Description Oh, a storm is threatening My very life today, If I don't get some shelter, Oh yeah, I'm gonna fade away. War, children, it's just a shot away, It's just a shot away, War, children, it's just a shot away, It's just a shot away. Ooh, see the fire is sweeping Our very street today, Burns like a red coal carpet, Mad bull lost its way. War, children, it's just a shot away, It's just a shot away, War, children, it's just a shot away, It's just a shot away. Rape! murder! It's just a shot away, It's just a shot away. Rape! murder! It's just a shot away, It's just a shot away. Rape, murder! It's just a shot away, It's just a shot away. The flood is threatening My very life today, Gimme, gimme shelter, Or I'm gonna fade away. War, children, it's just a shot away, It's just a shot away, It's just a shot away, It's just a shot away It's just a shot away, I tell you love, sister, it's just a kiss away, It's just a kiss away, It's just a kiss away, It's just a kiss away, It's just a kiss away, Kiss away, kiss away. ROLLING STONES: "Let It Bleed" LP. VERY FIRST UK PRESSING IN STEREO, 5th DECEMBER, 1969. ON THE BLUE & SILVER 1960's ONLY, 'Unboxed' DECCA LOGO LABEL. UNIQUELY SHAPED 1969 COVER WITH A FORMAT HOLE ON THE BACK, THE FRONT COVER HAS A STICKER STATING A ROLLING STONES POSTER IS INSIDE. THE LIMITED EDITION POSTER IS IN MINT- CONDITION, AS THE 1969 VERY FIRST EDITION ONLY, THIS INCLUDES THE CUSTOM PRINTED "Let It Bleed" ALBUM CREDITS BLUE INNER SLEEVE. 'Unboxed' DECCA LOGO LABEL: SKL 4955 MAITRIX: XZAL - 9363 - P - 4W / XZAL - 9364 - P - 3W Very low for an unboxed 1969 maitrix, the average ending digits were '5 & '6' per individual side, please see below the codes.* BOTH SIDE'S 'Mother' DIGITS ARE '1' WHICH IS FAR MORE INDICATIVE OF THE SMALLER STEREO BATCHES MADE. EXAMINING DECCA'S STAMPING CODES IS ALWAYS REVEALING AND THEY FIT PERFECTLY WITH THE LABEL'S LARGE PRINTING SIZE AND THE MAITRIX FORMAT. SIDE 1: 1 1 2 ( 3 o'clock '1' digits were intended to be 'BB,' but direct digits representing '11' were stamped at 9 o'clock) SIDE 2: GM 1 DECCA USED THE WORD 'BUCKINGHAM' AS THEIR CODE, SO THAT TRANSLATES AS; SIDE 1: No. 11 record side from the second1969 Stereo 'mother.' SIDE 2: No. 79 record side from the very first 1969 Stereo 'mother.' *Decca's pressing sequence often began with '- 1W / -1W', but not necessarily, the lowest I have personally seen was '-1W / -3W,' but once again ending digits for a huge selling No.1 album cannot be taken in isolation. Take the release date and a complete label re-design only three weeks after "Let It Bleed" was released, then the little matter of Mono becoming obsolete at exactly the same time, even if Decca appeared to be obvious of that! The Rolling Stones were hardly an unknown band and there had to be several relatively small Stereo batches made, even in 1969, Decca were convinced Mono would continue as usual into the 1970's decade. They were not alone, so did Pye and CBS who were still only producing mono covers in late 1969 with 'Stereo' stickers added onto the back for their Stereo records. This is too complex to continue here, I will immediately return to some 'myth busting' after completing the individual items grading's etc. in this section. Simply said, Mono and Stereo records pressed for the few weeks before the Christmas of 1969, before the factories closed down, can be easily identified just by looking at the labels, the covers, possible poster stickers on the covers and even the actual texture of the Limited Edition "Let It Bleed" posters. The maitrix ending digits rises do not mean the pressings were later because all unboxed label stereo records were simultaneously pressed before the 5th December, 1969. Substantiated by the sides having '1' & '2' mother' digits stamped in the run-out grooves at 9 o'clock, you cannot take such meticulous indexing in isolation from other major, exclusive first edition details. What could possibly be more major or conclusive than a label design discontinuation in the same December, 1969, only a matter of days after "Let It Bleed" was released in the UK? THE DEDICATED "Let It Bleed" INNER SLEEVE, WITH ALBUM CREDITS PRINTED IN BLUE PRINT. 1969 STEREO FORMAT, A BLUE BORDER DECCA INNER SLEEVE, THE FIRST TYPE MADE FOR THOSE RECENTLY INTRODUCED UNIVERSAL MONO & STEREO COVERS. ONE SIDE WAS USED TO PRINT THE FULL ALBUM CREDITS ON, EITHER RED FOR MONO OR BLUE FOR STEREO. IN EARLY 1970, DECCA INTRODUCED ANOTHER TYPE WITH JUST COLOUR SQUARES TO LINE UP WITH THE BACK COVER FORMAT HOLE. THEY CONTINUED USING THIS TYPE WITH CREDITS, FOR THE INITIAL EARLY 1970 PERIOD, WHEN BOTH MONO AND STEREO RECORDS WERE MADE WITH THE NEW BOXED LOGO LABELS. The initial copyright error over the 'London Bach Choir', who sang on "You Can't Always Get What You Want," that was crudely crossed out with a black felt marker pen. This very first inner sleeve did not have that crossed out and therefore the sleeve has an unspoilt appearance, on this outstanding condition essential "Let It Bleed" full credits inner sleeve. THE INNER SLEEVE WAS HARDLY UNUSED, TOTALLY UNAGED, UNWORN AND UNSPLIT, ONLY THE HEAVYWEIGHT RECORD'S IMPRESSION AND A FEW RELATED GENTLE CREASES, IN NEAR CONDITION. DECCA USED AT LEAST THREE DIFFERENT PRINTERS FOR THE COVERS, BUT THE DESIGN FOR THE FIRST ISSUES REMAINED UNCHANGED. I CAN POSITIVELY STATE THAT COVERS MADE FOR UNBOXED LABEL FIRST PRESSINGS ARE CERTAIN TO HAVE AT LEAST THIS CREDIT ON THE BACK COVER'S BOTTOM RIGHT CORNER RIM: "Sleeve Printed In England" There had to be variations and some had a printer credit after the above, trying to work out which was made first would be an impossibility and a pointless exercise because they all had the exclusive first edition features.BR> THE UNIQUE SHAPE WAS A SLOPING SHAPE TO THE LAMINATED FRONT AND THE SPINE HAD POINTED ENDINGS. I RECENTLY WROTE A SIMILAR DESCRIPTION FOR THE VERY FIRST 1970 JOHN LENNON SOLO LP COVER ONLY LAST WEEK. THAT SPINE DESIGN ALSO HAD THE SAME DESIGN AS THE 1969 FIRST "Let It Bleed" COVERS, UNFORTUNATELY SUBJECTED TO SWITCHING FOR THE 1970 COVERS. THERE ARE VERY NOTICEABLE DIFFERENCES, MY PICTURES INCLUDE A CLOSE-UP OF THE TOP END OF THE SPINE, WHERE THE ALBUM TITLE IS PRINTED. The spine's pointed endings begin with a very instinctive tapering pleat just before the main flatter section meets the pointed endings. By being first made, the top and bottom edges directly in line with the beginning of the pronounced tapering, have a sloping shape, but the second 'Upton Printing' front covers are completely flat for the whole length of the spine in comparison. PATENT APPLICATION NUMBER TEXT IS PRINTED ON ALL FIRST AND SECOND ISSUE COVERS, CONNECTED TO THE 1969 REGISTRATION OF THE ALBUM COVER'S UNIQUE MONO / STEREO FORMAT. FOUND DIRECTLY UNDER THE FORMAT HOLE; 'Patent Application Number 413212/68,' I WILL INCLUDE THE RELEVANCE OF THAT NUMBER IN MY ROUND UP OF PRESSING DETAILS BELOW, I HAVE MORE THAN ENOUGH TO FINISH HERE! THE COVER IS IN OUTSTANDING CONDITION, AN ULTRA GLOSSY, UNDULLED LAMINATED FRONT OVER VIVIDLY BRIGHT, DEEPLY TONED ARTWORK. ONCE AGAIN, I AM ONLY DISCUSSING THE TRAITS OF STANDING IN STORAGE FOR THE LAST 49 YEARS, EVEN THE MATT BACK IS INCREDIBLY CLEAN, UNAGED AND POSITIVELY NO STAINS. There is no wear from use, a reasonably gentle record impression with some related small laminate edge lines, as ever, mostly where the ridged spine met the front and back. The main stress positions is always the spine regardless of how carefully covers are stored, yes, I can and do find amazing condition records but I cannot prevent the effect of gravity on cardboard and thin lamination. A once played 1969 record and, is in effect Mint vinyl because it could have been played in a 1969 record shop before the point of sale. This is a really stunning first edition cover as a whole, all l need say is the pale green matt back is completely clean without any stains, wear, scuffs or the very common ring wear, not even even a hint of ageing is extremely rare. I was very impressed by the storage because the bottom edge of the matt panel does not have the usual fraying wear and from standing, just a few ruffles after nearly 50 years is not exactly worth mentioning. Just the merest standing pressure on the tips of the back left side side corners, no more than it was firstmade! The opening sides were not used and like all the edges, they are crisp and unworn, the front right corners are as closeto perfect as it gets, even the spine endings only have the least possible brushing as I just mentioned. A really solid and starchy, unaged as new 1969 first edition cover is very rare, not suffering from being 'flimsy and floppy,' the vulnerable shape of the spine has some ripples from the edge lines but when compared to the average condition of this exclusive shape, this has survived exceptionally well, the front and back colours are nothing less than sensational. I think I have covered everything, the full selection of pictures will demonstrate the incredible condition and that has to be reflected in my grading, if a finer, more beautiful very first "Let It Bleed" cover exits, I would love to see it! THE COVER IS IN NEAR MINT CONDITION. SOME OF THE 1969 UNBOXED LABEL FIRST PRESSINGS AND THE & EARLY 1970 BOXED LABEL RE-ISSUES, HAD A STICKER ON THE FRONT COVER. THEY WERE LARGE, 2.75 INCHES LONG BY .75 OF AN INCH WIDE, PRINTED IN WHITE ON A BLACK BACKGROUND WITH; Full Colour ROLLING STONES POSTER Included THEY WERE PLACED AT RANDOM BY HAND ON THE COVERS BUT ALWAYS IN ROUGHLY THE SAME POSITION, NEAR THE BOTTOM LEFT CORNER BETWEEN THE ARTWORK'S 'RECORD' AND THE CAKE STAND. A POOR PLACE FROM A VISUAL PERSPECTIVE, BECAUSE IN RECORD SHOP DISPLAYS, COVERS WERE FLICKED THROUGH WITH ONLY THE TOP SEEN AND READ. The sticker stating,"Full Colour Rolling Stones Poster Included" was not laminated, they were really thin and easily rubbed and ruffled, this sticker has those traits but very firmly attached, yet again, the white lettering are still pure white and apart the merest fixing glue seepage. THE GENUINE 1969 POSTERS HAVE A POSITIVELY MATT TOP SURFACE ON THE FRONT AND THE PLAIN WHITE REVERSE SIDE. THE 1970 SECOND MADE POSTERS HAVE A SHINY FINISH, BOTH WERE MADE FROM RELATIVELY THIN PAPER AND THAT LED TO SPLITS AND TEARS ON THE FOLDS. Measuring a large 22" inches x 20" approximately, this has never been outside of the cover, opening with ease and none of the folds are weakened, one 'junction' of folds has slightly rubbed in a tiny area, but they all did that from the moment it was first folded. I often think I take too much notice of the smallest details, but I sincerely try my best to cover everything as accurately without just giving a meaningless one word grading. That way I can discuss the materials, printing and even the storage position in a compact Decca cover, placing the poster in direct contact with the record in the inner sleeve. There is no ageing, discolouration or stains, the colours are as bright as they were in December '69, the edges are crisp & sharp, I feel ! should stress how the poster has been resting against the inner sleeve and the record. In such a tight compact cover and not having the benefit of a gatefold's second storage compartment, there is a very minor impression on one part only and two tiny creases on the top left and bottom right corner. Only tiny minor triangle corner creases, I doubt if any seller declares anything so trivial, especially when it has never been used for the purpose it was intended for, displaying on a wall. EVEN SO, I AM GRADING STRICTLY, THE POSTER IS IN NEAR MINT CONDITION. THE RECORD WAS PLAYED ONCE ON ONE SIDE ONLY, I HAD TROUBLE FINDING THAT ONE ULTRA FAINT TRACE AND IT COULD EASILY BE PART OF THE 1960's THICKLY TEXTURED LABEL. All that matters is two immaculate labels and a deeply glossy record that literally looks like brand new, no marks, scuffs or scratches, I had every reason to be able to play the record....with my customary care with the labels and of course, the record. The sound is indeed absolutely stunning! I will describe this beautiful record's contents and how perfectly the fantastic first Jimmy Miller stereo mix sounds from these like new grooves. THE RECORD IS IN MINT CONDITION. SIDE 1 "Gimmie Shelter" "Love In Vain" (Robert Johnson) "Country Honk" "Live With Me" "Let It Bleed" Side 2 "Midnight Rambler" "You Got The Silver" "Monkey Man" "You Can't Always Get What You Want" Mick Jagger - vocals & harmonica on "Gimmie Shelter" & "Midnight Rambler" Keith Richards - acoustic, electric and slide guitars, bass guitar on "Live With Me", backing vocals & lead vocals on "You Got the Silver" Brian Jones - autoharp on "You Got the Silver", percussion on "Midnight Rambler" Mick Taylor - electric & slide guitar Bill Wyman - bass guitar, except "Country Honk" & "Live With Me." autoharp on "Let It Bleed" & vibes on "Monkey Man" Charlie Watts - drums (except "You Can't Always Get What You Want") Nicky Hopkins - piano on "Gimmie Shelter", "Live with Me", "You Got the Silver" & "Monkey Man" and organ on "You Got the Silver" Al Kooper - piano, French horn and organ on "You Can't Always Get What You Want" Leon Russell - piano and horn arrangement on "Live with Me" Ian Stewart - piano on "Let It Bleed" Byron Berline - fiddle on "Country Honk" Ry Cooder - mandolin on "Love in Vain" Bobby Keys - Tenor saxophone on "Live with Me" Rocky Dijon - percussion on "You Can't Always Get What You Want" Jimmy Miller - percussion on "Gimmie Shelter", drums on "You Can't Always Get What You Want" and tambourine on "Monkey Man" Backing Vocals: Merry Clayton - "Gimmie Shelter" (credited as Mary Clayton on the inner sleeve) Nanette Workman - "Country Honk" and "You Can't Always Get What You Want" Madelaine Bell - "You Can't Always Get What You Want" Doris Troy - "You Can't Always Get What You Want" The London Bach Choir - vocals on "You Can't Always Get What You Want" Jack Nitzsche - choral arrangements on "You Can't Always Get What You Want" All Songs Written By Mick Jagger & Keith Richards, Except "Love In Vain" (Robert Johnson) Recorded November 1968 and February - November 1969 At Olympic Studios, London. Produced By Jimmy Miller After typing all the complicated details and album credits, I will make sure to keep this section fairly short and soon move onto the record itself, pressing details might be very obvious to some, but not to the majority. As I started to say just now, there has never been such 'an open and shut case' for identification of a first pressing of such a major album, "Let It Bleed" was a milestone Rolling Stones album. After six years with one record company, this became their final one for Decca, it was also the last with all five original founder members credited, Brian Jones was reduced to even a lesser role than Syd Barrett in the previous year when both could no longer function as a contributing musicians. For Brian it was much worse, because he died the 3rd July 1969 and the sessions for "Let It Bleed" were really started in 1968 while recording "Beggar's Banquet, " a time when he was a driving force in the band. A return to blues after "Satanic" brought the best out ot him, but psychedelia and the excessive drugs he was taking was the reason I just compared him with Syd Barrett, not that Keith and Mick were exactly saints! The 60's was drawing to an end and tracks like "Sympathy For The Devil" and now "Gimme Shelter" told of a new reality, the last Rolling Stones album on Decca also featured Brian Jones' replacement, the young and talented Mick Taylor was perfect for the band. They recorded a definitive Rolling Stones album, so definitive, I personally feel they never again quite re-scaled to such heights and it would be two years before their follow up album was released on their own 'Rolling Stones' record label. By 1971, they had not quite left this period behind though, the finest track on "Sticky Fingers" was "Sister Morphine," I would love to continue this, a subject dear to my heart but I had better steer back to the pressing info. The labels on a record are often not positive enough alone to identify first pressings from, but Decca had waited three years since re-designing the open lettering of their logo on singles to a having a box placed around much smaller 'Decca' letters. In fact, "Paint It Black" was pressed on both designs in 1966 and that fantastic single can also be identified by the labels as which was the first pressing. Without the Mono and Stereo complications I might add! Decca and so many other British record fully expected both formats to continue in the 1970's decade, EMI led the way by immediately stopping anymore Mono LP's to be recorded and released in 1969. However, that did not mean the majority of record buyers rushed out and bought Stereo systems, on the contrary, most were still playing Stereo only records on 1960's Mono systems, just check the back covers of the albums from 1975 to 1976, to discover how record companies were still printing warnings and advising how Stereo records could be played with a mono stylus. For example, had EMI not recognised in 1969 how the immediate future would become one of stereo only, the Beatles "Abbey Road" would have been issued in both Mono and Stereo. If anyone missed the era, just look at the shocking state of the majority of "Abbey Road" first pressings and of their 1970 "Let It Be" LP's for how blunt Mono needles were used for those Stereo only records. Decca were not alone, RCA, CBS, Polydor and Pye released Mono records in late 1969 when EMI declined to, but Decca were committing themselves long term to Mono's continuation in the new decade. Ater all, it was during 1969 when Decca re-designed their covers and inner sleeves, introducing these universal Mono and Stereo covers, with a die-cut hole in the back top corner to identify from the colour coded inner sleeves showing through. This cover still has the proof of that with them still waiting for the design's Patent to be granted. "Patent Application No.43212 / 68" was printed underneath the format hole, so it was a whole year since they applied, because I believe '12/68' was the month and year Decca applied for this novel idea. Even though they should have really been coming to terms with how mono was about to be replaced by Stereo at the dawning of the 1970's decade. The unboxed Stereo pressings have been swept aside by sellers who naturally enough are eager to state that the Mono versions of "Let It Bleed" are rare, well surely those daily listings on ebay have been reason enough to question that? We are into the same 'Emperor's invisible clothes' scenario I have been challenging on ebay since joining, because 'Mono and rare' do not belong together when you are discussing the late 1960's! The last few weeks or not, in December the majority of British homes still had Mono record players and radiogrammes, mono records were bought and played on them, if they were not in Mono then Stereo records were played instead. If that was not true the above major's would not have still been pressing them, in the same way video's are no longer manufactured today, the rarest format for "Let It Bleed" always was and always will be, the genuine December 1969 pressings on the unboxed labels, due to that shortest duration of the label design in a mono dominated era. I do not need to pursue this because ebay will reveal how as high as 90% of all the Stereo originals are on the boxed logo labels and most of those are from much much later in the 1970's decade, assuming the sellers do reveal clear views of the labels, instead of withholding sight or any text informing about them being boxed or unboxed. The actual rarity for the Mono "Let It Bleed" UK records originated in 1970 not 1969, numerically speaking in terms of pressings made, the red Mono boxed labels are the actual rarities if complete with the inner sleeve, stickered cover and poster. Decca pressed massive amounts of "Let It Bleed" mono records in 1969 and I return again to how conditions commanding where the reality lays for No.1 chart topping albums. A search on ebay will confirm something I know to be factual, the myth about the so called 'rare' Mono 1969 pressings of "Let It Bleed" is simply untrue, unboxed Mono records out-numbered unboxed stereo records or at least approximately equalled the genuine 1969 stereo records. One thing for sure, a 5th December 1969 first issue pressing could only be for the rest of the few weeks leading up to the the 24th December, Christmas period, for once there is a positive identification for mono and stereo first pressings that nobody can argue with! In January 1970 Decca continued pressing both Stereo and mono records, only now on the re-designed labels with a boxed logo, they even continued including posters and stickered covers. Right, time for some music , this is an awesome sounding record and the only surface sound is minor static, beyond found on every original pressing, I can name that now. From as close to silent gap as vinyl gets and then a perfectly clean intro to the album's toughest test, the soft acoustic guitar into to "Love In Vain" which is also as perfectly clear as you could wish to hear. The track continues to be that amazingly clean right up to the very last few seconds as the track ends, the surface sound there is so minimal I should not be highlighting next to nothing, but it does illustrate what a stunning record this actually is! Side 1's run-in grooves has light static on a record still not 'run in yet, but clear just before and when Keith Richard's spine tingling lead guitar signals the 'intro of intro's. Wow, what an impact, I fully expected that but the intro still blew me away. The incredible"Gimme Shelter" is here in maximum power and volume yet the with the staggering clarity of a CD for not having to suffer hearing that overpowering moment through a muffled curtain of wear and crackles etc. I must respect this Mint record and I am in danger of writing the longest description of all time if I do not take firm control, concentrating on sound info, rather than get into ebay related issues like grading. Few intro's have that devastating effect, you know something magical is about to follow it and the 1969 stereo panning leaves your ears spoilt for which sounds to follow from both directions, the percussion seems to fill the room and that amazing moment and when Mick sings the first verse, pure magic. Mary Clayton's duet with Mick Jagger during the superb chorus, brought the improvisational r&b vocals of say Otis Redding, into a heavy rock setting and the sheer power of this incredible opening track is there in both the instrumentation as much as the compelling vocals. I do not have any desire or inclination to analyse a senses orientated true stereo mix & panning effects, I often sacrifice personal enjoyment of long loved albums, but I am too close to "Let It Bleed" for that and I just want to soak up the music and it's phenomenal impact. I will happily say how the sound quality is flawless and absolutely stunning, gradually fading out into a completely silent gap, to allow a perfectly clean acoustic guitar only intro for the wonderful slow blues of "Love In Vain." Performed exquisitely, the acoustic blues casts a a magical spell I personally could not handle being broken by intrusive noise, I would not expect anyone else to from a record I am recommending whole heartedly. This is the Rolling Stones right at the very peak I felt would never be re-scaled again, I love their early 1970's albums but "Love In Vain" was part of a real masterpiece where every second blows you away, the sound quality here is nothing less than sensational and as critical as I was prepared to be before, in truth the last few seconds are also as close to being perfect as any record possibly can be, I will not remove the above paragraph written before I took another listen, I will state this has to be the ultimate sounding "Love In Vain" from a 1969 'first' pressing. The intro of street sounds before the acoustic guitar and a car horn are again perfectly clean and clear of any surface sound, I will add the acoustic guitar is in the right channel. From that gentle unrequited love song, in wonderfully clean sound, the quiet sounds of street traffic and Mick Jagger saying "Here we go", "Country Honk" features the acoustic / blues /country style begun on the 1968 "Beggar's Banquet". Written by Gram Parsons who modestly made no attempt to enforce any credit or for the other version he was involved with. A far slower, country influenced version of the then recently issued single "Honky Tonk Women" and in the left channel you have the atmospheric violin or fiddle played by Byron Berline. The stereo sound here is simply incredible, very powerful with the definition on the simple instruments such as the violin, in immaculate sound quality. Keith's backing vocals are superbly clear, this is indeed the ultimate sound you would only associate with unplayed, Mint vinyl. The final honk that ends "Country Honk", runs smoothly and absolutely silently into another of those delightful inaudible gaps, giving the staggeringly powerful bass guitar intro to "Live With Me" the most perfect audio clarity. I have no idea why Keith and not Bill played the bass here, but Keith's performance was so immense, he would have made an amazing bass guitarist. This is when stereo has the greater impact than the mono version, because you have such clearly defined lines where one instrument begins and impacts, the sound is absolutely stunning, for my excessive volume, no distortion at all during that pumping bass, or on the whole album. My volume is set even higher than normal, that's pretty loud, so not even a squeak will go unheard! That is for grading purposes as much as enjoyment, I am only doing as instructed because the credits inner sleeve does have this printed on the bottom right corner, "This Record Should Be Played Loud." I couldn't agree more and have been doing so for 48 years now, Jagger's vocal has superbly sharp edged sound, Mick Taylor's slide guitar is inspired with a glorious ringing tone not unlike the sound Brian Jones used for the "Little Red Rooster" single. 'Outstanding true stereo' is the only way to describe stunning sound quality, Decca's pressings have long been the subject of my praise, a track such as this has to only be heard in sound this pure. Of course this is vinyl, this track always verges on being rare without crackles and distortion caused by the wear of the decades, an incredible record. This is classic Rolling Stones, the lyrics are not exactly feminine friendly, the sound is mighty beefy! The brass adds a real punch to a track that has now built up amazing energy and dramatic tension. The electrifying sounds fade out and the last gap on this side is completely silent and allows another smoooth link to the acoustic guitar intro to the title track,"Let It Bleed". Mid-tempo blues was augmented by having Nicky Hopkins superb piano and Keith's sublime blues guitar sounds incredibly sharp, Bill Wyman bass is at the same very loud level, with Mick Jagger's vocal full of drawn out phrasing. The piano is much further up in the mix on stereo versions, heard at an equal level to the acoustic rhythm guitar. Such immaculate detail heard on the vocals permits Keith's harmonising on the chorus to be heard as clearly as Mick's razor sharp lead vocal, I have played some incredible UK stereo pressings of "Let it Bleed" over the years before joining ebay, this is up there with the very best I have ever heard, that includes my own copy. I can only confirm my earlier comments right from the intro to "Gimme Shelter," an amazing record, even on this very gradually faded outro, there is still no surface sound, I can't wait to hear the second side of "Let It Bleed", I do love and appreciate my profession! Side 2 retains the extraordinary audio pressing standards set on Side 1, near silent run-in grooves only have the lowest of low static, "Midnight Rambler" has a guitar only intro and as a side opener, the constantly dropped needles created loud clicks and awful noise on the mono and stereo records. Not here, you can just settle back in your chair, turn up the volume and be blown away by the Stones kicking hard at an incessant but engaging blues riff. The cleanness here is the only confirmation needed that this was indeed played once in all those years, labels are like a car speedometer with the mileage displayed, this record is the equivalent of a car with delivery mileage. I lived through the late 60's and early 70's, I marvel at any copies of "Let it Bleed" that still play precisely as they were first pressed. Check out the cover artwork's 60's auto changer spindle for how these very records were stacked, this staggering sound is a joy to hear. An amazing track with the very essence of the Rolling Stones, reverting back to their 1963 beginning's, pure blues, rugged, raw and so loose, with improvisations all part of the recording. With a dominant blues harmonica and a smouldering Jagger vocal, the tempo undergoes several changes, slowing and speeding up before dropping down to a near full stop. Not describing the stereo panning and perfect sound quality, has freed me to give an even more personal take on the album, I have waited a whole year to present this sensational album again. You do not need to be a Stones collector to get into this album, but once you do, be warned, because you will back-track all the way to their 1963 debut 45 "Come On" and still be eager to hear more! The Stones really were that great! The ad-libbed "Don't do that" chant is sung to a shuffling rhythm, then down to just a single harmonica and guitar. Mick Jagger almost speaks the "Boston Strangler" verse over superb slide guitars, then the song ignites into an increasing tempo, keeping up the dramatic tension right until the very last note. Brian Jones is credited for percussion, nice to picture him involved for the last time on such an astonishing performance, the volume drop reveals no needle or surface sound at all even as the single instrument quietly plays out into the gap, just the merest hint of static, just as well because "You Got The Silver" has an intro of only Keith playing an acoustic guitar and singing it very softly on the first verse. The clarity here is just breathtaking, now Keith's second guitar plays great slide blues fills on an acoustic guitar before the rest join with him, if anything Mick Taylor's role was limited and "Let It Bleed" featured Keith inspired out of his skin on every possible guitar... including the bass! The stereo sound on this very intimate way of recording is absolutely stunning, everything is heard in razor sharp sound. My bias and long love of these great tracks does not mean I'm in any way losing sight of grading with total impartiality, this just happens to be a simply awesome playing record! The gap is so silent, Mint vinyl is not only pleasing to the eye, "Monkey Man" has a rippling Nicky Hopkins piano, a bass guitar and light percussion as an intro, the sounds have no needle sound to compete with and there is no sensation of vinyl being involved, except for the most glorious analogue sound! Mick Jagger once again sings an amazing vocal, and Charlies Watts' drums reach the fullest volume as the melody develops into a really outstanding song. Mick virtually screams out "I'm a monkey" and the volume leap is astonishing on Jimmy Miller's stereo mix, especially with such crystal clear undistorted sound, that remains unaffected by all the incredible power unleashed there. Great guitar riffing and Charlie's superb drumming all add up a major Stones recording, at the end you are treated to a fantastic instrumental piece, then Mick goes into a stunning vocal improvisation. Such incredible music, and still to come the astonishing "You Can't Always Get What You Want" in the original UK stereo mix, to me that is something magical because I know in advance every second will have perfect audio clarity. From a silent gap, yes silent, I almost held my breath from habit, but this is perfectly clean and there is literally no surface sound during the first choral verse opening up this epic of a recording. Beyond the natural sound of a record playing in the gap and during that beautiful opening piece, this is just stunning audio! I must not paint a picture of a CD here because this is a record and a stunning sounding record at that! Now Mick quietly sings his first verse, accompanied by the great percussion and an acoustic guitar, it is indeed sheer perfection in audio. The percussion signals a huge volume increase, now one of the Stones most complex productions moves into the second phase, an Al Kooper organ plays the main theme as the percussion increases, with bongo's added. Apparently Brian Jones invited Al Kooper into the session so he had a role in this track one way or another because Al Kooper also played the French horn. What amazing true stereo panning, if you know Traffic's three 1960's albums well, Jimmy Miller's mix here is along the same lines, I was only making a quick comparison, but the senses orientated stereo mix here is just as potent. This is a staggering record to play and especially if you like a bit of volume for this song! The grande finalé is overpowering, your senses become completely engulfed by an onslaught of harmonised heavenly choirs. "Let It Bleed" is an LP of magnificent music, I don't like to keep using the word 'rare' incorrectly but regardless of formats, this was the very sound the Rolling Stones were aiming at and achieved, to hear that as I did in December, 1969, you must have a first pressing of either format, personally I love them both and am proud to present the first Stereo pressing in such stunning sound. So stunning on every track, I feel vindicated for hearing sound that can only equate to a first pressing from 1969, yes, the labels were changed, but the Master tape transfer was not! This is indeed a first generation to the Master Tapes and so I have no hesitation saying this is an ultimate first unboxed logo pressing. The best way to sum up the sensational listening experience I have just thoroughly enjoyed, think of the finest sounding record in your collection and this will at least match it, if not completely blow it away! {Roy} R & M RECORDS. My lifetime's love of music and records began at a very young age, the arrival of the Beatles and the 1960's decade in general had a very profound effect. It was only natural to bring all my first hand experience of collecting vinyl into becoming a professional record seller. Nearly thirty years ago we entered into the wonderful atmosphere of record fairs with the highest possible standards set. When the Internet became the world's new market place for vinyl, in 2001 it was time to join ebay. Those standards were rigidly adhered to as they will always continue to be, the basics of honesty and integrity were very much part of the era the music I love originated in, so here is our friendly and very efficient service we are proud to provide; EVERY RECORD IS FULLY PLAYED AND COMES WITH A 'NO ARGUMENT' MONEY BACK GUARANTEE. I USE GOOD OLD COMMON SENSE AS WELL AS A GLOBALLY ACCEPTED GRADING TERMINOLOGY FROM THE U.K. "RECORD COLLECTOR PRICE GUIDE" BOOK. THERE IT CLEARLY STATES "Sound Quality" AFFECTS EVERY GRADING LEVEL AND THAT IS THE ONE AND ONLY POSSIBLE WAY TO ACCURATELY GRADE RECORDS. i.e. COMBINING A STRICT VISUAL INSPECTION WITH VERY CLOSELY LISTENING TO EVERY SECOND, UNLESS PERHAPS IN THE CASE OF GENUINELY UNPLAYED VINYL. EVEN THEN WE STILL TAKE FULL RESPONSIBILITY FOR A RECORD WHEN A CUSTOMER RECEIVES EITHER A SEALED OR AN UNPLAYED RECORD. We take 100% responsibility after an item has been posted and offer our fullest support in the event of any problems. "There Are No Problems, Only Solutions" (John Lennon) MY DESCRIPTIONS WILL ALWAYS BE 100% HONEST AND TOTALLY ACCURATE ON ALL GRADINGS FROM 'V.G.' ( VERY GOOD), TO THE ULTIMATE 'MINT' CONDITION. ANY QUESTIONS ON OUR ITEMS ARE WELCOMED AND WILL BE PROMPTLY REPLIED TO. WE ARE FULLY EXPERIENCED AT SHIPPING WORLDWIDE AND NO EFFORT IS SPARED TO PROTECT RECORDS AND COVERS ETC. WE WELCOME BIDDERS FROM ANY COUNTRY IN THE WORLD. ALL RECORDS ARE REMOVED FROM THEIR SLEEVES AND PLACED INTO NEW PROTECTIVE CARD SLEEVES AND THEN PLACED INTO NEW, HEAVYWEIGHT PLASTIC OUTER SLEEVES. THE GREATEST ATTENTION IS PAID TO MAKING THE PACKAGING EXTREMELY STRONG & SECURE. EVERY POSSIBLE EFFORT IS MADE TO ENSURE A SAFE DELIVERY AND WE ONLY USE THE VERY BEST QUALITY PACKAGING MATERIALS, THE COST OF THE ITEM IS IMMATERIAL, EVERY RECORD IS TREATED EXACTLY THE SAME. WE DO NOT TREAT POSTAGE AS A MONEY MAKING PROJECT, POSTAGE IS LESS THAN COST, USING ONLY PROFESSIONALLY PACKED BOXES WITH SUBSTANTIAL PROTECTIVE PACKAGING THAT DOES WEIGH A LITTLE EXTRA. UNDER PAYPAL & EBAY'S GUIDELINES, ALL RECORDS WILL BE SENT VIA A FULLY INSURED TRACKABLE SERVICE. For LP's valued above £50, the cost will be £9, we are unhappy about either increase but our high standard of packaging has meant in 16 years of ebay trading, there has not been one record damaged, we are determined to maintain that in the present and future. IN THE UK RECORDS UP TO THE VALUE OF £50 WILL BE SENT RECORDED DELIVERY, OVER £50 WILL BE SENT SPECIAL DELIVERY. FOR THE REST OF THE WORLD ALL RECORDS WILL BE SENT VIA 'INTERNATIONAL SIGNED FOR.' POSTAGE COST FOR LP's UK: UP TO VALUE OF £50, FIRST CLASS RECORDED DELIVERY £5.00 UK: OVER VALUE OF £50, FULLY INSURED SPECIAL DELIVERY £9.00 EUROPE: FULLY INSURED VIA INTERNATIONAL SIGNED FOR £15.00 USA,JAPAN & REST OF THE WORLD FULLY INSURED VIA INTERNATIONAL SIGNED FOR £20.00 POSTAGE COST FOR EP's & 7" SINGLES UK: UP TO THE VALUE OF £50 FIRST CLASS RECORDED DELIVERY £3.00 UK: OVER THE VALUE OF £50 FULLY INSURED SPECIAL DELIVERY £6.00 EUROPE: AIR MAIL VIA INTERNATIONAL SIGNED FOR £10.00 USA, JAPAN ETC. AIRMAIL VIA INTERNATIONAL SIGNED FOR £12.00 PAYMENT DETAILS. WE WILL SEND ALL WINNING BIDDERS AN INVOICE WITH THE FULL PAYMENT AND POSTAL DETAILS, AS NEAR TO THE AUCTION ENDING AS POSSIBLE. OUR AIM IS TO MAKE YOUR PURCHASE SMOOTH AND TROUBLE FREE. FOR UK BUYERS; WE ACCEPT: PAYPAL, CHEQUES, POSTAL ORDERS & BANK WIRES. FOR OVERSEAS BUYERS; WE ACCEPT PAYPAL, INTERNATIONAL MONEY ORDERS IN POUNDS STERLING ONLY. OR BANK TO BANK WIRE TRANSFERS. WE WILL NOT MAKE FALSE STATEMENTS ON CUSTOMS DECLARATION FORMS AND WILL ALWAYS CONDUCT ALL OF OUR BUSINESS WITH TOTAL HONESTY. AS MUCH AS WE SYMPATHISE WITH THE WAY SOME COUNTRIES CHARGE SUCH HEAVY IMPORT DUTIES, WE WILL NOT LIE.