Let It Bleed

Let It Bleed

Well we all need someone we can lean on

And if you want it, well you can lean on me

Yeah we all need someone we can lean on

And if you want it, well you can lean on me

She said my breasts they will always be open

Baby, you can rest your weary head right on me

And there will always be a space in my parking lot

When you need a little coke and sympathy

Yeah, we all need someone we can dream on

And if you want it, well you can dream on me

Yeah, we all need someone we can cream on

And if you want to, well you can cream on me

I was dreaming of a steel guitar engagement

When you drunk my health in scented jasmine tea

But you knifed me in my dirty filthy basement

With that jaded faded junky nurse

Oh, what pleasant company

We all need someone we can feed on

And if you want it, well you can feed on me

Take my arm, take my leg

Oh, baby, don't you take my head

We all need someone we can bleed on

And if you want it, baby, well you can bleed on me

We all need someone we can bleed on

And if you want it, baby, why don't you bleed on me

All over

Ahh, bleed it alright, bleed it alright, bleed it alright

You can bleed all over me

Bleed it alright, bleed it alright, you can be my rider

You can cum all over me

Bleed it alright, baby, bleed it alright, bleed it alright

You can cum all over me

Bleed it alright, baby cum all over me

“Let It Bleed,” more than the title of the album, is also the fifth song. The music opens with an acoustic guitar solo, which is eventually joined by bass, drums, and piano. The hit was written collaboratively by Mick Jagger and Keith Richards. Ian Stewart, who is often referred to as the “Sixth Stone” plays piano for the track. Because “Let It Bleed” was recorded after Brian Jones died and before Mick Taylor joined the Stones, Keith Richards played both the acoustic and slide guitar. Bill Wyman played bass and autoharp, which is a string instrument with a series of chord bars attached to dampers. 

There are a few theories surrounding the origins of the song. Some believe it was a tweaking on The Beatle’s “Let It Be.” Although the similarity of the titles is undeniable, “Let It Bleed” was released months before “Let It Be.” However, “Let It Be” had been recorded months earlier, so the theory maintains a level of credibility.

Some believe that the title of the song was inspired by the experience of writing it. Apparently, Keith Richard’s fingers began to bleed while playing the acoustic guitar for hours working on the track. The title was inspired by Richard’s desire to finish the work.

The most believable theory is drug-related. “Let it bleed” is a term describing successfully finding a vein. If the syringe plunger is pulled back and blood appears, a vein has been struck and it is called “letting it bleed.”

The lyrics of the song support this final theory of the songs origins, as they all deal with sex and drugs (which is why many people believe it was not released as a single). The bizarreness of the lyrics, like...

I was dreaming of a steel guitar engagement

When you drunk my health in scented jasmine tea

But you knifed me in my dirty filthy basement

With that jaded faded junky nurse

...highlight the role using drugs played in both inspiring and writing the song.

Some lyrics that overtly discuss sex and drugs are:

Baby, you can rest your weary head right on me

And there will always be a space in my parking lot

When you need a little coke and sympathy

... and...

Bleed it alright, bleed it alright, you can be my rider

You can cum all over me

Because the sixties were an era centered on free loving and the use of drugs, the song is a somewhat perfect depiction of the time period. An example of this is the line “you can lean on me,” which so easily depicts the sense of community and support that was central to the movement. “Let It Bleed” can be considered a sixties anthem because of its acceptance, love, and sexuality, all tied together by drugs. 

Sources: http://www.songfacts.com/detail.php?id=523

http://www.elyrics.net/read/r/rolling-stones-lyrics/let-it-bleed-lyrics.html

The Stones' 1969 Tour Lineup

Image taken from: http://www.letitbleedbook.com/story/

You Can't Always Get What You Want

You Can't Always Get What You Want

I saw her today at the reception
A glass of wine in her hand
I knew she was gonna meet her connection
At her feet was footloose man

You can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometimes well you might find
You get what you need

I went down to the demonstration
To get my fair share of abuse
Singing, "We're gonna vent our frustration
If we don't we're gonna blow a 50-amp fuse"

You can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometimes well you just might find
You get what you need

I went down to the Chelsea drugstore
To get your prescription filled
I was standing in line with Mr. Jimmy
And man, did he look pretty ill
We decided that we would have a soda
My favorite flavor, cherry red
I sung my song to Mr. Jimmy
Yeah, and he said one word to me, and that was "dead"
I said to him

You can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometimes well you just might find
You get what you need

You get what you need--yeah, oh baby

I saw her today at the reception
In her glass was a bleeding man
She was practiced at the art of deception
Well I could tell by her blood-stained hands

You can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometimes well you just might find
You just might find
You get what you need

You can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometimes you just might find
You just might find
You get what you need 

“You Can’t Always Get What You Want” is the last song on the historic album. The sixties hit was listed as the one hundredth best song of all time in 2004 by Rolling Stone magazine. Although “You Cant Always Get What You Want” is one of the most well known songs on the album, it was not released as a single. Instead, it was released as the B-Side of “Honkey Tonk Women.”

The song has quite the unusual opening- the London Bach Choir, a children’s singing group. The song is often compared to “Hey Jude” by the Beatles. Besides the similar choir aspects, Jagger remarked in 1969 that: 

"I liked the way the Beatles did that with 'Hey Jude'. The orchestra was not just to cover everything up - it was something extra. We may do something like that on the next album."

The hit song, however, did not feature all of the classic members of the Rolling Stones. Other musicians were brought in to play the music for the track. The Stones had Al Kooper play the organ and French Horn, which would typically be played by Brian Jones. At the time, Jones was suffering from severe drug problems and could not record the song. Charlie Watts also did not play the drums part in the song. Apparently, Watts was unable to nail down the rhythm, leading him to furiously storm out of the studio. Stone’s producer Jimmy Miller took up the part as drummer for the song.

Reflecting back in 2003, Jagger said,

"'You Can't Always Get What You Want' was something I just played on the acoustic guitar - one of those bedroom songs. It proved to be quite difficult to record because Charlie couldn't play the groove and so Jimmy Miller had to play the drums. I also had this idea of having a choir, probably a gospel choir, on the track, but there wasn't one around at that point. Jack Nitzsche, or somebody, said that we could get the London Bach Choir and we said 'That will be a laugh'".

Jimmy’s role in the famous song could be even more prevalent than his role as a musician. It is widely speculated that the Mr. Jimmy referred to the song is actually Jimmy Miller. However, another theory involves Mick Jagger’s experience at a drug store in Excelsior, Minnesota. According to the story, Jagger was standing in line at the Exelsior Drug store in 1964 after playing in the Danceland ballroom the night before. A local resident, Jimmy Heutmaker, started talking to Jagger about how he loved his cherry coke (which at the time had actual cherries in it!) That morning, however, Heutmaker was given a different flavor of coke. To this, he responded, “You know, Mr. Jagger, you cant always get what you want.” The credibility of this story is highly doubted, and was even referred to as an “urban legend” by Webster’s Dictionary. Jagger has never acknowledged this conversation with Heutmaker, or attributed the inspiration to the song to him. The five-year gap between the alleged meeting and the recording of the song also adds to suspicion of its truthfulness.

"It's a good song, even if I say so myself. It's got a very sing-along chorus, and people can identify with it: No one gets what they always want. It's got a very good melody. It's got very good orchestral touches that Jack Nitzsche helped with. So it's got all the ingredients".

                                          - Mick Jagger 

The song as a whole speaks to the many ways people were disappointed and dissatisfied with their lives. The lyrics address the main themes of the 1960s: love, drugs, and politics. The verses seem to depict the optimism that was first present in the 1960s, followed by disappointment, punctuated with the practicality of the chorus.

“I knew she was gonna meet her connection

At her feet was her footloose man”

The woman in this lyric turns to drugs to cope with her disappointment, caused by her “footloose man,” or unfaithful husband.

, "We're gonna vent our frustration

If we don't we're gonna blow a 50-amp fuse"

….yet another method of releasing frustration.

Richie Unterberger, an American journalist, said, 

"Much has been made of the lyrics reflecting the end of the overlong party that was the 1960s, as a snapshot of Swinging London burning out. That's a valid interpretation, but it should also be pointed out that there's also an uplifting and reassuring quality to the melody and performance. This is particularly true of the key lyrical hook, when we are reminded that we can't always get what we want, but we'll get what we need."

The positive message of this song cannot be denied, as the Stones continually assure that “If you try sometimes, you just might find you get what you need.” The chorus has one simple message: that you can make it through. The ultimately motivating tone of this song ends the groundbreaking album on a high note as a testament to the strength of individuals.

Sources: http://en.wikipedia.org/wiki/You_Can't_Always_Get_What_You_Want

http://www.songfacts.com/detail.php?id=527

Let It Bleed: Epic Classic or Just Another Good Album?

Awesome. Groovy. Chilling. Gut-wrenching. Spine-tingling. Mesmerizing.... While some may venture to say that no words could describe the genius that was "Let It Bleed", you can take your pick from the preceding superlatives and hopefully that will suffice. The fact is that "Let It Bleed" was awesome, groovy, chilling, gut-wrenching, spine-tingling, mesmerizing, and even to some extent indescribable. So the answer to the above question is that, no, "Let It Bleed" was not any old album... and not even any old good album. It was so much more than that.

Why?... What was it about "Let It Bleed" that made it so valuable musically, culturally, aesthetically, historically?...

It begins and ends with the effect the music had on people. It captivated its listeners, removing them from their own personal realities and placing them into the world of The Rolling Stones - a world which, in many ways, realized the darker aspects of humanity. Yes, it features an almost unprecedented level of creativity, collaboration and musicianship, but "Let It Bleed" transcended musical competence because of its ability to evoke, what many refer to as, the darker sides of their souls. Playing heavily on its blues roots, "Let It Bleed" lends an almost seductive aura to the dark and the twisted aspects of the human race. Prime example?... "Midnight Rambler", one of the darkest yet most bone-chilling and masterful songs on the album.

"Midnight Rambler" is, quite simply, about murder. It features a stunning partnership of Keith Richards on the slide guitar and Mick Jaggers on the harmonica. The lyrics literally describe the 'thrill' of breaking into people's houses and murdering them in their beds. Therefore, it's safe to say that the lyrics, by themselves, are nothing short of disturbing. However, listening to the song as a whole is a completely different experience. Instead of being horrified by the thought of mass murder, listeners are swept into the appeal, the intrigue, the drama that the Stones create. Between the whirling of the almost demonically teasing harmonica, the sudden, unpredictable and chilling halt, the throbbing bass and drum beats, the eerie and wicked cackle, and the hypnotizing, brutal and explosive conclusion, the song truly showcases the genius of both The Rolling Stones and their album "Let It Bleed". "Midnight Rambler" is undoubtedly savage, but there is something interesting if not remarkable about such savagery. It is enough to corrupt even the saintliest of listeners... such is the power of the Stones' persuasion.

"I am a quiet man with an uneventful life, but the spirit of this song connects with something primal in me. Whatever that something is, it has sweltered under a blanket of repression and guilt; given the opportunity by this music, it dances for joy in the light of day. I am left feeling whole and exhilarated."

                                  - Reflects Rolling Stones fan Mark Harkin

And then... as if "Let It Bleed" couldn't get any more excruciatingly great... The Rolling Stones come up with "You Can't Always Get What You Want, which features not dark, almost sadistic lyrics and instruments but, instead, gospel choirs and a beautiful, uplifting message. Talk about range. Juxtaposing "Midnight Rambler" and "You Can't Always Get What You Want", which tells the tale of beaten, angry, battered souls who, despite it all, still manage to survive (what a metaphor for the youth of the sixties!), is nothing short of mind-blowing. The Stones' decision to end "Let It Bleed" really solidifies the Stones' ultimate message for the album and for the entire 60s in general: that, if we just accept ourselves and each other (weaknesses and inadequacies included), our daily struggles will seem considerably lighter and, furthermore, we might even catch a glimpse of a higher meaning.

And the list doesn't end there. "Gimme Shelter" and "Let It Bleed" and you have an awesome selection of songs. And an awesome range. The Rolling Stones' ability to take you into, what you could rightly call, the depths of evil and even insanity in "Midnight Rambler", the apocalyptic foreboding in "Gimme Shelter", the drug world of "Let It Bleed" and the ultimate source of hope in "You Can't Always Get What You Want" in one single album that, despite its tremendous diversity and variety, still manages to keep its believability and authenticity - it's tremendous. And it makes "Let It Bleed" sensational... valuable... epic even.

At the end of the day, "Let It Bleed" is an experience. It's a journey... it's a triumph... it's a classic; and its value musically, culturally, aesthetically, and historically is not to be under-appreciated. Instead, "Let It Bleed" screams importance and, as instructed on the album, "This record should be played loud"!

Sources:
http://www.threemonkeysonline.com/als_page2/Rolling_Stones_Let_it_Bleed.html
http://jalopnik.com/383931/what-are-your-ten-favorite-wrenching-albums

Gimme Shelter: The Documentary

"Gimme Shelter" is a documentary directed by Albert Maysles, David Maysles, and Charlotte Zwerin, following The Rolling Stones on their 1969 tour. Its main focus is the tragic Altamont concert.

(Image taken from http://www.imbd.com)

Altamont: the Decline of an Era

300,000 young, hip attendants... A mega-star lineup including Jefferson Airplanes and The Grateful Dead... Organized by one of the grooviest bands of the age - The Rolling Stones... 

At a glance, the Altamont Speedway Free Festival had all the makings to be a smash. In fact, it was actually anticipated to be the "Woodstock of the West". Held on December 6, 1969 at the Altamont Speedway in northern California, it was planned and organized by The Rolling Stones, who wanted to cap off their American tour with a concert of such magnitude and such exuberance to rival Woodstock (which had occurred four months earlier in August, 1969).

In accordance with The Stones' vision for Altamont, no professional security was hired. Instead, upon the recommendation of The Grateful Dead, the Stones hired motorcycle gang Hells Angels to provide security for the band. Hells Angels had a reputation among the hippies as "noble savages" or "outlaw brothers of the counterculture" because of their relationship with Ken Kesey, who had Angels to participate in one of his Acid Tests. So, again, the Angles seemed to effortlessly fit into the Stones' vision for Altamont. Their price?... It's rumored that the Hells Angels were hired for $500 worth of beer.

While the Stones' intention for Altamont was peaceful enough, the concert went horrifically and even tragically wrong - despite all of its initial promise. By the end of the night, the mood of the concert turned increasingly violent, agitated and aggressive, fueled by the Hells Angels, who, by that time, were completely intoxicated. The crowd, most of which had been using LSD, were unpredictable and unruly, attacking one another and members of the Angels. Before the Stones even took the stage, fights erupted, with crowd member Denise Jewkes suffering a stress fracture and Marty Balin of the Jefferson Airplanes getting punched in the head by the Hells Angels. The Grateful Dead refused to even perform. 

By the time The Rolling Stones took the stage, things had clearly gotten out of hand. The picture is almost too insane to even believe. Mick Jagger, within minutes, was punched in the face by a crowd member. Thousands attempted to swarm the stage, with Hells Angels members warding them off with pool sticks. 

"Just be cool down in the front there, don't push around."

                                                                  - Mick Jagger

"I saw what he was looking at, that he was crazy, he was on drugs, and that he had murderous intent. There was no doubt in my mind that he intended to do terrible harm to Mick or somebody in the Rolling Stones, or somebody on that stage".

                                                       - Hells Angel, Rock Scully [on Meredith Hunter]

During The Rolling Stones' performance of "Under My Thumb", fan Meredith Hunter (age 18), after attempting to climb onstage, was punched and chased away by Hells Angels members. Irate, and high to the point of near insanity, Hunter returned and attempted to pull a revolver out of his suit pocket. Hells Angel Paul Passaro stabbed Hunter, killing the eighteen year old (the incident was actually caught on film by Eric Saarrinen and later featured in the documentary "Gimme Shelter"). The footage shows Passaro stabbing Hunter five different times and, afterward, Hells Angels members stomping on Hunter's dead body.

Passaro was later arrested and tried for murder in 1971. He was found not guilty on the grounds of self-defense. Autopsies of Hunter's body showed that he was high on meth at the time of his death. The Stones have maintained that, while they were aware of the unruliness of the crowd, they had no idea of the stabbing.

In many ways, Altamont represented the decline of an era. It truly closed the door on the 1960s... perhaps burying forever the idea that drugs, chaos and total, unrestrained freedom could inspire total, unrestrained peace. Instead, Altamont revealed flaws and cracks within the hippies' ideology. It made it obvious that such events had a very dangerous potential because of their combination of drugs, no security, and masses of people. It seemed, after Altamont, that many (the Stones included) began to doubt that drugs could change the world, as included in the hippies' very romanticized principles. 

Thus, Altamont represented a critical juncture in the Stones' career. It was one of their last gigs in the 60s, but, more than that, it was their last gig of the true hippie era. It demonstrated the disillusionment of the hippie dream, and The Rolling Stones emerged from Altamont a more mature and experienced band.

"Writers focus on Altamont not because it brought on the end of an era but because it provided such a complex metaphor for the way an era ended". 

                                                            - Robert Christgau, rock music critic

Certainly Altamont has been solidified as one of the most important and most infamous music festivals of all times. And, with it, history was made. Altamont, and ultimately the entire "Let It Bleed" album, truly did change history - it represented the death of Woodstock Nation, and, for that, its place in history is of indescribable magnitude.

In the Eyes of the Critics

For many, "Let It Bleed" is a musical masterpiece, featuring some of The Rolling Stones' greatest creative visions and expressions. If "Beggar's Banquet" first placed the Stones onto a platform of musical competence, "Let It Bleed" propelled them even further on their climb to artistic genius. Perhaps for the first time, the Stones, in "Let It Bleed", truly offered a social commentary on the societal ongoings unfolding around them. Hit tracks included "Gimme Shelter", which was exhaulted for its dramatic lyrics and gourndbreaking guitar chords, and "You Can't Always Get What You Want", which was considered the "epic" and "stunning" climax of the album because of its tremendous chorus, lyrics, use of horns, and overall structure. The album was also praised for its inclusion of more blues-oriented tracks, like "You Got the Silver" and "Love in Vain", which truly embraced the Stones' blues roots.

"Brilliant."     

                      - Times.com

"Dark, dreary, but oh so beautiful. Anthems, ballads, spooky celebrations of murder - all set to an unbelievably creative set of melodies... This album is bleeding so strong that it gets my vote for the best Stones album ever and one of the greatest rock albums ever made by mortal man."

                    - Music reviewer, George Starostin

Overall, "Let It Bleed", as critics noted, accurately reflected the general attitudes and emotions of the time. And it was subsequently praised for this achievement. It is widely considered one of the Stones' greatest albums of all time, and the charts certainly speak for themselves... #1 on the 1969 UK Album Charts and #3 on the 1969 Billboard Pop Albums.... not so shabby.

Sources:
http://www.allmusic.com/album/r16831
http://www.sixtiesmusic.org/rollingstones.html
http://starling.rinet.ru/music/stones.html