Let It Bleed

Really carried by the two huge songs, I’m not interested in British faux honkey tonk

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.

Possibly 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.

You ever hear the saying that Pennsylvania is "Philadelphia, Pittsburgh, and Alabama in between"? Well, this album is Gimme Shelter, You Can't Get What You Want, and dogshit in between.

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.

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.

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.

As always with the stones, the hits hit hard, but the deep tracks tend to be very inconsistent.

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).

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.

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!) 

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.

Absolute gem. Among best album openers of all time.

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

A classic. This is one of the best albums of the 60s.

S-Tier for sure. A perfect blend of rock, blues, country, and gospel, bookended by two of the greatest songs ever written.

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'.

Absolute classic record from The Stones. So many great hits on this one and the band really lets themselves loose on this project. So many good vibes and tunes that emanate from this piece. Forever a timeless album.

I'm ashamed to admit that until today, I have actually never listened to a full album by The Stones, and based on this, I really like it. Raw, punchy, and to be honest, for the standards of the 60s, the lyrics on this thing are outrageous. It's definitely clear how album like this really did go on to influence the more political and open minded eras of music, most notably punk rock in the 1970s. I will now absolutely be listening to more Rolling Stones in the coming weeks, having had an excuse to finally get round to them, I now want to listen to more.

For me personally, The Stones have always been a bit of a hit or miss band. Mick Jagger, while as charismatic and instantly recognisable as they come, has never really been one of my favourite frontmen. So as this appeared as album 1/1001 in the journey, I was actually sort of glad as I've never actually listened to it in full. 'Let It Bleed' came after the largely praised and successful 'Beggars Banquet' a year prior, so the stakes were pretty high alongside controversy surrounding founder and guitarist Brian Jones being let go, replaced by Mick Taylor. So, is it a suitable follow up? But before listening, there is one thing that stands out to me… that album art. A multi-layered 'cake' consisting of a plate, film canister, clock face, pizza, and tire topped, amid white frosting with jewelled candies, with miniature figurines of the Stones themselves. Below it is a copy of the record being spun. I've always found it a very fascinating cover despite never actually giving the album my attention prior to this. When reading up on why the cover art is this 'cake', the album was originally to be named 'Automatic Changer', the feature on turntables that would allow you to stack records and have one drop and play after the previous had finished. Makes a little more sense. It's not an essential but it always helps an album when the art supporting it is iconic in itself and this checks that box. Good start. Next, you inevitably look at the track listing and see if there's anything you recognise. What gave me some confidence in enjoying this was seeing 'Gimme Shelter' as the opener. I know that song, I enjoy that song… actually I fucking love that song. But apart from that, I was going in blind. Now, where do you even start with 'Gimme Shelter'? Arguably The Stones' magnum opus, it surrounds the reality of war, apt given the time period of the Vietnam War. The intro is absolutely brilliant, with Keith Richard opening up with the iconic main riff, but what struck me immediately is the underlying Güiro that is performed by guest performer Jimmy Miller. The strokes of it run throughout and I think are a fantastic touch and adds texture. Jimmy also plays the maracas on this, further filling out the mix and adding to the texture of the track. Mick then comes in and gives a fantastic vocal performance for the first verse, the song writing while not directly pointing to war is an easy metaphor to understand. It's what comes next that really makes this song probably one of the greatest songs of all time and that is guest vocalist Merry Clayton's performance on the choruses. Belting her ass off to the confronting lyrics "War, children, it's just a shot away" and "Rape, murder, it's just a shot away" is just chilling. Her voice cracks, shrills and passionate performance really is one of the best vocal performances ever. Also within this track is an absolutely badass harmonica solo from Mick and ever present guitar solo from Keith. How do you even top a song like that, is it even possible? It's a song that is still sadly very relevant with war and genocide ever present in todays society. The rest won't be described as in depth but I will pick out things of note in certain tracks. 'Love In Vain' is a rework of the Robert Johnson classic. When you already have a strong base in the songwriting, it'll be hard for them to completely botch it. Luckily, the Stones' build upon it. Mick really shows his bluesy side here on the vocal performance, emotive, powerful and effective. Mixed in is some lovely slide guitar work from Keith and proficient mandolin plucks and strums from guest performer Ry Cooder. It's a really nice sounding track, retaining the poignancy of the original. Now for the first miss here, 'Country Honk', it's not necessarily a bad song perse but I cannot get behind how this one has been mixed. The fiddle is loud as all fuck, you can barely hear the vocals through the verses and other than that it's just a rather repetitive that becomes tiresome given how short it is. 'Live With Me' has an absolutely lethal bassline from Keith, some horns that punch through nicely in the transition from chorus to their own solo which is performed by guest performers Leon Russell and Bobby Keys and almost all ruined by Mick Jagger's horniness. Good song though, just a very average sex-centric 60s piece of songwriting. The title track 'Let It Bleed' opens with a cheeky little piece of signature Keith slide guitar, more to come. Ian Stewart plays the piano on here which is a sorely needed element and something to focus on when Mick is busy yelling in your ear "Yeah, we all need someone we can cream on, Yeah, and if you want to, well, you can cream on me". Bloody horny bastard. Keith continues to slide his ass off on here and the solo is awesome. Again, musically this is fantastic but there are quite a few lines on here (and also probably on the woman's chest Micks ranting on about here) that just make me eye roll. Great song nonetheless. "Midnight Rambler" kicks off with a nice bluesy riff, some more harmonica from Mick which is all contained in a rather dark and gloomy sounding mix. I like how this one sounds a lot. The songwriting is loosely based around The Boston Strangler which makes the sound of it all very appropriate. It has some nice tempo changes, tension and release moments, fantastic instrumentation and honestly warrants the 7 minute runtime. This track offers an interesting approach to kick off the B side of the album. "You Got The Silver" is a bit of an awkward one. Keith takes over on vocals here, not to say it's a bad performance but his songwriting is rather cliched and cheesy here. Instrumentally still solid, just not a huge fan of this one. Did you know these fellas loved drugs and sex??? Well, "Monkey Man" spells it out to you in a rather humorous way. This song has a fantastic intro, bright vibraphone hits from member Bill Wyman (who sadly hasn't gotten much recognition from me over the course of this, welcome to the life of a bass player) and Jimmy Miller comes back into the fold on Tambourine. Instead of the stupid direct sex-centric lyrics, Mick lays down the metaphors surrounding the rock'n'roll lifestyle of the late 60's. Saving the best part for last, the general instrumentation here. My word does this song sound timeless. Keith goes down the slide once again to great effect and the underlying piano playing from guest performer Nicky Hopkins helps fill out the song nicely. Brilliant track To close this album out is "You Can't Always Get What You Want", which is also the longest on the album by a fair margin clocking in at 7:28. A song of desire vs need. It opens with an intro provided by the London Bach Choir and sounds absolutely lovely. Next, a beautiful pairing of French horn played by guest performer Al Kooper and Keith on the acoustic guitar. Al Kooper also plays the organ, which is audibly recognisable at the start of the 2nd verse. So much goes on in this track, more maracas, more slides, more tambourine and Mick throwing in a fantastic vocal performance on top of it all. The outro is so grand and maximalist which feels like the right way to end an album like this. It's progressive, from a very mellow and beautiful intro to an absolute stormer of an outro. What a closer. So, what are my final thoughts on this? I think it is great, I think it is probably worthy of being in a book like this but I also think there are some issues within. The instrumentation over the course of the whole album is pinpoint, no one feels out of their depth, the guest performers have been pulled in for a reason, they're proficient at what they do. The few issues I have are with Mick's songwriting at times being way too on the nose (and Keith's effort just being a bit bleh) and the really odd mixing on country honk. It's an average length for an album of the time. A 40 odd minute run that fits onto a single LP. 9 tracks that most of which are worth your attention. Pretty good stuff. My Track Ratings Gimme Shelter: 5/5 Love In Vain: 4.5/5 Country Honk: 3/5 Live With Me: 4/5 Let It Bleed: 4.5/5 Midnight Rambler: 4.5/5 You Got The Silver: 3.5/5 Monkey Man: 5/5 You Can't Always Get What You Want: 5/5 AVERAGE TRACK RATING = 38.5/45 x 10 = 8.6/10 'ALBUM' RATING = 9/10 TOTAL RATING = 8.8/10

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.

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.

Gimme Shelter is an absolute all-timer. Gets me so fired up. The rest of the album (and the Stones in general) don't really click with me. I think it's MIck's voice I don't love? All the other tracks on this one just kinda felt like background music to me. Didn't hate, didn't love

Once again, the Stones leave me feeling absolutely nothing. It's only really saved by the first and last tracks.

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.

Хот

👅 love the stones cuz I love Laura

Amazing álbum!

Great

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.

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.

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

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Iconic album with back to back hits. Not a bad song on the album

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.

nije mi njihov najdraži, ali sadrži nekoliko nezamjenjivih klasika!! 4.5/5

hit

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!

A classic rock n' roll record. Has the classic rock sound and the groove. 4.5/5

Excellent stuff, no filler. Imaginative and a couple of still fresh sounding classics

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!

Great Album!

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".

10

I'm a convert. Been listening to the stones all day.

Great!

Total classic, part of one of the greatest run of albums of all time

Incredible album, great songs, lyrics, and production.

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.

Det här var fedd

Bluesy and full of great songs from start to finish

Best songs: gimme shelter, love in vain, country honk, you can't always get what you want Worst: let it bleed

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.

Either a high 4 or a low 5? Beginning and end was strong but fell off a little in the middle

https://en.wikipedia.org/wiki/Altamont_Free_Concert#Death_of_Meredith_Hunter

literally forgot how good it was

I used to think there were no good rolling stones albums. I was wrong.

Greath

Classic album. A great listen

Very nice! 2 mega hits. What more to expect

nothing bad to say. very good

This is a classic Rock Album. One of the gotos on roadtrips.

Не фанат, но это очень хороший альбом

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.

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

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

Has to be a 5 everytime

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.

Love everything about this.

Outstanding, magnificent, fabulous, amaz-

Another classic

Classic and timeless

Classic. Best Tracks: Gimme Shelter, Monkey Man, You Can't Always Get What You Want.

Brilliant stuff. An album absolutely packed with great songs.

Classic rock is classic.

Allein schon für den lebenslangen Dauerohrwurm „Cant always get what you want“ satte 5 Sterne.

Con la primera y la última del álbum tienen para entretenerse, chiquitines.

One of the best RS album ever, hidden gems can be found in here...

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

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

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

Oh yeah

Fabtastic

one of their best album

Classic.

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.

It is a five

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.

It's a 4.5/5, but leans towards a 5/5

Yet another album I've listened to countless times. One of my favorite Stones albums.

Excellent album

undeniably amazing

Already listened to it Very good