Posts Tagged ‘Let It Bleed’

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The Rolling Stones’ groundbreaking multi-platinum selling album “Let It Bleed” was released in late 1969, charting at No#1 in the UK and No#3 in the US. The Rolling Stones, at this point already a critically and commercially dominant force, composed and recorded their eighth long player (tenth for the U.S.) amidst both geopolitical and personal turmoil. The second of four Rolling Stones albums made with producer Jimmy Miller (Traffic, Blind Faith), “Let It Bleed” perfectly captures the ominous spirit of the times with “Gimme Shelter,” the opening track. The 2019 remaster has been engineered by eleven-time Grammy®-winning mastering engineer Bob Ludwig.

A landmark moment of the 1960s, that still resonates profoundly today. Originally released in 1969, Let It Bleed is regarded by critics and music fans as one of the best and most important rock albums of all time.

“Let It Bleed” features three of the band’s greatest songs – “Gimmie Shelter,” “Midnight Rambler” & the anthemic “You Can’t Always Get What You Want” Brian Jones performs on only two tracks: playing the autoharp on You Got the Silver, and percussion on Midnight Rambler – he was replaced by Mick Taylor during the recording, who plays guitar on two tracks – “Country Honk” and “Live with Me”, as well as on “Honky Tonk Women” (recorded during the Let It Bleed sessions).

Let It Bleed (50th Anniversary Limited Deluxe Edition) includes the remastered album in Stereo and Mono on both vinyl and Hybrid SACD, and a reproduction of the 1969 7” mono single of “Honky Tonk Women”/ ”You Can’t Always Get What You Want,” in a picture sleeve. The box set also comes with three 12” x 12” hand-numbered replica-signed lithographs printed on embossed archival paper, a full-color 23” x 23” poster with restored art from the original 1969 Decca Records package, and an 80 page hardcover book with never-before-seen photos by the band’s tour photographer Ethan Russell and an essay by journalist David Fricke.

The album includes the classic dark song about a serial murderer, ‘Midnight Rambler’ was written while The Rolling Stones were on holiday in a beautiful town in Italy. The beautiful Italian town of Positano was a place of inspiration for author John Steinbeck, who wrote: “Positano bites deep. It is a dream place that isn’t quite real when you are there and becomes beckoningly real after you have gone.” That Amalfi Coast town also played a part in the history of the Rolling Stones, when Keith and Mick Jagger went on holiday there in 1968. Somehow, being in picturesque, sunny Positano gave them the creative spark to write a dark song about a serial murderer, the “midnight rambler… pouncing like a proud black panther.”

“‘Midnight Rambler’ is a song Keith and I really wrote together,” Jagger recalled in 1995. “We were on a holiday in Italy. In this very beautiful hill town, Positano, for a few nights. Why we should write such a dark song in this beautiful, sunny place, I really don’t know. We wrote everything there – the tempo changes, everything. And I’m playing the harmonica in these little cafes, and there’s Keith with his guitar.”

The song, which finally appeared on the 1969 album “Let It Bleed” was loosely based on the life of the real Boston Strangler, Albert DeSalvo, who murdered 13 women in that American city from 1962 to 1964. “Midnight Rambler” was a headline that the papers used to describe the killer at the time, and in the song Jagger takes on the persona of a manipulative murderer. Richards called the seven-minute song “a blues opera” and insisted that his unique collaboration with Jagger was such that “nobody else could have written that song.”

James Miller’s production helps “Midnight Rambler” blend the sinister overtones of “Sympathy For The Devil” with the Chicago blues style of some of the band’s songs from earlier in the 60s. Jagger plays some powerful harmonica licks and Richards’ guitar work is supported by some excellent drumming from Charlie Watts. Bill Wyman played bass on a song that neatly shifts tempos.

“Midnight Rambler” is also the last song that Brian Jones recorded with the Stones, contributing congas to the track. Jones, who had helped start the band in the early 60s, had been suffering from drug addiction problems at the time of the song’s recording. He announced he was leaving the band in June 1969 and was found dead a month later, at the age of 27.

“Midnight Rambler” was originally recorded as part of the prolific sessions for “Beggars Banquet” in the spring of 1968, but was held over for “Let It Bleed“, which was released by Decca Records on December 5th, 1969. The cover for Let It Bleed was created by the graphic designer Robert Brownjohn. It features a cake that was made for the photo shoot by a young cookery writer called Delia Smith, who had been told the Stones wanted a “really gaudy” cake. Jagger sent her a framed, signed copy of the album as a thank you.

“Midnight Rambler” became a favourite at Rolling Stones gigs, where Richards would let loose with thrashing guitar solos. “I dig to play it,” he said. “It’s when the audience decides to join, that’s when it really knocks you out.”

The 50th-anniversary deluxe edition of “Let It Bleed” is out now.

Like Beggars Banquet the year before, the dominant influence was American roots music – drawing heavily from gospel (apparent in Gimmie Shelter and You Can’t Always Get What You Want), country music of Hank Williams and Jimmie Rodgers (Country Honk), Chicago blues (Midnight Rambler) and country rock on the title track. Recording for “Let It Bleed” began in earnest in February 1969, recorded mainly at Olympic Studios in London and was originally scheduled for release in July 1969. Although “Honky Tonk Women” was released as a single that month, the album itself suffered numerous delays and was eventually released in December 1969, after the band’s US tour. The lyricism found on Let It Bleed is often noted for its violent and cynical undercurrents. Jann S. Wenner, in a 1995 Rolling Stone interview with Jagger, described the album’s songs as “disturbing” the scenery as “ugly” and asked Jagger if the Vietnam War played a role in the album’s worldview. Jagger said: “I think so. Even though I was living in America only part time, I was influenced. All those images were on television. Plus, the spill out onto campuses”.

Rolling Stones Let It Bleed press shot CREDIT Ethan Russell

Gimme Shelter from 1970. Borrowing its title from one of the greatest tunes of all time, this is one of the essential music documentaries.
In the fall of 1969 the Rolling Stones were in a Los Angeles recording studio, putting the final touches on their album “Let it Bleed”. It was a tumultuous time for the Stones. They had been struggling with the album for the better part of a year as they dealt with the personal disintegration of their founder and multi-instrumentalist Brian Jones, whose drug addiction and personality problems had reached a critical stage. Jones was fired from the band in June of that year. He died less than a month later. And although the Stones couldn’t have known it at the time, the year would end on another catastrophic note, as violence broke out at the notorious Altamont Free Concert just a day after “Let it Bleed” was released

It was also a grim time around the world. The assassinations of Martin Luther King and Robert F. Kennedy, the Tet Offensive, the brutal suppression of the Prague Spring–all of these were recent memories. Not surprisingly, “Let it Bleed” was not the most cheerful of albums. Stephen Davis writes in his book Old Gods Almost Dead: The 40-Year Odyssey of the Rolling Stones, “No rock record, before or since, has ever so completely captured the sense of palpable dread that hung over its era.” And no song on “Let it Bleed” articulates this dread with greater force than the apocalyptic “Gimme Shelter,” in which Mick Jagger sings of a fire “sweepin’ our very street today,” like a “Mad bull lost his way.”
Rape, murder!
It’s just a shot away
It’s just a shot away

In an interview last November with Melissa Block for the NPR program All Things Considered, Mick Jagger talked about those lyrics, and the making of the song:

One of the most striking moments in the interview is when Jagger describes the circumstances surrounding soul singer Merry Clayton’s powerful background vocals. “When we got to Los Angeles and we were mixing it, we thought, ‘Well, it’d be great to have a woman come and do the rape/murder verse,’ or chorus or whatever you want to call it,” said Jagger. “We randomly phoned up this poor lady in the middle of the night, and she arrived in her curlers and proceeded to do that in one or two takes, which is pretty amazing. She came in and knocked off this rather odd lyric. It’s not the sort of lyric you give anyone–‘Rape, murder/It’s just a shot away’–but she really got into it, as you can hear on the record.”

The daughter of a Baptist minister, Merry Clayton grew up singing in her father’s church in New Orleans. She made her professional debut at age 14, recording a duet with Bobby Darin. She went on to work with The Supremes, Elvis Presley and many others, and was a member of Ray Charles’s group of backing singers, The Raelettes. She is one of the singers featured in the documentary film, “20 Feet From Stardom”. In an interview with Terry Gross on NPR’s Fresh Air, Clayton talked about the night she was asked to sing on “Gimme Shelter”:

Well, I’m at home at about 12–I’d say about 11:30, almost 12 o’clock at night. And I’m hunkered down in my bed with my husband, very pregnant, and we got a call from a dear friend of mine and producer named Jack Nitzsche. Jack called and said you know, Merry, are you busy? I said No, I’m in bed. he says, well, you know, There are some guys in town from England. And they need someone to come and sing a duet with them, but I can’t get anybody to do it. Could you come? He said I really think this would be something good for you.

At that point, Clayton recalled, her husband took the phone out of her hand and said, “Man, what is going on? This time of night you’re calling Merry to do a session? You know she’s pregnant.” Nitzsche explained the situation, and just as Clayton was drifting back to sleep her husband nudged her and said, “Honey, you know, you really should go and do this date.” Clayton had no idea who the Rolling Stones were. When she arrived at the studio, Keith Richards was there and explained what he wanted her to do.

I said, Well, play the track. It’s late. I’d love to get back home. So they play the track and tell me that I’m going to sing–this is what you’re going to sing: Oh, children, it’s just a shot away. It had the lyrics for me. I said, Well, that’s cool. So I did the first part, and we got down to the rape, murder part. And I said, Why am I singing rape, murder? …So they told me the gist of what the lyrics were, and I said Oh, okay, that’s cool. So then I had to sit on a stool because I was a little heavy in my belly. I mean, it was a sight to behold. And we got through it. And then we went in the booth to listen, and I saw them hooting and hollering while I was singing, but I didn’t know what they were hooting and hollering about. And when I got back in the booth and listened, I said, Ooh, that’s really nice. They said, well, You want to do another? I said, well, I’ll do one more, I said and then I’m going to have to say thank you and good night. I did one more, and then I did one more. So it was three times I did it, and then I was gone. The next thing I know, that’s history.

Clayton sang with such emotional force that her voice cracked. (“I was just grateful that the crack was in tune,” she told Gross.) In the isolated vocal track above, you can hear the others in the studio shouting in amazement. Despite giving what would become the most famous performance of her career, it turned out to be a tragic night for Clayton. Shortly after leaving the studio, she lost her baby in a miscarriage. It has generally been assumed that the stress from the emotional intensity of her performance and the lateness of the hour caused the miscarriage. For many years Clayton found the song too painful to hear, let alone sing. “That was a dark, dark period for me,” she told the Los Angeles Times in 1986, “but God gave me the strength to overcome it. I turned it around. I took it as life, love and energy and directed it in another direction, so it doesn’t really bother me to sing ‘Gimme Shelter’ now. Life is short as it is and I can’t live on yesterday.” check out the film, “Twenty Feet From Stardom.” Merry talks about her experience recording this.

The Rolling Stones performing “Midnight Rambler”, live at Madison Square Garden, January 2003. The song first appeared 0n the 1969 The RollingStones‬ album ‘Let It Bleed’.

The song is a loose biography of Albert DeSalvo, who confessed to being the Boston Strangler. Keith Richards has called the number “a blues opera” and the quintessential Jagger-Richards song, stating in the 2012 documentary Crossfire Hurricane that “nobody else could have written that song. Watch The Rolling Stones perform the track live, from the 1969 album Let It Bleed. It was first performed live in Hyde Park in July 1969.

This version features Mick Jagger on vocals, Keith Richards on guitar, Charlie Watts on drums, Ronnie Wood on guitar, Darryl Jones on bass, Chuck Leavell on piano, Lisa Fischer and Bernard Fowler on backing vocals, Blondie Chaplin on backing vocals and percussion, Bobby Keys and Tim Ries on saxophone, Michael Davis and Kent Smith on horns.

“Midnight Rambler”- Live