Let It Bleed follows the same general musical pattern as Beggars Banquet, having been released only 13 months later. The best song is first, and it’s powerful and in a minor key. Then comes two acoustic-based, country-style numbers, followed by an up-tempo song with a dirty groove. True to the pattern, the fourth song on Let It Bleed is the stomping “Live With Me.” Jagger uses irony here to display the lifestyle of English country folk who are on the edge of civilization. His tone is dismissive and more than a little insulting, as if he’s completely comfortable with only knowing this lifestyle as a cliché. Musically, this style would be explored to greater effect on Sticky Fingers a few years later.
Just as “Live With Me” fills the place of and has a similar emotional color as the Beggars Banquet track “Parachute Woman,” “Midnight Rambler” does a similar thing for “Jigsaw Puzzle.” They share a similiar length, and both have an aimless and meandering quality, but “Rambler” is much bluesier than “Puzzle,” and is more Bo Diddley that Bob Dylan. While the Stones do a very convincing black-American-blues-guitarist impression with “Rambler,” it goes on a little too long for my taste.
Don’t get me wrong; length is not a problem for me. One of my favorite songs is “Octavarium” by Dream Theater, which is almost 24 minutes long. But if you make a really long song, it goes over much better with the listener if it’s really leading somewhere; “Midnight Rambler” isn’t. Heck, the Stones almost stop in the middle of the song.
(Paranthetical: a long song needing to lead somewhere doesn’t apply if you’re the Velvet Underground; just sayin’.)
“Midnight Rambler” is almost 7 minutes long, but it’s followed by the shortest song on the record, “You Got the Silver.” Keith Richards’ previous vocal contributions have been pretty dismal affairs; his lead vocal in “Salt of the Earth” was so bad that Mick took the microphone from him after four lines, and “Something Happened to Me Yesterday” ranks among the Stones absolute worst songs (though I’m not sure that’s really Keith’s fault). Regardless, when Keith started singing “You Got the Silver,” I was ready to just write it off; I was pleasantly surprised. Keith sounds like a different person here, especially considering how bloody awful his voice sounded on “Salt of the Earth” a mere 13 months earlier. He may be no Plácido Domingo, but he’s impassioned and honest, both of which go a long way.
Finally comes the cap, which is the choir boy extravaganza “You Can’t Always Get What You Want.” From the London Bach Choir intro to the French horn solo right down to the soaring fade out, everything about this song is gloriously epic and ridiculously over-the-top. It started as a simple idea that Mick had in a hotel room one night with nothing but an acoustic guitar and his voice. Layer upon layer is added by producer Jimmy Miller until it’s bloated almost beyond recognition. I simply can’t explain why “Get What You Want” works; it really shouldn’t. By all rights, the song should topple over with all the extra weight added to it by over-production. But quite astoundingly, it’s one of the Stones’ most enduring songs, and ranks just behind “Gimme Shelter” as Let It Bleed’s best offering.
What follows is almost certainly untrue and apocryphal, but it made me laugh out loud. Mick Jagger was in a drug store in Excelsior, Minnesota to fill a prescription. In line right in front of him was a man named Jimmy Hutmaker, a locally known figure with unspecified developmental disabilities but an outgoing personality. He was affectionately called Mister Jimmy by Excelsior residents. He was telling Mick about how much he loved Cherry Coke, but that they served him a different flavor at the home that morning. Apparently, he said, “y’know, Mr. Jagger, you can’t always get what you want…”
Even to this day, whenever someone says “you can’t always get what you want,” I respond with “well, you know what the Rolling Stones have to say about the matter.” That elicits either a smile or a confused expression.