The Cavern
Rock & Words
LET IT BLEED (The Rolling Stones, 1969)
Artist: The Rolling Stones (A)
Recording Date: Nov ’68 – Nov ‘69
Release Date: December 5t, 1969. UK
Record Label: London / Decca / ABKCO
Producer: Jimmy Miller
Rating: 10 (MUST HAVE)
Era: Hard Rock (1968-???)
Subgenre: Hard Rock
Best Song: Gimme Shelter, followed by You Can't Always Get What You Want
Tracklist: 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.
Bonus Track: 10) Honky Tonk Women
The pilot episode of House MD is particularly memorable among all the great episodes of that tremendous series. Why? Because it's impossible to forget the cynical Dr. House telling Cuddy, "A philosopher once said, 'You can't always get what you want.'" At the end of the episode, Cuddy turns the tables, telling him that the line is completed with, "But if you try, sometimes well you might find, you get what you need," and the song's powerful chorus kicks in as we head off to the credits. From then on, I couldn't wait for the next episode, but I think that of all the memorable scenes in this, one of my all-time favorite series, this detail is the one that stuck with me the most. And what does House have to do with Let It Bleed? Nothing. Well, it's proof of the enormous influence this album still has, which has gradually seeped into the collective subconscious, more than many have realized.
In fact, my perception is that most people hold Sticky Fingers and Exile on Main Street in higher regard. It's really a matter of taste… and marketing. I believe that Let It Bleed, and its twin, Beggar's Banquet, are the Stones' masterpieces. Unfortunately, they were released during a turbulent period, especially Bleed, when scandals were beginning to seriously tarnish the Rolling Stones' name, and Decca was already seeing the end of their contract coming. It's not that they didn't invest in marketing; both albums reached number one. But I get the impression that the marketing campaigns for the two subsequent albums, now entirely under the control of the company created by the band itself, as well as the option of a massive tour, and the fact that the Beatles were no longer there to overshadow them, made the perception of the albums somewhat different.
And look, I'm not saying Sticky and Exile are bad, just that in my opinion, Let It Bleed is their creative peak as a band: 9 perfect songs. The last one Brian Jones appears on, almost in a catatonic state and in a rather decorative role, looking more like a cake topper on the tremendous cover than in the mere two tracks he participated in. The first one Mick Taylor collaborates on a couple of songs, still tentatively. The first one with Bobby Keys on horns in a relationship that would last for decades. The first one with a female voice in a leading role, with Mary Clayton giving a phenomenal performance on "Gimme Shelter." Keith perhaps delivering his masterpiece as a guitarist, carrying the band on his shoulders without a second guitar, and above all, without Brian's genius behind him. The first one where Keith takes complete lead vocals on an entire song. The first album also marks the beginning of their use of the arsenal of riffs and arrangements "borrowed" from Gram Parsons, and now also from Ry Cooder, with at least a couple of tracks that are essential to the group's top ten. One of them, "Gimme Shelter," shares the spot among my favorite Stones songs with "Paint It Black" and "Jumpin' Jack Flash," and the other is the closest thing to a definitive anthem the Stones would ever have. Stephen Davis aptly put it: "No other album, before or since, managed to capture the essence of what was happening at the time so well." In that respect, it's a much more realistic vision than the Beatles' idealistic anthem, "Let It Be," which was already recorded by then but wouldn't be released until 1970. The dream of hippie culture was crumbling. Uncertainty and violence reigned after the chaotic year of 1968. The final blow would come at Altamont, and Let It Bleed was the perfect soundtrack to the end of the sixties…
What would have happened if Brian hadn't died? Nothing. That is to say, Jones's continued existence would have had little to no impact on the Rolling Stones' music or history. Perhaps he would have formed a band with Syd Barrett and Pete Best, or maybe he would have stormed into the Stones' recording of a hypothetical tribute album years later and been kicked out. The fact is that since May, Brian had been officially expelled from the band because he had become an unbearable burden. And it must be acknowledged, the album is still truly perfect. As much as it pains me to say it, Brian's absence isn't noticeable on Let It Bleed, nor is there a truly radical change in the Stones' sound, unlike Sticky, where they would take a new direction. In my defense, and in favor of all the "Jones fans," it's worth highlighting the number of people they used to somehow fill that void.
The bloody story of Let It Bleed begins before its release, long before even the release of Beggar's Banquet. Remember that Banquet was shelved for several months while Decca and the band agreed on the cover art. In mid-1968, the group changed management to try and regain some of the control that Allen Klein had wrested from them, so the young Jo Bergman, Brian Epstein's former assistant, took on the role of manager alongside Mick. Around that time, Jagger received an offer from Donald Cammel to star in a film: Performance. It wouldn't really be worth mentioning were it not for the fact that the lead role was played by Anita Pallenberg, Keith's girlfriend, who had already left Brian in a deplorable mental state. Performance was supposedly an avant-garde, violent, and sexually charged film that even had to be censored. Keith was uncomfortable, but didn't want to jeopardize his girlfriend's career, so he refrained from appearing on set. Mick played Turner (ironically, a role with much of Brian Jones's personality), who had a complicated relationship with Pherber (Anita), and the trio was completed by Lucy (played by Michelle Breton). Anita was just beginning her pregnancy with Keith when she got the role, but refrained from mentioning it. At the request of the director, Donald Cammel, Mick and Anita had real sex on a large bed on the set. There was already a great deal of sexual tension between them, so they agreed without question, and the cameras rolled. When the scene was over, the two locked themselves in the dressing room for hours. Everyone found out. Even Keith, through Robert Fraser's voice, was furious. This almost ended the Stones, although it's little known. Keith kicked Anita out of his apartment, but took her back when he found out she was pregnant with his child. She didn't speak to Mick for weeks. When the film was finished, it was shown to the producers, and they nearly had heart attacks. Cammel had to cut the sex scenes, and with them, he put together a The short film XXX, which he presented at the Amsterdam Film Festival and for which he won the Golden Dick, was released. When the film was finished, Keith spoke with Mick again, who, according to many, permanently adopted part of Turner's personality—that is, Brian's. By then, Anita had already killed three of the Rolling Stones, and her relationship with Keith would never be the same.
At the end of the year, Brian had another trial. By then he looked overweight and bloated, with long, fringe-like hair. Mick and Keith went to court. It was almost certain he would go to prison, which would prevent them from touring. There were testimonies from all over the world, including psychiatrists. Miraculously, he was released with a fine of only 50 pounds. Brian couldn't believe it; he left dancing and crying with relief. After that, he concentrated on the recordings he had made with the Jajouka to try to release an ethnic album. Around October, Mick and Keith finally relented on the issue of the album cover, accepting the white background with lettering in a wedding invitation style, which would later garner so much negative criticism regarding the White Album.
Before the album's release, they were already working on new material, including a song called "You Can't Always Get What You Want," recorded on November 16th, which almost no one knows is actually about Marianne's heroin addiction. "Monkey Man" and "Gimme Shelter" also dealt with this, although the latter was falsely assumed to be an anti-Vietnam War song. The "You Can't" session took place in a single night, ending at 4 a.m. Jimmi Miller played drums without consulting Charlie, who was stunned to see his producer usurping his place. Brian lay on the floor reading a magazine throughout the session. Two days later, Marianne lost Mick's baby. She was seven months pregnant and fell into a deep depression, rightfully blaming herself for not cutting down on her drug use. At the end of November, Brian bought a mansion outside London called Cotchford Farm, which had belonged to A. Milne when he wrote the Winnie the Pooh stories. It even had a statue of Christopher Robin, and a splendid swimming pool in which Brian would have greatly enjoyed swimming…
In December they recorded Rock & Roll Circus, which was a kind of parody of Magical Mystery Tour. Allen Klein refused to participate in the project and wouldn't give them a penny, so they had to finance it themselves. Ironically, Klein would be the only one to profit from Circus when it was released in '95. Anyway, the original lineup they wanted wasn't available: neither Johnny Cash, nor the Flying Burrito Brothers (Gram Parsons' band), nor the Isley Brothers. Only The Who, Taj Mahal, and an unknown band called Jethro Tull were on board. Mick reluctantly had to approach John Lennon, who got him Eric Clapton and Mitch Mitchell to form a supergroup, which they called Dirty Mac at Lennon's request to parody the name of the fledgling Fleetwood Mac. At the first rehearsal, Keith elbowed Bill out of the bass position and took over the bass guitar without asking anyone. At Brian's request, they invited Ivry Gitlis, a French violinist who had impressed him greatly. Brian was so unwell and insisted so much that they sent for him in Paris. Gitlis was astonished by the unprecedented performance, as his chamber music had nothing to do with a pseudo-circus-rock spectacle.
On December 5th, they held a press conference to present Beggars Banquet, which would be released the following day. The press was stunned. Earlier in the year, they had thrown a party with London's rock elite, including the Beatles, to present the finished album. Beggars was played at full volume during the party. Paul asked Mick for permission to play the Beatles' new single, and the melancholic notes of "Hey Jude" and the power of "Revolution" ended up overshadowing the Stones' celebration. This time, they made sure to hog the spotlight and didn't invite the Beatles to the official album launch. The following day, rehearsals for Circus continued.
They had hired a traveling circus that provided the animals and the authentic circus atmosphere. The musicians were in costume: Mick as a lion tamer, Brian as a magician, and so on. Yoko didn't have to dress up; she simply went as always, as a witch. On the recording, Taj Mahal shone with their best version of "Ain't That A Lotta Love," which alone is worth the entire Circus. Dirty Mac played an extended version of "Yer Blues." Then Jethro Tull began their rise to fame with "Blues for Jeffrey," in Tony Iommi's only appearance with the group before returning to Sabbath. The Who followed, fresh off an American tour, and metaphorically set the stage ablaze, making it clear that no one could play after them. No one. The audience was crushed after The Who's performance, and the Stones, who hadn't played live in almost two years, were still to come. They played “Jumpin’ Jack Flash,” “Parachute Woman,” “No Expectations,” and “You Can’t Always Get What You Want,” performed live for the first time. They finished with “Sympathy for the Devil.” Brian was completely out of sorts, and Keith unplugged him without him noticing. The Stones’ performance was dreadful, ending around 4 a.m. and sending off the few people who had stayed until the end. Days later, when they saw the one-hour edit, Klein rubbed it in their faces that The Who had stolen their stage this time, and they considered re-recording the Stones’ parts, but it would have cost them another 10,000 pounds, so they ultimately decided against it. The film remained shelved for over 25 years in Klein’s possession. For Christmas, Keith and Marianne Faithfull went on holiday to Brazil. Keith and Anita went to Peru, and there he began composing a country song that would evolve into a honky-tonk. Brian went to Ceylon, and according to Suki, his girlfriend at the time, a fortune teller read his palm and told him to be very careful with the water. However, despite not going to prison and being allowed to leave England, a court ruled that he would not be granted a work visa, thus preventing him from performing outside the UK.
At that time, the Beatles were also having problems. On January 30th, they gave their last concert on the rooftop of Abbey Road. Mick had flattered Lennon about Klein in the hopes of getting rid of the lawyer, and now John and Paul were in open conflict for control of the group, as McCartney wanted his father-in-law as manager. Lindsay-Hogg (the editor of Rock & Roll Circus) was filming the Beatles' disintegration in the movie Get Back.
In February, the Stones regrouped at Olympic Studios to work on "You Can't," adding the London Bach Choir for the long and impressive intro. Brian was there for show. And then, he simply stopped coming altogether. He managed to add some Moroccan drums to "Midnight Rambler" and a harmonica to "You Got The Silver." Jagger was fed up and threatened that if Brian didn't show up, he'd fire him himself. He said it about six times. Keith was already addicted to heroin. Ry Cooder rejoined the Stones' entourage and contributed to several tracks. In particular, he added a mandolin to "Love In Vain," a Robert Johnson song that Keith had recently discovered and fallen in love with. Cooder would say, “Whenever there was a break in the supposed rehearsals, I’d start playing guitar. Richards would leave the room and never come back. I thought he didn’t like what I was doing; but as I found out later, the tapes kept rolling. I asked when we were going to record formally, and they kept putting me off, saying they weren’t ready yet. During the four or five weeks I was there, I must have played everything I knew, and they recorded it all on those tapes. Everything…” Of Brian, he said, “He was a broken-down person, a sad character. Sometimes when we started playing, Brian would pick up a harmonica and blow into the microphone. But most of the time he was sitting in a corner, sleeping or crying. Jagger was always harsh and dismissive of Brian, telling him he was finished. They’re leeches…”
At the beginning of May, they had a photo shoot for the cover of the compilation album *Through the Past Darkly*. Mick threatened Brian that if he didn't show up, he'd be kicked out of the band. Brian was punctual. The original idea was a photo of the Stones lying on the ground in the shape of a star, but they used another one with a blue background. They all had very long hair. Brian already looked fat. After that, they went to a pub near the docks, where there were construction workers and sailors. There was silence for a long time, and then someone said, "Fucking Rolling Stones." Keith slammed his glass on the table, and the silence became even thicker. Those were the last photos of the original five Stones together, and the last time they were together.
Around that time, Brian had a crew of builders remodeling his new house. His parents went to see him and found him more cheerful. He even seemed normal despite having recently broken up with Suki. One day they saw him staring at an old photo of himself and Anita, lost in thought, sadly repeating her name. Cooder finally dared to confront the Stones. He would later tell Rolling Stone magazine, “They put together an album with my best guitar parts, but more importantly, they took the basic feel I played. Mick said to me, ‘What’s the problem, Ry? Is it about money? Don’t abandon us now, let’s have some fun.’” Cooder left. The thing is, if Beggars was almost entirely a Gram Parsons song, Bleed was based on Cooder. “Let It Bleed,” “Honky Tonk,” “Silver,” the main riff from “Monkey,” the arrangements from “Love in Vain.” What happened next? Why didn't he sue? Maybe he couldn't prove anything. Maybe they gave him money… at the end of May they recorded “Honky Tonk Woman,” a rock version of “Country Honk.” Mick knew they had a number one hit as soon as they finished recording and decided it would be a single, not part of the album.
After recording “Honky Tonk,” they began searching for a new guitarist. It was obvious they couldn't continue with Brian, and there was the issue of his work visa. They approached Eric Clapton, who just months earlier had received a similar call from Paul McCartney when Harrison threw a tantrum and left the band for a week, but Eric declined the Stones' invitation because he had just formed a new supergroup called Blindfaith. Ron Wood, a young guitarist from the Faces, was also considered. Keith called the Faces' rehearsal space, and bassist Ronnie Lane answered. He realized the call wasn't for him, but for his namesake, but he didn't want Wood to leave and declined the invitation without telling his bandmate. Wood wouldn't find out about this until five years later, and I don't think he was happy about it.
How did they find Mick Taylor? Nobody knows. He was a skinny, shaggy-haired 21-year-old whose greatest claim to fame was having played with the Bluesbreakers. But he was a guitar craftsman, capable of delicate riffs, precise solos that exuded artistry, a sensibility far superior to the Stones' then-unpolished and raw blues. Jagger called him, and at first, he thought it was a joke. He spent the whole day learning songs from Banquet and showed up the next day at the Olympic. Taylor settled in quickly and played some of the songs they were putting together: “Gimme Shelter,” “Live With Me,” and “Loving Cup.” Keith didn't recognize him then, but he was impressed by the kid's technique and ease. Taylor thought it was just a jam session with the Stones, but days later, old Mick called him offering him the job, and young Mick asked for a week to think it over. We all know the answer. His initial salary was 150 pounds a week until he was a “real Stone.” With that, the band got what they had never had and would never have again: a guitar virtuoso.
On Saturday, June 8th, Mick, Keith, and Charlie went to Brian's house. Keith would later say that everything was easier because Brian had seen it coming. He knew Brian was more than apathetic and that his legal situation prevented the rest of the band from touring, which was what they wanted most at that moment. Charlie would later say that Richards and Keith were very blunt, but Brian took it in stride: “I don't even know if he fully understood. He was already in the stratosphere. It was like he was saying, ‘Okay, mate, fine.’” After breaking the news of his expulsion from the band, Mick tried to smooth things over, telling him he could say whatever he wanted, that he was the one leaving the group, or that he just wouldn't tour this time while his legal situation was sorted out. They offered him 100,000 pounds upfront and 20,000 pounds a year for as long as the Rolling Stones lasted. Brian watched them leave with his bittersweet smile and a bittersweet look. The Stones returned to London to mix “Honky Tonk” and he stayed behind crying next to the statue of Christopher Robin.
The next day, press representative Les Perrin released the news and a statement in which Brian said he was the one leaving the Stones due to musical differences, ending with a “I love my bandmates” that reeked of Jagger. Over the years, they would all bear some of the blame. In Watts' words: “I felt really sorry for him, for what we did to him then. We took away the only thing he cared about, which was being in a band. I'm sure we almost killed him when we kicked him out.”
At the end of June, they began preparing their return to the stage with a free performance in Hyde Park. They held a press conference to announce the concert and officially introduce Mick Taylor as a member of the group.
What happened on the night of July 2, 1969, is a mystery. Brian was living at Cotchford Farm with Anna Wholin, his new Swedish girlfriend. Also living on the farm was a 44-year-old bricklayer named Frank Thorogood, who was in charge of the crew renovating the house. Thorogood lived with his girlfriend, Janet Lawson, a nurse. Brian didn't get along with him. Thorogood and his crew had done the renovations in Redlands, making Keith's house exactly how they wanted it, and that's why they had brought him to live there, but Brian felt they were taking advantage of him. They overcharged him, didn't do the work, and charged Brian's bill for beers at the nearest pub. When the renovations were finished, Thorogood allowed him and his girlfriend to stay on the farm, possibly because Brian owed him money.
The official version is that Brian was swimming alone in his pool after an afternoon of drinking, possibly suffered an asthma attack, and was found drowned. No one who knew Brian believed it, as he was the best swimmer around, and had amazed everyone with his swimming in terrible conditions in the sea. Anna Wohlin would give her own version: “Only four people remained there that night: Brian, Anna, Frank Thorogood, and Janet Lawson. Brian had fired Thorogood days earlier, but the couple still lived on the property, and he invited them for drinks by the pool to end things amicably and make peace. He invited them to swim in the pool while they drank Blue Nun wine. Janet wasn't in the mood to go in the pool and went inside the house to have a drink . Brian, Frank, and Anna got into the pool. Brian tried to joke around, but not all of his jokes landed with Frank. A couple of times he dunked Brian's head underwater, and Jones would come out splashing and spitting water, but laughing, trying to take it as a joke. Janet yelled from the house to Anna that she had a call, and Wohlin got in, leaving Brian and Frank alone for about fifteen minutes. Suddenly, Janet yelled from the terrace, 'Something's happened to Brian!!!'” And she ran downstairs. She couldn't see him anywhere. Janet was trembling. And then she saw him face down at the bottom of the pool. Thorogood and Janet pulled him out, and the nurse tried to resuscitate him. Anna remembers feeling Brian grab her hand. Bill Wyman testified that she told him she felt Brian's pulse. They continued giving him mouth-to-mouth resuscitation until the paramedics pulled them away. There was nothing that could be done.
According to Wholin, Thorogood threatened to kill her if she said anything about that night. She was not allowed to attend the funeral and was put on the first plane to Sweden. She remained in hiding until she published her account in 1999.
When the police left, Brian's house was ransacked. Ian Stewart received the call at 3 a.m. at Olympic Studios in the early hours of July 3rd. Tom Keylock's wife broke the news to him. The Stones were in shock. Charlie Watts burst into tears, and then called Wyman to tell him. The headlines the next day were merciless, and Mick held a press conference to announce that the plans for the Hyde Park concert were still on, because "It's what Brian would have wanted."
The Hyde Park concert was supposed to be the Rolling Stones' triumphant return to the stage, but instead it was one of the most lamentable concerts in rock history. I bought the DVD for about four dollars and at the time thought it was a steal, but when I watched it, I really felt ripped off. Taylor was petrified with fear, the Stones were in terrible form and still reeling from Brian's death, the atmosphere was damp, and the guitars were out of tune with every song. Jagger barely managed to read a few lines from Percy Shelley in Brian's memory, in a hypocritical fashion. They were supposed to release 2,000 white butterflies at the start of the first chords, but most of them had suffocated in the box and instead of flying away, they fell dead onto the stage and into the audience. The concert itself was awful, but the press gave the Stones' comeback their seal of approval.
The next day, Marianne and Mick flew to Australia to begin filming the movie Ned Kelly. Jagger didn't attend the funeral on July 10th, sending only a wreath. Ironically, since it wasn't yet clear whether it had been suicide, he was denied the option of being buried in the churchyard. A crowd paid their respects, but few friends truly mourned him. Thus passed one of the greatest geniuses of rock. Alone, abandoned by his friends, kicked out of the band he had formed, betrayed by the only woman he truly loved. Pete Townshend would cynically say, "Oh, it was just an ordinary day for Brian, as he was dying a little more each day, you know?" Unfortunately, there was a grain of truth in his cynicism. The 27 Club was officially established.
The myth says that in 1993, on his deathbed, with his last breath, Thorogood confessed to a friend: "I killed Brian."
The album begins to bleed with “Gimme Shelter”, with dark, mythical, menacing notes that create a dense atmosphere and tremendous tension. The icy choirs howl in the background. Piano flourishes, the güiro sounds almost agonizingly, the slow crescendo builds until Charlie finds the rhythm and Richards delivers that rapid blues scale leading into the verses. One of the most perfect and ominous intros in rock history, like a perfect soundtrack to everything that had transpired, a nightmare set to music. The instrumentation is impeccable. It manages to recreate that feeling of powerlessness and fear in the face of an apocalyptic storm, and that is truly the atmosphere it conveys. Mick sings like never before. Years later he would try to adopt a soulful voice, but frankly, I don't think he ever sounded as soulful as when he sang with his more natural voice during this period. Here, he truly sounds with a sense of terror, of urgency. I remember the first time I heard it, it frightened me. I couldn't figure out why, since it wasn't anything like metal, which often has that intention. Now I see that it doesn't try to force a sinister scene on us or convince us of anything sinister, but rather Mick seems to sing with genuine terror; he's truly pleading for shelter after everything that's happened that year. He manages to convey that feeling because it's real... And that's what makes it terrifying. Mick talks about heroin, aware that he's losing Marianne because of it: “Oh, a storm is threatening, My very life today, If I don't get some shelter, Oh yeah, I'm gonna fade away,” although the chorus, a duet with Mary Clayton, led some to interpret it as an anti-war song: “War, children, it's just a shot away, It's just a shot away.” How much of this anti-war message is there, and how much was Mick anticipating a storm with Brian pulling the trigger? Mary then takes over with a solo, delivering the performance of her life, amidst Keith's licks and bursts of guitar. The song suddenly explodes into a breathtaking frenzy, with maracas, Charlie's cymbal crashes, Nicky Hopkins's urgent piano, Bill's soaring guitar line, and the feeling of being in the thick of a hurricane. What Keith does is simply out of this world. He practically plays a 4:30 solo, but the guitar solo at 2:10 is particularly spectacular, leaving me breathless without any need for pyrotechnics. Clayton deserves a statue for what he does here, both in the duet and especially for his solo parts. The way he sings is truly incredible, carrying half the song, and reminds me of Clare Torry's performance on The Dark Side of the Moon. That's why this version is unbeatable live. Here, he even sings with such intensity that his voice cracks a couple of times around the 3-minute mark, if you listen closely. It's a majestic song without any intention of being so. It's not pretentious; it's simply the Rolling Stones machine running at 100% capacity, with that dark and menacing, genuine aura that only this song, along with "Jumpin' Jack Flash" and "Paint It Black"—my three favorite tracks by the band—possess. Close your eyes and enjoy the ride with a dark and savage blues. "Rape, murder! It's just a shot away…" occasionally echoes in my nightmares, contrasting sharply with the closing line: "Love, sister, it's just a kiss away." By far the best song on Bleed, a true masterpiece.
We continue with “Love In Vain”. In mid-’68, a bootleg of Robert Johnson’s songs, which until then had been passed down from guitarist to guitarist, was released. Johnson’s recordings deeply moved Keith, and after checking out “Love In Vain,” they ended up making minor modifications and releasing “No Expectations” on Beggar’s. Apparently, that wasn’t enough, and Richards wanted to add the first cover on a Stones LP since 1965 (if I remember correctly). The Stones deliver a tremendous version, with Mick singing emotionally, Keith playing an unforgettable slide guitar, and Ry Cooder adding a sublime touch with a mandolin, which is perhaps the definitive version of the song. If Richards’ slide guitar is enough to bring a lump to your throat, the mandolin’s strumming reinforces the devastated feeling of the lyrics. An irrevocable farewell. A great cover, with a more country-influenced, heartbreaking arrangement. I imagine Brian sitting in a corner trying not to cry while the others filmed her…
We continue in country mode with “Country Honk”, and it's possibly closer to how Keith (cough cough, Ry Cooder, cough cough) originally envisioned it before electrifying it. It begins with a very catchy acoustic riff, a mid-tempo but infectious rhythm, sound effects of waves in the background, a horn, and an old-west saloon fiddle played by Byron Berline. The essence is there, with the infectious chorus. It's slower than “Honky Tonk.” It's not bad; in fact, it's quite fun, but it's completely overshadowed by the electric version, which, incidentally, came about when Mick Taylor started playing around with “Country Honk” on his electric guitar. You can't say it's a weak point on Bleed; it's just that the other tracks are far too good in comparison.
We return to the band's brash tone with "Live With Me", and that monumental bass line, this time courtesy of Keith. Have you noticed that some of the Stones' best bass lines are Keith's? Here, it seems he took advantage of Taylor already being on guitar to handle the bass, and he's basically the one who makes this rocker. Mick sings with fury and returns to those misogynistic touches. The lyrics are strange, with the line "My best friend, he shoots water rats, and feeds them to his geese," referring to Keith and his habits in Redlands. There's something here that's rarely mentioned: a saxophone. And not just any saxophone; Brian had already added one once. It's Bobby Keyes, who delivers a great solo, and from there the song builds to a real party. The point is, Bobby Keyes would never leave the band. He would unofficially become a member of the Stones on subsequent albums, leading the horn sections, playing on tours, and frankly, I think that more than Taylor, Keyes was responsible for the Rolling Stones' change in sound in the 70s. It's not bad, not at all, but doesn't this song sound like a preview of something from Sticky or Exile? Doesn't it feel strange to hear it on Bleed?
Then there's the rootsy side again with "Let It Bleed". Despite being the album's title track, I feel it's somewhat underrated, perhaps because it doesn't have a proper chorus. It's a perfect example of crescendo: it starts with Keith doing a simple strum, Charlie adds a couple of snare drum hits, and we get into the rhythm. Mick comes in with that country-soul style, lanky, stumbling over the words, and with a formidable melody, and from there it just keeps growing and growing. This song is half Mick's vocal style and personality, and the other half Ian Stewart's gigantic piano. Bill plays a good, elastic bass line, effective rather than impressionistic. I suppose Richards added the bittersweet slides with overdubs, gradually gaining strength and prominence, until a frenetic point where it seems to respond to the personal party Jagger brings at the end with "Bleed It Alright." This song was also a reference to Marianne's drug problems: "When you need a little coke and sympathy" or "Take my arm, take my leg…". Despite this, I don't know if it was indirectly directed at Brian. They had always supported each other, through thick and thin, and it partly speaks to that camaraderie, but around that time, Brian had no one to lean on. A song full of irony that perfectly captures the tragic situation: "Bleed it alright, baby, bleed it alright, bleed it alright…"
We arrive at “Midnight Rambler”, where Brian contributes with background percussion. This is one of the Stones' epic songs, clocking in at almost seven minutes. They spent a long time putting it together, and Keith would say it's a blues opera. It's about a serial rapist and murderer. I suppose it's based on something they read in Italy about the Boston Strangler. It's structured around a blues pattern and uses time signature changes to effectively tell the story. In the middle, there's a long instrumental passage where Mick babbles, and the harmonica and guitar engage in a wonderful dialogue. The band's intensity rises and falls, and the twist, or true merit, of the song is how Mick begins by speaking of the rapist as something distant, gradually revealing him. The instrumental passage acts as if the man is stealthily entering, then we reach the musical climax where the rapist is revealed to be the narrator himself. He wreaks havoc in the house until he finds his victim and closes with the splendid lines: “I'll go easy with your cold fanged anger, I'll stick my knife right down your throat, baby, and it hurts!” It's a good song; I've marked it in red for a reason. But I think both the band and the critics overrated it. In some passages, it's somewhat repetitive, although I understand that the intention required it. But musically, it's not very different from, nor significantly superior to, “I'm Going Home” from Aftermath, and to be honest, I prefer the latter to “Rambler,” which here comes across as a rather pretentious piece.
With “You Got The Silver”, Richards makes his debut as lead vocalist on an entire song. And he doesn't do badly at all! In fact, I think it's the best vocal performance I've ever heard from him. Here, nicotine hadn't yet wrinkled his voice, and at the beginning, he sounds emotional, sincere, and melancholic, perfectly suited to the mournful slide guitar arrangements. When the song explodes and he starts screaming, to my surprise, he improves. He uses Mick's intonation, and at times it's impossible to tell if it's Jagger screaming, confirming my theory that subconsciously, when a member of any band sings (not being the lead singer), they generally copy the modulation and intonation of the permanent singer. You can barely tell it's Keith because of the effort he puts into reaching the notes. Brian makes his greatest musical contribution to the album here, playing the autoharp. A lovely keyboard part, pauses and bursts, and a superb ending that leaves you hanging. Some consider it one of the album's weak points, perhaps because Keith sings, but come on, even though he's no Mick, he doesn't do badly at all, does he? Here he sings with more passion than Mick did on the entire Dirty Work album! I wasn't originally going to highlight it, but I think that would be an understatement of Richards.
Then comes “Monkey Man”… this is another haunting song, in a good way, just like “Shelter.” Many say that “Rambler” is supposed to have the same effect on me, but it leaves me cold. This one, on the other hand, the guitar again creates a brutal, slow, but very tense intro. That scale, combined with Hopkins's soaring piano arpeggios, is magical. Then the scale becomes more incisive, forming a tremendous riff, dirty, powerful, which has to be at least in Richards' top 10. The solo is of high quality; they speed up a bit, there's a slightly more psychedelic slide guitar section, full of echo, and then Mick comes back practically spitting out a lung with his screams. Although I don't usually like this type of vocal performance, here it suits the song perfectly; Mick sounds angry, violent, and at the end he becomes a real beast. The lyrics are a mystery. Davis says it was also for Faithfull, but apart from the line “I'm glad you are a monkey, monkey woman too, babe” I can't really find any references… All the same, it's a very crazy, chilling song, with a standout vocal performance and another sublime guitar masterclass from the Riffmaster.
After this madhouse-like interlude, the angelic choir that introduces “You Can't Always Get What You Want” begins. It was the first track on the album. The opening choir is performed by the London Bach Choir, with a gospel feel. Then it fades away, and a warm acoustic guitar enters, strumming gently. A French horn plays a brief flourish before the vocals. Originally, a huge horn section was recorded, but only this part was kept. Mick enters with the staccato melody, followed by maracas, the massive, universal chorus, which is the closest thing to an eternal Stones anthem, before exploding with the final line: “But if you try sometimes well you might find, YOU GET WHAT YOU NEED!!!” The rest is a party where each guest plays or interprets the right notes on the right instruments at the right time. Al Kooper's masterful piano, Jimmi Miller laying down the complex drum beat with the tremendous fills midway through the song, Ricky Dijon's congas. The instrumental middle section, Jagger's scream at 4:30 takes us back on a gospel-like, almost angelic journey. Keith shines again with the guitar arrangements. Undoubtedly his best work with the Stones, and the one that finally earned him respect as a guitarist. The coda, where we almost touch the sky, builds in intensity until it fades away. Everything here is perfect. The lyrics are the most direct about Marianne's addiction, but I think the message transcends that. The chorus has a power and impact almost as resonant as "All You Need Is Love," so the rest of the lyrics hardly matter. Jimmy Miller is mentioned a couple of times as Mr. Jimmy. Countless references to this song have accumulated to this day. A true gem, perhaps a little overexposed, but that doesn't detract from its majesty and perfection.
The album ends here, but I can't leave without mentioning "Honky Tonk Women", which doesn't significantly impact the album's rating, and if it did, I wouldn't get a high enough score, haha. Anyone who hasn't heard it, I don't know what they're doing here. It's a classic from the band that emerged when Mick Taylor started playing around with the chord progression of "Country Honk." The others liked it, started jamming, and another gem was born. The lyrics are different, like a continuation of the country version, but the immortal choruses are the same, and it still ignites crowds in stadiums just like it did in the '70s. Who hasn't sung that chorus at the top of their lungs? Taylor gives it another dimension with his guitar, overshadowing Richards this time, and giving a glimpse of the virtuosity and technique we'd hear from him for the next five years. There's a cowbell, drums, brass, and it's a kind of link that connects the Rolling Stones' sound of the '60s with that of the '70s. It was released as a single the day after Brian's death, and as Mick had predicted, it shot to #1 for 5 weeks, with "You Can't Always Get What You Want" as its counterpart, perhaps being the Rolling Stones' strongest double A-side single to date, and returning the Beatles' "Hey Jude/Revolution" blow with a gentle touch.
Let It Bleed was an album that cost them blood, literally. If it's the musical climax of the legendary band, it's also their historical climax—tragic, sad. Considering everything they were going through at the time, it's practically a miracle they were even able to record, let alone create this masterpiece. Eight songs in red out of nine tracks is something you don't see every day. It's definitely not an easy album. I found it boring at first, but it grew and grew with each listen, to the point of becoming my favorite album by the band. At the time, it fought neck and neck for the number one spot with two other giants like Abbey Road and Led Zeppelin II. Wow!
And the story behind it is heartbreaking. In a way, it's Brian Jones's last album. Although he didn't participate much, I think his mere presence in the studio served as a kind of driving force for the Stones, a guide, a way of doing things. Maybe it's just my nerves, but I think that spirit was lost after "Sticky Fingers." It was a different band now, with a different guitarist, with horns, with blatantly obscene lyrics instead of the intelligent lyrical allegories of the '60s, with mathematical guitar solos, with Mick transformed into a jet-set diva... Jagger would say that from then on they stopped being the band everyone hated in the '60s and became the band everyone loved in the '70s. And perhaps he's right. Their true commercial success would come from then on. But at what price? They lost their soul, they lost Brian Jones, and at least for me, they would never again have the freshness and brilliance that this underappreciated genius gave them. Let It Bleed hasn't healed more than 40 years after its release. It's still bleeding. And that's why it's a definite must-have.
By Corvan
May/30/2013
