with some Stones classics I've heard before like 'Gimme Shelter'.
I used to think there were no good rolling stones albums. I was wrong.
Best songs: gimme shelter, love in vain, country honk, you can't always get what you want Worst: let it bleed
Classic. Never listened to the whole thing before. Was not disappointed.
I know a lot of these songs on their own but hadn't listened to them as an album. I can see how this would stand out on the 1001 albums list.
No sé muy bien poner en palabras lo emocionado o conmovido o algo parecido que me sentí al escuchar este disco. Sólo he escuchado otro par de The Rolling Stones, pero qué bueno llegar a este. No hubo canción alguna que no me gustara. Todo el sonido, entre rock, blues, country, esas voces, los coros tipo gospel, es de verdad emocionante. Y luego, lo que alcancé a poner atención a las letras, hay de pronto versos tristes, tristes acerca del mundo y sobre todo tristes por decepciones amorosas. Y, con todo, el sonido en general no transmite eso. Son las voces las que modulan más todo. Qué genios, los Rolling Stones <3. 10/10
enfin d'la musique les stones c'est du blues et j'aime le blues leur durée prouve leur qualité a leur début ce qui m'a plu c'est leur sauvagerie comparé au beatles disons merci les vieux d'etre encore la
I was really surprised at how much I enjoyed this album. So much so that I listened to it twice. Some great music!
Allein schon für den lebenslangen Dauerohrwurm „Cant always get what you want“ satte 5 Sterne.
Already knew the album very well. Obviously a classic with some of the best known and loved Stones songs on it. Not my favourite Stones album but still 5/5
Either a high 4 or a low 5? Beginning and end was strong but fell off a little in the middle
You can’t always get what you want. But with this album you really can. Eh? Eh? Eh? A classic album with wall to wall great tunes.probably the best opening few bars of any album ever. Still in their rhythm and blues stage which is probably my favourite period of their career. Love this album.
Classic. Best Tracks: Gimme Shelter, Monkey Man, You Can't Always Get What You Want.
Excellent stuff, no filler. Imaginative and a couple of still fresh sounding classics
Another of the great late 60s/ early 70s Stones albums. Maybe not as great as Sticky Fingers or Exiles but still amazing, with one of the best opener/closer combos ever.
Yet another album I've listened to countless times. One of my favorite Stones albums.
https://en.wikipedia.org/wiki/Altamont_Free_Concert#Death_of_Meredith_Hunter
"At about 2:59 into the song, Clayton's voice cracks under the strain; once during the second refrain on the word "shot", then on the word "murder" during the third refrain, after which Jagger is faintly heard exclaiming "Woo!" in response to Clayton's powerful delivery. Upon returning home, Clayton suffered a miscarriage, attributed by some sources to her exertions during the recording."
Gimme shelter, let it bleed, country honk, monkey man, you can’t always get what you want! I didn’t love *every* song, but there’s enough timeless bangers here that I can’t go under 5 stars
Con la primera y la última del álbum tienen para entretenerse, chiquitines.
Trzecie objawienie sie na liscie stonesow i jedna z trojcy stonowych go to albumikow, o bandzie juz wystarczajaco sie wypisalem na poprzednich pickach, to warto tylko zaznaczyc, ze jest to pierwszy wystep Micka Taylora na gitarce, natomiast jeszcze zyjacy Jones slyszalny jest tylko na dwoch kawalkach i to na autoharpie i kongosach, ciezko w takiej dyskografii doszukiwac sie najlepszych albumow, ale let it bleed jest zdecydowanie jednym z najlepiej przemyslanych stonesowych plyt, kazda minuta plyty zostala zagospodarowana zeby przekazac jak najwiecej sie da z hamerykansiej muzyki, zwlaszcza bluesa i soula, mozna by pojedyncze traki dzielic na to z jakiego regionu hameryki muzyke akurat staraja sie oddac, bo country rowniez jest odczuwalne jak na you got the silver, ktory jest jedynym kawalkiem bez wokalu Jaggerowego, zastepuje go tu pan gitarzysta Keith Richards, country honk, wiec prawie honky tonk czy tez tytulowy let it bleed, nie mozna takze zapominac o influencjach gospelowych, ktore najlepiej slychac na jakze klimatycznie zamykajacym cala plyte you cant always get what you want, ktory swietnie wykorzystuje the london bach choir zarowno jako intro jak i outro kawalka, do tego dochodza akustykowe granie Jaggera i Keitha, no i przewijajacy sie bas Wymana, poza tym jeszcze z 10 osob mialo swoj udzial jako muzycy sesyjni, co slychac po klawiszach, trabieniu i czarno brzmiacych chorkach, co sklada sie na 7 minutowy i 30 sekundowy, najdluzszy trak calej plyty i prawdziwie epickie zamkniecie tego projektu, lirycznie stonesy rzadko kiedy zawodza i dostarczaja teksty przepelnione wszelakimi emocjami, ale jednak zawsze znajdujace droge do wspolnego mianownika jakim jest seks, jest to takze ostatni album wydany w mono, czego jednak tak nie slychac, bo byl nagrywany z mysla o stereo, stad to klasyczno stonesowe zabawy kanalami i rozmieszczenie instrumentow na scenie, wokalnie to takze najmocniejsza plyta pana Micka, ktory wydaje sie byc na tej plycie w swojej szczytowej formie i potrafi wyciagnac z siebie zarowno potezne ryki jak na midnightowym rumblerze jak i delikatny wokale jak na love in vain, gwiazdkowa ocena raczej jest oczywista jako stonowego fangeja, ale piczki plejkowe juz jednak sa twardszym orzechem do zgryzienia, bo plyta jest pozbawiona filerow, wiec calosc leci na poleczke spotifajowa, a na plejke tylko trzy kawalki, otwierajacy, zamykajacy i tytulowy, ciekawa rzecza jest takze sam tytul, bo plyta ukazala sie tylko dzien przed dosc mocno krwawym koncercie altamont free concert, na ktorych rolling stones byli main eventem, wiec tytul mocno wpisal sie w zainstniala sytuacje
This was going to get 4 stars, but closing on You Can’t Always Get What You Want bumps it up to 5 easy. Holy shit what a dope set of songs.
A classic rock n' roll record. Has the classic rock sound and the groove. 4.5/5
For me, this album built on everything they established with Beggars Banquet and cemented that Stones sound, they ditched the faux psychedelia and brought in more of that country swagger and shuffle, it's just sublime. The run of albums from Beggars to Exile is where they transcended.
One of my favorite, if not the favorite Stones album. Starting with Gimme Shelter, Let it Bleed, You Got the Silver, Monkey Man are all classics. The incredible Love in Vain cover rules. Stones at their sleazy, druggy best!
Wasn’t a massive Stones’ fan before hearing this album, but I also never really gave them a proper chance. An album that presents a diversity of musical genres and a band brimming with confidence. Great introduction for me into an iconic band
I am fairly recently familiar with THE ROLLING STONES’s music since October 2018, and the album LET IT BLEED. After to listening to LET IT BLEED, the album is very consistent with the rest of the band’s excellent early output. In 1001 Albums You Must Hear Before You Die, LET IT BLEED is included along with five other ROLLING STONES albums: THE ROLLING STONES (1964); AFTERMATH (1966); BEGGARS BANQUET (1968); STICKY FINGERS (1971); EXILE ON MAIN ST. (1972) Rate Artist: THE ROLLING STONES (5.0) Rate Album (Year): LET IT BLEED (1969 Original) (5.0) Ranking of THE ROLLING STONES - LET IT BLEED songs No. Title Length Ranking 01. "Gimme Shelter" 4:31 10.0/10 02. "Love in Vain" 4:19 10.0/10 03. "Country Honk" 3:09 09.5/10 04. "Live with Me" 3:33 10.0/10 05. "Let It Bleed" 5:26 10.0/10 06. "Midnight Rambler" 6:52 09.5/10 07. "You Got the Silver" 2:51 09.0/10 08. "Monkey Man" 4:12 09.0/10 09. "You Can't Always Get What You Want" 7:28 10.0/10 Original 1969 Release 87.0/90 = 9.67 / 2 = 4.83
Yeah, this is just great, there is no denying it. They sure got that southern blues sound down on this album. I still prefer Robert Johnson's original version of Love in Vain, though.
One of the best Rolling Stones albums. Classic songs nonstop, in particular Gimme Shelter: one of their best songs. I also like the Sisters of Mercy version a lot but Merry Clayton brings it to a completely different level.
nije mi njihov najdraži, ali sadrži nekoliko nezamjenjivih klasika!! 4.5/5
One of the top 3 stones albums along with Sticky Fingers and Beggars Banquet. Just not a bad song on here. I suppose one could argue that Country Honk is filler but that won't be me an easy 5 stars.
Bookended by two giants of songs. Ginme shelter and you can’t always get what you want. The rest of it is not worth the bother.
This is probably the Rolling Stones' best album. It is certainly one of their most consistent. For me at least, their catalog is a full of filler with moments of genius. However, this album stand out because it is enjoyable throughout while preserving what makes the Rolling Stones great, their origin as a blues band. This album has grit, flirts with a country tinge sound, and is bookended by two of the greatest songs in rock n roll history. This release of this album was marred by the Altamont tragedy, and as such, is often written about as heralding the death of the 60s. However, this album stands outside the time in which it was released and is one of the greatest rock records ever made.