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Rock - Released November 1, 2019 | Abkco Music & Records, Inc.

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Whether it's the atmospheric reverb on "Midnight Rambler," Byron Berline's fiddle (recorded outside on the street) on "Country Honk," or the meaty bass part that opens "Live with Me," Let It Bleed has always been an album full of intriguing sound. Add to that Merry Clayton's unforgettable vocal overdubs on "Gimme Shelter" (as well as its opening ghostly voices, washboard guiro scrapes and reverb-drenched guitar) and Let It Bleed, newly remastered by Bob Ludwig for its 50th anniversary reissue, is an album especially suited to the world of high resolution audio. From 1968 through 1972, no popular music act (except The Beatles) made better albums than The Rolling Stones. Their blockbuster run began in late 1968 with Beggars Banquet and continued through Let It Bleed (1969), Sticky Fingers (1971) and Exile on Main Street (1972). If Beggars Banquet was the sound of the band stripping down their sound and working out their frustrations over their legal tangles and impending departure of Brian Jones (replaced in June 1969 by Mick Taylor), Let It Bleed was the band emerging unbowed, with a new confidence and a dramatic leap in songwriting quality from Jagger/Richards, bookended by the ominous "Gimme Shelter" and the common sense rock gospel of "You Can't Always Get What You Want." Let It Bleed also acknowledges the band's deep roots in the blues with with an acoustic cover of Robert Johnson's "Love in Vain," Richards' prolific slide guitar parts and "Midnight Rambler," the band's "blues opera." Despite its popularity (#1 in UK and #3 in US), there's even a sleeper track—the underrated "Monkey Man," whose lyrics sum up the swinging '60s with impenetrable lines like, "I'm a cold Italian pizza / I could use a lemon squeezer / What you do?” Originally produced by Jimmy Miller and engineered by Glyn Johns, the new remastering is a sonic refresh with a larger soundstage that adds new detail to Jagger's vocal performance of "Love in Vain" and Richards' guitar work in "Midnight Rambler". Like all the recent ABKCO reissues from this period, this may well be the best Let It Bleed will ever sound. © Robert Baird / Qobuz
HI-RES$13.49
CD$11.49

Rock - Released November 1, 2019 | Abkco Music & Records, Inc.

Hi-Res
Whether it's the atmospheric reverb on "Midnight Rambler," Byron Berline's fiddle (recorded outside on the street) on "Country Honk," or the meaty bass part that opens "Live with Me," Let It Bleed has always been an album full of intriguing sound. Add to that Merry Clayton's unforgettable vocal overdubs on "Gimme Shelter" (as well as its opening ghostly voices, washboard guiro scrapes and reverb-drenched guitar) and Let It Bleed, newly remastered by Bob Ludwig for its 50th anniversary reissue, is an album especially suited to the world of high resolution audio. From 1968 through 1972, no popular music act (except The Beatles) made better albums than The Rolling Stones. Their blockbuster run began in late 1968 with Beggars Banquet and continued through Let It Bleed (1969), Sticky Fingers (1971) and Exile on Main Street (1972). If Beggars Banquet was the sound of the band stripping down their sound and working out their frustrations over their legal tangles and impending departure of Brian Jones (replaced in June 1969 by Mick Taylor), Let It Bleed was the band emerging unbowed, with a new confidence and a dramatic leap in songwriting quality from Jagger/Richards, bookended by the ominous "Gimme Shelter" and the common sense rock gospel of "You Can't Always Get What You Want." Let It Bleed also acknowledges the band's deep roots in the blues with with an acoustic cover of Robert Johnson's "Love in Vain," Richards' prolific slide guitar parts and "Midnight Rambler," the band's "blues opera." Despite its popularity (#1 in UK and #3 in US), there's even a sleeper track—the underrated "Monkey Man," whose lyrics sum up the swinging '60s with impenetrable lines like, "I'm a cold Italian pizza / I could use a lemon squeezer / What you do?” Originally produced by Jimmy Miller and engineered by Glyn Johns, the new remastering is a sonic refresh with a larger soundstage that adds new detail to Jagger's vocal performance of "Love in Vain" and Richards' guitar work in "Midnight Rambler". Like all the recent ABKCO reissues from this period, this may well be the best Let It Bleed will ever sound. © Robert Baird / Qobuz
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Film Soundtracks - Released July 19, 2019 | Abkco Music & Records, Inc.

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Rock - Released June 7, 2019 | Abkco Music & Records, Inc.

For over 20 years, The Rolling Stones Rock and Roll Circus, a multi-media event staged in late 1968 under a circus tent in a north London TV studio, and meant to be shown on the BBC, lay unedited and unseen reportedly because the band was unhappy with its performance. In 1992 director Michael Lindsay-Hogg began editing it, a process that was finally finished in 1996 before the film and soundtrack were released on both CD and DVD. It has now been re-released with a new 4K Dolby Vision and Dolby Atmos DVD/Blu-Ray of the film and a soundtrack expanded to 28 tracks, with a new mix in a 192k/24 bit HD restoration. Often dismissed as a goofy, DayGlo relic that reflected the mushy peace and love currents of the moment, this high resolution reissue shows that a serious reassessment of this oddity is long overdue. Because of setups and multiple takes the event dragged on much longer than expected and so the Stones performance was recorded in the wee hours of the morning (Richards has said that the band had to bring in a second audience after wearing out the first). And yet the band's six songs, four coming from the recently released Beggars Banquet, are the electric heart of this collection. In fact it's Jagger, one of the originators of the circus concept, who almost single-handedly carries the day with his energetically deranged performance of "Sympathy for the Devil." Other highlights include a red hot performance by The Who of "A Quick One, While He's Away," (with Keith Moon on fire), Taj Mahal groovin' with guitarist Jesse Ed Davis on "Ain't That A Lot of Love," and John Lennon bantering jabberwocky with Jagger and playing The White Album's"Yer Blues" with Eric Clapton on guitar, Keith Richards on bass and Mitch Mitchell on drums. A second take of "Yer Blues" is included among the nine unreleased tracks here along with three more Taj Mahal blues numbers, Mozart from pianist Julius Katchen and a rehearsal take of another Beatles tune, "Revolution." Circus is also notable for being Brian Jones' last official performance with the band; he died in July 1969, the first of too many 27-year old rockers to die young. © Robert Baird / Qobuz
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Pop - Released May 10, 2019 | Abkco Music & Records, Inc.

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Film Soundtracks - Released April 19, 2019 | Abkco Music & Records, Inc.

Film Soundtracks - Released June 1, 2018 | Abkco Music & Records, Inc.

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Rock - Released January 10, 2006 | Abkco Music & Records, Inc.

It can't be considered a comeback because he's never really been away and 2004's My Secret Life -- recorded with the same basic band and producer -- already proved there was plenty of gas left in Eric Burdon's seemingly bottomless tank. But Soul of a Man finds the ex-Animals lead singer in fine, even feisty form. Credit should be shared by producer/drummer Tony Braunagel and a backing band of veterans, led by guitarist Johnny Lee Schell and organist Mike Finnigan, who find the perfect tone to support Burdon's growling vocals. Instead of originals, the singer sticks predominantly to covers, a smart move since his own songs have been at best a mixed bag. But aside from a handful of blues classics such as Howlin' Wolf's "44 Blues," "40 Days" (best known through Muddy Waters version), Mississippi Fred McDowell's "Red Cross Store" and Blind Willie Johnson's title track, these are predominantly obscure tunes that Burdon tears into with a gruff fury belying his age (he was 65 at the time of this recording). He's still proudly strutting about the size of his genitals on "Kingsize Jones" and can even meet classic Bad Company on its old turf in "Devil Run." Without a deft production touch these songs could be embarrassing, but Braunagel keeps the band simmering and Burdon's worst impulses in check. Female backing vocals, horns and percussion fall in line with this funky gospel-laced blues-rock, nailing the ideal tone between a surprising subtlety and Burdon's more typically crusty approach. In this context, "Never Give Up Blues" becomes a rallying cry for a guy who, despite more downs than ups in his post Animals career, has kept releasing new music, mostly to a select hardcore following. He will continue to sing "House of the Rising Sun" nightly, but with albums as strong as this, Burdon is far from washed up and has plenty to be proud of. Aging fans who might have abandoned him due to years of spotty releases will be shocked at how solid this is. Those who are just catching up will find Soul of a Man to be a dynamic new release from an old warhorse who should not be put out to pasture just yet. ~ Hal Horowitz
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Rock - Released April 26, 2004 | Abkco Music & Records, Inc.

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Rock - Released September 30, 2016 | Abkco Music & Records, Inc.

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It's often unfair to compare the Rolling Stones to the Beatles but in the case of the group's mono mixes, it's instructive. Until the 2009 release of the box set The Beatles in Mono, all of the Fab Four's mono mixes were out of print. That's not the case with the Rolling Stones. Most of their '60s albums -- released on Decca in the U.K., London in the U.S. -- found mono mixes sneaking onto either the finished sequencing or various singles compilations, so the 2016 box The Rolling Stones in Mono only contains 56 heretofore unavailable mono mixes among its 186 tracks. To complicate things further, the box -- which runs 15 discs in its CD version, 16 LPs in its vinyl incarnation -- sometimes contains both the British and American releases of a particular title (Out of Our Heads and Aftermath), while others are available in only one iteration (Between the Buttons is only present in the U.K. version). All this is for the sake of expedience: this is the easiest way to get all the mono mixes onto the box with a minimal amount of repetition. To that end, there's a bonus disc called Stray Cats -- with artwork that plays off the censored plain white cover art for the initial pressing of Beggars Banquet -- collecting the singles that never showed up on an official album, or at least any of the albums that made the box. Along with the odd decision to have the CD sleeves be slightly larger than a mini-LP replica (they're as big as a jewel box, so they're larger than a shrunk vinyl sleeve, a size that's rarely seen in other releases), this is the only quibble on what is otherwise an excellent set. The sound -- remastered again after the 2002 overhaul for hybrid SACDs -- is bold and colorful, with the earliest albums carrying a wallop and the latter records feeling like they're fighting to be heard in two separate channels and all the better for it. If nothing here provides a revelation -- none of the mixes are radically different, the way that some Beatles mono sides are -- this nevertheless is the best the Rolling Stones have sounded on disc (or on vinyl) and there's considerable care in this package, from the replications of the sleeves to the extensive notes from David Fricke. Plus, hearing the Stones in mono winds up being a hot wire back toward the '60s: this feels raw and vibrant, as alive as the band was in the '60s. ~ Stephen Thomas Erlewine
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Rock - Released September 30, 2016 | Abkco Music & Records, Inc.

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Rock - Released June 17, 2016 | Abkco Music & Records, Inc.

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Film Soundtracks - Released May 6, 2016 | Abkco Music & Records, Inc.

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Film Soundtracks - Released April 8, 2016 | Abkco Music & Records, Inc.

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Jazz - Released December 18, 2015 | Abkco Music & Records, Inc.

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Pop - Released December 18, 2015 | Abkco Music & Records, Inc.

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Film Soundtracks - Released December 18, 2015 | Abkco Music & Records, Inc.

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Pop - Released December 18, 2015 | Abkco Music & Records, Inc.

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Pop - Released December 18, 2015 | Abkco Music & Records, Inc.

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Pop - Released December 18, 2015 | Abkco Music & Records, Inc.