'Let It Bleed': Why the Stones' Nastiest Masterpiece Feels Right on Time

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'Let It Bleed': Why the Stones' Nastiest Masterpiece Feels Right on Time
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'Let it Bleed' is the Rolling Stones' darkest, nastiest album, and that’s why it sounds perfect right now

crashed at Stephen Stills’ Laurel Canyon mansion. It captures the L.A. moment Quentin Tarantino depicts in, with lost souls roaming the streets. The Stones caught the sordid desperation in the air like nobody else. On the album, as in the movie, you never know when the wrong acid-dipped cigarette might explode into a late-night orgy ofThe Fourteen Fists of Keithin a cloud of bad vibes — in other words, their comfort zone.

Brian Jones was no longer around to clutter up Keith’s action with dulcimers or marimbas; he plays on only a couple of songs, adding barely audible percussion. Tragically, Brian was finally falling apart after constant attacks from the London cops, who broke this butterfly on a wheel. In one typical bust, they claimed they found hash in his flat, hidden in a ball of blue wool. Brian’s courtroom defense was classic:But he could no longer function musically.

You can see Brian on the album cover, smiling on the cake even though he was already dead. You can also see his 20-year-old replacement, Mick Taylor, on the turntable a few inches under Brian. The Stones officially debuted Taylor at their July 6th free concert in London’s Hyde Park, which became a Brian memorial; butterflies were released into the air while Mick read Shelley’s poem “Adonais” to the crowd.

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