Welcome!

Welcome to our blog about the Rolling Stones' historic album "Let It Bleed!" The blog details information about the band members, the album, specific song analysis's, historical context, personal opinions, and a discussion of the role of music in the classroom. We hope you enjoy our work!

Thesis

"Let It Bleed", because of its tremendous subject range, musical prowess, experimental nature and especially the depth of feeling it inspired within its listeners, is not only an epic classic of a record, but a perfect goodbye to the explosive and dynamic sixties. In many ways, The Rolling Stones observed the madness, the violence and the disconnect of the decade, and offered their critical viewpoint and social commentary through "Let It Bleed'. Thus, again, "Let It Bleed" is more than a great album - it is poetry in its own right, and it marks a critical juncture in history, truly capturing the end of an era. For that, it deserves our careful analysis and attention, especially within the context of that explosive epoch in history called the sixties.

Rolling Stones in the Classroom?!

The Rolling Stones are risque, unconventional, and even sometimes downright inappropriate. They heavily used drugs, had wild sexual relations with women, and were symbolic of a growing counterculture during the 1960s; which is exactly why they should be taught in the classroom. 


A literature class is designed to illustrate the themes, attitudes, and culture of certain eras and areas, and relate this to the world today. The typical literature class is conventional, using mainly only books. However, music is perhaps the most raw and true way to study a time era, and should be demanded in the classroom.


Music, like a book, tells a story. Its lyrics must be inspired by events, and reflect emotion. Unlike books, however, Rock and Roll is not edited, or refined to what will be accepted by society. Rock and Roll is a rebellious form of free flowing art, and so accurately depicts the attitudes and major components of time periods, namely the sixties. 


The Rolling Stones are one of the most famous bands to emerge from the 1960s. In their 1969 album "Let It Bleed," the Stones' discuss everything from the war in Vietnam and drug trips, to love and community. By studying the music of the Stones', students can better understand the growing generation gap between children and their parents, the attraction of rebellion, and the changing standards of society. The heavy guitar and distinctive lyrics transport listeners back to the 1960s, erasing any boundary that could exist while reading a book. 


Listening to, and analyzing music, from the 1960s is one of the best and only ways to teach a course centering on the turbulent era. Students must be exposed to the truth and openness present in the decade, and not limited to conventionally approved books on the topic. For this reason, bands like The Rolling Stones, along with documentaries, memoirs, other music, art, fashion, and literature should be compounded to create a course that helps produce as complete of a picture as possible of the 1960s.

An Interview with Stones Fan, Mr. Mike Horowitz

Rolling Stones fan Mr. Mike Horowitz offers his perspective on "Let It Bleed":


Q: What's your favorite track on "Let It Bleed", or do you even have a favorite? Why?
A: This is not a simple question, as my favorites always change over time. When I was younger, "Let It Bleed" was my favorite song, though I only knew it from the radio and did not know its name! I asked a friend which album it was on—in retrospect a seemingly dumb question. Although he didn’t know the name either, he was fairly certain it was on "Let It Bleed" or "Flowers", so I went out and bought both. However, I would say my “favorite” song on the album, over the years, has varied between "Country Honk", "You Got the Silver", "Live With Me" and "Monkey Man". Overall, my favorites would have to be "Live With Me"and "Monkey Man". I think "Live With Me" and "Monkey Man" capture the raw, gritty sound of the Stones at their best. They really can’t be typecast as a certain type of band. They started out as a blues cover band, evolved into rock and roll, veered off into country thanks to Gram Parsons' influence and even dabbled in disco and punk, when those genres threatened to label them as old and out of touch, but at the core they are a blues based rock band and these two songs highlight that in their lyrics and strong, at times guttural, guitar sound. 

Q: Who was your favorite band member?

A: Again, I am too old and the Stones have been around too long for this to be a simple answer; it varies depending on what’s going on in their world and who is causing the latest problems for the band/fans! But I’ll say Charlie Watts. Everyone knows Mick because he the lead singer and Keith because he gives them their guitar sound, but Charlie just seems to personify “cool.” To this day, I don’t think he likes rock and roll music; he is a jazz fan first, but he is acknowledged by so many as being a great drummer and the core that holds the different personalities of the Stones together. If you find the right video (that focuses on his drumming), you can see the pure joy he feels when playing his favorite music. Plus, you gotta like a guy who married his wife in 1964, when the Stones were in their infancy, and is still married to her 47 years later.

Q: What was it about "Let It Bleed" that you think made it so special? What was it that captivated listeners, and solidified its place as one of the greatest Rolling Stones and, even, one of the greatest rock albums of all time?

A: It is a short album (nine songs), but almost every one is a great song. As I discussed my favorites above, I’ll skip them, but you have Stones classics such as "Midnight Rambler", "You Can’t Always Get What You Want" and "Gimme Shelter", which were all still being played live by them almost 30 years later on their last tour. One of Keith’s better solo efforts in "You Got the Silver"; a classic blues tune showing they were still true to their roots in "Love in Vain"; and a country version of "Honky Tonk Women". An interesting note on this last song: this was what the Stones had intended "Honky Tonk Women" to sound like, but Mick Taylor (Brian Jones's replacement) steered the song in a different direction to what was released as a stand alone single, prior to "Let it Bleed"’s release.  But, they decided to keep it in its country form on the album. I’ve also read that the car horn you hear in the song, was accidentally caught on the recording through an open studio window and they felt it fit so well they left it in. I don’t buy that, as it occurs twice in the song and fits the meter of the music a little too neatly, but a cool story nonetheless.

Q: Do you think "Let It Bleed" accurately reflected the general attitudes and events of the sixties?

A: I am not sure the Stones really neatly fit into the idea of the peace and love, hippy, generation of the 60’s. They did their share of drugs, but not the hallucinogenics that led to the funky art and psychedelic music many connect to that era. "Monkey Man" is more about a heroin addict--not the drug of choice for most at that time, though Keith later became a junkie for much of the 70s. "You Can’t Always Get What You Want" seems to offer a very practical way to look at things, not typically the attitude you would label the youth of the 60s with; "Midnight Rambler" is about a criminal/rapist—hopefully not a reflection of the views of any generation! "Love in Vain" is a nod to their bluesy roots, written by Robert Johnson in the 1930s; "Country Honk" is just a fun country song; "Live With Me" is a raw rocker, a very raunchy song where the decadence described extends all the way to the staff and the servants. Although the 60’s were about “free love,” I don’t think that concept was ever intended to be as depicted in this song—I think this may represent the Stones vision of free love, though! Keith Richards for all of his tough guy attitude, like to write/sing slow ballads and "You Got the Silver" is one of his best, but nothing more here than that. The title track might work for this question. Mick sings about being there for a friend—“if you need to, you can lean/dream/bleed on me.”  I think this demonstrates the communal atmosphere that was present among the youth of that decade—being there for a friend in need. And, the second verse clearly reflect the more typical free love and drug image of the 60s. Finally, I think "Gimme Shelter" clearly epitomizes the attitude of that generation. “War is just a shot away; love is just a kiss away.” There you can see the concept of make love, not war. And, in each case, just how close it is, Mick seems to be asking the listener, “which choice are you going to make?”

Q: Would it be fair to call it 'a perfect goodbye' to such an explosive decade? How did the sixties, in your opinion, influence the album? What do you think about The Rolling Stones' place in the sixties?

A: Sure, why not. As I said above, it doesn’t fit neatly into the concept of the 60s, so maybe the Stones had already said goodbye to that decade. There are junkie and heroin references throughout, which became the downfall of many in the decade to come. And, its release coincided with their concert at Altamont that many refer to as the death of the 60s.

Q: How does "Let It Bleed" make you feel? Does it inspire any resonating emotions?

A: I can’t say that hearing any of the songs on "Let It Bleed" stirs any emotions, other that I do feel that "Live With Me" does typify the Stones attitude in its lyrics and their sound in its guitars. When I hear that song, I always have those same thoughts. That also goes for "Monkey Man". You might find a different response from one who lived thru the 60s and bought this album in 1969, but as one who was born in 1966 and didn’t buy it until the early 80s, I can't say that I fit the original target audience for Let It Bleed.

Q: Do you think "Let It Bleed" deserves a place in the study of the sixties, or in a literature-based course at all?

A: I am sure your teacher does not want to hear this, but I have always felt that authors would laugh at some of the deep meaning/symbolism English teachers have attached to their words while teaching a certain novel to their class. However, having said that, "Let It Bleed" is a classic album, released in the 60s by the “greatest rock and roll band ever.” If a course is being taught that uses music to examine the 60s, "Let It Bleed" surely must be part of that.

Q: Would you go so far as to consider The Rolling Stones poets in their own right? In your opinion, is "Let It Bleed" (and all other pop music for that matter) the newest mode or outlet of poetic voice?

A: Mick and Keith are prolific songwriters, which is merely poetry set to music, so I would say that they are. Probably, Mick more than Keith because Keith concentrates on writing the music and, often, merely offers a line or phrase to Mick who runs with it and writes the rest of the lyrics. I once read that Mick had become enamored with the word ‘messianic” and wrote "Monkey Man" around that word because he wanted to use it in a song! However, I wouldn’t say the 'newest' mode because poets have been writing music for years. 

Q: Ultimately, would you call "Let It Bleed" an iconic album - one whose place and value in history is immeasurable? Or is it just another great rock album?

A: People much smarter than me always seem to put Let It Bleed near the top of any “all time greatest” album list, so I think it must be iconic, in the context of rock and roll history, at least.

We just wanted to thank Mr. Horowitz for his tremendous help. His insightful and informative comments truly enhanced our project, and we couldn't have done it without him - so thank you!

Let the Creative Juices Bleed...!!!

They have rhythm, they have linguistic appeal, they have a communicated greater message... such can clearly be said about the great American poets like Robert Frost and T.S. Eliot. But can't it just as easily be said about the rock band The Rolling Stones? With masterful lyrics cranked out by the new and unstoppable collaboration between Mick Jaggers and Keith Richards, The Rolling Stones should be credited for having a fair handle on rhythm and on manipulating language to generate appealing and even poetical pieces. As for communicating a 'greater message' - with tracks like "Gimme Shelter" and "You Can't Always Get What You Want", it's clear that The Rolling Stones had a point of view and an array of insights they meant to articulate to the public. The difference between The Rolling Stones and individuals like Robert Frost or T.S. Eliot is, obviously enough, that the Stones used song while the likes of Frost and Eliot used the more conventional form of poetry as modes of their creative and artistic expression. But the question remains: Can The Rolling Stones be considered poets in their own right? Or, somehow, does their use of popular image and mass media exposure cheapen their creative works?

While the answers to these questions are certainly subjective, we find it hard to degrade the genius of The Rolling Stones by suggesting that their work was not that of pure poetry. "Let It Bleed" reached a certain level of artistic merit, and thus deserved the allocation of 'poetic'.

Many people would be tempted to say that poetry is a dying genre of literature. However, the reality is that the older, more traditional form of poetry (the poetry of Emily Dickinson, Ernest Hemingway, and E.E. Cummings to name a few of our favorites) is not dying - it is just evolving, changing shapes and going in a new direction, and that direction is rock and roll. So has the popular image and mass media that automatically comes with rock music and the Stones cheapened their creative ability and work? Absolutely not. It has just given it a new face, but the raw emotion, beauty, passion and spirit of poetry is very much alive and present in the music of The Rolling Stones, especially their 1969 album "Let It Bleed", which can be accurately described as raw, emotional, beautiful, passionate and spiritual. Thus, "Let It Bleed" is not just a great rock album, and not even just an epic, history-making album... it is a work of art and of poetry. This designation can only add to the value "Let It Bleed" has within both the music and art cultures.

The Tracks

Side One
Track 1: Gimme Shelter
         The stars... Mick Jagger and Merry Clayton (a unique and powerful collaboration that really delivers the lyrics) on vocals and Keith Richards (a killer guitar ballad)
         Ultimate message... Apocalyptic in nature, the song describes world that is on the brink of disaster yet, still, can be quite easily saved by "love"

Track 2: Love in Vain
         Ultimate message... Originally a 1937 blues song written by Robert Johnson, The Rolling Stones made a cover of it, adding a few guitar ballads and making it more 'country'. The song is a love song, but is most remembered for its melancholic and somber lyrics and tone. Said Mick Jagger in 1995, "Robert Johnson was a wonderful lyric writer, and his songs are quite often about love, but they're desolate".

Track 3: Country Honk
         The stars... Byron Berline played the fiddle, Nanette Workman sung backup vocals, Mick Taylor played side guitar, Keith Richards on acoustic guitar, Charlie Watt on drums and Mick Jagger on vocals
         Ultimate message... It is the country version of The Rolling Stones' hit "Honky Tonk Women"; "Country Honk" was actually the way that "Honky Tonk Women" was originally written and sang.

Track 4: Live with Me
         The stars... Mick Taylor on guitar (one of his first works with "Let It Bleed"); Keith Richards on bass (the first song that he played bass - had a more 'muscular' approach than conventional bass guitarist Bill Wyman); Leon Russell and Nicky Hopkins on piano; Bobbys Keys on tenor saxophonist
         Ultimate message... The song was infamous for its 'lewd' lyrics, expressing the band members' need for "a women's touch"

Track 5: Let It Bleed
         The stars... Mick Jagger and Keith Richards wrote the song collaboratively. Features Ian Stewart on piano, Richards on both the slide and acoustic guitars, and Billy Wyman on the bass and autoharp.
         Ultimate message... The song was inspired by the Stones’ heavy drug usage, completely reflected in the lyrics. However, the deeper meaning comes from the community that was built by drug users in the sixties, who created an open environment of love and support. 

Side Two
Track 6: Midnight Rambler
         The stars... Jagger on vocals and harmonica (the frenzied and unpredictable shrill of his harmonica is earth-shattering) and Keith Richards plays all the guitars brilliantly; the song is a masterful explosion of sound
         Ultimate message... Called a "blues opera" by Richards, the song is from the perspective of a mass murderer and, eerily, almost glorifies acts of murder; the song is one of the Stones' darkest and most memorable

Track 7: You Got the Silver
         The stars... Keith Richards is the ultimate star, as this is the first time he sang the entire lead vocal. Richards wrote the song with the help of Brian Jones.
         Ultimate message... Richards was inspired to write the song by his current girlfriend, Anita Pallenberg. The song details how much Richards put into the relationship, meaning material goods, in an attempt to prolong their “love,” even though his needs were not being met.
 
Track 8: Monkey Man
         The stars... “Monkey Man” was written by Mick Jagger and Keith Richards. Jagger sings vocals while Keith Richards plays electric and slide guitar on this song. Billy Wyman played the Bass, and Nicky Hopkins was featured on the piano. Producer Jimmy Miller was also featured playing the tambourine.
         Ultimate message... The lyrics of the song do not seem to make a whole lot of sense, which reflects the heavy drug usage involved in writing it. It seems to reflect somewhat of a bad trip.
 
Track 9: You Can't Always Get What You Want
         The stars... One of the more memorably parts of the songs is the singing of the London Bach Choir. Along with the children’s choir, Al Kooper played the organ and French Horn, and Stones’ producer Jimmy Miller played the drums. The historic hit was mostly written by Mick Jagger, but he was assisted by Keith Richards.
         Ultimate message... The lyrics of the song speak to how so many people were disappointed to the sixties, and were not looking upon the end of the decade with a positive attitude. However, the Stones provide an ultimately uplifting message assuring that you will “get what you need.”
 
Sources:
http://en.wikipedia.org/wiki/Let_It_Bleed

The Aesthetics

The Front Cover:

(Image taken from http://upload.wikimedia.org/wikipedia/en/c/c0/LetitbleedRS.jpg)

The Back:

(Image taken from http://www.vinylrecords.ch/R/RO/Rolling_Stones/Let/IMG_0317.jpg)

The cover of the iconic album "Let It Bleed" is certainly something. A cake... plates... a tape canister... a clock face... a pizza... a tire... and five figurines (representing the main collaborators on the album). Pretty random, right? Not if you know anything about the Stones...

Like many of the great sixties musicians (like the Beatles), The Rolling Stones' every decision, every detail was deliberate. And the cover artwork for "Let It Bleed" is no exception. These weren't just random objects strung together to make a pretty nifty design. No - these objects meant something to the Stones... in some way, their combination, like virtually every track on "Let It Bleed", offered a social commentary in its own way. In some way, the cake, the plates, the tape canister, the clock face, the pizza, the tire and the figurines all offer some sort of insight into the chaotic world of the sixties and the perhaps even more chaotic musical minds of The Rolling Stones.

Just to give you the facts... The overall 'sculpture' featured on the album was designed by Robert Brownjohn. The cover art features the "Let It Bleed" record being placed by a tone-arm of an antique phonograph. Built upon the foundation of a record-changing spindle are (in order of appearance from the bottom, up) a plate, a tape canister, a clock face, a pizza, a tire, and a lavishly decorated cake (designed by Delia Smith), which supports five figurines, each holding instruments.

Now for the reverse of the LP... The back cover art features the same items: the cake, the figurines, the pizza, the tire - except that, unlike the cover art, the objects are in complete disarray. The cake is missing a slice, the figurines are toppled, the pizza is half-eaten with remnants scattered across the broken record, the tire is punctured, the tape loop destroyed, and the clock face splattered with stains. The ultimate structure remains intact, and yet the total effect remains a complete mess. The structure has lost its stability and strength under the weight of the broken and disarrayed individual aspects. The unsecured, unstable spindle just does not seem to be enough to hold up the tottering, beaten and battered array of objects. Instead, those objects (which, on the front cover, appear to be in perfect order, comfortably settled on the spindle) now seem to be on the verge of doom - swaying back and forth - so close to collapse and defeat.

Sound like a metaphor for the sixties?... We thought so. It seems what the Stones are, quite subtly and brilliantly, claiming is that initial glances might lead one to believe that the American sixties society was in perfect working order (think the front cover art where the objects, despite their oddity and seeming incompatibility, are perfectly and stably balanced by the spindle). Yet, if one looks close enough, and perhaps takes the time to delve into the true state of the society (this time, think the back cover art), the reality is clear: American sixties society. The balancing act was not working. The spindle, try as it might, simply could not support the weight of consumerism, materialism, technology, time-obsession, false images and appearances, and the rest of it. Society was going down. Society was in disarray. Society was one finger-tap away from complete ruin. And the Stones saw it coming; in fact, they were warning against it. They were saying, in their own way, 'Listen people... the cake, the pizza, the clock, the tire, the pleasure-seeking, the consumerism, the technology... it's all going to cave in. The facade isn't going to last. The balancing act is over'. To use the words of "Easy Rider" and Tom Wolfe's "Electric Kool-Aid Acid Test": We blew it. Society was in shambles, and anyone could see it if they would only look past the outer appearance, the initial guise... the cover. Look past it, and you will see society for what it truly is: overwhelmed, defeated, and on the brink of disaster.

Sources:
http://en.wikipedia.org/wiki/Let_It_Bleed#Cover