Two albums I haven’t listened to for many years: Beggars Banquet and Let It Bleed. I own a vinyl copy of each, but they’ve been tucked away in my collection, neglected by me. Recently, I finished reading a book on the Stones where these albums were discussed, so I felt the need to listen to these again.
Both of these albums were made with the band in transition, working to find their footing musically and as a band.
The last album by the Stones prior to Beggars Banquet was Her Santanic Majesties Request which was not a big seller and a detour through psychedelia. The songs were derided by many and the focus reflected little of the band’s blues background. It was followed by a single “We Love You” (1967) which was dismissed as well. The Stones regrouped and released “Jumpin’ Jack Flash” (1968) which was a worldwide hit. Could the Stones keep that momentum and show they had more to offer?
Beggars Banquet (1968)
What strikes me about this album is how many songs are soaked in blues, and the number of songs that are based around acoustic instruments. Certainly “Sympathy for the Devil” and “Street Fighting Man” have larger arrangements and electric instruments, and are very commercial sounding. Even with so many acoustic dominant instruments, unusual percussion instruments and vocals that drip with country and blues, the Stones infuse a familiar sense of melody and style that draw the listener to each song. This is not a trendy album, there’s no attempt to be commercial, the songs come from what the Stones know best.
Most of the blues songs show off the fine guitar work of Keith Richards, who was doing double duty on rhythm and lead guitars, and bass on several songs. This might be the first extended use of slide guitar used on a Stones album, played by Richards and Brian Jones.
Jones appears on eight of the album’s songs, playing a variety of instruments, but overall was a ghost at this point. His story of physical and mental decline is sad as he would be fired from the band and die under mysterious circumstances in the next year.
The album is one of the band’s most diverse offerings with blues, country, R&B, rock and what would later be known as American roots music. This blend of styles fits together amazingly well. This might be their most satisfyingly organic album, songs that stand well on their own, yet together yield a set of songs stronger than the sum of its parts.
Nicky Hopkins, a frequent sideman of the Stones contributes his usual razzle dazzle mostly on the piano, but also organ and Mellotron.
The cover artwork originally planned for the album was rejected by Decca Records which held up the album’s release as Decca and the Stones battled. That’s a whole story in itself as the power in the Stones-Decca-Oldham/Klein relationship was shifting and fragmenting.
Let It Bleed (1969)
Let It Bleed was the next album that followed Beggars Banquet. Although no single was released from the album, “Honky Tonk Women” was recorded from those sessions, as a different version, “Country Honk” a countrified version was included on Let It Bleed.
The album is known for the superb tracks “Gimme Shelter” and “You Can’t Always Get What You Want.” These are both Stones classics. Merry Clayton, who wasn’t familiar with the Rolling Stones answered the late night call to add her voice to “Gimme Shelter.” She nailed it. Sadly, the pregnant Clayton suffered a miscarriage after returning home after the session.
The rest of the album is uneven, though it generally follows the genres of the previous album, but rocks with more electricity than Beggars Banquet. The gap between the great songs and the average songs is more noticeable than on Beggars Banquet. Is that a bad thing? No. What it shows is how high the upside can be.
“Monkey Man” is my favorite track, it’s got a great vibe, followed by “Gimme Shelter” and “Live With Me.” The songs “You Got the Silver”, “Love in Vain” and the title track could easily have fit on Beggars Banquet. The bluesy “Midnight Rambler” was never a favorite of mine, although the live version on Get Your Ya Yas Out with Taylor on lead guitar is hot and nasty.
Brian Jones can be heard on several tracks here, although he was dismissed from the band during recording. Mick Taylor is also present on some of the tracks having just joined the band. His guitar appears on two tracks. He’s truly an innovative guitar player.
The production team of Jimmy Miller and Glyn Johns deliver two great sounding albums. There’s great separation and warmth and the emphasis on acoustic instruments, whether slide acoustic guitar, piano or percussion instruments are rich and have the space to breathe.
Final thoughts
These were forgotten albums by me. Not a huge fan of that brand of blues and roots music, I found other Stones music to enjoy. Revisiting these albums was enjoyable and enlightening. The Stones weren’t really an album band, IMO, until Beggars Banquet. This would begin a very creative period for the band and introduce the Stones best guitar player.
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