The Rolling Stones: Let It Bleed-1969-60’s.

The Rolling Stones:Rock from United Kingdom.

Let It Bleed : Is the eigth studio album by The Rolling Stones in the United Kingdom and their tenth in the United States . It was published on December 5, 1969 , a year after its predecessor, Beggars Banquet , which had been a critical and popular success. It marks the beginning of Mick Taylor ‘s stage in the group, replacing fellow guitarist Brian Jones ., founder and former leader of the band. Jones died during the recording of the work, a month after leaving the Stones. He only participated in two songs on the album, as did Taylor. The album featured production by Jimmy Miller , just like their previous LP, and was conceived as a rock record with heavy blues and country influences . It features two of the group’s most highly rated compositions: ” Gimmie Shelter ” and ” You Can’t Always Get What You Want .” The surreal cover was made by Robert Brownjohn taking inspiration from the work’s working title, Automatic Changer .(“automatic turntable”). [ 1 ]

The work peaked at number three on the US Billboard Pop Albums chart , while reaching number one on the UK charts . [ 2 ] It is considered one of the band’s best recordings (“their great masterpiece”, in the words of music critic Stephen Davis). [ 3 ] In 2003 , Rolling Stone magazine placed it at number 32 on its List of the 500 Greatest Albums of All Time . [ 4 ]

Let It Bleed studio sessions began in February 1969 and would continue sporadically until November of that year. [ 5 ] Recording for the song ” You Can’t Always Get What You Want ” had previously begun, in November of the previous year, [ 3 ] prior to the release of Beggars Banquet . Brian Jones only appeared on two tracks, playing zither chords on ” You Got the Silver ” and percussion on ” Midnight Rambler “.». In addition to his multiple failures to appear with the band in the last year, Jones’s problems with the British justice had prevented him from getting a visa to travel to the United States. This fact compromised the possible tours of the group in that country. [ 1 ] For all this, he was fired in June 1969. [ 3 ] Jones died in his swimming pool on July 3, months before the album was completed. The coroner determined that he had died of drowning and under the influence of drugs. [ 3 ] On July 5, the group was scheduled to hold a free concert in Hyde Park .in order to introduce Jones’ replacement, Mick Taylor, and to promote the new songs (such as the single ” Honky Tonk Women “, which had been released in the UK on the 4th). The event ended up becoming a massive farewell act for the former guitarist of the band.

Mick Taylor , who had been a guitarist for John Mayall & The Bluesbreakers , stepped in as did Jones on two pieces on the record. In his case it was « Country Honk » and « Live with Me ». In addition, the album highlights the fact that for the first time Keith Richards is the solo lead singer on a song by the group: “You Got the Silver”. Previously, Keith had shared that task with Mick Jagger on a few tracks: ” Connection “, ” Something Happened to Me Yesterday ” and ” Salt of the Earth “. For his part, Mick Jaggerhe was absent from the recording sessions in July and August, as he traveled to Australia to participate in the filming of the film Ned Kelly , about a famous Australian outlaw . His girlfriend at the time, Marianne Faithfull , was also going to be in the film, but in the end she couldn’t do it. The cause of her was an overdose that made her go into a coma. [ 1 ] She After leaving said state, she was transferred to a center in Switzerland, where she continued her recovery. Jagger’s return from Australia coincided with the release of the group’s second volume of hits, titled Through the Past, Darkly (Big Hits Vol. 2) . Musicians also participated in the play.Ian Stewart , Nicky Hopkins , Ry Cooder , Leon Russell , Al Kooper , and Jack Nitzsche . The London Bach Choir sang on “You Can’t Always Get What You Want”, although they later tried to publicly disassociate themselves from the album due to its multiple drug references.

Let It Bleed had originally been scheduled for release in July 1969. Although “Honky Tonk Women” was issued as a single that month, the album itself suffered from numerous delays, finally being released in December 1969, after the US tour had ended. would have been completed. Most of the album was recorded at Olympic Studios in London, although some additional work was done at Elektra Sound studios in Los Angeles, while the Stones prepared for the tour. [ 6 ] These parts include overdubs by different guest musicians: Merry Clayton (on “Gimme Shelter”), Byron Berline (on “Country Honk”) and Bobby Keys .and Leon Russell (on “Live with Me”). Finally, in October 1969, an unreleased version of “I Don’t Know The Reason Why” featuring Mick Taylor was also recorded in Los Angeles.


  • (1969-1975) — (6 years)

Mike Jagger .
Keith Richards .
Charlie Watts .
Bill Wyman . Mick
Taylor – guitar , vocals
Ian Stewart (unofficial member).

face 1
1.” Gimme Shelter “4:31
two.” Love in Vain ” ( Robert Johnson )4:19
3.« Country Honk »3:09
Four.« Live with Me »3:33
5.” Let It Bleed “5:26
face 2
6.« Midnight Rambler »6:52
7.” You Got the Silver “2:51
8.” Monkey Man “4:12
9.” You Can’t Always Get What You Want “7:28

This logo was included for the first time on the Sticky Fingers album, whose cover had been designed by the artist Andy Warhol. Hence the belief that he himself had designed the language logo.

The logo basically represents Mick Jagger’s big, rebellious mouth. The tongue is inspired by the Hindu goddess Kali, goddess of eternal energy and represents the use of free expression in her music.

One thought on “The Rolling Stones: Let It Bleed-1969-60’s.

  1. ‘Let It Bleed’: Why the Stones’ Nastiest Masterpiece Feels Right on Time
    Their 1969 classic remains the band’s darkest LP, and that’s why it sounds perfect right now


    December 1969: The Rolling Stones are capping off their decade of triumph with a new album. It’s called Let It Bleed. The songs ooze doom, death, darkness, and destruction. Right from the start, it’s an album full of bad news, from the opening guitar shivers of “Gimme Shelter.” “That’s a kind of end-of-the-world song, really. It’s apocalypse; the whole record’s like that,” Mick Jagger told Jann S. Wenner in his 1995 Rolling Stone interview. “It’s a very rough, very violent era. The Vietnam War. Violence on the screens. Pillage and burning.”

    Fifty years after it came out, Let It Bleed sounds timelier than ever. Amid all the chaos, the Stones made a masterpiece that holds up as the ultimate rock & roll album for bleak times, which is why it feels like the most 2019 album of 1969. Their darkest album, yet also their funniest — not to mention their greatest. They dropped Let It Bleed in the final days of a decade that didn’t turn out the way they or anyone else hoped. “You Can’t Always Get What You Want,” “Monkey Man,” “Midnight Rambler” — these are warning shots, serving notice that the Sixties’ dreams are about to cannonball into Brian Jones’ swimming pool, never to return alive.

    The Stones spent the summer of 1969 making it with producer Jimmy Miller, starting in London but wrapping it up in L.A., where Mick and Keith Richards crashed at Stephen Stills’ Laurel Canyon mansion. It captures the L.A. moment Quentin Tarantino depicts in Once Upon a Time … in Hollywood, with lost souls roaming the streets. The Stones caught the sordid desperation in the air like nobody else. On the album, as in the movie, you never know when the wrong acid-dipped cigarette might explode into a late-night orgy of awaaay-we-go violence. And you never know when the guitars will turn into a flamethrower blast: The Fourteen Fists of Keith.

    The Stones made Let It Bleed in a cloud of bad vibes — in other words, their comfort zone. It’s their Keith-iest album, the one where he plays nearly all the guitars. The drugs were getting deadlier. (As Keith told Rolling Stone in 1971, “Don’t take my example. Take Jimi Hendrix. Or not.”) The wars. The riots. The assassinations. It’s all just a shot away.

    The essential new 50th-Anniversary Limited Deluxe Edition tells the whole story of the album, with stereo and mono remixes that reveal new nuances in the music. The new version enhances the details, from Merry Clayton’s gospel screams in “Gimme Shelter” to Bill Wyman’s autoharp at the start of “Let It Bleed.” There’s also a reproduction of the original “Honky Tonk Women” single, plus an 80-page book with a David Fricke essay and previously unseen photos by Ethan Russell. But however you hear it, Let It Bleed never stops giving up fresh chills and surprises.

    The Stones never planned it as a tombstone for the decade. They were just trying to crush out a record in time for their fall U.S. tour. For the tour’s climax, they announced a free show in San Francisco’s Golden Gate Park. What better place to top Woodstock and sum up the Sixties’ hopes and ideals— right down the street from Haight-Ashbury? But the dream was over. At the last minute, the concert got relocated to Altamont Speedway and turned into the Hells Angels bloodbath seen in the film Gimme Shelter. The Stones dropped Let It Bleed the day before Altamont. If they’d given another listen to their own album, they probably would have known better than to show up.

    Brian Jones was no longer around to clutter up Keith’s action with dulcimers or marimbas; he plays on only a couple of songs, adding barely audible percussion. Tragically, Brian was finally falling apart after constant attacks from the London cops, who broke this butterfly on a wheel. In one typical bust, they claimed they found hash in his flat, hidden in a ball of blue wool. Brian’s courtroom defense was classic: He testified, “I’ve never had a ball of wool in me life. I don’t darn socks.”

    But he could no longer function musically. He didn’t even play on “You Can’t Always Get What You Want” — he showed up at the studio, yet couldn’t be bothered to get up and plug in. As organist Al Kooper told Rolling Stone, “He was just sort of lying in the corner on his stomach, reading an article on botany.”
    While making “Honky Tonk Women,” Jagger, Richards, and Charlie Watts drove straight from the studio to Brian’s house and officially axed him. The week “Honky Tonk Women” hit Number One, Brian died in his swimming pool. As Pete Townshend told Rolling Stone at the time, “Oh, a normal day for Brian.” “Honky Tonk Women” became the final Number One U.S. hit of a radio summer that began so cheerfully with “Aquarius/Let the Sun Shine In.” The late, great Nick Tosches described the shock of first hearing it, on an Avenue A bar jukebox: “It strutted its indolence, like one who nods off while fucking.”

    You can see Brian on the album cover, smiling on the cake even though he was already dead. You can also see his 20-year-old replacement, Mick Taylor, on the turntable a few inches under Brian. The Stones officially debuted Taylor at their July 6th free concert in London’s Hyde Park, which became a Brian memorial; butterflies were released into the air while Mick read Shelley’s poem “Adonais” to the crowd. They figured it would be easy to play the same kind of free show on the West Coast a few months later. But California wasn’t London, the Hell’s Angels weren’t butterflies, speed wasn’t grass, and December wasn’t July. By Altamont, the Age of Aquarius was already buried right next to Brian.

    “Let It Bleed” remains the Stones’ funniest sex comedy: Mick tarts it up with his schoolgirl gasps over Keith’s slide guitar. The songs hit all kinds of emotional extremes: Keith’s ragged vocal on “You Got the Silver,” Mick’s high-lonesome blues in Robert Johnson’s “Love in Vain,” the aristocrat burlesque of “Live With Me.” But if anything sums up the mood, it’s the horror show “Midnight Rambler” — the blues epic where Mick rants about all the bad news coming for all December’s children. The song hit harder than ever this summer, as the 12-minute climax of the band’s U.S. stadium tour. Everybody got to know, because everybody got to go.

    Famously, when they played Atlantic City in 1989, the Stones refused to go on when they found out the casino boss was at the gig. Keith pulled out a knife, slammed it on a table and declared, “One of us is leaving the building — either him or us.” The owner backed down and left. Thirty years (and a few bankruptcies) later, he’s now the president, playing “You Can’t Always Get What You Want” at campaign rallies. The names and details change, but every cop’s a criminal and all the sinners saints. That’s why Let It Bleed sounds so timely — no matter what disaster is going down, Mick sings like he saw it coming.

    These days Let It Bleed might not have the same marquee value as Exile or Sticky Fingers, but it’s ripe for rediscovery. As Greil Marcus wrote in his original Rolling Stone review, it’s about “this era and the collapse of its bright and flimsy liberation.” In a way, the Stones save the scariest moment for the finale: “You Can’t Always Get What You Want.” This song has aged into such a beloved standard, it’s easy to sleep on how dark it is. (Especially since the London Bach Choir’s camp vocals make it seem more saccharine than it should.) But seeing the Stones play it onstage this summer, in a stripped-down four-man version, was a welcome reminder of the song’s hardcore spirit. It’s the same apocalypse as “Gimme Shelter,” but it’s the kind you have to keep living with when the song is over, constantly striving and failing to get what you want, face to face with the compromises and betrayals of everyday life. Fifty years later, that’s a story that never gets old. And that’s why Let It Bleed stubbornly refuses to fade into the past — like the Stones themselves.


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