LET IT BLEED

The Rolling Stones were in the initial phase of an extremely creative roll as they began work on what would become their eighth LP. Mick and Keith brought their strongest collection of songs to date into the sessions. Beggars Banquet was successful, commercially and with critics. Their next release would be highly anticipated. One dark cloud hovered over the new project. Brian Jones was no longer a productive, functioning member of the team. His absence saw Richards cover all of the bases when it came to guitar work. Gearing up for a return to touring meant that a decision had to be taken. Jones was informed that his services were no longer required in June 1969 and within a few weeks he was dead. Mick Taylor was recruited as his replacement. Despite the tumultuous circumstances surrounding the band during this period, they pulled together to finish Let it Bleed.

When it comes to the deployment of open tuning in the framework of rock composition, it's safe to say that Keith Richards has already explored every option before most of his contemporaries. Half riff machine, half cigarette, the man delivered one of his most memorable passages with "Gimme Shelter", which is done in E major tuning for those of you playing the home game. Opening strong, this is is simply a masterclass in arrangement and taste. Compelling from the introductory notes, there is a tension that builds as each instrument is introduced that actually conjures the effect of an impending storm that Jagger references in the lyric. Merry Clayton's soaring vocal part is a critical element to the structure here. The sheer force of the performance, which is cinematic in scope, would make this the highlight of any album. Simply a cut above anything they had done to that point. If this gem doesn't persuade you to keep listening, then you don't have a pulse.

Rape! Murder! It's just a shot away...

Brilliant sequencing allows for a soft landing pad in their acoustic-driven interpretation of Robert Johnson's "Love In Vain". Understated in execution, it is graced by a delicate mandolin solo courtesy of guest contributor, Ry Cooder. As the lone cover in the pack, it fits perfectly with the general vibe. The same cannot be said of "Country Honk", which should have been elbowed from the set in favor of "Honky Tonk Women". It's a jokey B-side, at best. Things return to focus as "Live With Me" features Keith playing a slinky bass intro, riding the steady wallop of Charlie Watts. It's a straight up, filthy rocker with sex on the menu. You can almost picture Mick's sarcastic leer as he delivers each line. The title cut and companion piece is served up next, closing the first side in spectacularly grimy fashion.

I was dreaming of a steel guitar engagement
When you drunk my health in scented jasmine tea
But you knifed me in my dirty filthy basement
With that jaded, faded, junkie nurse oh what pleasant company

Grim subject matter is a lyrical thread that runs through all you encounter on this mesmerizing record. There is a callback to the rape/murder exhortations of "Gimme Shelter" in the sprawling blues of "Midnight Rambler". The "hit and run raper" creeping about with sharpened knife conjures absolutely terrifying images. Dramatic and tight as an E string, this stunner would find a home in their set lists for years to come. The remainder of the second side is slightly less intense. It is to their credit that "You Got the Silver" follows, providing a light break from the assault that precedes it. Keith takes his first true solo lead vocal on this tender tune. The sleeper here? "Monkey Man". Fantastic intro, top class bass work from Bill Wyman and it stands as one selection that classic rock radio has not driven into the ground.

In the category of easy decisions, there is no other offering more deserving of the closing spot than "You Can't Always Get What You Want". The strains of the London Bach choir would seem to be the most unlikely sound you would expect to be emanating from your speakers at this point, yet, there they are in full stereophonic glory. Even better, you could not imagine this without them. As they complete their intro, gentle acoustic strumming takes center stage with Al Kooper providing a moody French horn to perfectly set up Jagger.

I saw her today at the reception
A glass of wine in her hand
I knew she would meet her connection
At her feet was her footloose man

Disillusion clouds a very clever lyric, though the addition of one key line softens the blow. ("If you try sometimes you just might find/You get what you need"). There have been many armchair attempts to decode the meaning of the song. Best just to appreciate the artistic triumph of this one, without trying to over-analyze the message. Producer Jimmy Miller "fills in" for Charlie on the kit and there isn't one note out of place. It is a majestic ending to a truly devastating song cycle.

Peering through a cloud of smoke back into the foggy mists of the late 1960s, it is hard to believe that a half century has passed since Let It Bleed first hit the shops. It is more than fair to state that the Stones more than held their own with their competition of that era, which included the Beatles, The Who, The Kinks and Led Zeppelin (to name a few). There has been much ink spilled in editorializing certain aspects of this release. You often hear that it provided a summation to the violence of the decade that spawned it. There is some truth in this take, however, much of that narrative is tied to coincidence. Namely, the issue date was reportedly held up over delays with cover art. When it was ready for public consumption, the unfortunate events that befell their headlining gig at Altamont Speedway cast a pall over what had been an otherwise successful US tour. This took place a day after Let it Bleed was made available to record retailers. That said, none of this detracts from the excellence of the final product and how well it has aged overall. For those who know and love this one, spin it again. For the uninitiated, get yourself a copy now and find out what made these guys great.