CD Review: The Rolling Stones "Let It Bleed"

It's tough to argue that the somewhat self-appointed title of Worlds Greatest Rock and Roll Band is not deserved when the band you're talking about has had a career working into it's fourth decade and carries an impressive catalogue of 55 albums. The Rolling Stones have been in existence since 1960 and has adapted as the culture has demanded while not abandoning their blues and rock roots. Not unexpected when you consider that this is a band that has, in essence, been providing the soundtrack for the Rock and Roll generation.

Through the Sixties, the Rolling Stones were running a parallel if not somewhat twisted mirror career of the much more pop friendly Beatles but with more of an edge. The Beatles were the nice guys, the 'real' musicians, the girl friendly, popish rock and roll band. The Stones, on the other hand, were the "bad boys" which was an image that not only did the band cultivate but relished. It was their manager; Andrew Loog Olman, who created the marketing phrase "Would you let your daughter marry a Rolling Stone"? The most common answer was no and this aided in pushing their anti-establishment popularity even further.

As the Sixties began to show some wear, the Rolling Stones created what many consider to be their four most consistent and popular records; "Beggars Banquet" (1968), "Let It Bleed" (1969), "Sticky Fingers" (1971) and "Exile on Main Street" (1972). Taken individually, each album can stand on its own merits. Collectively, they served as the near-perfect epitaph for the seamy and dangerous side of Sixties ideology. Of these albums, "Let It Bleed" is the one that has never quite gotten it's due, often overshadowed by the powerful "Beggars Banquet" and the raw energy of "Sticky Fingers" and the classic "Exile on Main Street".

Released late in November of 1969, "Let It Bleed", starts with "Gimme Shelter", a rocking plea that sounds as nasty and growling on classic rock radio today as it did when it first hit the airwaves in 1969. "Love in Vain", a classic Robert Johnson blues tune that was given a Rolling Stones earthy treatment; a down and dirty version showing adroit, slow finger-picking style and maddeningly wicked slow tempo grind (with stringed instrument virtuoso Ry Cooder lending his expertise on the mandolin).Third, "Country Honk", a countrified version of the Stones single "Honky Tonk Woman" recorded in what sounds like one take on someone's front porch in Memphis. Former Byrds guitarist, singer/songwriter Gram Parsons often claimed credit for the arrangement and lyrics of "Country Honk" (he and Keith Richards spent time together in London in 1968 and it is from Parsons that Richards discovered a fondness for country music) although Jagger and Richards dismiss this story. They claim that "Country Honk" was the original arrangement and it was something that they had conceived while on vacation in Brazil in 1968. "Live With Me" is the fourth track with Keith Richards playing bass on the record while new edition to the band, 20 year old Mick Taylor playing guitar. The boozy, somewhat trippy, title track "Let It Bleed" closes the first side of the album.

Mick Jagger shows his abilities with a harmonica (a skill taught to him by the recently departed Stones founder, Brian Jones) on another staple of classic rock radio "Midnight Rambler". Keith Richards takes the vocal leads on "You Got The Silver", his first solo vocal, having shared vocals with Jagger on a few previous tracks. "Monkey Man" follows, a song that is classic Stones. There is a certain swagger in the song that you can only find in prime Rolling Stones mid-catalogue work. "Let It Bleed" ends with the Rolling Stones answer to The Beatles epic "Hey Jude" in one of their finest and most timeless songs; "You Can't Always Get What You Want". A song that is instantly identifiable within the first few seconds and one with the underpinnings of a working mans philosophy.

The Stones have been called "The Devils House Band" and it's not like they didn't earn the appellation. "Let it Bleed" has the distinction of being the album released immediately prior to the tragedy at Altamont Speedway in December 1969. The album was almost prophetical; both lyrically and musically serving up the end of the 1960's 'love and peace' mantra and the concert driving the point home with the murder of a fan at the front of the stage by a Hells Angel while the Stones performed.

Regardless, the album is a solid effort and well worth the play. Do yourself a favor though and follow the instructions that were printed on the album sleeve: "Play it Loud!" You won't be disappointed.