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Aftermath (Rolling Stones album)

May 01, 2024

Aftermath is a studio album by the English rock band the Rolling Stones. The group recorded the album at RCA Studios in California in December 1965 and March 1966, during breaks between their international tours. It was released in the United Kingdom on 15 April 1966 by Decca Records and in the United States in late June or early July 1966 by London Records. It is the band's fourth British and sixth American studio album, and closely follows a series of international hit singles that helped bring the Stones newfound wealth and fame rivalling that of their contemporaries the Beatles.

Aftermath
UK release
Studio album by
the Rolling Stones
Released15 April 1966 (1966-04-15)
Recorded
  • 6–10 December 1965
  • 3–12 March 1966
StudioRCA (Hollywood)
Genre
Length
  • 52:23 (UK)
  • 42:35 (US)
Label
ProducerAndrew Loog Oldham
The Rolling Stones UK chronology
The Rolling Stones US chronology
Alternative cover
US release
Singles from Aftermath
  1. "Paint It Black"[nb 1] / "Stupid Girl"
    Released: 7 May 1966 (US)
  2. "Mother's Little Helper" / "Lady Jane"
    Released: 2 July 1966 (US)

Aftermath is considered by music scholars to be an artistic breakthrough for the Rolling Stones. It is their first album to consist entirely of original compositions, all of which were credited to Mick Jagger and Keith Richards. The band's original leader Brian Jones reemerged as a key contributor and experimented with instruments not usually associated with popular music, including the sitar, Appalachian dulcimer, Japanese koto and marimbas, as well as playing guitar and harmonica. Along with Jones' instrumental textures, the Stones incorporated a wider range of chords and stylistic elements beyond their Chicago blues and R&B influences, such as pop, folk, country, psychedelia, Baroque and Middle Eastern music. Influenced by intense love affairs, tensions within the group and a demanding touring itinerary, Jagger and Richards wrote the album around psychodramatic themes of love, sex, desire, power and dominance, hate, obsession, modern society and rock stardom. Women feature as prominent characters in their often dark, sarcastic, casually offensive lyrics.

The album's release was briefly delayed by controversy over the original packaging idea and title – Could You Walk on the Water? – due to the London label's fear of offending Christians in the US with its allusion to Jesus walking on water. In response to the lack of creative control, and without another idea for the title, the Stones bitterly settled on Aftermath, and two different photos of the band were used for the cover to each edition of the album. The UK release featured a run-time of more than 52 minutes, the longest for a popular music LP up to that point. The American edition was issued with a shorter track listing, substituting the single "Paint It Black"[nb 1] in place of four of the British version's songs, in keeping with the industry preference for shorter LPs in the US market at the time.

Aftermath was an immediate commercial success in both the UK and the US, topping the British albums chart for eight consecutive weeks and eventually achieving platinum certification from the Recording Industry Association of America. An inaugural release of the album era and a rival to the contemporaneous impact of the Beatles' Rubber Soul (1965), it reflected the youth culture and values of 1960s Swinging London and the burgeoning counterculture while attracting thousands of new fans to the Rolling Stones. The album was also highly successful with critics, although some listeners were offended by the derisive attitudes towards female characters in certain songs. Its subversive music solidified the band's rebellious rock image while pioneering the darker psychological and social content that glam rock and British punk rock would explore in the 1970s. Aftermath has since been considered the most important of the Stones' early, formative music and their first classic album, frequently ranking on professional lists of the greatest albums.

Background edit

In 1965, the Rolling Stones' popularity increased markedly with a series of international hit singles written by the band's lead singer Mick Jagger and their guitarist Keith Richards.[2] This success attracted the attention of Allen Klein, an American businessman who became their US representative in August while Andrew Loog Oldham, the group's manager, continued in the role of promoter and record producer.[3] One of Klein's first actions on the band's behalf was to force Decca Records to grant a $1.2 million royalty advance to the group, bringing the members their first signs of financial wealth and allowing them to purchase country houses and new cars.[4] Their October–December 1965 tour of North America was the group's fourth and largest tour there up to that point.[5] According to the biographer Victor Bockris, through Klein's involvement, the concerts afforded the band "more publicity, more protection and higher fees than ever before".[6]

By this time, the Rolling Stones had begun to respond to the increasingly sophisticated music of the Beatles, in comparison to whom they had long been promoted by Oldham as a rougher alternative.[7] With the success of the Jagger-Richards-penned singles "(I Can't Get No) Satisfaction" (1965), "Get Off of My Cloud" (1965) and "19th Nervous Breakdown" (1966), the band increasingly rivalled the Beatles' musical and cultural influence.[8] The Stones' outspoken, surly attitude on songs like "Satisfaction" alienated the Establishment detractors of rock music, which, as the music historian Colin King explains, "only made the group more appealing to those sons and daughters who found themselves estranged from the hypocrisies of the adult world – an element that would solidify into an increasingly militant and disenchanted counterculture as the decade wore on."[9] Like other contemporary British and American rock acts, with Aftermath the Stones sought to create an album as an artistic statement, inspired by the Beatles' achievements with their December 1965 release Rubber Soul – an LP that Oldham later described as having "changed the musical world we lived in then to the one we still live in today".[10]

In 1966, inspired by the formidable women around them, driven by the twin engines of ambition and drugs, the Rolling Stones continued a run of visionary hit singles and began to release albums that stood as crucial works of the era. The influence of a powerful new female energy on the Stones was undeniable ... At the same time, it was the era of "Stupid Girl" and "Under My Thumb," misogynist songs of dominance set to the Stones' darkest, most ardent music.

—Stephen Davis (2001)[11]

Within the Stones, tensions were rife as Brian Jones continued to be viewed by fans and the press as the band's leader, a situation that Jagger and Oldham resented.[12] The group dynamics were also affected by some of the band members' romantic entanglements.[13] Jones' new relationship with the German model Anita Pallenberg, which had taken on sadomasochistic aspects, helped renew his confidence and encourage him to experiment musically, while her intelligence and sophistication both intimidated and elicited envy from the other Stones.[14] Jagger came to view his girlfriend, Chrissie Shrimpton, as inadequate by comparison; while Jagger sought a more glamorous companion commensurate with his newfound wealth, the aura surrounding Jones and Pallenberg contributed to the end of his and Shrimpton's increasingly acrimonious relationship.[15] Richards' relationship with Linda Keith also deteriorated as her drug use escalated to include Mandrax and heroin.[16] The band's biographer Stephen Davis describes these entanglements as a "revolution under way within the Stones", adding that "Anita Pallenberg restored the faltering Brian Jones to his place in the band and in the Rolling Stones mythos. Keith Richards fell in love with her too, and their romantic triad realigned the precarious political axis within the Stones."[17]

Writing and recording edit

 
Mick Jagger (left) and Keith Richards (right), the band's chief songwriters, and Brian Jones (back, center), who contributed to Aftermath as a multi-instrumentalist

Aftermath is the first Stones LP to be composed entirely of original material by the group.[18] All the songs were, at Oldham's instigation, written by and credited to the songwriting partnership of Jagger and Richards.[19] The pair wrote much of the material during the October–December 1965 tour and recording began immediately after the tour ended.[20] According to the band's bassist Bill Wyman in his book Rolling with the Stones, they originally conceived Aftermath as the soundtrack for a planned film, Back, Behind and in Front. The plan was abandoned after Jagger met the potential director, Nicholas Ray, and disliked him.[21][nb 2] The recording sessions took place at RCA Studios in Los Angeles on 6–10 December 1965 and, following promotion for their "19th Nervous Breakdown" single and an Australasian tour, on 3–12 March 1966.[24] Charlie Watts, the group's drummer, told the press that they had completed 10 songs during the first block of sessions; according to Wyman's book, at least 20 were recorded in March.[25] Among the songs were four tracks issued on singles by the Rolling Stones in the first half of 1966, the A-sides of which were "19th Nervous Breakdown" and "Paint It Black".[26][nb 1] "Ride On, Baby" and "Sittin' on a Fence" were also recorded during the sessions but were not released until the 1967 US album Flowers.[27]

Referring to the atmosphere at RCA, Richards told Beat Instrumental magazine in February 1966: "Our previous sessions have always been rush jobs. This time we were able to relax a little, take our time."[28] The main engineer for the album, Dave Hassinger, was pivotal in making the group feel comfortable during the sessions, as he let them experiment with instrumentals and team up with session musicians like Jack Nitzsche to variegate their sound. Wyman recalled that Nitzsche and Jones would pick up instruments that were in the studio and experiment with sounds for each song. According to Jagger, Richards was writing a lot of melodies and the group would perform them in different ways, which were mainly thought out in the studio.[29] In the recollection of the engineer Denny Bruce, the songs often developed through Nitzsche organising the musical ideas on piano.[30] Wyman was later critical of Oldham for nurturing Jagger and Richards as songwriters to the exclusion of the rest of the band.[31] The bassist also complained that "Paint It Black" should have been credited to the band's collective pseudonym, Nanker Phelge, rather than Jagger–Richards, since the song originated from a studio improvisation by himself, Jones and Watts, with Jones providing the melody line.[32]

Jones proved important in shaping the album's tone and arrangements, as he experimented with instruments that were unusual in popular music, such as the marimba, sitar and Appalachian dulcimer.[33] Davis cites the "acid imagery and exotic influences" on Rubber Soul, particularly George Harrison's use of the Indian sitar on "Norwegian Wood", as the inspiration for Jones' experimentation with the instrument in January 1966: "One night George put the massive sitar in Brian's hands, and within an hour Brian was working out little melodies."[13] According to Nitzsche, Jones deserved a co-writing credit for "Under My Thumb", which Nitzsche recalled as being an unoriginal-sounding three-chord sequence until Jones discovered a Mexican marimba left behind from a previous session, and transformed the piece by providing its central riff.[34] Wyman agreed, saying, "Well, without the marimba part, it's not really a song, is it?"[35]

 
An Appalachian dulcimer, one of several instruments Jones introduced to the Stones' sound for the album

During the recording sessions, Richards and Oldham dismissed Jones' interest in exotic instrumentation as an affectation.[36] According to the music journalist Barbara Charone, writing in 1979, everyone connected with the Stones credited Jones for "literally transforming certain records with some odd magical instrument".[37] While Nitzsche was shocked at how cruelly they treated Jones, he later said that Jones was sometimes absent or incapacitated by drugs.[38] Hassinger recalled seeing Jones often "laying on the floor, stoned or on some trip" and unable to play, but that his bandmates would wait for him to leave rather than entering into an argument as other bands would.[39]

Because of Jones' distractions, Richards ended up playing most of the guitar parts for Aftermath, making it one of the first albums to have him do so. Richards later said he found the challenge musically rewarding but resented Jones for his unprofessional attitude when the band were under extreme pressure to record and maintain a hectic touring schedule.[40] On some songs, Richards supported Wyman's bass lines with a fuzz bass part, which the music historians Philippe Margotin and Jean-Michel Guesdon suggest was influenced by Paul McCartney's use on the track "Think for Yourself" (from Rubber Soul).[41] Aftermath was also the first Stones LP to be released with the majority of its tracks in true stereo, as opposed to electronically recreated stereo.[42]

Music and composition edit

According to the musicologist David Malvinni, Aftermath is the culmination of the Rolling Stones' stylistic development dating back to 1964, a synthesis of previously explored sounds from the blues, rock and roll, rhythm and blues, soul, folk rock and pop ballads.[43] Margotin and Guesdon go further in saying the album shows the Stones to be free from influences that had overwhelmed their earlier music, specifically the band's Chicago blues roots. Instead, they say, the record features an original style of art rock that resulted from Jones' musical experimentation and draws not only on the blues and rock but also pop, R&B, country, Baroque, classical and world music.[44] Musical tones and scales from English lute song and Middle Eastern music feature among Aftermath's riff-based rock and blues (in both its country and urban forms).[45] While still considering it a blues rock effort, Tom Moon likens the music to a collaboration between the art rock band the Velvet Underground and the Stax house band.[46] Jagger echoes these sentiments in a 1995 interview for Rolling Stone, regarding it as a stylistically diverse work and milestone for him that "finally laid to rest the ghost of having to do these very nice and interesting, no doubt, but still, cover versions of old R&B songs – which we didn't really feel we were doing justice, to be perfectly honest".[47]

 
"Under My Thumb"
A 20-second sample of the song, featuring marimba textures by Jones and guitar figures played by Richards in a low tessitura – both departures from the conventions of the band's earlier blues-based rock music.
Problems playing this file? See media help.

Along with their 1967 follow-up, Between the Buttons, Aftermath is cited by Malvinni as part of the Rolling Stones' pop-rock period as it features a chordal range more diverse and inclusive of minor chords than their blues-based recordings.[48] According to Kevin Courrier, the Stones use "softly intricate" arrangements that lend the record a "seductive ambience" similar to Rubber Soul, particularly on "Lady Jane", "I Am Waiting", "Under My Thumb" and "Out of Time".[49] The latter two songs, among Aftermath's more standard pop-rock titles, are often-cited examples of Jones interweaving unconventional instruments and quirky sounds into the album's sonic character, his use of the marimba featured on both.[50] In the opinion of Philip Norman, Jones' varied contributions give Aftermath both the "chameleon colours" associated with Swinging London fashion and a "visual quality" unlike any other Stones album.[33] Robert Christgau says the texture of the Stones' blues-derived hard rock is "permanently enriched" as Jones "daub[s] on occult instrumental [colours]", Watts "mold[s] jazz chops to rock forms", Richards "rock[s] roughly on" and the band "as a whole learn[s] to respect and exploit (never revere) studio nuance"; Wyman's playing here is described by Moon as the "funkiest" on a Stones LP.[51]

Citing individual songs, Rolling Stone describes Aftermath as "an expansive collection of tough riffs ('It's Not Easy') and tougher acoustic blues ('High and Dry'); of zooming psychedelia ('Paint It Black'), baroque-folk gallantry ('I Am Waiting') and epic groove (the eleven minutes of 'Goin' Home')".[52] Jon Savage also highlights the stylistic diversity of the album, saying that it "range[s] from modern madrigals ('Lady Jane'), music-hall ragas ('Mother's Little Helper'), strange, curse-like dirges ('I Am Waiting') and uptempo pop ('Think') to several bone-dry blues mutations ('High and Dry', 'Flight 505' [and] 'Going Home')".[53] The first four songs of Aftermath's US edition – "Paint It Black", "Stupid Girl", "Lady Jane" and "Under My Thumb" – are identified by the music academic James Perone as its most explicit attempts to transcend the blues-based rock and roll conventions of the Stones' past. He also notes how Richards' guitar riff and solo on the latter track are "minimalistic, in a fairly low tessitura and relatively emotionless", compared to previous Stones hits like "(I Can't Get No) Satisfaction", "Get Off of My Cloud" and "19th Nervous Breakdown".[54]

Lyrics and themes edit

Female characters edit

It was almost as if women in all their contradictory humanity symbolised the conditions of life that were the ultimate target of the Stones' anger.

—An unnamed music critic (c. 1966)[55]

Aftermath's diverse musical style contrasts the dark themes explored in Jagger and Richards' lyrics, which often scorn female lovers. Margotin and Guesdon say that Jagger, who had been accused of misogyny before the album, is avenging real-life grievances with the songs, using "language and imagery that had the power to hurt". "Stupid Girl", which assails the "supposed greed and facile certitudes of women", is speculated by the writers to indirectly criticise Shrimpton. "High and Dry" expresses a cynical outlook on a lost romantic connection, while "Under My Thumb", "Out of Time" and "Think" show how "a man's revenge on his mistress (or perhaps wife) becomes a source of real pleasure".[19] Shrimpton was devastated by the lyrics to "Out of Time", in which Jagger sings, "You're obsolete, my baby, my poor old-fashioned baby".[56][nb 3] Savage views such songs as evoking "the nastiness of the Rolling Stones' constructed image" in lyrical form by capturing Jagger's antipathy towards Shrimpton, whom he describes as a "feisty upper-middle-class girl who gave as good as she got".[57] Conceding that male chauvinism became a key theme of the Stones' lyrics from late 1965 onwards, Richards later told Bockris: "It was all a spin-off from our environment ... hotels and too many dumb chicks. Not all dumb, not by any means, but that's how one got. You got really cut off."[55]

In Guesdon and Margotin's view, the Stones express a more compassionate attitude towards women in "Mother's Little Helper", which examines a housewife's reliance on pharmaceutical drugs to cope with her daily life, and in "Lady Jane"'s story of romantic courtship.[19] By contrast, Davis writes of Aftermath containing a "blatant attack on motherhood" and says that "Mother's Little Helper" addresses "tranquilised suburban housewives".[58] According to Hassinger, his wife Marie provided the inspiration for "Mother's Little Helper" when she supplied some downers in response to a request from one of the studio staff.[59] Davis likens "Lady Jane" to a Tudor love song with lyrics apparently inspired by Henry VIII's love letters to Lady Jane Seymour.[60] Some listeners assumed the song was about Jagger's high-society friend Jane Ormsby-Gore, daughter of David Ormsby-Gore, 5th Baron Harlech.[60] In what the music journalist Chris Salewicz terms a "disingenuous" claim, Jagger told Shrimpton that "Lady Jane" was written for her.[61]

Conceptual structure edit

Overall, the darker themes lead Margotin and Guesdon to call Aftermath "a sombre album in which desolation, paranoia, despair and frustration are echoed as track succeeds track".[19] According to Steven Hyden, Jagger's songwriting explores "sex as pleasure, sex as power, love disguised as hate and hate disguised as love".[62] Moon believes the time period's flower power ideology is recast in a dark light on "these tough, lean, desperately lonely songs", while Norman calls them "songs of callow male triumph" in which Jagger alternately displays childlike charm and misogynistic scorn.[63] While songs such as "Stupid Girl" and "Under My Thumb" may be misogynistic, they are also interpreted as dark representations of the narrator's hateful masculinity. Misogyny, as on "Under My Thumb", "may be just a tool for restoring the fragile narcissism and arrogance of the male narrator", muses the music scholar Norma Coates.[64]

Referring to the American version of the LP, Perone identifies numerous musical and lyrical features that lend Aftermath a conceptual unity which, although not sufficient for it to be considered a concept album, allows for the record to be understood "as a psychodrama around the theme of love, desire and obsession that never quite turns out right". It may also be read "as part of a dark male fantasy world, perhaps constructed as a means of dealing with loneliness caused by a broken relationship or a series of broken relationships with women."[65] As Perone explains:

The individual songs seem to ping-pong back and forth between themes of love/desire for women and the desire to control women and out-and-out misogyny. However, the band uses musical connections between songs as well as the subtheme of travel, the use of feline metaphors for women and other lyrical connections to suggest that the characters whom lead singer Mick Jagger portrays throughout the album are really one and perhaps stem from the deep recesses of his psyche.[66]

Societal motifs edit

 
Carnaby Street, 1968. Aftermath captured the Rolling Stones' engagement with the burgeoning Swinging London youth scene.

According to the music historian Simon Philo, like all the Stones' 1966 releases, Aftermath also reflects the band's "engagement" with Swinging London, a scene in which their decadent image afforded them a pre-eminent role by capturing the meritocratic ideals of youth, looks and wealth over social class.[67] Author Ian MacDonald says that, as on Between the Buttons, the Stones perform here as storytellers of the scene and produce a "subversive" kind of pop music comparable to their contemporaries the Kinks.[68] As Greil Marcus observes, the songs' protagonists can be interpreted as London bohemians severely disdainful of bourgeois comfort, positing "a duel between the sexes" and weaponizing humour and derision.[69] Courrier adds that, as the "evil twin" of Rubber Soul, Aftermath takes that album's "romantic scepticism" and reframes it into a narrative of "underclass revolt".[70]

Both "Mother's Little Helper" and "What to Do" connect modern society to feelings of unhappiness. The band's misgivings about their rock stardom are also touched on, including relentless concert tours in "Goin' Home" and fans who imitate them in "Doncha Bother Me", in which Jagger sings, "The lines around my eyes are protected by copyright law".[71] Savage views the same lyric, preceded by the lines "All the clubs and the bars / And the little red cars / Not knowing why, but trying to get high", as the Stones' cynical take on Swinging London at a time when the phenomenon was receiving international attention and being presented as a tourist attraction.[72] According to Perone, "I Am Waiting" suggests paranoia on the narrator's part and that societal forces are the cause, yet the song presents a degree of resignation in comparison to the album's other commentaries on class- and consumer-focused society.[73]

Title and packaging edit

 
The preliminary title and cover were rejected by the Stones' record label for alluding to Jesus walking on water. (Christ Walking on the Water by Julius von Klever, c. 1880, shown above)

During the recording, Oldham wanted to title the album Could You Walk on the Water?[74] In mid-January 1966, the British press announced that a new Rolling Stones LP carrying that title would be released on 10 March.[75] In Rolling with the Stones, Wyman refers to the announcement as "audacity" on Oldham's part, although he supposes that Could You Walk on the Water? was their manager's proposed title for the band's March compilation album Big Hits (High Tide and Green Grass), rather than for Aftermath.[76] At the time, Richards complained that Oldham was continually trying to "[get] in on the act" and "the Stones have practically become a projection of his own ego."[77] A Decca spokesman said the company would not issue an album with such a title "at any price"; Oldham's idea upset executives at the company's American distributor, London Records, who feared the allusion to Jesus walking on water would provoke a negative response from Christians.[78]

The title controversy embroiled the Stones in a conflict with Decca, delaying Aftermath's release from March to April 1966.[79] Oldham had also proposed the idea of producing a deluxe gatefold featuring six pages of colour photos from the Stones' recent American tour and a cover depicting the band walking atop a California reservoir in the manner of "pop messiahs on the Sea of Galilee", as Davis describes. Rejected by Decca, the packaging was used instead for the US version of Big Hits, albeit with a cover showing the band standing on the shore of the reservoir.[80] According to Davis, "in the bitterness (over lack of control of their work) that followed, the album was called Aftermath for want of another concept."[11] Rolling Stone discerns a connection between the final title and themes explored in the music: "Aftermath of what? of the whirlwind fame that had resulted from releasing five albums in two years, for one thing ... And of hypocritical women".[52] In Norman's view, an "aftermath" of the earlier title's "sacrilegious reference to the most spectacular of Christ's miracles" is "the very thing from which their God-fearing bosses may well have saved them", effectively avoiding the international furore that John Lennon created with his remark, in March, that the Beatles are "more popular than Jesus".[81]

The front cover photo for Aftermath's British release was taken by Guy Webster and the cover design was done by Oldham, credited as "Sandy Beach".[82] Instead of the elaborate essay that Oldham usually supplied for the Stones' albums, the liner notes were written by Hassinger and were a straight commentary on the music.[83] Hassinger wrote in part: "It's been great working with the Stones, who, contrary to the countless jibes of mediocre comedians all over the world, are real professionals, and a gas to work with."[84] For the cover image, close-ups of the band members' faces were diagonally aligned against a pale-pink and black coloured background, and the album title was cut in half across a line break.[85] The back of the LP featured four black-and-white photos of the group taken by Jerry Schatzberg at his photographic studio in New York in February 1966.[86] Jones was vocal in his dislike of Oldham's design when interviewed by Melody Maker in April.[85]

For the American edition's cover, David Bailey took a colour photo of Jones and Richards in front of Jagger, Watts and Wyman, and set it against a blurred black background. According to Margotin and Guesdon, the photo was intentionally blurred as "an allusion to the psychedelic movement" and "corresponds better to the Stones' new artistic direction".[85][nb 4]

Marketing and sales edit

 
Seated left to right: Bill Wyman, Jones, Richards and Jagger, interviewed by music press in Amsterdam's Schiphol Airport while on tour shortly before Aftermath's release

Aftermath's release was preceded by the Rolling Stones' two-week tour of Europe, which began on 25 March 1966.[88] Decca issued the album in the United Kingdom on 15 April and an accompanying press release that declared: "We look to Shakespeare and Dickens and Chaucer for accounts of other times in our history, and we feel that tomorrow we will on many occasions look to the gramophone records of the Rolling Stones ... who act as a mirror for today's mind, action and happenings."[89] On the same day, Time magazine published a feature titled "London: A Swinging City", belatedly recognising the Swinging London phenomenon a year after its peak.[90] The British edition of Aftermath featured a run-time of 52 minutes and 23 seconds, the longest for a popular music LP at that time.[91] The record was pressed with reduced volume to allow for its unusual length.[53] In the Netherlands, Phonogram Records rush-released the album during the week of 14 May in response to high demand from Dutch music retailers.[92]

In the US, London delayed the album's release to market the Big Hits compilation first but issued "Paint It Black" as a single in May.[93] The song was originally released as "Paint It, Black", the comma being an error by Decca, which stirred controversy over a purported racial connotation.[1] The band began their fifth North American tour on 24 June in support of Aftermath; it was their highest-grossing tour yet and, according to Richards, the start of a period of rapprochement between Jones, Jagger and himself.[94] In late June or early July, London released the American edition of the album with "Paint It Black" replacing "Mother's Little Helper", which was released in the same period in the US as a single with "Lady Jane" as the B-side.[95][nb 5] "Out of Time", "Take It or Leave It" and "What to Do" were similarly cut from the US LP's running order in an effort to significantly reduce its length, in keeping with the industry policy of issuing shorter albums and maximising the amount of LP releases for popular artists.[98][nb 6] Aftermath was the band's fourth British and sixth American studio album.[101]

In the UK, Aftermath topped the Record Retailer LPs chart (subsequently adopted as the UK Albums Chart) for eight consecutive weeks, replacing the soundtrack album for The Sound of Music (1965) at number 1. It stayed on the chart for 28 weeks.[102] Aftermath proved the fourth-highest-selling album of 1966 in the UK, and it also became a top-10 best-seller in the Netherlands.[103] In the US, the album entered the Billboard Top LPs at number 117 on 2 July, making it the chart's highest new entry that week. By 13 August, it had risen to number 2 behind the Beatles' Yesterday and Today.[97] That month, the Recording Industry Association of America awarded Aftermath a Gold certification for shipments of 500,000 copies; in 1989 it was certified Platinum for one million copies.[104]

According to the pop historian Richard Havers, Aftermath's 1966 US chart run was assisted by the success of "Paint It Black", which topped the Billboard Hot 100 for two weeks in June.[97] "Mother's Little Helper" was a Hot 100 hit as well, peaking at number 8 on the chart.[85] The album's songs also proved popular among other recording artists, "Mother's Little Helper", "Take It or Leave It", "Under My Thumb" and "Lady Jane" all being covered within a month of Aftermath's release.[105] Adding to Jagger and Richards' success as writers, Chris Farlowe topped the UK charts with his Jagger-produced recording of "Out of Time" in August.[106][nb 7]

Critical reception edit

Aftermath received highly favourable reviews in the music press.[108] It was released just months before Bob Dylan's Blonde on Blonde and the Beatles' Revolver, albums by artists that Jagger and Richards had received comparisons to while Oldham was promoting the band's artistic maturation to the press.[109] Among British critics, Richard Green of Record Mirror, in April 1966, began his review by saying: "Whether they realise it or not – and I think Andrew Oldham does – the Rolling Stones have on their hands the smash LP of the year with Aftermath", adding that it would take much effort to surpass their achievement. Green said the music is unmistakably rock and roll and was especially impressed by Watts' drumming.[110] Keith Altham of the New Musical Express (NME) hailed the Stones as "masterminds behind the electric machines" who have recorded an LP of "the finest value for money ever". He described "Goin' Home" as a "fantastic R&B improvisation" and said that "Lady Jane", "Under My Thumb" and "Mother's Little Helper" have the potential to be great singles.[111] Aftermath was regarded in Melody Maker as the group's best LP to date and one that would "effortlessly take Britain by storm". The magazine's reviewer applauded its focus "on big beat, power and interesting 'sounds'", noting how the use of dulcimer, sitar, organ, harpsichord, marimba and fuzz boxes creates an "overwhelming variety of atmospherics and tones".[112]

While the lyrics' derisive attitude to women offended some listeners, this aspect received little attention in the British pop press or complaints from female fans.[113][nb 8] In the cultural journal New Left Review, Alan Beckett wrote that the band's lyrics could only be fully appreciated by an audience familiar with modern city life, particularly London. He said that the Stones' "archetypal girl", as first introduced in their 1965 song "Play with Fire", was "rich, spoiled, confused, weak, using drugs, etc.", adding that: "Anyone who has been around Chelsea or Kensington can put at least one name to this character."[115] Responding in the same publication, the intellectual historian Perry Anderson (using the pseudonym of Richard Merton) defended the band's message as an audacious and satirical exposé on sexual inequality. He said that in songs such as "Stupid Girl" and "Under My Thumb", the Stones had "defied a central taboo of the social system" and that "they have done so in the most radical and unacceptable way possible: by celebrating it."[116][nb 9]

Some feminist writers defended "Under My Thumb".[118] Camille Paglia considered the song "a work of art", despite its sexist lyrics, and Aftermath a "great album" with "rich sonorities".[119][nb 10] In a 1973 piece for Creem, Patti Smith recounted her response to the album in 1966: "The Aftermath album was the real move. two faced woman. doncha bother me. the singer displays contempt for his lady. he's on top and that's what I like. then he raises her as queen. his obsession is her. 'goin home.' What a song ... stones music is screwing music."[121]

Among US commentators, Bryan Gray wrote in the Deseret News: "This album does the best job yet of alienating the over-twenties. The reason – they attempt to sing."[21] Record World's review panel selected the album as one of their three "Albums of the Week", predicting a major seller while highlighting "Paint It Black" as "only the first of a series of hot [tracks]".[122] Billboard's reviewer predicted that Aftermath would become another hit for the Stones, citing "Paint It Black" as the focal point of the hard rock album and revering Oldham for his production.[123] Cash Box was extremely impressed by the LP and also predicted immediate chart success, saying "Lady Jane" and "Goin' Home" in particular are likely to attract considerable notice.[124] Writing in Esquire in 1967, Robert Christgau said that the Stones' records present the only possible challenge to Rubber Soul's place as "an album that for innovation, tightness and lyrical intelligence" far surpassed any previous work in popular music.[125] About two years later, in Stereo Review, he included the American Aftermath in his basic rock "library" of 25 albums and attributed the Stones' artistic identity largely to Jagger, "whose power, subtlety and wit are unparalleled in contemporary popular music".[126] While suggesting Jagger and Richards rank second behind John Lennon and Paul McCartney as composers of melody in rock, Christgau still considered it the best album in any category and wrote:

Rock aficionados class the Stones with the Beatles, but perhaps they haven't impressed a wider audience because their devotion to the music is pure: the Hollyridge Strings will never record an album of Jagger–Richard melodies. But for anyone willing to discard his preconceptions, Aftermath is a great experience, a distillation of everything that rock and blues are about.[126][nb 11]

Legacy edit

Cultural impact edit

Aftermath is considered the most important of the Rolling Stones' early albums.[127] It was an inaugural release of the album era, during which the LP replaced the single as the primary product and form of artistic expression in popular music.[128] As with Rubber Soul, the extent of Aftermath's commercial success foiled the music industry's attempts to re-establish the LP market as the domain of wealthier, adult record-buyers – a plan that had been driven by the industry's disapproval of the uncouth image associated with Jagger and their belief that young record-buyers were more concerned with singles.[129] In Malvinni's opinion, Aftermath was "the crucial step for the Stones' conquering of the pop world and their much-needed answer" to Rubber Soul, which had similarly embodied the emergence of youth culture in popular music during the mid-1960s.[130][nb 12] With their continued commercial success, the Stones joined the Beatles and the Who as one of the few rock acts who were able to follow their own artistic direction and align themselves with London's elite bohemian scene without alienating the wider youth audience or appearing to compromise their working-class values.[133] Speaking on the cultural impact of Aftermath's British release in 1966, Margotin and Guesdon say it was, "in a sense, the soundtrack of Swinging London, a gift to hip young people" and "one of the brightest stars of the new culture (or counterculture) that was to reach its zenith the following year in the Summer of Love".[134]

Aftermath follows directly in the wake of the Stones' trilogy of songs based on their American Experience: "(I Can't Get No) Satisfaction", "Get Off of My Cloud" and "19th Nervous Breakdown", and it establishes that they had gained sufficient confidence in their own writing prowess to present an album of all-original material. Though perhaps they weren't aware of it then, their initial adrenalin rush (which had sustained them for three years) was just about exhausted. However, the sheer momentum of their struggle for Stateside supremacy enabled them to pull off this coup de grace without showing any signs of artistic fatigue.

—Roy Carr (1976)[135]

Aftermath is regarded as the most artistically formative of the Rolling Stones' early work.[127] Their new sound on the album helped expand their following by the thousands, while its content solidified their dark image.[136] As Ritchie Unterberger observes, its contemptuous perspective about society and women contributed significantly to the group's reputation as "the bad boys" of rock music.[137] According to John Mendelsohn from PopMatters, the social commentary of "Mother's Little Helper" in particular "cemented their reputation as a subversive cultural force", as it exposed the hypocrisy of mainstream culture's exclusive association of psychoactive drug use with addicts and rock stars.[138] The NME's Jazz Monroe writes that Aftermath simultaneously disowned and reimagined rock tradition and forever elevated the Stones as equals to the Beatles.[139] Writing for The A.V. Club, Hyden describes it as "a template for every classic Stones album that came afterward", crediting its "sarcastic, dark and casually shocking" songs with introducing themes Jagger would explore further in the future through a "complex, slippery persona" that allowed him to "be good and evil, man and woman, tough and tender, victim and victimiser". This deliberately "confounding, complicated image" helped make Jagger one of the most captivating lead musicians in rock, Hyden concludes.[62]

Influence on rock music edit

The album proved influential in the development of rock music. Its dark content pioneered the darker psychological and social themes of glam rock and British punk rock in the 1970s.[140] The music historian Nicholas Schaffner, in The British Invasion: From the First Wave to the New Wave (1982), acknowledges the Stones on the album for being the first recording act to engage themes of sex, drugs and rock culture "with both a measure of intelligence and a corresponding lack of sentimentality or even romanticism".[141] The attitude of songs like "Paint It Black" in particular influenced punk's nihilistic outlook.[142] Elvis Costello called his album This Year's Model (1978) "a ghost version of Aftermath" and called "This Year's Girl" an answer song to "Stupid Girl".[143]

Some of Aftermath's blues-oriented rock elements foreshadowed the blues-rock music of the late 1960s.[45] Schaffner suggests "Goin' Home" anticipated the trend of extended musical improvisations by professional rock bands, while Rob Young of Uncut says it heralded "the approaching psychedelic tide" in the manner of Rubber Soul.[144] Summarising Aftermath's impact in 2017, the pop culture writer Judy Berman describes "Paint It Black" as "rock's most nihilistic hit to date" and concludes that, "with Jones ditching his guitar for a closetful of exotic instruments and the band channelling their touring musicians' homesickness on the record's 11-minute culminating blues jam, 'Goin' Home,' they also pushed rock forward."[118]

Reappraisal edit

Retrospective professional reviews
Review scores
SourceRating
AllMusic     [137]
Blender     [145]
Encyclopedia of Popular MusicUK:     
US:     [146]
Entertainment WeeklyA–[147]
The Great Rock Discography7/10[148]
MusicHound Rock5/5[149]
NME7/10[150]
The Rolling Stone Album Guide     [151]
Tom Hull – on the WebUK: A−
US: A[152]

Aftermath is often considered the Rolling Stones' first classic album.[153] According to Stephen Davis, its standing as the first wholly Jagger-Richards collection makes it, "for serious fans, the first real Rolling Stones album".[154] Schaffner says it is "the most creative" and possibly the best of their albums "in the first five years", while Hyden cites it as their "first full-fledged masterpiece".[155] Writing for Uncut, Ian MacDonald recognises it as an "early peak" in the Stones' career, and Jody Rosen, in a "Back Catalogue" feature for Blender, includes it as the first of the group's "essential" albums.[156] The Guardian's Alexis Petridis names Aftermath the Stones' fifth-best record, while Graeme Ross of The Independent ranks it sixth and suggests it stands on a level with other benchmark LPs from 1966, including Blonde on Blonde, Revolver and the Beach Boys' Pet Sounds.[157] In The Rolling Stone Illustrated History of Rock & Roll (1976), Christgau names Aftermath the first in a series of Stones LPs – including Between the Buttons, Beggars Banquet (1968) and Let It Bleed (1969) – that stand "among the greatest rock albums".[158] In MusicHound Rock (1999), Greg Kot highlights Jones' "canny" instrumental contributions while identifying Aftermath as the album that transformed the Stones from British blues "traditionalists" into canonical artists of the album-rock era, alongside the Beatles and Bob Dylan.[149] In a retrospective review for AllMusic, Unterberger applauds the band's use of influences from Dylan and psychedelia on "Paint It Black", and similarly praises "Under My Thumb", "Lady Jane" and "I Am Waiting" as masterpieces.[137]

In 2002, both versions of Aftermath were digitally remastered as part of ABKCO Records' reissue campaign of the Rolling Stones' 1960s albums. Reviewing the reissues for Entertainment Weekly, David Browne recommends the UK version over the US, while Tom Moon, in his appraisal in The Rolling Stone Album Guide (2004), prefers the US edition for its replacement of "Mother's Little Helper" with "Paint It Black" and highlights the clever lyrics of Jagger.[159] Colin Larkin, who rates the British version higher in his Encyclopedia of Popular Music (2011), describes Aftermath as "a breakthrough work in a crucial year" and an album that demonstrates a flexibility in the group's writing and musical styles as well as "signs of the band's inveterate misogyny".[160] In their book The Beatles vs. The Rolling Stones: Sound Opinions on the Great Rock 'n' Roll Rivalry (2010), Jim DeRogatis and Greg Kot agree that Aftermath is "the first really great Stones album beginning to end", with DeRogatis especially impressed by the British edition's first half of songs.[161]

The pop culture author Shawn Levy, in his 2002 book Ready, Steady, Go!: Swinging London and the Invention of Cool, says that, unlike the three previous Stones albums, Aftermath displayed "purpose" in its sequencing and "a real sense that a coherent vision was at work" in the manner of the Beatles' Rubber Soul. However, he adds that with the August 1966 release of Revolver, Aftermath appeared "limp, tame, dated".[162][nb 13] Young believes its reputation as a work on-par with Rubber Soul is undeserved since the quality of its songs is inconsistent, the production is "relatively straight" and the assorted stylistic approach ensures it lacks the unifying aspect of the period's other major LPs.[164] Discussing the album's critical legacy for PopMatters, Mendelsohn and Eric Klinger echo this sentiment while agreeing that it is more of a transitional work for the Stones and not up to the level of the albums from their subsequent "golden years" – Beggars Banquet, Let It Bleed, Sticky Fingers (1971) and Exile on Main St. (1972).[138] In an article for Clash celebrating Aftermath's 40th anniversary, Simon Harper concedes that its artistic standing alongside the Beatles' contemporaneous works may be debatable but, "as the rebirth of the world's greatest rock and roll band, its importance is undisputed."[165]

Some retrospective appraisals are critical towards the harsh treatment of female characters on the album. As Schaffner remarks, "the brutal thrust of such ditties as 'Stupid Girl,' 'Under My Thumb' and 'Out of Time' has since, of course, induced paroxysms of rage among feminists."[141] Young infers that the album's principal lyrical theme now evokes a "rather old-fashioned sensation of brattish, spiky misogyny", presenting female characters as "pill-popping housewives ... the idiotic hussy ... the 'obsolete' fashion dummy ... or the subjugated arm candy".[164] Berman also singles out this aspect in her otherwise positive estimation of Aftermath, saying it "indulged the Stones' misogyny on the bitchy diss track 'Stupid Girl' and tamed a shrew on 'Under My Thumb,' a nasty piece of work".[118] Unterberger expresses similar reservations about the substance behind songs like "Goin' Home" and "Stupid Girl", finding the latter particularly callow.[137]

Rankings edit

Aftermath frequently appears on professional rankings of the best albums. In 1987, it was voted 68th in Paul Gambaccini's book Critics' Choice: The Top 100 Rock 'n' Roll Albums of All Time, based on submissions from an international panel of 81 critics, writers and broadcasters.[166] In contemporaneous rankings of the greatest albums, the Dutch OOR, the British Sounds and the Irish Hot Press placed it as 17th, 61st and 85th, respectively. The French magazine Rock & Folk included Aftermath in its 1995 list of "The 300 Best Albums from 1965–1995".[citation needed] In 2000, it was voted number 387 in Colin Larkin's All Time Top 1000 Albums.[167] In 2003, Rolling Stone ranked the American edition at number 108 on the magazine's "500 Greatest Albums of All Time" list.[52][nb 14] The French retailer FNAC's 2008 list named Aftermath the 183rd-greatest album of all time. In contemporaneous listings of the "coolest" albums, Rolling Stone and GQ ranked it second and 10th, respectively.[citation needed] In 2017, Pitchfork listed Aftermath at number 98 on the website's "200 Best Albums of the 1960s".[118]

The album is also highlighted in popular record guides. It is named in Greil Marcus' 1979 anthology Stranded as one of his "Treasure Island" albums, comprising a personal discography of rock music's first 25 years.[169] The American edition of the album is included in "A Basic Record Library" of 1950s and 1960s recordings published in Christgau's Record Guide: Rock Albums of the Seventies (1981).[170] The same version appears in James Perone's book The Album: A Guide to Pop Music's Most Provocative, Influential and Important Creations (2012) and in Chris Smith's 101 Albums That Changed Popular Music (2009), albeit in the latter's appendix "Ten Albums That Almost Made It".[171] In addition, Aftermath features in Bill Shapiro's 1991 Rock & Roll Review: A Guide to Good Rock on CD (listed in its section on "The Top 100 Rock Compact Discs"), Chuck Eddy's The Accidental Evolution of Rock'n'roll (1997), the 2006 Greenwood Encyclopedia of Rock History's "Most Significant Rock Albums", Tom Moon's 2008 book 1,000 Recordings to Hear Before You Die and Robert Dimery's 1001 Albums You Must Hear Before You Die (2010).[172]

Track listing edit

UK edition edit

All tracks are written by Mick Jagger and Keith Richards.[nb 15]

Side one

  1. "Mother's Little Helper" – 2:40
  2. "Stupid Girl" – 2:52
  3. "Lady Jane" – 3:06
  4. "Under My Thumb" – 3:20
  5. "Doncha Bother Me" – 2:35
  6. "Goin' Home" – 11:35

Side two

  1. "Flight 505" – 3:25
  2. "High and Dry" – 3:06
  3. "Out of Time" – 5:15
  4. "It's Not Easy" – 2:52
  5. "I Am Waiting" – 3:10
  6. "Take It or Leave It" – 2:47
  7. "Think" – 3:10
  8. "What to Do" – 2:30
  • ABKCO's 2002 SACD remaster of the UK edition was released with an otherwise unavailable stereo mix of "Mother's Little Helper".[175]

US edition edit

All tracks are written by Mick Jagger and Keith Richards.[nb 15]

Side one

  1. "Paint It Black" (originally mistitled "Paint It, Black")[1] – 3:46
  2. "Stupid Girl" – 2:52
  3. "Lady Jane" – 3:06
  4. "Under My Thumb" – 3:20
  5. "Doncha Bother Me" – 2:35
  6. "Think" – 3:10

Side two

  1. "Flight 505" – 3:25
  2. "High and Dry" – 3:06
  3. "It's Not Easy" – 2:52
  4. "I Am Waiting" – 3:10
  5. "Goin' Home" – 11:13

Personnel edit

Credits are from the 2002 CD booklet and contributions listed in Philippe Margotin and Jean-Michel Guesdon's book All the Songs, except where noted otherwise.[176]

The Rolling Stones

  • Mick Jagger – lead and backing vocals, percussion; harmonica ("Doncha Bother Me")
  • Keith Richards – harmony and backing vocals, electric and acoustic guitars; fuzz bass ("Under My Thumb", "Flight 505", "It's Not Easy")
  • Brian Jones – electric and acoustic guitars; sitar ("Paint It Black"), dulcimer ("Lady Jane", "I Am Waiting"), harmonica ("Goin' Home", "High and Dry"), marimba ("Under My Thumb", "Out of Time"), vibraphone ("Out of Time")[nb 16], koto ("Take It or Leave It")[178]
  • Bill Wyman – bass guitar, fuzz bass; organ ("Paint It Black"), bells
  • Charlie Watts – drums, percussion, bells

Additional musicians

Additional personnel

Charts edit

Certifications edit

Region Certification Certified units/sales
United Kingdom (BPI)[191]
release of 2006 		Silver 60,000^
United States (RIAA)[192] Platinum 1,000,000^

^ Shipments figures based on certification alone.

See also edit

Notes edit

  1. ^ a b c The song was originally released as "Paint It, Black", the comma being an error by Decca Records.[1]
  2. ^ The film was announced on 17 December 1965, with the Rolling Stones reportedly in starring roles.[22] The production was officially cancelled the following May, when a press release stated that the band were due to film a screen adaptation of the Dave Wallis novel Only Lovers Left Alive.[23]
  3. ^ She was also devastated by the withering depiction of a neurotic girl in "19th Nervous Breakdown".[56]
  4. ^ Jagger was among the pop musicians and other leading creative figures of contemporary London that Bailey included in his collection of monochrome photographic portraits, Box of Pin-Ups, published in November 1965.[87]
  5. ^ Margotin and Guesdon give a date of 20 June for Aftermath but acknowledge that Wyman's book states a US release date of 2 July, while Salewicz gives 1 July.[96] The album entered the US chart compiled by Billboard magazine on 9 July.[97]
  6. ^ "Out of Time" and "Take It or Leave It" remained unreleased in the US until June 1967, when they were included on the London Records album Flowers.[99] "What to Do" was eventually released on the 1972 American compilation More Hot Rocks (Big Hits & Fazed Cookies).[100]
  7. ^ Farlowe's single was released on Immediate Records, a new Oldham business venture that allowed Jagger and Richards to produce records for the first time.[107]
  8. ^ Davis writes, however, that Aftermath was a source of embarrassment for Shrimpton, since "people generally identified her with the [album's] scathing put-downs", and that it led to an argument she and Jagger had while attending a party hosted by Guinness heir Tara Browne in April 1966.[114]
  9. ^ Anderson used the pseudonym in his brief endeavor into rock criticism, which the sociologist Gregory Elliott later described as a prudent move because Anderson's preferences – for the Stones over the Beatles, and for the Beach Boys over Bob Dylan – were "curios of the counterculture".[117]
  10. ^ In 1970, Paglia defended "Under My Thumb" in an exchange with members of the New Haven Women's Liberation Rock Band, who she recounted "went into a rage, surrounded me, practically spat in my face" and "cornered me with my back against the wall" before telling her, "Nothing that demeans woman can be art." Addressing the incident in an interview for Reason magazine, Paglia says, "Now, as a student of art history, how can you have any dialogue with these people? That is the Nazi and Stalinist view of art, where art is subordinate to a pre-fab political agenda." She explains that such incidents contributed to her exclusion from the women's movement.[120]
  11. ^ Christgau later wrote a letter to Stereo Review, charging the magazine's editor with deleting and altering the contents of his article, including his concluding statement on Aftermath: "Let me insist that I do not consider the Rolling Stones' Aftermath 'the best album of its kind,' as your editor would have it. I consider it quite simply the best."[126]
  12. ^ In tribute to Aftermath, the Beatles jokingly considered naming their next album After Geography.[131] The title of Rubber Soul had come about through Paul McCartney overhearing black American musicians describing Jagger's singing as "plastic soul".[132]
  13. ^ In Simon Philo's description, Revolver announced "underground London"'s arrival in pop, supplanting the sound associated with Swinging London.[163]
  14. ^ The magazine ranked the album at number 109 in the 2012 revised edition of the list and at number 330 in its 2020 revision.[168]
  15. ^ a b On Oldham's suggestion, Richards' name was spelled without the s for most of the 1960s and 70s.[173] Both the UK and US editions of Aftermath therefore credit all songs to "Jagger, Richard".[174]
  16. ^ Margotin & Guesdon are uncertain if Jones is playing a vibraphone, and suggest it may actually be a metallophone.[177]
  17. ^ Record World incorrectly listed the album as The Aftermath.[188]

References edit

  1. ^ a b c Greenfield 1981, p. 172.
  2. ^ Perone 2012, p. 91; Erlewine n.d..
  3. ^ Charone 1979, pp. 75–76; Bockris 1992, p. 69; Norman 2001, p. 176.
  4. ^ Davis 2001, p. 134.
  5. ^ Wyman 2002, p. 208.
  6. ^ Bockris 1992, p. 69.
  7. ^ Erlewine n.d.; Simonelli 2013, pp. 44–45; Philo 2015, p. 71.
  8. ^ Williams 2002.
  9. ^ King 2004, p. 68.
  10. ^ Simonelli 2013, p. 96; Kubernik 2015.
  11. ^ a b Davis 2001, p. 155.
  12. ^ Salewicz 2002, p. 98; Trynka 2015, p. 180.
  13. ^ a b Davis 2001, pp. 155–56.
  14. ^ Davis 2001, pp. 147, 155–56.
  15. ^ Salewicz 2002, p. 98; Norman 2001, pp. 197, 201.
  16. ^ Salewicz 2002, p. 99.
  17. ^ Davis 2001, pp. 155, 156.
  18. ^ Jagger et al. 2003, p. 108.
  19. ^ a b c d Margotin & Guesdon 2016, p. 138.
  20. ^ Salewicz 2002, p. 96; Davis 2001, p. 150.
  21. ^ a b Wyman 2002, p. 232.
  22. ^ Bonanno 1990, p. 48.
  23. ^ Bonanno 1990, p. 54.
  24. ^ Bonanno 1990, pp. 49–50, 52.
  25. ^ Wyman 2002, pp. 212, 222.
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  27. ^ Margotin & Guesdon 2016, p. 140; Davis 2001, p. 212.
  28. ^ Wyman 2002, p. 213.
  29. ^ Jagger et al. 2003, p. 100.
  30. ^ Trynka 2015, p. 177.
  31. ^ Charone 1979, p. 84.
  32. ^ Wyman 2002, p. 234; Trynka 2015, p. 187.
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  34. ^ Trynka 2015, pp. 185–86.
  35. ^ Trynka 2015, p. 187.
  36. ^ Trynka 2015, p. 188.
  37. ^ Charone 1979, p. 83.
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  41. ^ Margotin & Guesdon 2016, pp. 149, 152, 155.
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  45. ^ a b Perone 2012, p. 91.
  46. ^ Moon 2004, p. 697.
  47. ^ Wenner 1995.
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  49. ^ Courrier 2008, p. 134.
  50. ^ O'Rourke 2016; Clayson 2007, p. 52.
  51. ^ Christgau 1998, p. 77; Moon 2004, p. 697.
  52. ^ a b c Anon. 2003.
  53. ^ a b Savage 2015, p. 71.
  54. ^ Perone 2012, pp. 95–96.
  55. ^ a b Bockris 1992, p. 70.
  56. ^ a b Salewicz 2002, pp. 103, 107.
  57. ^ Savage 2015, p. 72.
  58. ^ Davis 2001, pp. 161–62.
  59. ^ Margotin & Guesdon 2016, p. 142.
  60. ^ a b Davis 2001, p. 162.
  61. ^ Salewicz 2002, p. 106.
  62. ^ a b Hyden 2008.
  63. ^ Moon 2004, p. 697; Norman 2001, p. 197.
  64. ^ Hyden 2008; Coates 2019.
  65. ^ Perone 2012, pp. 91–92, 97.
  66. ^ Perone 2012, pp. 91–92.
  67. ^ Philo 2015, pp. 103–04.
  68. ^ MacDonald 2002.
  69. ^ Marcus 1980, p. 181.
  70. ^ Courrier 2008, p. 133.
  71. ^ Margotin & Guesdon 2016, p. 138; Anon. 2003.
  72. ^ Savage 2015, p. 74.
  73. ^ Perone 2012, pp. 96–97.
  74. ^ Davis 2001, p. 155; Margotin & Guesdon 2016, p. 139.
  75. ^ Bonanno 1990, p. 50.
  76. ^ Wyman 2002, pp. 217, 230.
  77. ^ Wyman 2002, p. 222.
  78. ^ Wyman 2002, p. 217; Margotin & Guesdon 2016, p. 139; Norman 2012, p. 203.
  79. ^ Davis 2001, p. 155; Anon. 2001.
  80. ^ Davis 2001, pp. 155, 160.
  81. ^ Norman 2012, p. 203.
  82. ^ Davis 2001, p. 161; Norman 2001, p. 196.
  83. ^ a b Norman 2001, p. 196.
  84. ^ Margotin & Guesdon 2016, pp. 139–40.
  85. ^ a b c d Margotin & Guesdon 2016, p. 139.
  86. ^ Davis 2001, pp. 158, 161.
  87. ^ Bray 2014, pp. xii, 252–53.
  88. ^ Bonanno 1990, pp. 52–53.
  89. ^ Clayson 2006, p. 40; Bockris 1992, pp. 75–76.
  90. ^ Savage 2015, pp. 73–74.
  91. ^ Schaffner 1982, p. 68.
  92. ^ Hegeman 1966, p. 32.
  93. ^ Salewicz 2002, pp. 105, 106.
  94. ^ Bonanno 1990, p. 55; Wyman 2002, p. 236; Charone 1979, p. 89.
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  97. ^ a b c Havers 2018.
  98. ^ Margotin & Guesdon 2016, p. 139; Havers 2018; Bentley 2010, p. 142.
  99. ^ Davis 2001, p. 212.
  100. ^ Unterberger (a) n.d.
  101. ^ Persad 2013; Dalton 1982, p. 34.
  102. ^ Margotin & Guesdon 2016, p. 139; Anon. (c) n.d..
  103. ^ Mawer 2007; Hegeman 1966, p. 32.
  104. ^ Anon. (e) n.d.
  105. ^ Bonanno 1990, p. 53.
  106. ^ Norman 2001, p. 210; Larkin 2011, pp. 1995–96.
  107. ^ Norman 2001, p. 210.
  108. ^ Margotin & Guesdon 2016, p. 139; Savage 2015, pp. 71–72.
  109. ^ Margotin & Guesdon 2016, pp. 137–39.
  110. ^ Green 1966, p. 5.
  111. ^ Altham 1966, p. 48.
  112. ^ Anon. (a) 1966.
  113. ^ Davis 2001, p. 163; Savage 2015, pp. 72–73.
  114. ^ Davis 2001, p. 164.
  115. ^ Bockris 1992, p. 76.
  116. ^ Davis 2001, p. 163.
  117. ^ Elliott 1998, p. 60.
  118. ^ a b c d Berman 2017.
  119. ^ Gillespie 2015; Paglia 1994, p. 224.
  120. ^ Smith 2019; Gillespie 2015.
  121. ^ Smith 1973.
  122. ^ Anon. (e) 1966, p. 1.
  123. ^ Anon. (d) 1966, p. 66.
  124. ^ Anon. (c) 1966, p. 192.
  125. ^ Christgau 1967, p. 283.
  126. ^ a b c Christgau 1969.
  127. ^ a b Anon. 2018.
  128. ^ Snow 2015, p. 67.
  129. ^ Simonelli 2013, p. 96.
  130. ^ Malvinni 2016, pp. 43, xxxvi.
  131. ^ Sheffield 2012.
  132. ^ Bray 2014, p. 269.
  133. ^ Simonelli 2013, p. 97.
  134. ^ Margotin & Guesdon 2016, p. 136.
  135. ^ Bockris 1992, p. 75.
  136. ^ Anon. 2018; Perone 2012, p. 97.
  137. ^ a b c d Unterberger (b) n.d.
  138. ^ a b Mendelsohn & Klinger 2013.
  139. ^ Monroe 2015.
  140. ^ Perone 2012, p. 97.
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Further reading edit

External links edit

  • Aftermath at Discogs (list of releases)
  • Aftermath (2002 ABKCO remaster of UK edition) (Adobe Flash) at Spotify (streamed copy where licensed)
  • Aftermath (2002 ABKCO remaster of US edition) (Adobe Flash) at Spotify (streamed copy where licensed)

May 01, 2024
aftermath, rolling, stones, album, aftermath, studio, album, english, rock, band, rolling, stones, group, recorded, album, studios, california, december, 1965, march, 1966, during, breaks, between, their, international, tours, released, united, kingdom, april,. Aftermath is a studio album by the English rock band the Rolling Stones The group recorded the album at RCA Studios in California in December 1965 and March 1966 during breaks between their international tours It was released in the United Kingdom on 15 April 1966 by Decca Records and in the United States in late June or early July 1966 by London Records It is the band s fourth British and sixth American studio album and closely follows a series of international hit singles that helped bring the Stones newfound wealth and fame rivalling that of their contemporaries the Beatles AftermathUK releaseStudio album by the Rolling StonesReleased15 April 1966 1966 04 15 Recorded6 10 December 1965 3 12 March 1966StudioRCA Hollywood GenreHard rock pop rock blues rock art rockLength52 23 UK 42 35 US LabelDecca UK London US ProducerAndrew Loog OldhamThe Rolling Stones UK chronologyOut of Our Heads 1965 Aftermath 1966 Big Hits High Tide and Green Grass 1966 The Rolling Stones US chronologyBig Hits High Tide and Green Grass 1966 Aftermath 1966 Got Live If You Want It 1966 Alternative coverUS releaseSingles from Aftermath Paint It Black nb 1 Stupid Girl Released 7 May 1966 US Mother s Little Helper Lady Jane Released 2 July 1966 US Aftermath is considered by music scholars to be an artistic breakthrough for the Rolling Stones It is their first album to consist entirely of original compositions all of which were credited to Mick Jagger and Keith Richards The band s original leader Brian Jones reemerged as a key contributor and experimented with instruments not usually associated with popular music including the sitar Appalachian dulcimer Japanese koto and marimbas as well as playing guitar and harmonica Along with Jones instrumental textures the Stones incorporated a wider range of chords and stylistic elements beyond their Chicago blues and R amp B influences such as pop folk country psychedelia Baroque and Middle Eastern music Influenced by intense love affairs tensions within the group and a demanding touring itinerary Jagger and Richards wrote the album around psychodramatic themes of love sex desire power and dominance hate obsession modern society and rock stardom Women feature as prominent characters in their often dark sarcastic casually offensive lyrics The album s release was briefly delayed by controversy over the original packaging idea and title Could You Walk on the Water due to the London label s fear of offending Christians in the US with its allusion to Jesus walking on water In response to the lack of creative control and without another idea for the title the Stones bitterly settled on Aftermath and two different photos of the band were used for the cover to each edition of the album The UK release featured a run time of more than 52 minutes the longest for a popular music LP up to that point The American edition was issued with a shorter track listing substituting the single Paint It Black nb 1 in place of four of the British version s songs in keeping with the industry preference for shorter LPs in the US market at the time Aftermath was an immediate commercial success in both the UK and the US topping the British albums chart for eight consecutive weeks and eventually achieving platinum certification from the Recording Industry Association of America An inaugural release of the album era and a rival to the contemporaneous impact of the Beatles Rubber Soul 1965 it reflected the youth culture and values of 1960s Swinging London and the burgeoning counterculture while attracting thousands of new fans to the Rolling Stones The album was also highly successful with critics although some listeners were offended by the derisive attitudes towards female characters in certain songs Its subversive music solidified the band s rebellious rock image while pioneering the darker psychological and social content that glam rock and British punk rock would explore in the 1970s Aftermath has since been considered the most important of the Stones early formative music and their first classic album frequently ranking on professional lists of the greatest albums Contents 1 Background 2 Writing and recording 3 Music and composition 4 Lyrics and themes 4 1 Female characters 4 2 Conceptual structure 4 3 Societal motifs 5 Title and packaging 6 Marketing and sales 7 Critical reception 8 Legacy 8 1 Cultural impact 8 2 Influence on rock music 8 3 Reappraisal 8 4 Rankings 9 Track listing 9 1 UK edition 9 2 US edition 10 Personnel 11 Charts 11 1 Weekly charts 11 2 Year end charts 12 Certifications 13 See also 14 Notes 15 References 16 Bibliography 17 Further reading 18 External linksBackground editIn 1965 the Rolling Stones popularity increased markedly with a series of international hit singles written by the band s lead singer Mick Jagger and their guitarist Keith Richards 2 This success attracted the attention of Allen Klein an American businessman who became their US representative in August while Andrew Loog Oldham the group s manager continued in the role of promoter and record producer 3 One of Klein s first actions on the band s behalf was to force Decca Records to grant a 1 2 million royalty advance to the group bringing the members their first signs of financial wealth and allowing them to purchase country houses and new cars 4 Their October December 1965 tour of North America was the group s fourth and largest tour there up to that point 5 According to the biographer Victor Bockris through Klein s involvement the concerts afforded the band more publicity more protection and higher fees than ever before 6 By this time the Rolling Stones had begun to respond to the increasingly sophisticated music of the Beatles in comparison to whom they had long been promoted by Oldham as a rougher alternative 7 With the success of the Jagger Richards penned singles I Can t Get No Satisfaction 1965 Get Off of My Cloud 1965 and 19th Nervous Breakdown 1966 the band increasingly rivalled the Beatles musical and cultural influence 8 The Stones outspoken surly attitude on songs like Satisfaction alienated the Establishment detractors of rock music which as the music historian Colin King explains only made the group more appealing to those sons and daughters who found themselves estranged from the hypocrisies of the adult world an element that would solidify into an increasingly militant and disenchanted counterculture as the decade wore on 9 Like other contemporary British and American rock acts with Aftermath the Stones sought to create an album as an artistic statement inspired by the Beatles achievements with their December 1965 release Rubber Soul an LP that Oldham later described as having changed the musical world we lived in then to the one we still live in today 10 In 1966 inspired by the formidable women around them driven by the twin engines of ambition and drugs the Rolling Stones continued a run of visionary hit singles and began to release albums that stood as crucial works of the era The influence of a powerful new female energy on the Stones was undeniable At the same time it was the era of Stupid Girl and Under My Thumb misogynist songs of dominance set to the Stones darkest most ardent music Stephen Davis 2001 11 Within the Stones tensions were rife as Brian Jones continued to be viewed by fans and the press as the band s leader a situation that Jagger and Oldham resented 12 The group dynamics were also affected by some of the band members romantic entanglements 13 Jones new relationship with the German model Anita Pallenberg which had taken on sadomasochistic aspects helped renew his confidence and encourage him to experiment musically while her intelligence and sophistication both intimidated and elicited envy from the other Stones 14 Jagger came to view his girlfriend Chrissie Shrimpton as inadequate by comparison while Jagger sought a more glamorous companion commensurate with his newfound wealth the aura surrounding Jones and Pallenberg contributed to the end of his and Shrimpton s increasingly acrimonious relationship 15 Richards relationship with Linda Keith also deteriorated as her drug use escalated to include Mandrax and heroin 16 The band s biographer Stephen Davis describes these entanglements as a revolution under way within the Stones adding that Anita Pallenberg restored the faltering Brian Jones to his place in the band and in the Rolling Stones mythos Keith Richards fell in love with her too and their romantic triad realigned the precarious political axis within the Stones 17 Writing and recording edit nbsp Mick Jagger left and Keith Richards right the band s chief songwriters and Brian Jones back center who contributed to Aftermath as a multi instrumentalist Aftermath is the first Stones LP to be composed entirely of original material by the group 18 All the songs were at Oldham s instigation written by and credited to the songwriting partnership of Jagger and Richards 19 The pair wrote much of the material during the October December 1965 tour and recording began immediately after the tour ended 20 According to the band s bassist Bill Wyman in his book Rolling with the Stones they originally conceived Aftermath as the soundtrack for a planned film Back Behind and in Front The plan was abandoned after Jagger met the potential director Nicholas Ray and disliked him 21 nb 2 The recording sessions took place at RCA Studios in Los Angeles on 6 10 December 1965 and following promotion for their 19th Nervous Breakdown single and an Australasian tour on 3 12 March 1966 24 Charlie Watts the group s drummer told the press that they had completed 10 songs during the first block of sessions according to Wyman s book at least 20 were recorded in March 25 Among the songs were four tracks issued on singles by the Rolling Stones in the first half of 1966 the A sides of which were 19th Nervous Breakdown and Paint It Black 26 nb 1 Ride On Baby and Sittin on a Fence were also recorded during the sessions but were not released until the 1967 US album Flowers 27 Referring to the atmosphere at RCA Richards told Beat Instrumental magazine in February 1966 Our previous sessions have always been rush jobs This time we were able to relax a little take our time 28 The main engineer for the album Dave Hassinger was pivotal in making the group feel comfortable during the sessions as he let them experiment with instrumentals and team up with session musicians like Jack Nitzsche to variegate their sound Wyman recalled that Nitzsche and Jones would pick up instruments that were in the studio and experiment with sounds for each song According to Jagger Richards was writing a lot of melodies and the group would perform them in different ways which were mainly thought out in the studio 29 In the recollection of the engineer Denny Bruce the songs often developed through Nitzsche organising the musical ideas on piano 30 Wyman was later critical of Oldham for nurturing Jagger and Richards as songwriters to the exclusion of the rest of the band 31 The bassist also complained that Paint It Black should have been credited to the band s collective pseudonym Nanker Phelge rather than Jagger Richards since the song originated from a studio improvisation by himself Jones and Watts with Jones providing the melody line 32 Jones proved important in shaping the album s tone and arrangements as he experimented with instruments that were unusual in popular music such as the marimba sitar and Appalachian dulcimer 33 Davis cites the acid imagery and exotic influences on Rubber Soul particularly George Harrison s use of the Indian sitar on Norwegian Wood as the inspiration for Jones experimentation with the instrument in January 1966 One night George put the massive sitar in Brian s hands and within an hour Brian was working out little melodies 13 According to Nitzsche Jones deserved a co writing credit for Under My Thumb which Nitzsche recalled as being an unoriginal sounding three chord sequence until Jones discovered a Mexican marimba left behind from a previous session and transformed the piece by providing its central riff 34 Wyman agreed saying Well without the marimba part it s not really a song is it 35 nbsp An Appalachian dulcimer one of several instruments Jones introduced to the Stones sound for the album During the recording sessions Richards and Oldham dismissed Jones interest in exotic instrumentation as an affectation 36 According to the music journalist Barbara Charone writing in 1979 everyone connected with the Stones credited Jones for literally transforming certain records with some odd magical instrument 37 While Nitzsche was shocked at how cruelly they treated Jones he later said that Jones was sometimes absent or incapacitated by drugs 38 Hassinger recalled seeing Jones often laying on the floor stoned or on some trip and unable to play but that his bandmates would wait for him to leave rather than entering into an argument as other bands would 39 Because of Jones distractions Richards ended up playing most of the guitar parts for Aftermath making it one of the first albums to have him do so Richards later said he found the challenge musically rewarding but resented Jones for his unprofessional attitude when the band were under extreme pressure to record and maintain a hectic touring schedule 40 On some songs Richards supported Wyman s bass lines with a fuzz bass part which the music historians Philippe Margotin and Jean Michel Guesdon suggest was influenced by Paul McCartney s use on the track Think for Yourself from Rubber Soul 41 Aftermath was also the first Stones LP to be released with the majority of its tracks in true stereo as opposed to electronically recreated stereo 42 Music and composition editAccording to the musicologist David Malvinni Aftermath is the culmination of the Rolling Stones stylistic development dating back to 1964 a synthesis of previously explored sounds from the blues rock and roll rhythm and blues soul folk rock and pop ballads 43 Margotin and Guesdon go further in saying the album shows the Stones to be free from influences that had overwhelmed their earlier music specifically the band s Chicago blues roots Instead they say the record features an original style of art rock that resulted from Jones musical experimentation and draws not only on the blues and rock but also pop R amp B country Baroque classical and world music 44 Musical tones and scales from English lute song and Middle Eastern music feature among Aftermath s riff based rock and blues in both its country and urban forms 45 While still considering it a blues rock effort Tom Moon likens the music to a collaboration between the art rock band the Velvet Underground and the Stax house band 46 Jagger echoes these sentiments in a 1995 interview for Rolling Stone regarding it as a stylistically diverse work and milestone for him that finally laid to rest the ghost of having to do these very nice and interesting no doubt but still cover versions of old R amp B songs which we didn t really feel we were doing justice to be perfectly honest 47 nbsp Under My Thumb source source A 20 second sample of the song featuring marimba textures by Jones and guitar figures played by Richards in a low tessitura both departures from the conventions of the band s earlier blues based rock music Problems playing this file See media help Along with their 1967 follow up Between the Buttons Aftermath is cited by Malvinni as part of the Rolling Stones pop rock period as it features a chordal range more diverse and inclusive of minor chords than their blues based recordings 48 According to Kevin Courrier the Stones use softly intricate arrangements that lend the record a seductive ambience similar to Rubber Soul particularly on Lady Jane I Am Waiting Under My Thumb and Out of Time 49 The latter two songs among Aftermath s more standard pop rock titles are often cited examples of Jones interweaving unconventional instruments and quirky sounds into the album s sonic character his use of the marimba featured on both 50 In the opinion of Philip Norman Jones varied contributions give Aftermath both the chameleon colours associated with Swinging London fashion and a visual quality unlike any other Stones album 33 Robert Christgau says the texture of the Stones blues derived hard rock is permanently enriched as Jones daub s on occult instrumental colours Watts mold s jazz chops to rock forms Richards rock s roughly on and the band as a whole learn s to respect and exploit never revere studio nuance Wyman s playing here is described by Moon as the funkiest on a Stones LP 51 Citing individual songs Rolling Stone describes Aftermath as an expansive collection of tough riffs It s Not Easy and tougher acoustic blues High and Dry of zooming psychedelia Paint It Black baroque folk gallantry I Am Waiting and epic groove the eleven minutes of Goin Home 52 Jon Savage also highlights the stylistic diversity of the album saying that it range s from modern madrigals Lady Jane music hall ragas Mother s Little Helper strange curse like dirges I Am Waiting and uptempo pop Think to several bone dry blues mutations High and Dry Flight 505 and Going Home 53 The first four songs of Aftermath s US edition Paint It Black Stupid Girl Lady Jane and Under My Thumb are identified by the music academic James Perone as its most explicit attempts to transcend the blues based rock and roll conventions of the Stones past He also notes how Richards guitar riff and solo on the latter track are minimalistic in a fairly low tessitura and relatively emotionless compared to previous Stones hits like I Can t Get No Satisfaction Get Off of My Cloud and 19th Nervous Breakdown 54 Lyrics and themes editFemale characters edit It was almost as if women in all their contradictory humanity symbolised the conditions of life that were the ultimate target of the Stones anger An unnamed music critic c 1966 55 Aftermath s diverse musical style contrasts the dark themes explored in Jagger and Richards lyrics which often scorn female lovers Margotin and Guesdon say that Jagger who had been accused of misogyny before the album is avenging real life grievances with the songs using language and imagery that had the power to hurt Stupid Girl which assails the supposed greed and facile certitudes of women is speculated by the writers to indirectly criticise Shrimpton High and Dry expresses a cynical outlook on a lost romantic connection while Under My Thumb Out of Time and Think show how a man s revenge on his mistress or perhaps wife becomes a source of real pleasure 19 Shrimpton was devastated by the lyrics to Out of Time in which Jagger sings You re obsolete my baby my poor old fashioned baby 56 nb 3 Savage views such songs as evoking the nastiness of the Rolling Stones constructed image in lyrical form by capturing Jagger s antipathy towards Shrimpton whom he describes as a feisty upper middle class girl who gave as good as she got 57 Conceding that male chauvinism became a key theme of the Stones lyrics from late 1965 onwards Richards later told Bockris It was all a spin off from our environment hotels and too many dumb chicks Not all dumb not by any means but that s how one got You got really cut off 55 In Guesdon and Margotin s view the Stones express a more compassionate attitude towards women in Mother s Little Helper which examines a housewife s reliance on pharmaceutical drugs to cope with her daily life and in Lady Jane s story of romantic courtship 19 By contrast Davis writes of Aftermath containing a blatant attack on motherhood and says that Mother s Little Helper addresses tranquilised suburban housewives 58 According to Hassinger his wife Marie provided the inspiration for Mother s Little Helper when she supplied some downers in response to a request from one of the studio staff 59 Davis likens Lady Jane to a Tudor love song with lyrics apparently inspired by Henry VIII s love letters to Lady Jane Seymour 60 Some listeners assumed the song was about Jagger s high society friend Jane Ormsby Gore daughter of David Ormsby Gore 5th Baron Harlech 60 In what the music journalist Chris Salewicz terms a disingenuous claim Jagger told Shrimpton that Lady Jane was written for her 61 Conceptual structure edit Overall the darker themes lead Margotin and Guesdon to call Aftermath a sombre album in which desolation paranoia despair and frustration are echoed as track succeeds track 19 According to Steven Hyden Jagger s songwriting explores sex as pleasure sex as power love disguised as hate and hate disguised as love 62 Moon believes the time period s flower power ideology is recast in a dark light on these tough lean desperately lonely songs while Norman calls them songs of callow male triumph in which Jagger alternately displays childlike charm and misogynistic scorn 63 While songs such as Stupid Girl and Under My Thumb may be misogynistic they are also interpreted as dark representations of the narrator s hateful masculinity Misogyny as on Under My Thumb may be just a tool for restoring the fragile narcissism and arrogance of the male narrator muses the music scholar Norma Coates 64 Referring to the American version of the LP Perone identifies numerous musical and lyrical features that lend Aftermath a conceptual unity which although not sufficient for it to be considered a concept album allows for the record to be understood as a psychodrama around the theme of love desire and obsession that never quite turns out right It may also be read as part of a dark male fantasy world perhaps constructed as a means of dealing with loneliness caused by a broken relationship or a series of broken relationships with women 65 As Perone explains The individual songs seem to ping pong back and forth between themes of love desire for women and the desire to control women and out and out misogyny However the band uses musical connections between songs as well as the subtheme of travel the use of feline metaphors for women and other lyrical connections to suggest that the characters whom lead singer Mick Jagger portrays throughout the album are really one and perhaps stem from the deep recesses of his psyche 66 Societal motifs edit nbsp Carnaby Street 1968 Aftermath captured the Rolling Stones engagement with the burgeoning Swinging London youth scene According to the music historian Simon Philo like all the Stones 1966 releases Aftermath also reflects the band s engagement with Swinging London a scene in which their decadent image afforded them a pre eminent role by capturing the meritocratic ideals of youth looks and wealth over social class 67 Author Ian MacDonald says that as on Between the Buttons the Stones perform here as storytellers of the scene and produce a subversive kind of pop music comparable to their contemporaries the Kinks 68 As Greil Marcus observes the songs protagonists can be interpreted as London bohemians severely disdainful of bourgeois comfort positing a duel between the sexes and weaponizing humour and derision 69 Courrier adds that as the evil twin of Rubber Soul Aftermath takes that album s romantic scepticism and reframes it into a narrative of underclass revolt 70 Both Mother s Little Helper and What to Do connect modern society to feelings of unhappiness The band s misgivings about their rock stardom are also touched on including relentless concert tours in Goin Home and fans who imitate them in Doncha Bother Me in which Jagger sings The lines around my eyes are protected by copyright law 71 Savage views the same lyric preceded by the lines All the clubs and the bars And the little red cars Not knowing why but trying to get high as the Stones cynical take on Swinging London at a time when the phenomenon was receiving international attention and being presented as a tourist attraction 72 According to Perone I Am Waiting suggests paranoia on the narrator s part and that societal forces are the cause yet the song presents a degree of resignation in comparison to the album s other commentaries on class and consumer focused society 73 Title and packaging edit nbsp The preliminary title and cover were rejected by the Stones record label for alluding to Jesus walking on water Christ Walking on the Water by Julius von Klever c 1880 shown above During the recording Oldham wanted to title the album Could You Walk on the Water 74 In mid January 1966 the British press announced that a new Rolling Stones LP carrying that title would be released on 10 March 75 In Rolling with the Stones Wyman refers to the announcement as audacity on Oldham s part although he supposes that Could You Walk on the Water was their manager s proposed title for the band s March compilation album Big Hits High Tide and Green Grass rather than for Aftermath 76 At the time Richards complained that Oldham was continually trying to get in on the act and the Stones have practically become a projection of his own ego 77 A Decca spokesman said the company would not issue an album with such a title at any price Oldham s idea upset executives at the company s American distributor London Records who feared the allusion to Jesus walking on water would provoke a negative response from Christians 78 The title controversy embroiled the Stones in a conflict with Decca delaying Aftermath s release from March to April 1966 79 Oldham had also proposed the idea of producing a deluxe gatefold featuring six pages of colour photos from the Stones recent American tour and a cover depicting the band walking atop a California reservoir in the manner of pop messiahs on the Sea of Galilee as Davis describes Rejected by Decca the packaging was used instead for the US version of Big Hits albeit with a cover showing the band standing on the shore of the reservoir 80 According to Davis in the bitterness over lack of control of their work that followed the album was called Aftermath for want of another concept 11 Rolling Stone discerns a connection between the final title and themes explored in the music Aftermath of what of the whirlwind fame that had resulted from releasing five albums in two years for one thing And of hypocritical women 52 In Norman s view an aftermath of the earlier title s sacrilegious reference to the most spectacular of Christ s miracles is the very thing from which their God fearing bosses may well have saved them effectively avoiding the international furore that John Lennon created with his remark in March that the Beatles are more popular than Jesus 81 The front cover photo for Aftermath s British release was taken by Guy Webster and the cover design was done by Oldham credited as Sandy Beach 82 Instead of the elaborate essay that Oldham usually supplied for the Stones albums the liner notes were written by Hassinger and were a straight commentary on the music 83 Hassinger wrote in part It s been great working with the Stones who contrary to the countless jibes of mediocre comedians all over the world are real professionals and a gas to work with 84 For the cover image close ups of the band members faces were diagonally aligned against a pale pink and black coloured background and the album title was cut in half across a line break 85 The back of the LP featured four black and white photos of the group taken by Jerry Schatzberg at his photographic studio in New York in February 1966 86 Jones was vocal in his dislike of Oldham s design when interviewed by Melody Maker in April 85 For the American edition s cover David Bailey took a colour photo of Jones and Richards in front of Jagger Watts and Wyman and set it against a blurred black background According to Margotin and Guesdon the photo was intentionally blurred as an allusion to the psychedelic movement and corresponds better to the Stones new artistic direction 85 nb 4 Marketing and sales edit nbsp Seated left to right Bill Wyman Jones Richards and Jagger interviewed by music press in Amsterdam s Schiphol Airport while on tour shortly before Aftermath s release Aftermath s release was preceded by the Rolling Stones two week tour of Europe which began on 25 March 1966 88 Decca issued the album in the United Kingdom on 15 April and an accompanying press release that declared We look to Shakespeare and Dickens and Chaucer for accounts of other times in our history and we feel that tomorrow we will on many occasions look to the gramophone records of the Rolling Stones who act as a mirror for today s mind action and happenings 89 On the same day Time magazine published a feature titled London A Swinging City belatedly recognising the Swinging London phenomenon a year after its peak 90 The British edition of Aftermath featured a run time of 52 minutes and 23 seconds the longest for a popular music LP at that time 91 The record was pressed with reduced volume to allow for its unusual length 53 In the Netherlands Phonogram Records rush released the album during the week of 14 May in response to high demand from Dutch music retailers 92 In the US London delayed the album s release to market the Big Hits compilation first but issued Paint It Black as a single in May 93 The song was originally released as Paint It Black the comma being an error by Decca which stirred controversy over a purported racial connotation 1 The band began their fifth North American tour on 24 June in support of Aftermath it was their highest grossing tour yet and according to Richards the start of a period of rapprochement between Jones Jagger and himself 94 In late June or early July London released the American edition of the album with Paint It Black replacing Mother s Little Helper which was released in the same period in the US as a single with Lady Jane as the B side 95 nb 5 Out of Time Take It or Leave It and What to Do were similarly cut from the US LP s running order in an effort to significantly reduce its length in keeping with the industry policy of issuing shorter albums and maximising the amount of LP releases for popular artists 98 nb 6 Aftermath was the band s fourth British and sixth American studio album 101 In the UK Aftermath topped the Record Retailer LPs chart subsequently adopted as the UK Albums Chart for eight consecutive weeks replacing the soundtrack album for The Sound of Music 1965 at number 1 It stayed on the chart for 28 weeks 102 Aftermath proved the fourth highest selling album of 1966 in the UK and it also became a top 10 best seller in the Netherlands 103 In the US the album entered the Billboard Top LPs at number 117 on 2 July making it the chart s highest new entry that week By 13 August it had risen to number 2 behind the Beatles Yesterday and Today 97 That month the Recording Industry Association of America awarded Aftermath a Gold certification for shipments of 500 000 copies in 1989 it was certified Platinum for one million copies 104 According to the pop historian Richard Havers Aftermath s 1966 US chart run was assisted by the success of Paint It Black which topped the Billboard Hot 100 for two weeks in June 97 Mother s Little Helper was a Hot 100 hit as well peaking at number 8 on the chart 85 The album s songs also proved popular among other recording artists Mother s Little Helper Take It or Leave It Under My Thumb and Lady Jane all being covered within a month of Aftermath s release 105 Adding to Jagger and Richards success as writers Chris Farlowe topped the UK charts with his Jagger produced recording of Out of Time in August 106 nb 7 Critical reception editAftermath received highly favourable reviews in the music press 108 It was released just months before Bob Dylan s Blonde on Blonde and the Beatles Revolver albums by artists that Jagger and Richards had received comparisons to while Oldham was promoting the band s artistic maturation to the press 109 Among British critics Richard Green of Record Mirror in April 1966 began his review by saying Whether they realise it or not and I think Andrew Oldham does the Rolling Stones have on their hands the smash LP of the year with Aftermath adding that it would take much effort to surpass their achievement Green said the music is unmistakably rock and roll and was especially impressed by Watts drumming 110 Keith Altham of the New Musical Express NME hailed the Stones as masterminds behind the electric machines who have recorded an LP of the finest value for money ever He described Goin Home as a fantastic R amp B improvisation and said that Lady Jane Under My Thumb and Mother s Little Helper have the potential to be great singles 111 Aftermath was regarded in Melody Maker as the group s best LP to date and one that would effortlessly take Britain by storm The magazine s reviewer applauded its focus on big beat power and interesting sounds noting how the use of dulcimer sitar organ harpsichord marimba and fuzz boxes creates an overwhelming variety of atmospherics and tones 112 While the lyrics derisive attitude to women offended some listeners this aspect received little attention in the British pop press or complaints from female fans 113 nb 8 In the cultural journal New Left Review Alan Beckett wrote that the band s lyrics could only be fully appreciated by an audience familiar with modern city life particularly London He said that the Stones archetypal girl as first introduced in their 1965 song Play with Fire was rich spoiled confused weak using drugs etc adding that Anyone who has been around Chelsea or Kensington can put at least one name to this character 115 Responding in the same publication the intellectual historian Perry Anderson using the pseudonym of Richard Merton defended the band s message as an audacious and satirical expose on sexual inequality He said that in songs such as Stupid Girl and Under My Thumb the Stones had defied a central taboo of the social system and that they have done so in the most radical and unacceptable way possible by celebrating it 116 nb 9 Some feminist writers defended Under My Thumb 118 Camille Paglia considered the song a work of art despite its sexist lyrics and Aftermath a great album with rich sonorities 119 nb 10 In a 1973 piece for Creem Patti Smith recounted her response to the album in 1966 The Aftermath album was the real move two faced woman doncha bother me the singer displays contempt for his lady he s on top and that s what I like then he raises her as queen his obsession is her goin home What a song stones music is screwing music 121 Among US commentators Bryan Gray wrote in the Deseret News This album does the best job yet of alienating the over twenties The reason they attempt to sing 21 Record World s review panel selected the album as one of their three Albums of the Week predicting a major seller while highlighting Paint It Black as only the first of a series of hot tracks 122 Billboard s reviewer predicted that Aftermath would become another hit for the Stones citing Paint It Black as the focal point of the hard rock album and revering Oldham for his production 123 Cash Box was extremely impressed by the LP and also predicted immediate chart success saying Lady Jane and Goin Home in particular are likely to attract considerable notice 124 Writing in Esquire in 1967 Robert Christgau said that the Stones records present the only possible challenge to Rubber Soul s place as an album that for innovation tightness and lyrical intelligence far surpassed any previous work in popular music 125 About two years later in Stereo Review he included the American Aftermath in his basic rock library of 25 albums and attributed the Stones artistic identity largely to Jagger whose power subtlety and wit are unparalleled in contemporary popular music 126 While suggesting Jagger and Richards rank second behind John Lennon and Paul McCartney as composers of melody in rock Christgau still considered it the best album in any category and wrote Rock aficionados class the Stones with the Beatles but perhaps they haven t impressed a wider audience because their devotion to the music is pure the Hollyridge Strings will never record an album of Jagger Richard melodies But for anyone willing to discard his preconceptions Aftermath is a great experience a distillation of everything that rock and blues are about 126 nb 11 Legacy editCultural impact edit Aftermath is considered the most important of the Rolling Stones early albums 127 It was an inaugural release of the album era during which the LP replaced the single as the primary product and form of artistic expression in popular music 128 As with Rubber Soul the extent of Aftermath s commercial success foiled the music industry s attempts to re establish the LP market as the domain of wealthier adult record buyers a plan that had been driven by the industry s disapproval of the uncouth image associated with Jagger and their belief that young record buyers were more concerned with singles 129 In Malvinni s opinion Aftermath was the crucial step for the Stones conquering of the pop world and their much needed answer to Rubber Soul which had similarly embodied the emergence of youth culture in popular music during the mid 1960s 130 nb 12 With their continued commercial success the Stones joined the Beatles and the Who as one of the few rock acts who were able to follow their own artistic direction and align themselves with London s elite bohemian scene without alienating the wider youth audience or appearing to compromise their working class values 133 Speaking on the cultural impact of Aftermath s British release in 1966 Margotin and Guesdon say it was in a sense the soundtrack of Swinging London a gift to hip young people and one of the brightest stars of the new culture or counterculture that was to reach its zenith the following year in the Summer of Love 134 Aftermath follows directly in the wake of the Stones trilogy of songs based on their American Experience I Can t Get No Satisfaction Get Off of My Cloud and 19th Nervous Breakdown and it establishes that they had gained sufficient confidence in their own writing prowess to present an album of all original material Though perhaps they weren t aware of it then their initial adrenalin rush which had sustained them for three years was just about exhausted However the sheer momentum of their struggle for Stateside supremacy enabled them to pull off this coup de grace without showing any signs of artistic fatigue Roy Carr 1976 135 Aftermath is regarded as the most artistically formative of the Rolling Stones early work 127 Their new sound on the album helped expand their following by the thousands while its content solidified their dark image 136 As Ritchie Unterberger observes its contemptuous perspective about society and women contributed significantly to the group s reputation as the bad boys of rock music 137 According to John Mendelsohn from PopMatters the social commentary of Mother s Little Helper in particular cemented their reputation as a subversive cultural force as it exposed the hypocrisy of mainstream culture s exclusive association of psychoactive drug use with addicts and rock stars 138 The NME s Jazz Monroe writes that Aftermath simultaneously disowned and reimagined rock tradition and forever elevated the Stones as equals to the Beatles 139 Writing for The A V Club Hyden describes it as a template for every classic Stones album that came afterward crediting its sarcastic dark and casually shocking songs with introducing themes Jagger would explore further in the future through a complex slippery persona that allowed him to be good and evil man and woman tough and tender victim and victimiser This deliberately confounding complicated image helped make Jagger one of the most captivating lead musicians in rock Hyden concludes 62 Influence on rock music edit The album proved influential in the development of rock music Its dark content pioneered the darker psychological and social themes of glam rock and British punk rock in the 1970s 140 The music historian Nicholas Schaffner in The British Invasion From the First Wave to the New Wave 1982 acknowledges the Stones on the album for being the first recording act to engage themes of sex drugs and rock culture with both a measure of intelligence and a corresponding lack of sentimentality or even romanticism 141 The attitude of songs like Paint It Black in particular influenced punk s nihilistic outlook 142 Elvis Costello called his album This Year s Model 1978 a ghost version of Aftermath and called This Year s Girl an answer song to Stupid Girl 143 Some of Aftermath s blues oriented rock elements foreshadowed the blues rock music of the late 1960s 45 Schaffner suggests Goin Home anticipated the trend of extended musical improvisations by professional rock bands while Rob Young of Uncut says it heralded the approaching psychedelic tide in the manner of Rubber Soul 144 Summarising Aftermath s impact in 2017 the pop culture writer Judy Berman describes Paint It Black as rock s most nihilistic hit to date and concludes that with Jones ditching his guitar for a closetful of exotic instruments and the band channelling their touring musicians homesickness on the record s 11 minute culminating blues jam Goin Home they also pushed rock forward 118 Reappraisal edit Retrospective professional reviewsReview scoresSourceRatingAllMusic nbsp nbsp nbsp nbsp nbsp 137 Blender nbsp nbsp nbsp nbsp nbsp 145 Encyclopedia of Popular MusicUK nbsp nbsp nbsp nbsp nbsp US nbsp nbsp nbsp nbsp nbsp 146 Entertainment WeeklyA 147 The Great Rock Discography7 10 148 MusicHound Rock5 5 149 NME7 10 150 The Rolling Stone Album Guide nbsp nbsp nbsp nbsp nbsp 151 Tom Hull on the WebUK A US A 152 Aftermath is often considered the Rolling Stones first classic album 153 According to Stephen Davis its standing as the first wholly Jagger Richards collection makes it for serious fans the first real Rolling Stones album 154 Schaffner says it is the most creative and possibly the best of their albums in the first five years while Hyden cites it as their first full fledged masterpiece 155 Writing for Uncut Ian MacDonald recognises it as an early peak in the Stones career and Jody Rosen in a Back Catalogue feature for Blender includes it as the first of the group s essential albums 156 The Guardian s Alexis Petridis names Aftermath the Stones fifth best record while Graeme Ross of The Independent ranks it sixth and suggests it stands on a level with other benchmark LPs from 1966 including Blonde on Blonde Revolver and the Beach Boys Pet Sounds 157 In The Rolling Stone Illustrated History of Rock amp Roll 1976 Christgau names Aftermath the first in a series of Stones LPs including Between the Buttons Beggars Banquet 1968 and Let It Bleed 1969 that stand among the greatest rock albums 158 In MusicHound Rock 1999 Greg Kot highlights Jones canny instrumental contributions while identifying Aftermath as the album that transformed the Stones from British blues traditionalists into canonical artists of the album rock era alongside the Beatles and Bob Dylan 149 In a retrospective review for AllMusic Unterberger applauds the band s use of influences from Dylan and psychedelia on Paint It Black and similarly praises Under My Thumb Lady Jane and I Am Waiting as masterpieces 137 In 2002 both versions of Aftermath were digitally remastered as part of ABKCO Records reissue campaign of the Rolling Stones 1960s albums Reviewing the reissues for Entertainment Weekly David Browne recommends the UK version over the US while Tom Moon in his appraisal in The Rolling Stone Album Guide 2004 prefers the US edition for its replacement of Mother s Little Helper with Paint It Black and highlights the clever lyrics of Jagger 159 Colin Larkin who rates the British version higher in his Encyclopedia of Popular Music 2011 describes Aftermath as a breakthrough work in a crucial year and an album that demonstrates a flexibility in the group s writing and musical styles as well as signs of the band s inveterate misogyny 160 In their book The Beatles vs The Rolling Stones Sound Opinions on the Great Rock n Roll Rivalry 2010 Jim DeRogatis and Greg Kot agree that Aftermath is the first really great Stones album beginning to end with DeRogatis especially impressed by the British edition s first half of songs 161 The pop culture author Shawn Levy in his 2002 book Ready Steady Go Swinging London and the Invention of Cool says that unlike the three previous Stones albums Aftermath displayed purpose in its sequencing and a real sense that a coherent vision was at work in the manner of the Beatles Rubber Soul However he adds that with the August 1966 release of Revolver Aftermath appeared limp tame dated 162 nb 13 Young believes its reputation as a work on par with Rubber Soul is undeserved since the quality of its songs is inconsistent the production is relatively straight and the assorted stylistic approach ensures it lacks the unifying aspect of the period s other major LPs 164 Discussing the album s critical legacy for PopMatters Mendelsohn and Eric Klinger echo this sentiment while agreeing that it is more of a transitional work for the Stones and not up to the level of the albums from their subsequent golden years Beggars Banquet Let It Bleed Sticky Fingers 1971 and Exile on Main St 1972 138 In an article for Clash celebrating Aftermath s 40th anniversary Simon Harper concedes that its artistic standing alongside the Beatles contemporaneous works may be debatable but as the rebirth of the world s greatest rock and roll band its importance is undisputed 165 Some retrospective appraisals are critical towards the harsh treatment of female characters on the album As Schaffner remarks the brutal thrust of such ditties as Stupid Girl Under My Thumb and Out of Time has since of course induced paroxysms of rage among feminists 141 Young infers that the album s principal lyrical theme now evokes a rather old fashioned sensation of brattish spiky misogyny presenting female characters as pill popping housewives the idiotic hussy the obsolete fashion dummy or the subjugated arm candy 164 Berman also singles out this aspect in her otherwise positive estimation of Aftermath saying it indulged the Stones misogyny on the bitchy diss track Stupid Girl and tamed a shrew on Under My Thumb a nasty piece of work 118 Unterberger expresses similar reservations about the substance behind songs like Goin Home and Stupid Girl finding the latter particularly callow 137 Rankings edit Aftermath frequently appears on professional rankings of the best albums In 1987 it was voted 68th in Paul Gambaccini s book Critics Choice The Top 100 Rock n Roll Albums of All Time based on submissions from an international panel of 81 critics writers and broadcasters 166 In contemporaneous rankings of the greatest albums the Dutch OOR the British Sounds and the Irish Hot Press placed it as 17th 61st and 85th respectively The French magazine Rock amp Folk included Aftermath in its 1995 list of The 300 Best Albums from 1965 1995 citation needed In 2000 it was voted number 387 in Colin Larkin s All Time Top 1000 Albums 167 In 2003 Rolling Stone ranked the American edition at number 108 on the magazine s 500 Greatest Albums of All Time list 52 nb 14 The French retailer FNAC s 2008 list named Aftermath the 183rd greatest album of all time In contemporaneous listings of the coolest albums Rolling Stone and GQ ranked it second and 10th respectively citation needed In 2017 Pitchfork listed Aftermath at number 98 on the website s 200 Best Albums of the 1960s 118 The album is also highlighted in popular record guides It is named in Greil Marcus 1979 anthology Stranded as one of his Treasure Island albums comprising a personal discography of rock music s first 25 years 169 The American edition of the album is included in A Basic Record Library of 1950s and 1960s recordings published in Christgau s Record Guide Rock Albums of the Seventies 1981 170 The same version appears in James Perone s book The Album A Guide to Pop Music s Most Provocative Influential and Important Creations 2012 and in Chris Smith s 101 Albums That Changed Popular Music 2009 albeit in the latter s appendix Ten Albums That Almost Made It 171 In addition Aftermath features in Bill Shapiro s 1991 Rock amp Roll Review A Guide to Good Rock on CD listed in its section on The Top 100 Rock Compact Discs Chuck Eddy s The Accidental Evolution of Rock n roll 1997 the 2006 Greenwood Encyclopedia of Rock History s Most Significant Rock Albums Tom Moon s 2008 book 1 000 Recordings to Hear Before You Die and Robert Dimery s 1001 Albums You Must Hear Before You Die 2010 172 Track listing editUK edition edit All tracks are written by Mick Jagger and Keith Richards nb 15 Side one Mother s Little Helper 2 40 Stupid Girl 2 52 Lady Jane 3 06 Under My Thumb 3 20 Doncha Bother Me 2 35 Goin Home 11 35 Side two Flight 505 3 25 High and Dry 3 06 Out of Time 5 15 It s Not Easy 2 52 I Am Waiting 3 10 Take It or Leave It 2 47 Think 3 10 What to Do 2 30 ABKCO s 2002 SACD remaster of the UK edition was released with an otherwise unavailable stereo mix of Mother s Little Helper 175 US edition edit All tracks are written by Mick Jagger and Keith Richards nb 15 Side one Paint It Black originally mistitled Paint It Black 1 3 46 Stupid Girl 2 52 Lady Jane 3 06 Under My Thumb 3 20 Doncha Bother Me 2 35 Think 3 10 Side two Flight 505 3 25 High and Dry 3 06 It s Not Easy 2 52 I Am Waiting 3 10 Goin Home 11 13 Note the timings of Paint It Black and Goin Home on the CD reissue are incorrect Personnel editCredits are from the 2002 CD booklet and contributions listed in Philippe Margotin and Jean Michel Guesdon s book All the Songs except where noted otherwise 176 The Rolling Stones Mick Jagger lead and backing vocals percussion harmonica Doncha Bother Me Keith Richards harmony and backing vocals electric and acoustic guitars fuzz bass Under My Thumb Flight 505 It s Not Easy Brian Jones electric and acoustic guitars sitar Paint It Black dulcimer Lady Jane I Am Waiting harmonica Goin Home High and Dry marimba Under My Thumb Out of Time vibraphone Out of Time nb 16 koto Take It or Leave It 178 Bill Wyman bass guitar fuzz bass organ Paint It Black bells Charlie Watts drums percussion bells Additional musicians Jack Nitzsche piano organ harpsichord percussion Ian Stewart piano organ Additional personnel David Bailey photography US edition 179 Dave Hassinger engineering Andrew Loog Oldham production cover design UK edition 83 Jerry Schatzberg photography Guy Webster photography UK edition Charts editWeekly charts edit Chart 1966 Peakposition Australian Albums Kent Music Report 180 2 Canada CHUM s Album Index 181 1 Finland The Official Finnish Charts 182 1 German Albums Offizielle Top 100 183 1 UK New Musical Express Best Selling LPs 184 1 UK Record Retailer LPs chart 185 1 US Billboard 200 186 2 US Cash Box Top 100 Albums 187 1 US Record World Top 100 LPs 188 nb 17 1 Year end charts edit Chart 1966 Peakposition US Billboard Year end 189 24 US Cash Box Year end 190 22Certifications editRegion Certification Certified units sales United Kingdom BPI 191 release of 2006 Silver 60 000 United States RIAA 192 Platinum 1 000 000 Shipments figures based on certification alone See also edit nbsp 1960s portal nbsp Rock music portal British Invasion Classic rock List of rock albumsNotes edit a b c The song was originally released as Paint It Black the comma being an error by Decca Records 1 The film was announced on 17 December 1965 with the Rolling Stones reportedly in starring roles 22 The production was officially cancelled the following May when a press release stated that the band were due to film a screen adaptation of the Dave Wallis novel Only Lovers Left Alive 23 She was also devastated by the withering depiction of a neurotic girl in 19th Nervous Breakdown 56 Jagger was among the pop musicians and other leading creative figures of contemporary London that Bailey included in his collection of monochrome photographic portraits Box of Pin Ups published in November 1965 87 Margotin and Guesdon give a date of 20 June for Aftermath but acknowledge that Wyman s book states a US release date of 2 July while Salewicz gives 1 July 96 The album entered the US chart compiled by Billboard magazine on 9 July 97 Out of Time and Take It or Leave It remained unreleased in the US until June 1967 when they were included on the London Records album Flowers 99 What to Do was eventually released on the 1972 American compilation More Hot Rocks Big Hits amp Fazed Cookies 100 Farlowe s single was released on Immediate Records a new Oldham business venture that allowed Jagger and Richards to produce records for the first time 107 Davis writes however that Aftermath was a source of embarrassment for Shrimpton since people generally identified her with the album s scathing put downs and that it led to an argument she and Jagger had while attending a party hosted by Guinness heir Tara Browne in April 1966 114 Anderson used the pseudonym in his brief endeavor into rock criticism which the sociologist Gregory Elliott later described as a prudent move because Anderson s preferences for the Stones over the Beatles and for the Beach Boys over Bob Dylan were curios of the counterculture 117 In 1970 Paglia defended Under My Thumb in an exchange with members of the New Haven Women s Liberation Rock Band who she recounted went into a rage surrounded me practically spat in my face and cornered me with my back against the wall before telling her Nothing that demeans woman can be art Addressing the incident in an interview for Reason magazine Paglia says Now as a student of art history how can you have any dialogue with these people That is the Nazi and Stalinist view of art where art is subordinate to a pre fab political agenda She explains that such incidents contributed to her exclusion from the women s movement 120 Christgau later wrote a letter to Stereo Review charging the magazine s editor with deleting and altering the contents of his article including his concluding statement on Aftermath Let me insist that I do not consider the Rolling Stones Aftermath the best album of its kind as your editor would have it I consider it quite simply the best 126 In tribute to Aftermath the Beatles jokingly considered naming their next album After Geography 131 The title of Rubber Soul had come about through Paul McCartney overhearing black American musicians describing Jagger s singing as plastic soul 132 In Simon Philo s description Revolver announced underground London s arrival in pop supplanting the sound associated with Swinging London 163 The magazine ranked the album at number 109 in the 2012 revised edition of the list and at number 330 in its 2020 revision 168 a b On Oldham s suggestion Richards name was spelled without the s for most of the 1960s and 70s 173 Both the UK and US editions of Aftermath therefore credit all songs to Jagger Richard 174 Margotin amp Guesdon are uncertain if Jones is playing a vibraphone and suggest it may actually be a metallophone 177 Record World incorrectly listed the album as The Aftermath 188 References edit a b c Greenfield 1981 p 172 Perone 2012 p 91 Erlewine n d Charone 1979 pp 75 76 Bockris 1992 p 69 Norman 2001 p 176 Davis 2001 p 134 Wyman 2002 p 208 Bockris 1992 p 69 Erlewine n d Simonelli 2013 pp 44 45 Philo 2015 p 71 Williams 2002 King 2004 p 68 Simonelli 2013 p 96 Kubernik 2015 a b Davis 2001 p 155 Salewicz 2002 p 98 Trynka 2015 p 180 a b Davis 2001 pp 155 56 Davis 2001 pp 147 155 56 Salewicz 2002 p 98 Norman 2001 pp 197 201 Salewicz 2002 p 99 Davis 2001 pp 155 156 Jagger et al 2003 p 108 a b c d Margotin amp Guesdon 2016 p 138 Salewicz 2002 p 96 Davis 2001 p 150 a b Wyman 2002 p 232 Bonanno 1990 p 48 Bonanno 1990 p 54 Bonanno 1990 pp 49 50 52 Wyman 2002 pp 212 222 Margotin amp Guesdon 2016 p 140 Margotin amp Guesdon 2016 p 140 Davis 2001 p 212 Wyman 2002 p 213 Jagger et al 2003 p 100 Trynka 2015 p 177 Charone 1979 p 84 Wyman 2002 p 234 Trynka 2015 p 187 a b Norman 2001 p 197 Trynka 2015 pp 185 86 Trynka 2015 p 187 Trynka 2015 p 188 Charone 1979 p 83 Trynka 2015 pp 177 78 Charone 1979 p 85 Charone 1979 pp 88 89 Charone 1979 p 85 Bockris 1992 pp 70 71 Margotin amp Guesdon 2016 pp 149 152 155 Fremer 2010 Malvinni 2016 p 43 Margotin amp Guesdon 2016 pp 136 138 a b Perone 2012 p 91 Moon 2004 p 697 Wenner 1995 Malvinni 2016 p 136 Courrier 2008 p 134 O Rourke 2016 Clayson 2007 p 52 Christgau 1998 p 77 Moon 2004 p 697 a b c Anon 2003 a b Savage 2015 p 71 Perone 2012 pp 95 96 a b Bockris 1992 p 70 a b Salewicz 2002 pp 103 107 Savage 2015 p 72 Davis 2001 pp 161 62 Margotin amp Guesdon 2016 p 142 a b Davis 2001 p 162 Salewicz 2002 p 106 a b Hyden 2008 Moon 2004 p 697 Norman 2001 p 197 Hyden 2008 Coates 2019 Perone 2012 pp 91 92 97 Perone 2012 pp 91 92 Philo 2015 pp 103 04 MacDonald 2002 Marcus 1980 p 181 Courrier 2008 p 133 Margotin amp Guesdon 2016 p 138 Anon 2003 Savage 2015 p 74 Perone 2012 pp 96 97 Davis 2001 p 155 Margotin amp Guesdon 2016 p 139 Bonanno 1990 p 50 Wyman 2002 pp 217 230 Wyman 2002 p 222 Wyman 2002 p 217 Margotin amp Guesdon 2016 p 139 Norman 2012 p 203 Davis 2001 p 155 Anon 2001 Davis 2001 pp 155 160 Norman 2012 p 203 Davis 2001 p 161 Norman 2001 p 196 a b Norman 2001 p 196 Margotin amp Guesdon 2016 pp 139 40 a b c d Margotin amp Guesdon 2016 p 139 Davis 2001 pp 158 161 Bray 2014 pp xii 252 53 Bonanno 1990 pp 52 53 Clayson 2006 p 40 Bockris 1992 pp 75 76 Savage 2015 pp 73 74 Schaffner 1982 p 68 Hegeman 1966 p 32 Salewicz 2002 pp 105 106 Bonanno 1990 p 55 Wyman 2002 p 236 Charone 1979 p 89 Wyman 2002 p 232 Salewicz 2002 p 106 Wyman 2002 p 240 Bonanno 1990 pp 54 55 Margotin amp Guesdon 2016 p 139 Salewicz 2002 p 106 a b c Havers 2018 Margotin amp Guesdon 2016 p 139 Havers 2018 Bentley 2010 p 142 Davis 2001 p 212 Unterberger a n d Persad 2013 Dalton 1982 p 34 Margotin amp Guesdon 2016 p 139 Anon c n d Mawer 2007 Hegeman 1966 p 32 Anon e n d Bonanno 1990 p 53 Norman 2001 p 210 Larkin 2011 pp 1995 96 Norman 2001 p 210 Margotin amp Guesdon 2016 p 139 Savage 2015 pp 71 72 Margotin amp Guesdon 2016 pp 137 39 Green 1966 p 5 Altham 1966 p 48 Anon a 1966 Davis 2001 p 163 Savage 2015 pp 72 73 Davis 2001 p 164 Bockris 1992 p 76 Davis 2001 p 163 Elliott 1998 p 60 a b c d Berman 2017 Gillespie 2015 Paglia 1994 p 224 Smith 2019 Gillespie 2015 Smith 1973 Anon e 1966 p 1 Anon d 1966 p 66 Anon c 1966 p 192 Christgau 1967 p 283 a b c Christgau 1969 a b Anon 2018 Snow 2015 p 67 Simonelli 2013 p 96 Malvinni 2016 pp 43 xxxvi Sheffield 2012 Bray 2014 p 269 Simonelli 2013 p 97 Margotin amp Guesdon 2016 p 136 Bockris 1992 p 75 Anon 2018 Perone 2012 p 97 a b c d Unterberger b n d a b Mendelsohn amp Klinger 2013 Monroe 2015 Perone 2012 p 97 a b Schaffner 1982 p 69 Palmer 2011 Marcus Greil 2 September 1982 Elvis Costello Explains Himself Rolling Stone Schaffner 1982 p 69 Young 2010 pp 18 19 Rosen 2006 Larkin 2011 p 2005 Browne 2002 Strong 2006 p 993 a b Kot 1999 p 950 Anon 1995 p 46 Moon 2004 p 695 Hull n d Marchese 2017 Davis 2001 p 161 Schaffner 1982 p 68 Hyden 2008 MacDonald 2002 Rosen 2006 Petridis 2018 Ross 2018 Christgau 1976 Browne 2002 Moon 2004 p 697 Larkin 2011 pp 1995 96 DeRogatis amp Kot 2010 pp 38 39 Levy 2002 p 175 Philo 2015 p 112 a b Young 2010 pp 18 19 Harper 2006 Taylor 1987 Larkin 2000 p 147 Anon 2012 Anon 2020 Marcus 1979 Christgau 1981 Perone 2012 p vi Smith 2009 pp 243 244 Dimery 2010 p 93 Bockris 1992 p 40 Miles 1980 pp 14 15 Walsh 2002 p 27 Anon a 2002 Margotin amp Guesdon 2016 pp 134 75 Margotin amp Guesdon 2016 p 154 Janovitz 2013 p 88 Anon b 2002 Kent David 1993 Australian Chart Book 1970 1992 illustrated ed St Ives N S W Australian Chart Book ISBN 0 646 11917 6 Anon g 1966 Pennanen Timo 2006 Sisaltaa hitin levyt ja esittajat Suomen musiikkilistoilla vuodesta 1972 in Finnish 1st ed Helsinki Kustannusosakeyhtio Otava ISBN 978 951 1 21053 5 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Society in the 1960s and 1970s Lanham MD Lexington Books ISBN 978 0 7391 7051 9 via Google Books Smith Chris 2009 101 Albums That Changed Popular Music New York NY Oxford University Press ISBN 978 0 19 537371 4 Smith Emily Esfahani Summer 2019 The Provocations of Camille Paglia City Journal Retrieved 24 March 2020 Smith Patti January 1973 Jag Arr of the Jungle Creem Retrieved 6 February 2020 via oceanstar com Snow Mat 2015 The Who Fifty Years of My Generation Race Point Publishing ISBN 978 1 62788 782 3 Strong Martin C 2006 The Great Rock Discography Edinburgh UK Canongate ISBN 978 1 84195 615 2 Taylor Jonathan 25 March 1987 Pop Critics Pick Rock s Top 100 Los Angeles Daily News Archived from the original on 11 November 2019 Retrieved 12 November 2019 via chicagotribune com Trynka Paul 2015 Brian Jones The Making of the Rolling Stones New York NY Plume ISBN 978 0 14 751645 9 Unterberger Richie n d The Rolling Stones What to Do AllMusic Archived from the original on 28 November 2018 Retrieved 28 November 2018 Unterberger Richie n d Aftermath The Rolling Stones AllMusic Archived from the original on 1 December 2018 Retrieved 1 December 2018 Walsh Christopher 24 August 2002 Super audio CDs The Rolling Stones Remastered Billboard Wenner Jann S 14 December 1995 The Rolling Stone Interview Jagger Remembers Rolling Stone Archived from the original on 9 November 2010 Retrieved 2 December 2018 via jannswenner com Williams Richard 10 October 2002 The loudest thing we d ever heard The Guardian Retrieved 5 March 2020 Wyman Bill 2002 Rolling with the Stones London Dorling Kindersley ISBN 0 7513 4646 2 Young Rob December 2010 The Rolling Stones Albums Aftermath Uncut Ultimate Music Guide The Rolling Stones No 4 Further reading editMerton Richard January February 1968 Comment on Beckett s Stones New Left Review 1 47 via newleftreview org External links editAftermath at Discogs list of releases Aftermath 2002 ABKCO remaster of UK edition Adobe Flash at Spotify streamed copy where licensed Aftermath 2002 ABKCO remaster of US edition Adobe Flash at Spotify streamed copy where licensed Retrieved from https en wikipedia org w index php title Aftermath Rolling Stones album amp oldid 1218620388, wikipedia, wiki, book, books, library,

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