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Let It Bleed: The Rolling Stones, Altamont, and the End of the Sixties
 
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Let It Bleed: The Rolling Stones, Altamont, and the End of the Sixties [Format Kindle]

Gerard Van der Leun , Ethan Rusell
5.0 étoiles sur 5  Voir tous les commentaires (2 commentaires client)

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Descriptions du produit

Présentation de l'éditeur

LET IT BLEED takes you where no Rolling Stones book has before. Author and photographer Ethan Russell was one of only sixteen people--including the Rolling Stones--who made up the 1969 tour. He was with them in their hotel rooms, at rehearsals, and on stage. He tells the story of this monumental and historic tour firsthand, including recollections from band members, crew, security, and other sixties icons--like Abbie Hoffman and Little Richard--they met along the way. And he also includes amazing photos of the performers who toured with the Stones that year: the legendary Tina Turner and B. B. King.

Through vivid quotes taken from his interviews with the band and crew, and through more than 220 revealing photographs, Russell takes you behind the scenes for an uncensored look inside the Rolling Stones' world at the end of the sixties. It was an idealistic time, with an overarching belief that music could bring us all together. But the events that led to the terrible violence and stabbing death at Altamont would change rock and roll forever.

Biographie de l'auteur

Ethan Russell n'était qu'un jeune photographe quand il a débuté sa carrière avec les Stones. Depuis, il a entre autres signé des pochettes de disques des Beatles et des Who. Pour cet ouvrage magistral, il a sélectionné ses meilleurs clichés inédits, et recueilli les témoignages des membres de la tournée.

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 27219 KB
  • Nombre de pages de l'édition imprimée : 256 pages
  • Editeur : Grand Central Publishing; Édition : 1 (2 novembre 2009)
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ASIN: B00FOUOXMC
  • Synthèse vocale : Activée
  • X-Ray :
  • Moyenne des commentaires client : 5.0 étoiles sur 5  Voir tous les commentaires (2 commentaires client)
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3 internautes sur 3 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Superbe!!! 29 janvier 2010
Format:Broché
Magnifique objet, très belles photos, textes instructifs, ce bouquin est le complément idéal avec le coffret "get yer ya-ya's out", ce qui permet de réécouter pour la enième fois ces bijoux que sont "let it bleed", "get yer", et les pirates qui vont avec...Indispensable, tout bonnement indispensable!!!
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1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 69, année névrotique 13 juillet 2011
Par Stan FREDO TOP 500 COMMENTATEURS
Format:Relié
En 1969, ces musiciens à qui on ne donnerait pas sa fille à marier que sont les Rolling Stones sont en passe de devenir le plus grand groupe rock du monde. En effet, leurs seuls concurrents, les Beatles, ne font plus de concert depuis déjà un moment et se sont désagrégés l'année passée en enregistrant The Beatles (White Album)(Enregistrement original remasterisé). Au contraire, les Stones enregistrent au cours de l'année un de leurs meilleurs albums : Let It Bleed - Edition remasterisée. L'année est pourtant difficile, pour les USA (Nixon, émeutes, Vietnam etc.) comme dans le reste du monde mais aussi pour les Stones, qui se séparent de leur fondateur Brian Jones, qui n'a pas su/pu s'ajuster à la nouvelle feuille de route du groupe imposée par les Glimmer Twins et qui de toute manière était probablement trop défoncé. Et, à peine viré, Jones meurt dans sa piscine. A 27 ans mais dans ses derniers jours, il en paraissait au minimum 10 de plus. Après un concert hommage à Hyde Park, les Stones se tiennent à l'écart du phénomène Woodstock et démarrent une tournée des USA à l'automne. Tournée triomphale avec enregistrement d'un énorme disque "live" (... Lire la suite ›
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Amazon.com: 4.5 étoiles sur 5  20 commentaires
17 internautes sur 19 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 An Amazing Look at The Rolling Stones 9 octobre 2009
Par B. Davis - Publié sur Amazon.com
Format:Relié
Let It Bleed (The Rolling Stones, Altamont, and the End of the Sixties) is a comprehensive look at the remarkable 1969 Rolling Stones tour. Photographer, Ethan Russell, has documented with intimate, detailed photographs and interviews, the story few people have seen or have known before now. He takes the reader behind the scenes and gives them a firsthand look into the lives and journey of one of the most legendary bands to ever perform on any stage.

The infamous Altamont rock concert at the Altamont Speedway in northern California, held on December 6, 1969, is also featured in this large "coffee-table" style book. The Rolling Stones, and several other famous bands, were playing that night, with the Rolling Stones featured and taking the stage as the final act. Violence erupted during the concert, leaving several dead, including one fatal stabbing. Many had thought this 300,000 fan event would be another Woodstock, but instead, it became a tragic experience for both the fans and for The Rolling Stones.

I was amazed at the numerous (on almost every page) personal, and many times intense photographs. I loved this fantastic pictorial documentary and will leave it on a table in my home for other fans to enjoy. I would definitely recommend it.
37 internautes sur 48 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 "Please allow me to introduce myself...." 4 décembre 2009
Par Gerard Vanderleun - Publié sur Amazon.com
Format:Relié|Achat authentifié par Amazon
As the co-author of Let It Bleed, I'd like to respond to a few things said in the reviews that strike me as either off-base or out-of-tune. Not that these reviewers can't have their opinions. After all, that's what reviews are in the main: opinions.

But as some wag once said "You've got a right to your own opinions but not your own facts." So, as the co-author, and long time friend of Ethan Russell let me say, in the spirit of the 60s, "May the Baby Jesus open your mind and shut your mouth."

One "dr. johnson" (Not I would note THE Dr. Johnson) has a problem with the cover image. He's got the purist view that a book about the 69 tour should be nailed firmly within 1969, as if time did not move on as the Stones moved on. Had he the advantage of actually reading the book he would have discovered that much of the text is a look back and a flash-forward at the same time. Indeed, there's a long "Aftermath" section that takes place in 2007. In addition, there's a lot in the book that describes why the 72 tour was the way it was as a direct consequence of the 69 tour. So it's not as if the ground wasn't laid and the text supplied so that an astute reader would not grasp that fact.

But, as I said before, reviewing the book only from the pictures available at Amazon and (perhaps [...]) puts our lower-case dr johnson at a distinct disadvantage so I shall extend slack to a man obviously working with a very limited set of tools.

As to the "anachronistic" chapter heading of "Start Me Up," I recall that that heading was applied to the chapter in which the tour starts and, since it is also a title of a popular Stones song of the era, is perhaps not entirely out of place.

"dr johnson's" call for "intelligent editing" is puzzling to me. As a book editor with more than 200 books to my credit, not to mention well over 1,000 magazine articles, I think I can spot editing that is not up to snuff. Nothing I saw of the editing process for this book (and I saw it all) struck me as anything other than spotlessly professional. Perhaps if dr johnson were to mark up a copy and send it on I could see more clearly what penetrating editorial insights he would propose.

Finally it would seem that dr johnson -- in pointing out the production of the $650 limited edition having be produced in China -- is dismally lacking in a clue as to the economic state of the global book industry in 2009. I would only remark that fully 90+% of all elaborate book packages today are manufactured in China because of that nation's ability to produce the quality required at a price that makes sense to the publisher. It's called "market forces" in a "capitalist economy." There are books on these two arcane subjects available here on Amazon and I commend them to dr johnson. The "Complete Idiots" and "For Dummies" lines are a good place to start.

Moving on to the strange and hostile remarks of the reviewer who names him/herself "Music Listener" I must say I am filled with both befuddlement and inertia. We seem to be treated at the outset to an anecdote concerning Keith Richards which doesn't hold up under a moment's reflection. Has the decades long Rolling Stones enterprises purchased houses for many people in London? Doubtless it has, but really so what. Wal-Mart has purchased houses for many people in Houston but that surely is unremarkable.

Why now for the book? 40th anniversary comes to mind. Happens all the time in books, movies, music, and politics. Another unremarkable observation posing as insight.

Where "Music Listener" goes off the rails and into the ditch of his or her own darkness comes when the all-knowing "many reasons; alimony payments, retirement money, spoiled children" is trotted out. Surely this is something beneath the common decency of most people if not that of "Music Listener;" a person strangely out of tune with simple courtesy. It has the added disadvantages of lacking substance as well as insight. Perhaps we are meant to think that this simple fan in an industry "insider."

As a long time friend -- and without being too intrusive into Mr. Russell's personal life -- I can assure "Music Listener" that there are no alimony payments, retirement needs, or spoiled children in Russell's life. Those are simply facts and you'll just have to take my word for it. Why anyone with no knowledge might intimate that there were can only be explained by the psychotherapeutic notion of "transference."

"Music Listener" is "shocked, shocked" that Let It Bleed was published because there is a market and an audience for it? Well, I hope so since otherwise we'd all be thrust back on slim volumes of poesy and the pallid output of vanity presses. To quote the real Dr. Johnson, who knew a few things about books and writers, "No man but a blockhead ever wrote, except for money."

From that point "Music Listener" takes us on a whirlwind tour of his or her versions of what happened in the Sixties with the startling observation that they "never existed." As one who lived through and beyond the Sixties I can only conclude that what absolutely did not exist in the Sixties was "Music Listener." I think all of the currently living Baby Boomers to back me up. At least those not currently institutionalized for delusional thinking.

For the rest of it, we merely see "Music Listener" displaying whatever remnants of anecdotes his or her mind retains about the Stones. Not, one would note, evidence of an understanding either encyclopedic or scholarly. (In passing I would advise "Music Listener" that one does not own a "Copywrite" but rather the right to copy with a "Copyright." One can, however, become -- with a lot of practice -- a "copywriter," but that's not a career path I would suggest to "Music Listener" as long as there are opportunities in the repair of commercial air-conditioning units.)

As for our resident expert in photography, eastriver anonymousLOTSOFNUMBERS, what can one say other than..... "sigh."

There are really not enough words to describe how wrong this ham-handed and gobstoppered tour of the aesthetics of photography really are. Suffice it to say that it is so wrong it does not even rise to the level of wrong. (We'll go into the techniques of shooting "available light" with 400ASA film and having to push the film back in the stone ages before digital photography another time.)

Overall, it should suffice to note that Mr. Russell made and sustained a good and solid living for decades in this very tough field and was, for a very long time, the friend and photographer of choice for the Stones, the Beatles, the Who and dozens of others. I don't know where eastriver has been spending the last few decades, but most people know that stars of major stature in the rock world don't just let anyone hang out with them and produce their album covers and their images unless they are confident in that person's skills.

Here's what some have said about Russell's work:

ANNIE LEIBOVITZ
It is important this work gets to be seen. Ethan was doing something no other photographer was doing at the time.

BILL WYMAN
Ethan Russell has taken some of the greatest pictures in rock roll.... maybe the greatest ever.

PETE TOWNSHEND
Ethan Russell was a sheer joy to work with.... his contributions were poetic and dramatic.....Most important of all, his photographs were what I would call fine...they felt like the classics of Paul Strand, ready to put up in the National Gallery. As an artist himself, Ethan is the civilized eye on an uncivilized art-form.

ROSANNE CASH
Ethan Russell is old school in the best sense of the word: he has true talent, he has a painterly eye, he respects himself and his clients, and he's interested in finding the truth in every photographic situation. Actually, he's interested in finding the truth whether the camera is turned on or not.

If that's not enough for you to know what sort of photographer Russell is not only can I not help you, God can't help you.

Admittedly, he's my friend and I'm the co-author of the book as well as someone who lived through the times the book chronicles. I confess that gives me a certain biased an slanted view, but it also gives me standing. Why? Because unlike some here I actually know what I'm talking about.
5 internautes sur 5 ont trouvé ce commentaire utile 
2.0 étoiles sur 5 Big disappointment 12 mars 2011
Par Natural G - Publié sur Amazon.com
Format:Relié
I was very pleased when I opened the package. A nice, big coffee table type book with quality heavyweight paper. Then I read it. There's a reason most of these photos were never seen...they're awful. Many are blurry and amateurish. And over half of them have no caption. What are The Stones doing in this pic? Where are they? Who's that other guy? I dunno. Neither will you. I'm a rabid Stones fan and wanted to love this book. If it's a tossup for you, get Keith's autobiography "Life". It's a far, far better book that's infinitely more enjoyable. I must have a dozen Stones books, and this is by far the worst.
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Oh Lord yeah!! 25 juin 2013
Par Surferofromantica - Publié sur Amazon.com
Format:Relié|Achat authentifié par Amazon
A great 28cm x 28cm coffee table book with pictures of the Rolling Stones taken in 1969. The earliest pictures are of Brian Jones at his AA Milne house, taken just before he died, then pictures from what turned out to be his memorial concert in Hyde Park, then pictures from the Stones' 16-city US tour of November 1969, which ended with a free concert at the Altamont Speedway on December 6th of that year. Russell also goes back to Altamont to take some "back to the scene of the crime" pics to cap the adventure. The book is sub-titled "The Rolling Stones, Altamont, and the End of the Sixties," and none could be more fitting.

The pictures in the book are luscious, stunning, with 56 glorious full double-page shots. Naturally, the book contains the usual solo shots of Stones and their hangers-ons (including Cathy and Mary, two groupies they picked up in LA), hanging out, in the studio, or onstage. But the book also has many many pic of fans, either around the venue or from the stage, sometimes with the Stones in the foreground, but more often a sea of people Russell's camera gazes over. These shots are probably the best in the collection, especially some of the really stunning ones that show faces several rows deep in full detail so that you see the gaps between teeth, the colours of the eyes, the strands of hair across the forehead. Wow! There are also great ariel shots, like the one of a nearly-full Madison Square Gardens, another one of Altamont (and the clogged highway roads full of parked cars leading to it) from the helicopter. Russell worked his bum off when he was with the Stones, and it shows - I wonder if there was anything significant that his camera missed!

The book also parallels the development of the Maysles Brothers' Gimme Shelter film, ranging from onstage and backstage scenes at Madison Square Gardens with Jimi, Tina, Chuck and BB, to Melvin Belli's garish lawyers office in LA (filled with hangers-on and the Maysles film crew), and finally the debacle of Altamont itself.

The book also has quite a lot of text, 54 of its 240 pages to be exact. Sure, there's a table of contents, typography set inside a gorgeous double-page stage shot of the Stones, ditto for the tour dates listings, but there's also a cast of characters over two pages before the three-page introduction. Part I, "Looking Back", provides a bit of Russell's background, along with some stuff about the Brian Jones shoot, as well as the memorial concert. Part II is all about the tour, with pages on pre-tour and rehearsals, and then text to accompany pictures from the seven of the tour's 16 gigs, namely at Fort Collins, Los Angeles, Oakland, Phoenix, Chicago and New York, and then finally West Palm Beach in Florida, the last night of the tour. Part III documents Altamont, while Part IV its aftermath. In an epilogue, Russell describes over four pages his feelings of revisiting the site in 2007 after a 27-year absence.

And while, the pictures may follow closely what we've already seen in the Maysles Brothers' Gimme Shelter, it's nice to have those images still so that you can pore over them at leisure. But as outstanding as the pictures are, the text is also very good (albeit somewhat repetitive in parts, and a bit derivative if you've read Stanley Booth's The True Adventures of the Rolling Stones, from which he quotes liberally). Russel and Van der Leun have a lean, matter-of-fact way of writing that early Stones chroniclers like Booth and Robert Greenfield lacked (their quotes from Booth's book are highly select), and I did get some things from it that I hadn't already gleaned from the dozen or so books I've read by or about the Stones so far. Russell gives a great description of Brian in his section on the man:

"Brian, more than any of his contemporaries, seemed to have invented the rock-and-roll lifestyle. It was as if he had chosen to become the Crown Prince of Stonedness. This role required that Jones remain constantly high. Few would have disputed his position, even in California in the 1960s, where people were now setting daily records of higher and higher, just trying to catch up. It was Brian's face, after all, squinting back at you from the cover of Big Hits (High Tide and Green Grass). It was his face peering out of the mist on the cover of Between the Buttons, announcing with his wicked leer that he was so high it was a miracle the camera could capture him at all."

But Russell manages, during his visit, to experience both sides of the man: the polite, shy and soft spoken Mr Jones who brings his guests tea, and the rock `n' roll pervert who rolls in the dirt and points rifles at people. "This is great! Here's a Rolling Stone doing, well, Rolling Stones things!"

In describing the start of the tour, Russell in a few words gives a good sense about how financially perilous it was for the group to set out on a tour, given that their former manager Allan Klein had their balls in a financial vise. "I had fifteen thousand dollars up front to finance a half-a-million-dollar tour - to pay for the construction of the set, the stage, the lights, to guarantee the acts, to do everything. It was a very funny moment," he quotes Booth quoting manager Ronnie Schneider. But, he notes, "if things didn't move at great speed, they moved at Stones speed." Booth also quotes Bill Wyman:

"We did do some rehearsals. We didn't do a lot. You know what the Stones are like. It was mostly party time. We rehearse for a week or something, and you end up doing a couple of hours here because everybody turns up late, or they don't appear at all, or they're off somewhere else. Keith's socializing with the locals, and Keith's getting stoned, and it was always a disaster. It was basically like that. But in the end we pulled it together. We're good like that."

To which Stanley Booth adds "Keith's lying out in the hammock, and Mick says to Phil Kaufman's girlfriend, `Go tell Keith that we've started.' So she says, `Keith, they've started.' And Keith says, `Oh yeah. Tell them they're sounding great.'" Elliott mentions a few anecdotes about the connected man Pete Bennett, who helped them out when they were stopped by the LAPD. He then has some words about life on the road:

"The road grinds you down. The food everywhere is tasteless. Walk into the hotel room and turn on the television. Every television announcer seems to be the same person telling the same story. Down the hall from the room is the ice machine, the Coke machine. Look out the window. American cars fill the parking lot. In the endless Midwest, the landscape - without mountains, without hills - leaves the eye nothing to focus on. Every other day the time zone changes. What time is it? Does it matter? All time leads to showtime. After the rush of the show, you rush back to the hotel. And then get up and do it again."

And while Mick gives his "I mean, we're so old. Bill's thirty-three" quote about how he can't go on for much more than the eight years the band's been together (quoted above, from Booth's book), Keith gives another quote that I missed from that tale: "It doesn't matter if you're sixty-eight and bald. If you can do it, there's someone who can dig it. But if you're a rock `n' roller, you've got to be on the stage. A rock `n' roller doesn't exist unless he's on the stage." All right, Keith!!!

The final word, in my mind, of the book, of Altamont, of the Sixties, is from Mick Taylor, who, when ruminating on the concept that Altamont was the anti-Woodstock and was the death of the sixties, in the sense of what the sixties represented, says on page 225 "well, it was the end of the sixties wasn't it? It was December 1969."

But it's still really all about the photos. Some of my favourites include a great shot of the British Hell's Angels (page 22-23, and to be contrasted later on with pictures of the Oakland Hell's Angels), a demented British biker, shirtless and in full metal pin and helmet regalia (page 25), Mick Taylor, Keith Richards and Sam Cutler sitting around eating breakfast in all their stoned glory (page 32), a picture of Keith playing his transparent guitar sitting on an amp with a glass of wine in front of him, a light flowing just behind his head, from a rehearsal at Stephen Stills' home (page 35), Keith basking in the sun with his red velvet pants and indian poncho on (page 36), the band rehearsing on the set of the film They Shoot Horses, Don't They?, Mick in a white suite, a flotilla of guitar cases of in the corner (page 50-51, two pictures), Mick kneeling down and singing to the audience - you can not only see the faces of the crowd as they behold Mick, but you can also see how dirty his moccasins are (page 74), an audience shot with a beautiful blonde standing out prominently from the middle of a sea of faces, her eyes in shadow over a sultry smile (page 152-153). One of the best band shots is on page 102, where you see the two Micks, Bill and Keith, and then you get Charlie in the reflection of a mirror, no one looking directly at the camera - marvelous (the section of photos from Madison Square Gardens is one of the longest in the books, and the best). Then there's Melvin Belli's hideously crowded and over-stuffed cavern/office (page 166-167), an arial shot of Highway 580 choked with parked cars and pedestrians (page 176-177), and a picture of a despondent Mick and Keith, Mick chugging from a bottle of Jack Daniels and Keith hanging his head low (page 218-219). There's also a random, superfluous shot of Keith in airport customs next to a "Patience please... a drug free America comes first" poster, looking sly and stoned in his mirrored shades, his Coke shirt and his Tibetan scarf.

Then there are all of the great shots showing huge seas of people, such at Hyde Park (page 16-17), Madison Square Gardens (page 140), and at Altamont (page 196-197) in a shot that is so crowded with heads one on top of the other that Mick and Keith in the foreground really seem crushed by their audience - you can see the expression on every face, and the emotions run the gamut. The same people are seen in other shots, including one that features the hole that appeared in the audience in front of the stage when Meredith Hunter was stabbed. The book closes with shots from the desolate Altamont of today.

There are also some remarkable pictures of individuals and small groups, such as one of Mick seeming much older than his 27 years (page 5), and another when he looks more like Keith than himself (page 146). Then there's a great shot of Brian, in a stars and stripes shirt, looking like he's strangling a statue of Christopher Robin, with a nasty schoolboy look on his face. His pageboy haircut nearly copying Robin's. Another shot shows Mick in a blue and white checkered suit (?!?!) (page 30), Mick and Keith smiling like little boys as they stand in awe chatting with Chuck Berry (page 120); contrast that with the grim faces in a similar shot of Mick and Charlie standing shoulder to shoulder with Hells Angel Oakland chapter head Sonny Barger inside the tent (page 189). There's a shot of Abbie Hoffman yucking it up backstage (page 126), and another one of Mick and his reflection (page 136).

Great book, love it, glad I've got it.
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Rolling Stones, "Let it Bleed" 8 novembre 2010
Par John J. Benetti - Publié sur Amazon.com
Format:Relié|Achat authentifié par Amazon
This book is absolutely madnatory for any Stones fan of any age. Photos and text of what can only be described as a cap to the most musically prolific period of the Stones long long career and their best live performances. With the addition of Mick Taylor, an already truly great blues guitarist who cut his teeth with John Mayall's Bluesbreakers, their live concerts were the stuff of legends. Enjoy a look. Be a voyeur into that world. It's worth it.
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