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Let It Bleed Original recording remastered, Original recording reissued, CD

Price: CDN$ 15.00 & FREE Shipping on orders over CDN$ 25. Details
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Frequently Bought Together

Let It Bleed + Beggars Banquet + Sticky Fingers (Deluxe 2CD)
Price For All Three: CDN$ 48.97

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Product Details

  • Audio CD (Nov. 5 2002)
  • Number of Discs: 1
  • Format: Original recording remastered, Original recording reissued, CD
  • Label: Abkco/Universal Music Group
  • ASIN: B00006AW2G
  • Other Editions: Audio CD  |  Audio Cassette  |  LP Record  |  Blu-ray Audio
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (126 customer reviews)
  • Amazon Bestsellers Rank: #1,918 in Music (See Top 100 in Music)

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

Product Description

Product Description

Nine-track LP pressing.


One of the Stones' most beloved albums, 1969's Let It Bleed was a benchmark for several reasons. First, founding guitarist Brian Jones died during the recording process. Second, the Stones take their last significant look at pure blues (Robert Johnson's spooky "Love in Vain") and country ("Country Honk," the two-stepping alter ego of "Honky-Tonk Women") before folding both styles into a cohesive rock & roll vision. Third, it contains some of the band's most eerie hits, such as the flame-enveloped "Gimme Shelter," the drug-reality anthem "Monkey Man," the epic "You Can't Always Get What You Want," and Mick Jagger's menacing "Midnight Rambler." --Steve Knopper

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Customer Reviews

4.5 out of 5 stars

Most helpful customer reviews

6 of 6 people found the following review helpful By Terrence J Reardon on June 20 2004
Format: Audio CD
The Rolling Stones released their 13th US release Let it Bleed in November of 1969. The year was a turbulent year for the band. First, original guitarist Brian Jones got fired and drowned that July at his home in England(only bass player and drummer Charlie Watts attend whilst guitarist Keith Richards continued working on this album at Olympic Studios in London and frontman Mick Jagger was filming Ned Kelly in Australia). Next, guitarist Mick Taylor joined the band towards the conclusion of recording. Then, the band released Let it Bleed in November of 1969. The album picked up where its predecessor, 1968's Beggars Banquet, left off. This album opens with Gimmie Shelter which is one of the band's best numbers with a passionate vocal from Mick and superb backing vocals from Merry Clayton who sings the haunting middle section and if you listen close, you can hear her voice crack and Keith's guitar work was killer(in fact he played most of the guitars on the album). Next is a great reading of Robert Johnson's Love in Vain with a great vocal from Mick. Country Honk follows and was the first track with Mick Taylor on a Stones album and was a country version of Honky Tonk Women with different lyrics. Live With Me is next and featured great guitar work from Keith and Mick Taylor and Keith also played bass on this track and was the first appearance by Bobby Keys with his sax on a Stones track(he would play sax with the band from then on off and on). The title cut is a great song and is a classic. Midnight Rambler follows and is a great rocker. Keith's proper vocal debut You Got the Silver follows and is one of Keith's best vocals and a break from Mick's vocal work. Monkey Man is next and a song about the evils of drugs and I can think of Goodfellas when I hear this track.Read more ›
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5 of 5 people found the following review helpful By A Customer on June 19 2004
Format: Audio CD
One often hears it said (even among the reviews here) that Greatest Hits really are; the rest is filler and not needed unless one is a completefreak. I do not subscribe; quite the opposite in fact. But let me not judge. Be my guest.
If one wishes to actually test this theorem, here's my suggestion: buy the Stones' "Hot Rocks" and "More Hot Rocks," in my opinion the two best best-of collections ever -- and among the few in which the band's actual best work is actually represented well -- and then buy this record.
"Let It Bleed" (and what are so often -- with good reason -- considered its companion works: "Beggars Banquet," "Get Yer Ya-Ya's Out," "Sticky Fingers" and "Exile on Main Street") date from a time you can't imagine if you cut your rock'n'roll teeth on such as Guns'N'Roses and Pearl Jam, Green Day and Nirvana and Korn: the period during which Mick Jagger and Keith Richard(s) were, with no serious competition, the coolest humans on the planet, and possibly the coolest ever. (Yes. Hard to imagine now.) There is not a recorded word spoken by either during the period 1968-1972 that won't clue you in on the key to the stiletto-sharp lyrics that populate the above albums. And "Let It Bleed," although it isn't frequently considered the best of the set, hits the Stones at the peak of their form as interpreters of style. It's been said by better than me that the Stones' earliest work is essential to any basic understanding of rock'n'roll. This period indeed captures their revolutionary hard-wiring of blues guitar riffs into something else entirely (to paraphrase the Rough Guide).
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3 of 3 people found the following review helpful By Paul Fischer on June 14 2004
Format: Audio CD
What's this about Let It Bleed not being consistent? I beg to differ! While songs like Live With Me and Country Honk took a while for me to warm up to, I eventually developed appreciation for all these tracks. And MONKEY MAN, which was considered subpar by another reviewer, is my favorite track here. Too often folks overlook the value of Jagger's lyrics, and here they shine: "I'm a fleabit peanut monkey, all my friends are junkies - that's not really true!" "I'll stick my knife right down your throat and it hurts!" "You'd look good pram-pushin' down the high street!"
And if they were pushing buttons before with Satisfaction and Sympathy for the devil, they took the whole control board and threw it out the window when Mick begged repeatedly at the end of the title track: "You can come all over me!"
But to get serious, I don't think any other album released during the late 60s captured the late 60s the way Let it Bleed did. I was but a zygote (that means "not born") when this album came out, but I'm sure older Stones fans will agree that this record has all the blood, sweat, tears, and turmoil that was the late 60s. Beatles arguably released better albums, but none that depicted the "sweeping fire" like this one did. Bob Dylan's voice was missing from the music scene at this time as well. He was busy experimenting with introspective country songs. Simply put, The Stones picked up the torch, and started their best tour. Then, life imitated art at Altamont. The rest is history.
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