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And even though the pristine sound in Landi’s studio is hardly a fair representation of how most mortals will hear this album, the dramatic upgrade in sound is impossible to miss. Like the Beatles’ catalog, the Stones’ ‘60s canon has been revamped several times already, so another one has to be special. ( Richards and Jagger inspecting “Let It Bleed” artwork proofs in Los Angeles, 1969. But what really matters is how it sounds, and this week Variety got an exclusive guided sonic tour of the album from the company’s ace in-house engineer, Teri Landi. Like the earlier re-releases of “Beggars” and 1967’s “ Their Satanic Majesties’ Request” and the catalog in mono, there’s a lovely deluxe booklet loaded with photos, and various other accoutrements (including a 7″ vinyl single of “Honky Tonk Women”). recently depicted in “Once Upon a Time in Hollywood.” The atmosphere of the city at the time - both the waning euphoria of the Age of Aquarius and the apocalyptic doom of Manson and Vietnam - are present in the grooves of the album as well.Īs it did on the 50th anniversaries of the Stones’ two preceding albums, Abkco, which holds the rights to the band’s pre-1971 material, is releasing a deluxe, remastered edition of “Let It Bleed” on Nov. tour in three years, renting Stephen Stills’ mansion in Laurel Canyon, bringing in top local musicians (pianist Leon Russell, violinist Byron Berline and Merry Clayton, who turns in one of the most iconic featured-backing-vocalist spots in rock history on “Gimme Shelter”) and hobnobbing in the L.A.
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The recordings sprawled over several months in London, but the group decamped to Los Angeles for three months in the fall of 1969 to finish the album and prepare for their first U.S.