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Rolling Stones*Let It Bleed

Label:ABKCO – 0018771900412, ABKCO – 18771-9004-1
Series:The Rolling Stones Clearly Classic
Format:
Vinyl, LP, Album, Reissue, Remastered, Clear
Country:US
Released:
Genre:Rock
Style:Blues Rock, Rock & Roll

Tracklist

A1Gimmie Shelter
HarpMick Jagger
PercussionJimmy Miller
VocalsMerry Clayton
4:30
A2Love In Vain
MandolinRy Cooder
Written-ByW. Payne*
4:18
A3Country Honk
Acoustic GuitarKeith Richards
FiddleByron Berline
Guitar [Slide]Mick Taylor
VocalsNanette Newman
3:00
A4Live With Me
GuitarMick Taylor
Piano, Arranged By [Horns]Leon Russell
Saxophone [Tenor]Bobby Keys
3:35
A5Let It Bleed
AutoharpBill Wyman
PianoIan Stewart
5:27
B1Midnight Rambler
HarpMick Jagger
PercussionBrian Jones (5)
6:52
B2You Got The Silver
AutoharpBill Wyman
OrganNicky Hopkins
2:51
B3Monkey Man
TambourineJimmy Miller
Vibraphone [Vibes]Bill Wyman
4:12
B4You Can't Always Get What You Want
Arranged ByJack Nitzsche
DrumsJimmy Miller
French HornAl Kooper
OrganAl Kooper
PercussionRocky Dijon
PianoAl Kooper
7:28
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Credits

Notes

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): www.gzvinyl.com

Other Versions (5 of 398)View All

Title (Format)LabelCat#CountryYear
Recently Edited
Let It Bleed (LP, Album, Terre Haute Pressing)London RecordsNPS-4US1969
Let It Bleed (LP, Album, Stereo)Decca, DeccaSLK 16 640-P, SLK 16 640 PGermany1969
Recently Edited
Let It Bleed (LP, Album, Stereo, Unboxed Labels)Decca, DeccaSKL 5025, SKL. 5025UK1969
Let It Bleed (LP, Album, Stereo)DeccaSKLM 5025New Zealand1969
Recently Edited
Let It Bleed (LP, Album, Mono)DeccaLK 5025UK1969

Reviews

BTNVideos's avatar
BTNVideos
This pressing is fine. It’s quiet, clear vinyl is nice. Bob Ludwig at the helm is great. But it’s digital as all Stones reissues are. I have an original US and it just hits harder, explodes more, twangier where it’s supposed to be. Even though the record is over 50 years old and has surface noise in the quiet parts, I still prefer the original by a wide margin.
bestlewh's avatar
bestlewh
Love the clear vinyl but my copy also has a bit of surface noice and pops, specially on side one. I like to say it adds character, but deep inside I wish it was quieter.
nmarzoli04's avatar
nmarzoli04
Not sure if I just got a bad pressing or what, but my copy has terrible surface noise and loud pops across both sides. Shame, because the sound quality is pretty good otherwise.
mcintosh6600's avatar
mcintosh6600
One of those few records I have no idea where it came from but what a great pressing.
Playing it on a decent system and you feel like you are in the studio with the boys.
Silent vinyl with all the dynamics.. Maybe I lucked out. 😎
gleebi's avatar
gleebi
This is a great pressing. The clear vinyl adds a visual playback dimension that is cool. The music is well mixed, mastered and the freshness of these 1969 songs jumps out of your speakers. Very fun pressing, huge soundstage, great separation. Highly recommended.
culp4684's avatar
culp4684
My new sealed copy has a lot of surface noise in between tracks. Bad pressing?
vanmat's avatar
vanmat
Great album. First copy I acquired had two big streaks or red, and some black, in the clear vinyl. Second copy was fine.
MEllODrOnE's avatar
MEllODrOnE
Edited one year ago
When I initially got this album my stylus wasn’t the best and I didn’t think much of this release at the time. Just wrote it off as bad digital on vinyl but it is anything but. I have since upgraded my stylus and this Let It Bleed DSD transfer is amazing. The sound is so finely tuned so every minute detail comes to life. The bass is big and bold and the soundstage is wide open. The timbre of the acoustic guitar is so real. And the drums are excellent. Big, bold and rich sound on this release. I did have to clean my record to get rid of some of the clicks and pops though. Now the record plays flawlessly. Very happy to give this a spin after all these years to find out this record sounds a lot better than I thought it did.
streetmouse's avatar
streetmouse
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.