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Artist: The Rolling Stones
Album: Let It Bleed 50th Anniversary Edition / Remastered 2019
Quality: 24 bits 192.0 kHz (6874kbps) (FLAC)
Released: 31 October 2019
Genre: Rock
Tracks: • 9 Tracks • 42m 18s
Source: Qobuz
The Rolling Stones
It's hard to overestimate the importance of the Rolling Stones in rock & roll history. The group, which formed in London in 1962, distilled so much of the music that had come before it and has exerted a decisive influence on so much that has come after. Only a handful of musicians in any genre achieve that stature, and the Stones stand proudly among them.
Every album the group released through the early Seventies - from The Rolling Stones in 1964 to Exile on Main Street in 1972 -- is essential not simply to an understanding of the music of that era, but to an understanding of the era itself. In their intense interest in blues and R&B, the Stones connected a young American audience to music that was unknown to the vast majority of white Americans. Though the Stones were not overtly political in their early years, their obsession with African American music - from Robert Johnson, Muddy Waters, and Howlin' Wolf to Chuck Berry, Marvin Gaye, and Don Covay - struck a chord that resonated with the goals of the civil rights movement. If the Stones had never made an album after 1965 they would still be legendary.
Soon, of course, the Stones - singer Mick Jagger, guitarists Keith Richards and Brian Jones, bassist Bill Wyman and drummer Charlie Watts, in those days - became synonymous with the rebellious attitude of that era. Songs like '(I Can't Get No) Satisfaction,' 'Street Fighting Man,' 'Sympathy for the Devil' and 'Gimme Shelter' captured the violence, frustration, and chaos of that era. For the Stones, the Sixties were not a time of peace and love; in many ways, the band found psychedelia and wide-eyed utopianism confusing and silly. The Stones always were - and continue to be - tough pragmatists. Against the endless promises of Sixties idealism the Stones understood that 'You Can't Always Get What You Want.' You simply want to Let It Be? Why not Let It Bleed?
For those reasons, as the Sixties drained into the Seventies, the Stones went on a creative run that rivals any in popular music. Beggars Banquet (1968), Let It Bleed (1969), Sticky Fingers (1971) and Exile on Main Street (1972) routinely turn up on lists of the greatest albums of all time, and deservedly so. All done with American producer Jimmy Miller - 'in incredible rhythm man,' in Richards' terse description - those records shake like the culture itself was shaking. As the Stones were working on Let It Bleed, Brian Jones died, and the band replaced him with Mick Taylor, a guitarist whose lyricism and melodic flair counterbalanced Richards' insistent, irreducible rhythmic drive, adding an element to the band's sound that hadn't been there before, and opening fertile new musical directions. Source
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