And here we begin, with the rather modest, yet raucous debut record which the band themselves did not think much of. The biggest difference? Well, Tyler's vocals, of course. He's trying to sound like a real blues singer and apparently, it was out of sheer nervousness. The other notable facet? It feels like a slapped together, not-so-coherent document. The three, what one would call Stones-derivative rockers ("Make It", "Somebody", "Mama Kin"), simply cook, slash, and burn like no one business, and are chock full of classic Aero-attitude, even though they lack a bit in the riff department. Then we have three, more plodding bluesy chunkers ("One Way Street", "Write Me a Letter", "Movin' Out") where attitude alone is supposed to make the grade, and doesn't quite add up. Mix in one thick, rockin' cover of "Walkin' the Dog", and one sweeping power ballad ahead of its' time that might be eternally underappreciated (do I need to say its' name?), and you have one of the more mercurial debut records from a hard rock band in music history.

This is the first Stones album where I can safely say - yes, listening to Tattoo You or Emotional Rescue would be a reasonably similar experience. It has some decent, yet fairly disposable up-tempo rockers, throwaway-type ballads, a few genre diversions here and there, but nothing that would tell you the Stones are anywhere close to the cutting edge of pop music anymore. "It's Only Rock 'n' Roll" is the track that has endured beyond the album, and truth be told, I really like it, too. It's fun, as a tongue-in-cheek take on the Stones' classic '68-69 period of stuff. "Fingerprint File" is really neat, too - a souped-up, funky trip that sounds like it could play in the background of a 70's TV cop show, or something close.

First off, the front cover for Goats Head Soup is absolutely a horrendous image and does not get enough notoriety as such. With that out of the way, the contents within are interesting from a number of angles. Basically, the Stones recorded the bulk of it in Jamaica - although the genesis of some of tracks go back to the Let It Bleed days - and the end result mirrors the state of the band at that time: one ongoing physical, emotional, and mental hangover from the last 4-5 years or so, when they probably needed a rest from it all. This sounds like it was composed by a group of guys high on very hard drugs, or coming down from them, which makes sense, as the rather repetitive yet pleasant-sounding ballad "Coming Down Again" features Keith Richards himself on lead vocals. And there seems to be more focus on sidemen, weird instrumentation, and rude, off-color gags ("Star Star") than ever before.

Sticky Fingers is the proverbial "Other Side of the Mountain", even though a decent-sized chunk of it was recorded in the 60's, rather than the 70's. Still, it is hard not to notice, from the "lips" logo to the presentation and aural content, that this is the Rolling Stones show once and for all, so no more hippie B.S., no more sneaky manager interference, no more stupid swinging London model chicks involved on the scene, and let's get down to brass tax. So then, why do I feel like these guys are already on the downside, whining and moaning about rock star problems, addictions, and letting it affect them a little bit prematurely? Or, it is a case of the run has been great since '65, and simply now is the time for it to start running dry? The one track I feel like no one can touch here is "Can't You Hear Me Knocking", where they take all of their energy and wits about them - including their session friends - and throw it wholeheartedly into a two-part masterpiece which I never, ever, get tired of hearing. Plus, there's the added touch of Mick Taylor's insanely, otherworldly, guitar solo, which blends effortlessly with the layers of excitement going on around him - he's the undeniable focal point of the second section, yet he never takes a thing away from the other players involved. Easily my favorite Stones track of all-time.

This is my favorite Stones album and quite possibly one of my favorite albums to listen to, from start to finish, bar none. There are any number of reasons for this, one of the major ones being the right marriage of band and producer (Jimmy Miller). Every passage seems pre-planned for maximum effect, and yet, every time I listen to the album I come away mind-blown at how effortless and natural the whole thing comes off. Another point - the musical flow of Let It Bleed is immaculate. Nothing ever feels out of place, out of left field, even where you could argue "Honky Tonk Women" should go in the slot where "Country Honk" is at on the record - guess what - "Honk" was the original take, so this ramshackle thing feels just as right as the massive bookends which start and end the album. And the sad irony? It was released two days after the Altamont debacle.