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Rolling Stones - Let It Bleed Album

Rolling Stones - Let It Bleed Album
Performer: Rolling Stones
Genre: Rock
Title: Let It Bleed
MP3 album size: 2595 mb
FLAC album size: 1256 mb
Style: Blues Rock
Country: Netherlands
Released: 1969
Catalog number: 6835 105
Label: Decca

Tracklist


1Monkey Man
Bass, Vibraphone [Vibes] – Bill WymanDrums – Charlie WattsPiano – Nicky HopkinsTambourine – Jimmy MillerVocals – Mick JaggerVocals, Guitar – Keith Richard
2Midnight Rambler
Bass – Bill WymanDrums – Charlie WattsGuitar – Keith RichardPercussion – Brian Jones Vocals, Harmonica [Harp] – Mick Jagger
3Live With Me
Drums – Charlie WattsGuitar – Mick TaylorGuitar, Bass – Keith RichardPiano – Nicky HopkinsPiano, Arranged By [Horns] – Leon RussellTenor Saxophone – Bobby KeysVocals – Mick Jagger
4Country Honk
Drums – Charlie WattsFiddle – Byron BerlineSlide Guitar – Mick TaylorVocals – Mick JaggerVocals, Acoustic Guitar – Keith Richard
5Love In Vain
Bass – Bill WymanDrums – Charlie WattsGuitar – Keith RichardMandolin – Ry CooderVocals – Mick JaggerWritten-By – Woody Payne
6You Can't Always Get What You Want
Bass – Bill WymanDrums – Jimmy MillerGuitar – Keith RichardPiano, French Horn, Organ – Al KooperVocals – Mick Jagger
7Let It Bleed
Bass, Autoharp – Bill WymanDrums – Charlie WattsGuitar – Keith RichardPiano – Ian StewartVocals – Mick Jagger
8You Got The Silver
Autoharp – Brian Jones Bass – Bill WymanDrums – Charlie WattsPiano, Organ – Nicky HopkinsVocals, Guitar – Keith Richard
9Gimmie Shelter
Bass – Bill WymanDrums – Charlie WattsPercussion – Jimmy MillerPiano – Nicky HopkinsVocals – Mary ClaytonVocals, Guitar – Keith RichardVocals, Harmonica [Harp] – Mick Jagger

Credits


  • Art Direction [Repackage Art Direction]Alisa Coleman-Ritz, Iris W. Keitel
  • Design [Original Cover & Liner]Robert Brownjohn
  • Design Concept [Conception]Lenne Allik
  • Engineer [Additional Analog To Digital Transfer]Jon Astley, Pascal Byrne
  • Engineer [Analog To Digital Transfer], Research [Tape Archive]Teri Landi
  • Engineer [Assistant]Bruce Botnick, George Chkiantz, Jerry Hansen
  • Engineer [Chief Engineer]Glyn Johns
  • Engineer [DSD]Gus Skinas
  • Mastered ByBob Ludwig
  • Photography ByDon McAllester
  • ProducerJimmy Miller
  • Producer [Production Assistant]Laura Walton, Maria Papazahariou
  • Reissue ProducerJody H. Klein
  • Remastered ByBob Ludwig
  • Research [Additional Tape Archive]Jane Byrne, Mick McKenna
  • SleeveVictor Kahn
  • Supervised By [Sound Restoration & Archive Coordinator]Steve Rosenthal
  • Written-ByMick Jagger & Keith Richards (tracks: A1, A3 to B4)
  • EngineerGlyn Johns
  • Lacquer Cut ByA
  • ProducerJimmy Miller
  • Written-ByMick Jagger & Keith Richard (tracks: A1, A3 to B4)
  • EngineerGlyn Johns
  • Lacquer Cut ByW
  • ProducerJimmy Miller
  • Written-ByMick Jagger & Keith Richard (tracks: A1, A3 to B4)
  • Design [Cover & Liner]Robert Brownjohn
  • Design [Sleeve & Poster]Victor Kahn
  • EngineerGlyn Johns
  • Lacquer Cut ByG
  • Photography ByDon McAllester
  • ProducerJimmy Miller
  • Written-ByJagger, Richard (tracks: A1, A3 to B4)

Notes


Sticker on laminated front cover "Printed in England by Upton Printing Group".
The back cover shows an ''indicator hole'' to let the inner sleeve peep through: blue = stereo, red = mono.
Red inner with "London Bach Choir" not censored.
Includes a poster.Released on the unboxed " DECCA " label in a front-laminated sleeve and a Decca-Inner sleeve with 4 blue boxes on each side to work with the ''indicator hole'' on the back-cover.
Back cover shows the ''indicator hole'' to let the inner sleeve peep through: blue=stereo, red =mono.
On the labels:
Made In England by the Decca Record Co, Ltd, London
Manufactured by The Decca Record Co. Ltd.
℗ 1969
On the sleeve:
© 1969, The Decca Record Company Limited, London
Laminated with ' Clarifoll ' made by British Celanese Limited
Sleeve printed in EnglandBlue and silver boxed Decca labels.

No mono/stereo hole on back cover.

Gold star in a gold box.

Sleeve printed in England by Clout and Baker Ltd.

(Poster Included) not printed on back sleeve.

No mention of year other than original release year, Label (p) 1969, Back cover (c) 1969.180 Gram Clear vinyl
Cat # 0018771900412 on jacket spine; 18771-9004-1 on labels
©2003 ℗1969 ABKCO Records

Group credited as "Rolling Stones" on sleeve front, and as "The Rolling Stones" on the inner sleeve and record labels.
Instructions on inner sleeve and record labels: "This Record Should Be Played Loud"

Barcodes


  • Rights Society: BIEM/NCB/GEMA
  • Matrix / Runout (Run-out infor [hand-etched] side A): XZAL 9363 2
  • Matrix / Runout (Run-out infor [machine-stamped] side B): XZAL9364 8G^E D 1 8 1 1 1
  • Matrix / Runout (A-Side Label): {XZAL.9363}
  • Matrix / Runout (B-Side Label, Upside Down): {XZAL.9364}
  • Matrix / Runout (A-Side Runout, Stamped): XZAL-9363.P-4W
  • Matrix / Runout (B-Side Runout, Stamped): XZAL-9364-P-5W
  • Matrix / Runout (A-Side Runout, at 3 O'clock, Stamped): AB
  • Matrix / Runout (A-Side Runout, at 9 O'clock, Stamped): CJ IJ
  • Matrix / Runout (B-Side Runout, at 3 O'clock, Stamped): AI
  • Matrix / Runout (B-Side Runout, at 9 O'clock, Stamped): 1
  • Rights Society: BIEM / NCB
  • Rights Society: GEMA
  • Matrix / Runout (B-Side Label Not Upside Down, variation): {XZAL.9364}
  • Matrix / Runout (A-Side Runout Samped, Variation): XZAL-9363.P-6W
  • Matrix / Runout (B-Side Runout, Stamped, Variation): XZAL-9363.P-4W
  • Matrix / Runout (Runout Side A, stamped. Variant 1): XARL-9363.P-1A
  • Matrix / Runout (Runout Side B, stamped. Variant 1): XARL-9364.P-1A
  • Matrix / Runout (Runout Side A, stamped. Variant 2): XARL-9363.P-1A
  • Matrix / Runout (Runout Side B, stamped. Variant 2): XARL-9364.P-2A
  • Matrix / Runout (Runout Side A, stamped. Variant 3): XARL-9363.P-2A
  • Matrix / Runout (Runout Side B, stamped. Variant 3): XARL-9364.P-1A
  • Rights Society (Boxed): BIEM
  • Rights Society (Boxed): NCB
  • Matrix / Runout (Label Side A): XARL 9363
  • Matrix / Runout (Label side B): XARL 9364
  • Barcode (Text): 0 18771 90041 2
  • Matrix / Runout (Side One stamped stamped, except 22002.1 and 90041A etched): 1877190041-A 90041A 89319E1/A 22002.1
  • Matrix / Runout (Side Two stamped, except 22002.2 and 90041B etched): 1877190041-B 22002.2 89319E2/A 90041B
  • Other (Side one etched): www.gzvinyl.com

Companies


  • Copyright (c) – ABKCO Music And Records, Inc.
  • Mastered At – Gateway Mastering
  • Manufactured By – ABKCO Music And Records, Inc.
  • Phonographic Copyright (p) – ABKCO Music And Records, Inc.
  • Published By – ABKCO Music, Inc.
  • Manufactured By – www.gzvinyl.com
  • Pressed By – GZ Digital Media – 89319E
  • Copyright (c) – The Decca Record Company Limited
  • Manufactured By – The Decca Record Company Limited
  • Published By – Mirage Music
  • Published By – Immediate Music
  • Made By – British Celanese Limited
  • Made By – The Decca Record Company Limited
  • Lacquer Cut At – Decca Studios
  • Pressed By – Decca Record Co. Ltd., Pressing Plant, UK.
  • Printed By – Clout & Baker Ltd.
  • Lacquer Cut At – Decca Studios
  • Pressed By – PRS Ltd.
  • Record Company – The Decca Record Company Limited
  • Copyright (c) – The Decca Record Company Limited
  • Published By – Mirage Music
  • Published By – Immediate Music
  • Manufactured By – The Decca Record Company Limited
  • Made By – The Decca Record Company Limited
  • Printed By – Upton Printing Group
  • Lacquer Cut At – Decca Studios

Album


The Rolling Stones - Gimme Shelter. Let It Bleed - 5:27 - Lyrics. SLK 16 640-P. Let It Bleed is the eighth British album released by The Rolling Stones, and was their tenth American album. The Stones were never as consistent on album as their main rivals, the Beatles, and Let It Bleed suffers from some rather perfunctory tracks, like Monkey Man and a countrified remake of the classic Honky Tonk Woman here titled Country Honk. Let It Bleed Aktuelle Express-Ausgabe LP, Album. On songs like Live With Me, Midnight Rambler, and Let It Bleed, the Stones prance through all their familiar roles, with their Rolling Stones masks on, full of lurking evil, garish sexuality, and the hilarious and exciting posturing of rock and roll Don Juans. All these years later, Let It Bleed still sounds like an album made during turbulent times. The band began recording the album in February, a couple of months after the release of Beggars Banquet , though they started work on Let It Bleed 's centerpiece, You Can't Always Get What You Want, back in November 1968, right before Beggars Banquet came out. History Although they had begun the recording of You Can't Always Get What You Want in March 1968, before Beggars Banquet had been released, recording for Let It Bleed began in earnest in February 1969 and would continue sporadically until November. You Got The Silver - 2:50 - Lyrics. Стал последним альбомом коллектива, в записи которого принял участие Брайан Джонс. Just better. Let it Bleed song - 5:27 - Lyrics. The follow up to Beggars Banquet 1968, it appeared shortly after the band's 1969 American Tour. Country Honk - 3:07 - Lyrics. They were prepared for the end, and it wasn't pretty. UMG от лица компании ABKCO Music and Records, Inc. 01-Gimme Shelter 02-Love In Vain 03-Country Honk 04-Live With Me 05-Let It Bleed 06-Midnight Rambler 07-You Got The Silver 08-Monkey Man 09-You Can't It Bleed is the eighth British album released by The Rolling Stones, and was their tenth American album. The Stones didn't need a political catastrophe to signal the end of the decade that gave us both the Summer of Love and Vietnam. 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. Продать эту версию. Rolling Stones. The follow up to Beggars Banquet 1968, it appeared shortly after the band's 1969 American Tour. Let It Bleed 8-Trk, Album. Released shortly after the band's 1969 American Tour, it is the follow-up to 1968's Beggars Banquet. Live With Me - 3:33 - Lyrics. The Rolling Stones - Love in Vain. В год пятидесятилетнего юбилея легендарного альбома Let It Bleed компания ABCKO подготовила специальное издание шедевра The Rolling Stones в виде коллекционной коробки. There's no escaping the apocalyptic nature of one of the Rolling Stones' best albums, and there's no shelter from the storm of discontent the '70s were blowing in. Songs in album The Rolling Stones - Let It Bleed 1969. Midnight Rambler - 6:52 - Lyrics. Brian Jones performs on only two tracks, the autoharp on You Got the Silver and percussion on Midnight Rambler. Love in Vain - 4:19 - Lyrics. The Rolling Stones - Live with Me. Released December 5, 1969, shortly after their 1969 American Tour, it is the last album by the band to feature Brian Jones and the first to feature Mick Taylor. The Rolling Stones. Let It Bleed Remastered 2019. Let It Bleed seemed to foretell this in its dark and grim songs. History Although they had begun the recording of You Can't Always Get What You Want in March 1968, before Beggars Banquet had been released, recording for Let It Bleed began in earnest in February 1969 and would continue sporadically until November. 01-Gimme Shelter 02-Love In Vain 03-Country Honk 04-Live With Me 05-Let It Bleed 06-Midnight Rambler 07-You Got The Silver 08-Monkey Man 09-You Can't It Bleed - восьмой студийный альбом The Rolling Stones, изданный в декабре 1969 года фирмами Decca Records Великобритания и London Records США. Let It Bleed is an album by English rock band The Rolling Stones, released in December 1969. And like Beggars Banquet, Let It Bleed has the feel of Highway 61 Revisited. 05:28 320 Кб. Released shortly after the band's 1969 American Tour, it is the follow-up to 1968's Beggars Banquet and the last album by the band to feature Brian Jones as well as the first to feature Mick Taylor. You can hear it in the gloomy, violent and desolate grooves of Let It Bleed , the title itself a harbinger of the album's moody and blood-soaked music. Let It Bleed. Days after the record's release, the Rolling Stones would play a free concert at the Altamont Speedway in California that ended in a murder in front of the stage. 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. Gimme Shelter - 4:30 - Lyrics. But the Rolling Stones put an end to the decade five years earlier, when they released Let It Bleed their eighth album, and last one of the '60s during the final week of November 1969. Let It Bleed - восьмой студийный альбом The Rolling Stones, изданный в декабре 1969 года фирмами Decca Records Великобритания и London Records США. The Rolling Stones - Country Honk. Released shortly after the band's 1969 American Tour, it is the follow-up to 1968's Beggars Banquet. Love In Vain - 4:19 - Lyrics. Формируйте собственную коллекцию записей Rolling Stones. The Rolling Stones - Let It Bleed. Лента с персональными рекомендациями и музыкальными новинками, радио, подборки на любой вкус, удобное управление своей коллекцией. Let It Bleed - The Rolling Stones. The Rolling Stones - Let It Bleed 1969. Let It Bleed is the eighth British and tenth American studio album by English rock band the Rolling Stones, released in December 1969 by Decca Records in the United Kingdom and London Records in the United States
Unereel
Great album. First copy I acquired had two big streaks or red, and some black, in the clear vinyl. Second copy was fine.
dermeco
Sounds decent, gimme shelter doesn't sound good and vocals are a little hot on country honk but there is great prescence and clarity on most tracks. Bass sounds good, drums sound good, acoustic guitar sounds bright. Pressed flat, quiet, no flaws there, ok release. Sounds as good as it can for DSD but just like everything pressed from digital the vocals end up sounding horribly compressed.. Let it bleed and midnight rambler sound rad.
Blackseeker
Gimmie Shelter opens the Rolling Stones 14th [?] album, and let me tell you, shelter is just what I needed having just arrived in Vietnam, courtesy of my wonderful Uncle, who went by the name of Sam. The album came out in December of 1969 but I wasn’t able to grab hold of it until sometime late in January of 1970 once I was settled in, squared away my hooch and bought myself a little bitty of a record player. But hey, I draped the inside of my living quarters with an orange parachute, had my candles, and constant light show every evening. What more did I need ... ya we had that too.I wasn’t the only one in transition, the Stones were breaking in the new boy Mick Taylor, Brian Jones had died a few months earlier, and the peculiar feeling of hearing new material from someone no longer on the planet was as unworldly as the new country I would be calling home for the next 26 months. There has been a great deal made regarding the fact that up to this point the Stones had not been making albums with a consistent body of material, and many lumped this release into that category. I’ll be the first to admit that there are a couple of songs that didn’t strike my fancy, but man, this was one of the best records I had ever heard at that point in time. I’ll never forget hearing the beginning of "Country Honk," an obvious remake of "Honky Tonk Woman" and the little car horn that blew just perfectly enough to startle me every time I heard it.All of the songs were much longer, extended in a number of ways more then usual and a fine follow up to Begger’s Banquet for sure. The album is darker, more sensual ... it felt like a “time out,” the mask of Janus, between the psychedelic era that was winding down, and what was waiting around the corner, just out of view. For me, the 60’s were very heady, full of self exploration, movement, conflict, a sensory overload ... but here on this release, it was like everything just slowed down, as if to say, "Let’s just pull the shades, get high and stay in bed for a while."Now I love the Blues, and it’s just my opinion, but for me, on the whole, this is the closest the Stones ever came to making that down home blues music they always professed to love and touted as the genesis of their conception. And the reason for that can be seen, or better heard, with the talent they assembled here with the likes of Ry Cooder, Al Kooper, Leon Russell, Nicky Hopkins, Ian Stewart, Bobby Keys and a host of others that I’m sure I’ve omitted.There does seem to be a theme here, though I’ll leave that for each of you to figure out for yourselves, as this is one of the most personal albums the Stones ever surfaced. For me, the only song that seems out of place here is "Monkey Man" and even that works as a juxtaposition, revving up the music, only to slow it down again with the final track. The consistent beat and timing is not redundant, it just lets you ride the nod for all it’s worth. The music is smooth, full, rich, sparkled with great little background touches, along with vocals and musical expressions which often times require headphones. Me [?], I just crank it up loud.You’re going to hear some terrific guitar riffs, elegant slide, some really perfect harp licks and a bass line from Bill that he’s been working towards for his whole life. Everything came together here, even Keith lays down some flawless vocals and Mick has never sounded better. "You Can’t Always Get What You Want" finishes up this release in an amazingly unexpected fashion, an extraordinary vision in it’s concept and story line, and even with all it’s darkness, left me with the feeling that there was hope just around the bend, in the dawn of a new sunrise. This album is a moment in time, a story within a story, a snapshot that will never yellow with age.*** Jump forward to 2013, which sees the release of this dynamic sonic gem on 180g vinyl, pressed on clear plastic, and you're gonna treat your ears to something special. I've always wondered what it would be like to hear this album again for the very first time, and let me assure you, it was worth the wait.
Zuser
I just picked up this pressing and I am amazed at how good it sounds. I didn't know the vinyl was clear going in so when I pulled it out I was surprised and a bit concerned about the sound quality but it is superb. The presence and clarity of 'Love In Vain' damn near brought me to tears. Seriously. I've got the reissues of Sticky Fingers and Exile also which sound great but I believe this surpasses them. I suppose I better listen to them back to back to back just to be sure ????
sobolica
sooooo..... sound quality is good? lol
Mitynarit
Thanks, for a heartfelt engrossing review, and for your service. Whatever be your political persuasion or mine, my comment stands; you did your thing and you sacrificed. Additionally, you have added to the canon of commentary, review, experiences that help shape my engagement with every record I cherish.
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