Let It Bleed The Rolling Stones

• 1 Gimme Shelter 04:31
• 2 Love In Vain 04:19
• 3 Country Honk 03:08
• 4 Live With Me 03:33
• 5 Let It Bleed 05:28
• 6 Midnight Rambler 06:53
• 7 You Got The Silver 02:51
• 8 Monkey Man 04:12
• 9 You Can't Always Get What You Want 07:30
• Total Runtime 42:25

Info zu Let It Bleed

Let It Bleed appeared in the shadow of Brian Jones' death, shortly after he was kicked out the band he'd founded seven years previously. The '60s were ending, flower power had turned sour, and it's not surprising that Let It Bleed has a fin-de-siäcle feel to go with the sinister overtones of its title.

It's an undisputed work of genius, nevertheless, the first of a sequence of Stones albums universally regarded as their finest work. This HRA-re-mastered version reveals it in all its true glory.

Despite the tumult surrounding the band during its recording, Let It Bleed emerged as one of the Stones' best-loved and most acclaimed works. Regularly found at the top of fans' greatest and favourite Stones albums lists, Let It Bleed features some of The Rolling Stones' most memorable tracks, starting with 'Gimme Shelter' and ending with 'You Can't Always Get What You Want'.

Let It Bleed reached Number One in the UK and Number Three in the US, was the first Stones album to include guitarist Mick Taylor in the line-up, and the second, after Beggars Banquet, to be produced by Jimmy Miller.

„If 1968's Beggars Banquet struck the template for the Stones as we now know them, Let It Bleed cast it in stone. Featuring some of their most iconic material (and a cake on the cover baked and decorated by Delia Smith), it's the record that featured original leader Brian Jones' final appearance and new guitarist Mick Taylor's debut with the band. It's a murky, dark and chilly record that, although assembled from sprawling sessions across 1968 and 1969, has greater unity than Beggars Banquet. 'Gimme Shelter' is a startling introduction, with Keith Richards opened-tuned guitar circling like a bird of prey over the corpse of the 60s, and Mick Jagger's brooding vocal one of his very best. The Stones' subject matter had always seemed adult in comparison to, say, the Beatles, but on this opening track, they were bleak and portentous; a tale of rape and murder being 'just a shot away.'

Although 'Country Honk' is a trifle pointless, 'Monkey Man' is a sinister update of the blues; 'Midnight Rambler' often extended to snapping point live, referenced the serial killer the Boston Strangler. 'You Can't Always Get What You Want' concludes the downbeat air surrounding the record, beginning with the angelic voices of the London Bach Choir and ending in a climatic cacophony.

The shows to accompany the album placed the band in the new world of the scaled-up 'rock' tour. The performances climaxed at the Altamont Speedway in San Francisco. The subsequent death of Meredith Hunter at the hands of Hell's Angels exposed the Stones to be out of their depth in the world of devil-courting rock and roll.“ (BBC Review, Daryl Easlea)

Mick Jagger, vocals, harmonica
Keith Richards, guitars, bass, backing vocals
Mick Taylor, guitars
Bill Wyman, bass, autoharp
Charlie Watts, drums
Brian Jones, congas

Additional musicians:
Nanette Newman, vocals
Merry Clayton, vocals
Ry Cooder, mandolin
Byron Berline, fiddle
Bobby Keys, tenor saxophone
Al Kooper, French horn
Ian Stewart, piano
Leon Russell, piano
Nicky Hopkins, organ
Jimmy Miller, percussion
Rocky Dijon, percussion
Doris Troy, background vocals
Madeline Bell, background vocals
London Bach Choir

Recorded in November 1968, February – November 1969 at Olympic Studios, London, England
Produced by Jimmy Miller

Digitally remastered

Ranked #32 in Rolling Stone's '500 Greatest Albums Of All Time'

About the remastering process:
"Many years of research went into locating the original mono and stereo analog tapes that would be used in ABKCO's Rolling Stones Remastered Series. That research revealed a treasure trove of first generation tapes - true stereo masters from The Stones' 1964 Chess Studios sessions including the unedited version of "2120 South Michigan Avenue," Beggar's Banquet at its correct speed and Let It Bleed with splicing that indicates that the original intention was to leave little spacing between each cut.

For the analog to digital transfers, vintage reel-to-reel tape machines were utilized - a modified Ampex 351 with original tube electronics (full track mono and two track stereo) and an Ampex ATR-102 modified with Aria Discrete Class-A Electronics (full track mono and two track stereo). A Sonoma DSD digital audio workstation was the chosen high resolution format and Meitner Design ADC8 and DAC8 MKlV converters were used for the conversion process. Cables used were the cryogenically frozen type supplied to us by Gus Skinas of Super Audio Center. Gus also provided much guidance to Jody Klein, Steve Rosenthal and myself for our first time use of DSD technology. For this HD release, the Bob Ludwig mastered DSD files were converted to both 176.4kHz and 88.2kHz high resolution PCM with Weiss Saracon conversion software." (Teri Landi, Archivist and Engineer, ABKCO Music & Records)