Rolling Stones* ‎– Let It Bleed

ABKCO ‎– 0018771900412, ABKCO ‎– 18771-9004-1
Vinyl, LP, Album, Reissue, Remastered, Clear

Tracklist Hide Credits

A1 Gimmie Shelter
Harp – Mick JaggerPercussion – Jimmy MillerVocals – Merry Clayton
A2 Love In Vain
Mandolin – Ry CooderWritten-By – W. Payne*
A3 Country Honk
Acoustic Guitar – Keith RichardsFiddle – Byron BerlineGuitar [Slide] – Mick TaylorVocals – Nanette Newman
A4 Live With Me
Bass – Keith RichardsGuitar – Mick TaylorPiano, Arranged By [Horns] – Leon RussellSaxophone [Tenor] – Bobby Keys
A5 Let It Bleed
Autoharp – Bill WymanPiano – Ian Stewart
B1 Midnight Rambler
Harp – Mick JaggerPercussion – Brian Jones (5)
B2 You Got The Silver
Autoharp – Bill WymanOrgan – Nicky Hopkins
B3 Monkey Man
Tambourine – Jimmy MillerVibraphone [Vibes] – Bill Wyman
B4 You Can't Always Get What You Want
Arranged By – Jack NitzscheChoir – Doris Troy, Madelaine Bell*, Nanette Newman, The London Bach Choir*Drums – Jimmy MillerFrench Horn – Al KooperOrgan – Al KooperPercussion – Rocky DijonPiano – Al Kooper

Companies, etc.



180 Gram Clear vinyl
Cat # 0018771900412 on jacket spine; 18771-9004-1 on labels
©2003 ℗1969 ABKCO Records

Group credited as "Rolling Stones" on sleeve front, and as "The Rolling Stones" on the inner sleeve and record labels.
Instructions on inner sleeve and record labels: "This Record Should Be Played Loud"

Barcode and Other Identifiers

  • Barcode (Text): 0 18771 90041 2
  • Matrix / Runout (Side One stamped stamped, except 22002.1 and 90041A etched): 1877190041-A 90041A 89319E1/A 22002.1
  • Matrix / Runout (Side Two stamped, except 22002.2 and 90041B etched): 1877190041-B 22002.2 89319E2/A 90041B
  • Other (Side one etched):

Other Versions (5 of 294) View All

Cat# Artist Title (Format) Label Cat# Country Year
LK 5025 Rolling Stones* Let It Bleed(LP, Album, Mono) Decca LK 5025 UK 1969 Sell This Version
M 72167 The Rolling Stones Let It Bleed(8-Trk, Album) London Records M 72167 US 1969 Sell This Version
UIGY 9578 Rolling Stones* Let It Bleed(SACD, Album, Ltd, RE, RM, SHM) ABKCO UIGY 9578 Japan 2002 Sell This Version
882 332-2 The Rolling Stones Let It Bleed(CD, Album, RM) ABKCO 882 332-2 Europe 2002 Sell This Version
NPS-4 Rolling Stones* Let It Bleed(LP, Album) London Records NPS-4 US 1969 Sell This Version


Reviews Show All 6 Reviews

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December 30, 2017

Great album. First copy I acquired had two big streaks or red, and some black, in the clear vinyl. Second copy was fine.


December 27, 2017
edited about 1 year ago
Sounds decent, gimme shelter doesn't sound good and vocals are a little hot on country honk but there is great prescence and clarity on most tracks. Bass sounds good, drums sound good, acoustic guitar sounds bright. Pressed flat, quiet, no flaws there, ok release. Sounds as good as it can for DSD but just like everything pressed from digital the vocals end up sounding horribly compressed.. Let it bleed and midnight rambler sound rad.


August 14, 2013

Gimmie Shelter opens the Rolling Stones 14th [?] album, and let me tell you, shelter is just what I needed having just arrived in Vietnam, courtesy of my wonderful Uncle, who went by the name of Sam. The album came out in December of 1969 but I wasn’t able to grab hold of it until sometime late in January of 1970 once I was settled in, squared away my hooch and bought myself a little bitty of a record player. But hey, I draped the inside of my living quarters with an orange parachute, had my candles, and constant light show every evening. What more did I need ... ya we had that too.

I wasn’t the only one in transition, the Stones were breaking in the new boy Mick Taylor, Brian Jones had died a few months earlier, and the peculiar feeling of hearing new material from someone no longer on the planet was as unworldly as the new country I would be calling home for the next 26 months. There has been a great deal made regarding the fact that up to this point the Stones had not been making albums with a consistent body of material, and many lumped this release into that category. I’ll be the first to admit that there are a couple of songs that didn’t strike my fancy, but man, this was one of the best records I had ever heard at that point in time. I’ll never forget hearing the beginning of "Country Honk," an obvious remake of "Honky Tonk Woman" and the little car horn that blew just perfectly enough to startle me every time I heard it.

All of the songs were much longer, extended in a number of ways more then usual and a fine follow up to Begger’s Banquet for sure. The album is darker, more sensual ... it felt like a “time out,” the mask of Janus, between the psychedelic era that was winding down, and what was waiting around the corner, just out of view. For me, the 60’s were very heady, full of self exploration, movement, conflict, a sensory overload ... but here on this release, it was like everything just slowed down, as if to say, "Let’s just pull the shades, get high and stay in bed for a while."

Now I love the Blues, and it’s just my opinion, but for me, on the whole, this is the closest the Stones ever came to making that down home blues music they always professed to love and touted as the genesis of their conception. And the reason for that can be seen, or better heard, with the talent they assembled here with the likes of Ry Cooder, Al Kooper, Leon Russell, Nicky Hopkins, Ian Stewart, Bobby Keys and a host of others that I’m sure I’ve omitted.

There does seem to be a theme here, though I’ll leave that for each of you to figure out for yourselves, as this is one of the most personal albums the Stones ever surfaced. For me, the only song that seems out of place here is "Monkey Man" and even that works as a juxtaposition, revving up the music, only to slow it down again with the final track. The consistent beat and timing is not redundant, it just lets you ride the nod for all it’s worth. The music is smooth, full, rich, sparkled with great little background touches, along with vocals and musical expressions which often times require headphones. Me [?], I just crank it up loud.

You’re going to hear some terrific guitar riffs, elegant slide, some really perfect harp licks and a bass line from Bill that he’s been working towards for his whole life. Everything came together here, even Keith lays down some flawless vocals and Mick has never sounded better. "You Can’t Always Get What You Want" finishes up this release in an amazingly unexpected fashion, an extraordinary vision in it’s concept and story line, and even with all it’s darkness, left me with the feeling that there was hope just around the bend, in the dawn of a new sunrise.

This album is a moment in time, a story within a story, a snapshot that will never yellow with age.

*** Jump forward to 2013, which sees the release of this dynamic sonic gem on 180g vinyl, pressed on clear plastic, and you're gonna treat your ears to something special. I've always wondered what it would be like to hear this album again for the very first time, and let me assure you, it was worth the wait.