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Let It Bleed Deluxe
50th Anniversary Edition, Deluxe Edition
7", Box Set, 2 CD
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Track Listings
Disc: 1
1 | Gimme Shelter (Side 1) |
2 | Love In Vain |
3 | Country Honk |
4 | Live with Me |
5 | Let It Bleed |
6 | Midnight Rambler (Side 2) |
7 | You Got the Silver |
8 | Monkey Man |
9 | You Can't Always Get What You Want |
Disc: 2
1 | Gimme Shelter (Side 1) |
2 | Love In Vain |
3 | Country Honk |
4 | Live with Me |
5 | Let It Bleed |
6 | Midnight Rambler (Side 2) |
7 | You Got the Silver |
8 | Monkey Man |
9 | You Can't Always Get What You Want |
Disc: 3
1 | Gimme Shelter |
2 | Love In Vain |
3 | Country Honk |
4 | Live with Me |
5 | Let It Bleed |
6 | Midnight Rambler |
7 | You Got the Silver |
8 | Monkey Man |
9 | You Can't Always Get What You Want |
Disc: 4
1 | Gimme Shelter |
2 | Love In Vain |
3 | Country Honk |
4 | Live with Me |
5 | Let It Bleed |
6 | Midnight Rambler |
7 | You Got the Silver |
8 | Monkey Man |
9 | You Can't Always Get What You Want |
Disc: 5
1 | Side A - Honky Tonk Women |
2 | Side B - You Can't Always Get What You Want |
Editorial Reviews
Limited Edition Numbered Box Sets 2 180 gram LPs in Stereo and Mono with restored original album art 2 SACDs in Stereo and Mono housed in custom 12" sleeve 7" single of "Honky Tonk Women"/ "You Can't Always Get What You Want" in Mono with original picture sleeve 80 page hardcover book with essay by David Fricke and never before seen photos by Ethan Russell Three 12"x12" hand-numbered, replica-signed lithographs printed on embossed archival paper, housed in foil-stamped envelope
Product details
- Product Dimensions : 15.67 x 13.15 x 1.61 inches; 5.78 Pounds
- Manufacturer : ABKCO
- Original Release Date : 2019
- Date First Available : September 10, 2019
- Label : ABKCO
- ASIN : B07XKJVH62
- Country of Origin : USA
- Number of discs : 5
- Best Sellers Rank: #72,046 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #4,817 in Classic Rock (CDs & Vinyl)
- #32,611 in Rock (CDs & Vinyl)
- Customer Reviews:
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Top reviews
Top reviews from the United States
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So discounting that issue, we have 180+ 4 or 5-star reviews (so far) and maybe 15 or so that rate it as 1, 2 or 3-stars. The majority of course isn't always right, but in this case, they ARE. Simply put, everyone has their opinion of what the "best" Stones album is, but for anyone who's heard it all, this album absolutely has to at least be on the short list of titles that can realistically be nominated for Best Stones Album Ever. I personally have it at #2 behind "Sticky Fingers" and 1 spot ahead of "Tattoo You," with "Some Girls" at #4.
This is of course the 2nd of 4 consecutive albums generally considered to be among the very best the Stones ever delivered, starting with "Beggar's Banquet" (1968), followed by "Let It Bleed," then 1971's "Sticky Fingers" and then the much (over)-hyped "Exile On Main Street". Personally, I find Sticky Fingers and Let It Bleed the best of these 4 classic Stones albums, but everyone has their own opinion. Forget the comparisons though and just look at what's here: classic cuts even non-Stones fans will have heard (and most likely enjoyed) include "Gimme Shelter," "You Can't Always Get What You Want," "Monkey Man," as well as the title cut. That's half the album that has featured prominently on rock radio for 40+ years now!
And these songs are surely the strength of the album, but the rest of the less popular cuts are what propels this release to the ranks of "undeniable classic": the superb take on blues-master Robert Johnson's "Love In Vain" is Mick and Co. at their bluesy best. "Country Honk" is a country-fied version of the better-known "Honkey Tonk Women," and while I might agree with Stones label-heads who were disappointed that this version was selected for inclusion on the album instead of the single version, we are fortunate in that we don't have to choose: the more popular single version is available on multiple compilations ("Hot Rocks," "40 Licks," etc.) and the country version here is an interesting display of how country the roots of the Stones could truly be while still delivering the overall sound and attitude that made them famous to begin with.
Next up is "Live With Me" which kicks off with a driving Bill Wyman bass-line and Charlie Watts thumping a straight and solid beat that propels the hardest rocking song of this album (which also features outstanding sax by Bobby Keys and piano by studio legend Nicky Hopkins). The excellent sound quality makes it sound like this was recorded in 2009, not 1969.
My perhaps favorite cut is next, the title cut, "Let It Bleed". I knew the song, but I didn't know the title until I bought this album and I was truly thrilled to have found this song as it's a gem! It could almost be a Grateful Dead song, but the Stones make it sound better than the Dead ever could. "We all need someone to lean on, and if you want to, you can lean on me...". Not sure if that's "rock," "blues" or "country", but I like it. Superb.
Also included is "Midnight Rambler," but buyer beware: this is the studio version, not the more popular live version lifted from "Get Your Ya-Ya's Out!" and featured on "Hot Rocks". A great song is a great song and this is definitely a solid track, but to me the definitive version of this song is the live version. Hard to call this studio version a "disappointment" though.
Perhaps the weakest cut (imo) is "You Got The Silver," the first song in the Stones catalog to feature Keith Richards on lead vocals. Which is not to say it's a bad cut, but it is the weakest track on an otherwise flawless album.
All told, 9 cuts, 4 that almost everyone will know, 4 more that are every bit as good as "the hits" and the one so-so track by Richards. The sum total is an album you can listen to from start to finish time and time again without getting tired of it (and boy are THOSE hard to find these days...).
Some earlier reviewers have argued over who the driving force of this album is since this came out when the role of Brian Jones was dwindling but before Mick Taylor was on as a full-time member. The credits show that Jones played on only two tracks (and not even guitar at that...) and Mick Taylor played on only two as well, so I think it's obvious that the driving force of this album is the same as most Stones classics: the songwriting of Mick and Keef, the solid rhythms of Bill and Charlie and the guitar of Keith Richards and whoever else was around! Brian Jones certainly deserves credit for his early role in shaping what the Stones would become, but the majority of their best work was done without him and Mick Taylor certainly wasn't around long enough to put his stamp on this one.
Bottom line: if you don't have this and are even slightly intrigued with the possibility of checking it out, BUY IT. Maybe "Sticky Fingers" or another title or two the Stones did at some point is better, but if they ever did a better album than "Let It Bleed," it wasn't by MUCH.
1. "Gimmie Shelter"...This is probably the VERY BEST song & MY favorite song, that the Rolling Stones ever recorded. It is very unique & it also had such an eerie feel to it. Though a small hit, however, I really wish it was a much BIGGER hit single, because it's just that GREAT of a song. I also wanted to add that Merry Clayton is the back-up vocalist here. In 1970, she also recorded HER OWN version of "Gimmie Shelter". And she also performed the song "Yes" on the 1987 movie soundtrack "Dirty Dancing".
2. "Love In Vain"...After all these years, it looks as though this song HAS finally GROWN on me. At one time, I really COULDN'T stand this song. But now, I like the softer guitars & the countrified vocals on this tune.
3. "Country Honk"...This is the COUNTRIFIED version of 1969's "Honky Tonk Woman" This is another song that I wasn't too crazy about @ first either, but it grew on me, real fast as compared to "Love In Vain". This song is fun & rather AMUSING to listen to.
4. "Line With Me"...I've always liked this song, quite well. Beat wise, it could almost remind me, somewhat, of "Bitch" from 1971's "Sticky Fingers" album
5. "Let It Bleed"...The TITLE TRACK, which I always got a big charge out of. It's another one of those songs, that I found quite amusing, w/ the music & lyrics @ times. And I really love the drumming & cymbal clashes @ the end of this tune. In the mid 70s, I read that THIS song was either tied in with.....Or.....a follow-up single to the 1970 hit, "Let It Be", by The Beatles. I really couldn't say, in my honest opinion, because BOTH of these songs are ENTIRELY different from each other. "Let It Be" is quite a pretty song, & "Let It Bleed" is a rather comical song.
6. "Midnight Rambler"...On my review of Aerosmith's 1973 debut album, I remember saying that THIS song could remind me of "One Way Street" in certain parts. I always thought THIS was a real DECENT tune. The 8 min. 23 sec. LIVE version of "Midnight Rambler" is also pretty good...& recommended for one's listening pleasure.
7. "You Got The Silver"...Keith Richards performed the vocals here. THIS song could remind me, somewhat, of "You Gotta Move"...also incl., on the "Sticky Fingers" album. But "You Got The Silver" is ten times better, by far. It is also the very shortest cut on this album.
8. "Monkey Man"...This song is also pretty good, I've always enjoyed this one.
9. "You Can't Always Get What You Want"...Another fantastic classic here. It features the London Bach Choir, Doris Troy (of "Just One Look" fame) & etc. Even though, this song was released in 1969, it didn't become a hit single, until almost 4 years later. It was the SPRING of 1973, when I FIRST heard THIS song on the radio. Then I immediately went out & bought THIS 45 rpm record. On the Flip Side, was "Honky Talk Woman" & I remembered it, BIG TIME, from the Summer of 1969. BOTH of these hits singles were great.
This Stones album was always one of my favorites. And this album is highly recommended.
Top reviews from other countries
Reviewed in Mexico on September 13, 2018
The answer to each of the above questions is, of course, a resounding YES! An answer incidentally that the other members of my family are already proclaiming loudly. And yet! And yet! I am entirely unrepentant about buying this quite beautifully assembled and presented box set. Since it arrived in my mailbox I have spent several happy hours just holding it, savouring it, admiring it and listening to it. Of course my behaviour is illogical. On any kind of rational level it is virtually impossible to justify. But being a music fan, and in particular a Rolling Stones fan, has never been about logic for me. I have stood in pouring rain at their concerts, drenched to the skin and freezing cold, suffering numerous bouts of illness in the process. At other times I have sweltered in almost 100 degree heat in football stadiums and sporting arenas across the US, waiting for hours for them to honour us with their presence on-stage. That was back when they routinely performed anything up to five or six hours later than advertised. And I have seen them range from sublime to chaotic on stage, sometimes within the same performance. I have never regretted it. Not one second of it. Fandom, enthusiasm, addiction, devotion, call it what you will - makes sense only to the individual themselves, defining its own criteria, and functioning within its own logic.
To me this package is as much a sensory, visual and kinesthetic experience as it is an auditory one. It is wonderful to have reproductions of the late Robert Brownjohn's sketches for the original cover art. It is a delight to have Ethan Russel's tour photographs so beautifully presented. It is a real treat to have, for the first time since 1969, a mono 7" single of Honky Tonk Women c/w You Can't always Get What You Want (single edit) And it is quite marvellous to have Bob Ludwig's new stereo and mono remasters of the album itself. They really are quite extraordinary , especially so in the case of the mono version. Let It Bleed was never mixed in true mono. The mono version released back in the day was in fold-down format, as is the version here. But in his mono remastering, Bob Ludwig has come as close as is humanly possible to letting us hear what a full mono remix of the album might sound like, without actually remixing it. He is, for me, the pre-eminent remastering expert where Rolling Stones recordings are concerned, and is absolutely the best person possible to work on Let It Bleed.
A consistent complaint about reissues of the Rolling Stones Decca/ABKCO era recordings concerns the absence of any bonus material - there are no out-takes, rough mixes, early versions, discards and such available on this set. Bootlegs of what still exists have been doing the rounds for many years, and most of them have been posted on line. Little of this material, in my opinion, has any value. Out-takes became out-takes because they were not good enough. And in The Stones case, anything that had potential, but failed to get on the album, ended up being worked on later, and surfaced further down the line on other releases. A sizable amount of the music that featured on Beggars Banquet, Let It Bleed, Sticky Fingers and Exile on Main Street had its genesis in the 1967-68 period and I have no doubt that tracks on Exile and Sticky Fingers may have , in earlier incarnations, been under consideration for Beggars Banquet or Let It Bleed.
It is entirely understandable that many people compare the Let It Bleed box with Abbey Road or The White Album sets, both of which have a vast amount of bonus material. However I submit two counter-arguments here. Firstly there is a very limited commercial appetite for alternative versions, especially when it comes to wading through repeated takes of certain tracks. Secondly, the nature of the Beatles material is significantly different to The Stones, and both bands composed in completely different ways. In The Beatles case, one or other of the band members would turn up with something partially formed. Under George Martin's painstaking guidance and encouragement , they would then work through several different recordings, tweaking, polishing and evolving towards the final version. The Stones were nothing like as painstaking. And they never worked with a producer as focused as George Martin. Most, but not all, of The Stones numbers began as studio jams, and when the band hit a groove, they began recording. Where The Beatles might record up to 30 different versions of a track, adding layer after layer of orchestration, minutely adjusting the usage of certain instruments and trying out a variety of different sound effects, The Stones might record 3-4 different takes, but remain largely within the original approach. So there was nothing like the same amount of alternative material left lying about when they had finished.
For me, the classy design of this box set, the quality of the contents, and the peerless music herein has made it an essential purchase. It enjoys prime position in my home, proudly proclaiming that its owner is, and always has been, a lifelong Rolling Stones fan. And that he considers this album to be, without doubt, THE GREATEST musical recording he has ever heard. Fifty years after I first purchased Let It Bleed, and smuggled it into my bedroom to avoid the wrath of my father who considered it a complete waste of money, I can give it the homecoming it deserves.
At last!