[84][nb 4], Aftermath's release was preceded by the Rolling Stones' two-week tour of Europe, which began on 25 March 1966. [74] In Rolling with the Stones, Wyman refers to the announcement as "audacity" on Oldham's part, although he attributes Could You Walk on the Water? CD2 #16 – Fool To Cry, CD3 #01 – Miss You [158] In their book The Beatles vs. [52] 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. Margotin and Gueson 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". [94][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. "[88] 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. [30] 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. 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. [63] 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". The influence of a powerful new female energy on the Stones was undeniable … At the same time, it was the era of ", A 20-second sample of the song, featuring. [127] 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. Its dark content pioneered the darker psychological and social themes of glam rock and British punk rock in the 1970s. But for anyone willing to discard his preconceptions, Aftermath is a great experience, a distillation of everything that rock and blues are about. 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 popularity that rivalled their contemporaries, the Beatles. [42] 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. [169] 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). [62] 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. Greenfields: The Gibb Brothers' Songbook (Vol. [47] 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". [12] 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. [105][nb 7], Aftermath received highly favourable reviews in the music press. However, he adds that with the August 1966 release of Revolver, Aftermath appeared "limp, tame, dated". CD3 #06 – Waiting On A Friend [2] 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. CD2 #14 – Doo Doo Doo Doo Doo (Heartbreaker) [112][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. Thanks for watching.The ultimate version. 125: The Rolling Stones' 'Aftermath, "The Rolling Stones' Top 10 Albums – Ranked", "It Was 50 Years Ago Today: 'Aftermath' by The Rolling Stones", "Playback: 'Aftermath' still has its shine", "See The Rolling Stones Before They Released 'Aftermath' (PHOTO)", "The Rolling Stones – every album ranked! [155], 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". doncha bother me. 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. (2012.11.09/FLAC 24bit/RAR), CD1 #01 – Come On [167] 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). "[20] 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. 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. Written by Mick Jagger and Keith Richards, it was recorded in late 1965 and released as a single in February 1966. Not all dumb, not by any means, but that's how one got. You got really cut off. CD2 #03 – Sympathy For The Devil [96] "Mother's Little Helper" was a Hot 100 hit as well, peaking at number 8 on the chart. [31], 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. In contemporaneous listings of the "coolest" albums, Rolling Stone and GQ ranked it second and 10th, respectively. [33] Wyman agreed, saying, "Well, without the marimba part, it's not really a song, is it? 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. 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. CD1 #12 – Paint It, Black [168] 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". CD3 #02 – Respectable "[16], Aftermath is the first Stones LP to have all-original material by the group. CD3 #03 – Beast Of Burden "[54], 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. [18] Shrimpton was devastated by the lyrics to "Out of Time", in which Jagger sings, "You're obsolete, my baby, my poor old-fashioned baby". [77], The title controversy embroiled the Stones in a conflict with Decca, delaying Aftermath's release from March to April 1966. [122] 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. [109] Keith Altham of the New Musical Express hailed the Stones as "masterminds behind the electric machines" who have recorded an LP of "the finest value for money ever". [69], Both "Mother's Little Helper" and "What to Do" connect modern society to feelings of unhappiness. The Rolling Stones Aftermath (1966), "A Basic Record Library: The Fifties and Sixties", "Round and Round: The Sound of The Rolling Stones Part 2", "Everything's Awesome and Camille Paglia Is Unhappy! CD3 #07 – Undercover Of The Night [14] Richards' relationship with Linda Keith also deteriorated as her drug use escalated to include Mandrax and heroin. 2 (2019.11.22/FLAC 24bit Lossless/RAR), [Album] 阿部真央 – My Inner Child Museum (2021.01.20/MP3/RAR), [Album] 福山雅治 – Akira (2020.12.09/MP3/RAR), [Single] LiSA – dawn (2021.01.11/FLAC 24bit + MP3/RAR), [Single] YOASOBI – ハルカ (2020.12.18/FLAC 24bit + MP3/RAR), [Album] Mr.Children – SOUNDTRACKS (2020.12.02/AAC/RAR), [Album] Mariah Carey – Songbird: All Time Best (2020/FLAC + MP3/RAR), [Album] GReeeeN – ボクたちの電光石火 (2021.01.06/MP3/RAR), [Single] YOASOBI – 怪物 (2021.01.06/FLAC 24bit/RAR), [Album] Mr.Children – SOUNDTRACKS (2020.12.02/FLAC + MP3/RAR), [Single] YOASOBI – 怪物 (2021.01.06/MP3+Hi-Res FLAC/RAR), [Album] AKB48 15th Anniversary Single PLAYLIST IV (2020.12.09/MP3/RAR), [Album] Official髭男dism – Traveler -Instrumentals- (2020.06.26/FLAC 24bit + MP3/RAR), [Album] Akina Nakamori – BEST COLLECTION ~Love Songs & Pop Songs~ (2018/FLAC + MP3/RAR), [Album] ミカヅキBIGWAVE – WAVESウェーブス (2018.01.28/MP3+Flac/RAR), [Single] chelmico – milk (2020.07.17/FLAC + MP3/RAR), [Album] バンドじゃないもん! "[139] 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". Influenced in part by intense love affairs outside the band and their 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. [25][nb 2], Referring to the atmosphere at RCA, Richards told Beat Instrumental magazine in February 1966: "Our previous sessions have always been rush jobs. All tracks are written by Mick Jagger and Keith Richards. [134] 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. CD1 #14 – Have You Seen Your Mother, Baby, Standing In The Shadow? [91], 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. [70] 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. [51] 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". [121] 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. CD3 #08 – She Was Hot [20][nb 1] 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. 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