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.

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.

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.

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.

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

When you're on death row and they let you play one last Stones album as I assume is your basic human right in every nation, the album you select is very revealing: 12x5 - sad that you're still trying to prove something Goats Head Soup - only child? Some Girls - high on your own supply Tattoo You - starfucker Exile On Main St - a bit obvious Beggars Banquet - almost Let It Bleed - retrial warranted

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.

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?

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.

The peak of the Stones at their bluesiest, but honestly this thing gets 3 of these stars just for Gimme Shelter.

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!) 

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

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.

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).

Let it Bleed This really reminds of university, graduating from Greatest Hits to the albums from their imperious pomp. At that time it was probably my favourite of the Beggar’s Banquet - Let It Bleed - Sticky Fingers - Exile on Main Street axis, and while I would probably tend towards Exile nowadays it’s still up there as one of my favourite albums. Back then I don’t think I really appreciated how much country there was on it, and listening today it’s interesting how nearly every song has some country touch or influence on it. I know their country influences are obvious, but I would probably tend to think songs like Jumpin Jack Flash, Honky Tonk Women, Gimme Shelter and Brown Sugar are emblematic of this period, but so much of their stuff around this time was very country. Alongside the totemic Gimme Shelter, Midnight Rambler and You Can’t Always Get What You Want at the beginning middle and end, there are some of their best albums tracks, the country blues of Love in Vain, the hoedown of Country Honk, the propulsive and rocking Live with Me, the loose, druggy, not so subtle sexual euphemisms and barroom feel of Let it Bleed, the cracked, careworn and satisfying You’ve Got The Silver and the paranoid, sinister absolutely fantastic Monkey Man. Like all of their albums of this period the playing is great, and is probably in the sweet spot of the tightness of Sticky Fingers and the looseness of Exile, Charlie as always is great, particularly on Midnight Rambler and You’ve Got The Silver. Bill’s bass playing is excellent, a great tone and while not showy there are some great touches and moments, particularly on Let it Bleed. Keith’s playing on here really is exceptional in between Brian withdrawing and Mick entering, so many great lines and phrases, always adding to the songs. I love his playing on Monkey Man especially. Mick’s vocals are particularly sweet too, it might be the best of his singing voice. And the cast of additional performers is incredible, Merry Clayton, Leon Russel, Jack Nitsche, Al Kooper, Ry Cooder as well as their stalwarts Ian Stewart, Jimmy Miller, Nicky Hopkins and Bobby Keys. Hopkin’s piano really is fantastic, particularly on Let it Bleed. I don’t think I could ever get tired of Gimme Shelter, and I’ll definitely never get tired of that break in Merry Clayton’s voice with the woo in the background. If this was just Gimme Shelter 9 times it would be a 5. If it was just Gimme Shelter, Midnight Rambler and You Can’t Always Get What You Want it would be 5. If it was those 3 songs plus all the others it would also be a 5. So basically anyway you slice it, it’s a 5. 🎂🎂🎂🎂🎂 Playlist submission: Gimme Shelter

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

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'.

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

"Shelter Me" is such a phenomenon, those backing vocals bring the frisson every time. That alone is enough to catapult this album to at least four stars. The middle of the album is full of good tunes, nothing really stands out. And then the last song bookends this album with another classic. Chef's kiss.

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.

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.

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.

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

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.

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.

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.

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

The introduction is everything!!! :)

Heel goed, classic early rock, lekker groovy

Classic

Some absolute classics. I think Sticky Fingers will always be my favorite Rolling Stones album, but this is #2.

Stone Cold Classic.

“Any questions?” - David S. Pumpkins

This is a classic for a reason. My favourite Stones record as of now. Easy 5 stars!

One of the best

Hørt mandag 5. mai. Kunne lett fått en plass i cd-hylla.

The Rolling Stones are very close to the Beatles in legend. They define rock-n-roll. They are above and beyond "classic" and enter that "timeless" space. They are quite simply one of the greatest musical groups of all time and there is really little to be argued otherwise. I won't even bother with their real-world (out of performing) antics and stories. Throw a dart at the wall and pick an album but it will be no different. This is canon and this is legend and this is "rock.n-roll."

This is one of my favorite Rolling Stones albums!! I love how they were experimenting with country music.

i like this album. very 1960s.

Great Album!

schön!!

five stars just for gimme shelter 😊

classic blues album from the Stones

Oh, another in the run of classic Stones albums from Beggar's Banquet to Exile On Main Street. Despite Jagger's peculiar Thames-blues singing accent, he's great throughout as it the rest of the band. The production and recording is excellent. Gimme Shelter's a standout, and cover (complete with a Delia Smith cake) is surreal.

Starting off with in the best songs I have ever heard. Heart-stopping vocals, skin melting instrumentals throughout, mind blowing song. Mary Clayton making me see angels. Narratively driven. The second song in vain repeats things, but it only seems to add emphasis. Emotional and forlorn. The instrumental with Mick Jaggar’s wailing moves. Hell yeah country moment so fucking sick. Those mixed voices, real Johnny Cash charm. God it just keeps going. Hit after motherfucking hit. The keys and bass line on live with me really fuck. Not even halfway through and I want to give it a five out of five. Ok title track. TAKE MY ARM TAKE MY LEG OH BABY DONT YOU TAKE MY LEG. Midnight rambler probably my least fav, nothing much to say about it You got silver, nice folk rock jam thang. I dig it. Monkey man is fun, playful, sexy and super dynamic. I like it. YOU CANT ALWAYS GET WHAT YOU——WANT HONEY

So, so good. Listened to it 3 times during a flight and it kept revealing more nuances. Becoming my favourite Stones album.

Mic and Keith's baby. Love this album.

Great Stones. Bluesy and honky tonk.

Fuck yeah! The Stones!

Also already heard.

Bookended by two of the greatest blues-rock hits of all time, Let it Bleed boasts seven other tracks that ain't bad either. In fact, they're really, really good. 'She blew my nose and then she blew my mind'; 'They got earphone heads, they got dirty necks / They're so 20th century'; 'And there will always be a space in my parking lot / When you need a little coke and sympathy.' Mos Def notably opined: 'You may dig on the Rolling Stones / But they ain't come up w/ that shit on they own.' Right as he is, the Stones never claimed to be the origin. Underrated: they're as raunchy as they are prophetically dark and relentlessly in the muck. And a major shoutout to Merry Clayton (20 Feet from Stardom), who is clearly a genius.

Another great album

Uncle doug!!! A country album for the haters

‘Let It Bleed’ and ‘You Got The Silver’ are strong tracks, and ‘Gimme Shelter’ is one of my favorite Rolling Stones songs. ‘You Can’t Always Get What You Want’ is on another level; it sounds like nothing else in the world, and it feels quick and effortless even at seven minutes. A high 4.something, but going with a 5 because this is way ahead of its time for 1969. The album title and cover are also great.

Gritty, Bluesy, So down my alley

A member of one of the greatest 4 album arcs in music history. Don't sleep on You Got The Silver.

this album is phenomenal. i have heard it before. 10/10. love the stones, just like my father and my grandfather before me.

Incredible. Starts strong and finishes strong, and the middle is just really good. Considered a 4 star, but c'mon.

Like I said... Any Stones record from "Beggar's Banquet" through "Exile on Main St." could easily qualify for this list. They are all nearly perfect. If I had my druthers, I'd just put "Exile" on this project and leave the remaining three spaces for other, possibly less-known albums.

Merry Clayton on Gimme Shelter alone is worth 5 stars. The album does dip a bit in the middle, but the finale lifts it right back up.

I have a lot of nostalgia love for this one.

Solid!

Love the Stones. I have an unpopular opinion that the "Beatles vs Stones" debate seriously hurt the Stones. Because almost everyone says Beatles when asked that question and gives it no thought. It's not like comparing Michael Jordan and LeBron James where people have to think for a minute and an argument could be made for either that would have to at least be respected. But everyone is so quick to answer the beatles that it kind of hurts their awesomeness. Anyway, off my soapbox. The stones are awesome and deserve more than 5 stars.

Was never a huge fan of when the Stones went super country but can’t deny this one as a classic. Bookended by among the best songs in the Stones catalog.

So far I have yet to be impressed by a Stones album. Here's to hoping this breaks that streak. Gimme Shelter is an amazing opener and among my favorites songs the band every produced. Mixing on this version sounds sounds different from what I've heard on the radio (vocals are quite a bit more suppressed and echoey and the rest is a bit crunchier). Honestly I actually like it this way better. Country Honk is a nice reimagining of Honky Tonk Women. I'm loving the crust on this record and the forward mix on the fiddle in the left monitor balanced by the rooted stomp beat + guitar melody in the right. Monkey Man is a late album standout. Love the swagger of it and the bluesy guitar tone stuffed in the right monitor. Given the track record, I was actually quite hesitant going in, but this album blew me away. I can absolutely get down with a more twangy Rolling Stones. While their other albums have been (generously) spotty, this one was consistent and well structured with monolithic bookends in Gimme Shelter and You Can't Always Get What You Want. This is high 4 / soft 5 territory for me. After a second listen this is the softest of 5s.

Is there a more iconic opening to an album than "Gimmee Shelter". A classic album from the Stones' best era. So much good stuff on it, and mpossible to fault it.

The Rollings Stones have very few albums I could listen to the whole way through but this is one of them. 4.5*

Oh come on, this one’s a classic. I first became obsessed with this back in 2017, right when I was seriously diving into the British Invasion (which I don’t consider this a part of, but, still). Of the “classic 4” that ran between Beggars Banquet and Exile, I can’t ever definitively compare any of them. All I know is that they’re all 10s. Top 3: Gimme Shelter, Love In Vain, Let It Bleed Long live Charlie Watts!

This is the second album in the Rolling Stones wonderful six album (yes, I wrote "six") run in the late 60's and early 70's. The first half of this album is better than the second half of the album but it's still wonderful all around. There is so much variety on Let it Bleed. This includes war protest songs, country-ish music, folk, straight blues rock, and of course, children singing over a grandiose sounding closing song. I am not sure Let It Bleed was a response to Let It Be but it probably makes a great story if it were true. It's one of my inexplicably favorite Stones songs and I love Charlie Watts's drums on it. This has a lot of the things I like most about the Stones, even if the second half of the album isn't my favorite representation of them as a band.

I’ve said before and I’ll say again that the Stones’ longevity has made them a bit of a caricature and a punchline. But it’s hard to deny that this is a great album!

Lots of honky tonk blues here; great stuff. The titular track might sound like a Beatles title, but the mostly over the top singing sounds like “With a Little Help From My Friends.”

Good stuff. Gimme Shelter is probably my favorite Stones song, so that kicks it up a full level, I'd wager.

Monkey Man puts it over the top

Great album

Si no es su mejor pega en el palo

Easy five stars. I’ve never listened to the album as a whole. The classics and the deep cuts flow well. I’m surprised at the different version of Honky Tonk Woman. Great experience.

Classy raunch!

Had never listened to this album straight through before and what a treat! Classic Stones at their peak before they started going sideways in the 70s.

I will happily listen to this album again and again. Some weak bit, but the strong tracks are just SO good!

More than young or old Stones, I’m a fan of “middle aged” Stones so this is solidly in my favorite era of their long career. How can you not take notice with a first track like “Gimme Shelter”, one of the best tracks of all time much less one of the best album openers. I love how they pull in gospel, country, folk, etc. but keep it all under their beloved idiom of blues based rock, and it works. Chef’s kiss of an album.

gimme shelter isch glaub de best stones song? viel z geil. d sängerin het so alles geh (sie het nocher miscarriet) ich LIEBS. wie sie murder singt. ufff. und d gitarrene und aaaaah. meisterwerk. love in vain cute, ich lieb slide giti. aber macht etz nüt mega krasses. mandoline cool. country honk isch afoch honky tonk women?? ahaa honky tonk women isch non album single aber de track isch ufem album okay wiso nöd d single? single besser. live with me meega stones tönt super crunchy i like. sax solo chli lang? let it bleed kenni, het er gseit ihri breasts seged immer open? huere horny shit. aber de song passt und s goht glaub meh um emotionali abhängigkeit. monkey man!! we are all monki. macht au freud. de introchor bi you cant always get what you want isch seeehr stiif. aber de song isch de haaaaammmer. fast ufem level vo gimme shelter. und wenn de chor nur uuuuh und aaah macht ischer super. das album isch e 4.5. ha etz no honky tonk single version aneghenkt mit dem wärs e füfi. gitarre sooo snarky so geil uf dem. fuuuuck.

Even though ive heard a lot of these songs are LOT in my life, I'm not sick of them. This band never fails to amaze me. Even if I'm listening to an album that's over 50 years old.

- Album #2 in the greatest run of releases of all time .... -

"Let It Bleed" is the eighth studio album by English rock band the Rolling Stones. It continued their more blues-oriented approach while also incorporating gospel, country blues and country rock. Guitarist Brian Jones was fired during the recording due his unreliability from his drug use and was replaced by Mick Taylor. Keith Richards played most of the guitar parts. Commercially, the album hit #1 in the UK and #3 in the US and had rave critical reviews. "Gimme Shelter" starts with those haunting guitars keys, someone singing "woooh" and a piano. The drums kick in and their off rockin." A song with really two lead singers, Mick Jagger and Merry Clayton who absolutely kills it. A great guitar riff by Keith. It's a song about the brutal realities of war- murder, rape and fear. Keith shows his versatility again using the acoustic and slide guitars in the self-titled "Let It Bleed." Jagger with his southern accent makes plenty of drug and sexual references in a song about emotional dependency. The band goes full in bluesy in "Midnight Rambler." Slide guitar and the harmonica. The long song keeps it interesting with multiple pace changes and a chaotic close with Jagger final lines being "I'll stick my knife right down your throat baby and it hurts." Richards' guitar riff and slide guitar highlight "Monkey Man." Nicky Hopkins on piano and the use of the vibraphone. ✔️ . It's a tribute to Italian pop artist Mario Schifano. I never knew that. The London Bach Choir opens the closer "You Can't Always Get What You Want" repeating the title lyrics. You got the organ, congas, maracas and the tambourine. Jagger sings about love, politics and drugs and the initial optimism and the eventual dissolution. The choir responds with the pragmatic answer. Ah, the Stones bookmarked this album pretty well, didn't they? With minimal contributions from Jones and Taylor, this really is the Keef album, isn't it? Memorable acoustic guitars, slide guitars, guitar riffs and layering of the guitars. He creates that down and dirty and sleepy bluesy sound enhanced by Jaggers' lyrics on drugs, sex and war. The contributions of Nicky Hopkins' piano, various percussion, Booby Keys' sax and, of course, Merry Clayton's vocals just add to the fantastic songs. Like yesterday with the Jam, this album is part of the Stones' magical run from "Beggars Banquet" through "Exile on Main St." A true classic album.

Classic

Stonkin

Þetta er ekkert fjarri lagi að ná upp í fimmu hjá mér. Upphafslagið og lokalagið eru 6 stjörnu lög. Glæsileg og geggjuð. Fannst lögin á milli fyrst frekar leiðinleg. Eftir hlustun tvö fannst mér þau fín. og eftir síðustu hlustun geggjuð. Ætla að smella bara fimmu á þetta og segja fokkitt.

Probably my favourite Stones album. It's phenomenal.

More soul and blues than I realized the Rolling Stones were. Lyrics and concept seemed more accessible to me than previous records this week. A very listenable album, I’d listen again

Some highlights: -Gimme Shelter -You Can't Always Get What You Want -You Got The Silver -Midnight Rambler -Monkey Man

5 seconds in: 5 stars. Final verdict: Rolling Stones good.

One of the all time greats. So many different styles and it all still sounds like the Stones. No skips necessary

I bought this one on CD before I even had a CD player because I wanted to listen to the guitar riff on Monkey Man on CD. A classic not a track in vain

So much soul; i had to have a major cultural impact on the western world.