WE CURRENTLY HAVE MORE THAN 1,000 LISTED ITEMS
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· ROLLING STONES with Ry Cooder, Al Kooper, Jack Nitzsche, Doris Troy, Leon Russell, and others – LET IT BLEED – ORIGINAL BRITISH-ONLY MONO PRESSING (NEVER RELEASED IN THE U.S. IN MONO)– ORIGINAL 1969 DECCA RECORDS (UK) MONO LP LK-5025
· ORIGINAL U.K. PRESSING
· INCREDIBLY RARE MONO PRESSING, MANY TIMES RARER THAN STEREO
· THE LAST ALBUM BY THE STONES TO BE RELEASED IN MONO ANYWHERE IN THE WORLD (EXCEPT, OF COURSE, FOR BRAZILIAN PRESSING OF ‘GET YER YA-YA’S OUT)
· TO THE BEST OF OUR KNOWLEDGE, THIS IS THE ONLY ALBUM ON WHICH THE GROUP FEATURES FOUR (4) LEAD AND/OR RHYTHM GUITARISTS: BRIAN JONES, KEITH RICHARD, MICK TAYLOR AND RY COODER. THIS IS THE ONLY STONES MONO ALBUM ON WHICH MICK TAYLOR PLAYS.
· ORIGINAL DARK-RED DECCA MONO LABEL WITH “FFRR” (FULL FREQUENCY RANGE RECORDING) LOGO, SILVER PRINT AND “MADE IN ENGLAND” BANNER ON THE LABEL
· INCLUDES LARGE ORIGINAL POSTER OF THE BAND
· The album comes with a rarely seen 12 page Decca's Rolling Stones catalog booklet!
· THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.K. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.
· ORIGINAL, THIN CARDBOARD COVER (EUROPEAN STYLE)
· COVER HAS A NIFTY 'HYPE' (ADVERTISEMENT) STICKER STILL AFFIXED TO THE FRONT PANEL
· ORIGINAL LAMINATED COVER
· THICK, HEAVY VINYL PRESSING
· MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) ENDS WITH '-1A/-2A'. ON SOME LABELS, SUFFIX '–1' DENOTES THE VERY FIRST, ORIGINAL PRESSING)
· MONO version of this album has NEVER been available on legitimate Compact Disc or in any other digital format.
(►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)
(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you'll get. GUARANTEED!)
Mostly recorded without Brian Jones — who died several months before its release (although he does play on two tracks) and was replaced by Mick Taylor (who also plays on just two songs) — this extends the rock and blues feel of Beggars Banquet into slightly harder-rocking, more demonically sexual territory. The Stones were never as consistent on album as their main rivals, the Beatles, and Let It Bleed suffers from some rather perfunctory tracks, like "Monkey Man" and a countrified remake of the classic "Honky Tonk Woman" (here titled "Country Honk"). Yet some of the songs are among their very best, especially "Gimme Shelter," with its shimmering guitar lines and apocalyptic lyrics; the harmonica-driven "Midnight Rambler"; the druggy party ambience of the title track; and the stunning "You Can't Always Get What You Want," which was the Stones' "Hey Jude" of sorts, with its epic structure, horns, philosophical lyrics, and swelling choral vocals. "You Got the Silver" (Keith Richards' first lead vocal) and Robert Johnson's "Love in Vain," by contrast, were as close to the roots of acoustic down-home blues as the Stones ever got.
(EXCERPT FROM AN ONLINE REVIEW BY RICHIE UNTERBERGER, ALL MUSIC GUIDE /ALLMUSIC.COM/)
One of the greatest Stones albums (many would argue: the greatest one) is presented here in the condition that can't be beat: STILL SEALED. Don’t miss out on this one: LET IT BID
For its extraordinary contribution to the modern music, superb production, craftsmanship, fine musicianship, revolutionary significance and influence it exerted on numerous generations of musicians, writers and general public, or for some other innate quality, this album was voted one of top-200 albums of all time in one of the largest poll of critics, music reviewers, professionals and producers ever organized: the poll, which was conducted by Paul Gambaccini, legendary BBC Radio A&R man, surveyed more than 50 top music professionals (including Roy Carr, Jonathan Cott, Robert Christgau, Cameron Crowe, Chet Flippo, Ben Fong-Torres, Charlie Gillett, Greil Marcus, Murray the K., Lenny Kaye, Bruce Morrow (a/k/a "Cousin Brucie"), Tim Rice (of "Jesus Christ Superstar" and "Evita" fame), Lisa Robinson, Robert Shelton (who wrote liner notes for Bob Dylan's first album), Ed Ward, Joel Whitburn, Pete Wingfield, etc.). For more details, see: "Critics Choice: Top-200 albums" compiled by Paul Gambaccini, Omnibus Press, Library of Congress Catalog No.7855565 (or ►click here for the complete album listing).
And, maybe we should add this: in our entire 42-year-long record collecting history, we have NEVER – EVER – heard an album that sounds so DRAMATICALLY better in mono than in lowly stereo. Simply put, MONO version of this album blows the STEREO pressing to bits.
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(IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we grade records under the strong, diffuse room light or discrete sunlight)
(a) WE GRADE THE VINYL AS STRONG VG++. A few light abrasions ARE VISIBLE, but they appear fairly insignificant relative to the overall condition of the vinyl, and are only moderately visually distracting. For most part, the vinyl looks impeccable, without any MAJOR visual flaws or imperfections. Much of the original luster is intact, and the vinyl shines and sparkles almost like new.
(b) The record comes in its original, custom, Decca inner sleeve, which is UNIQUE to this album (this sleeve is distinctly DIFFERENT from the pink US sleeve -- please see the photo)
(c) Mono pressing of this title is much rarer, and by far more preferable to its stereo counterpart. We think that the mix is more natural, humane, "organic" and that the mixes are somewhat different than on the stereo version. We estimate that stereo copies of this album outnumber mono pressings by a ratio of at least 20:1.