[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). The album was also highly successful with critics, although some listeners were offended by the derisive attitudes towards female characters in certain songs. 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. [84] 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. [84][nb 4], Aftermath's release was preceded by the Rolling Stones' two-week tour of Europe, which began on 25 March 1966. [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. I added a link to your site and will check it out more later. Jagger was among the pop musicians and other leading creative figures of contemporary London that Bailey included in his collection of monochrome photographic portraits, Margotin and Guesdon give a date of 20 June for, "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, 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, In 1970, Paglia defended "Under My Thumb" in an exchange with members of the, In 2013, the album had placed as high as number 125 on, Recording Industry Association of America, October–December 1965 tour of North America, Critics' Choice: The Top 100 Rock 'n' Roll Albums of All Time, Christgau's Record Guide: Rock Albums of the Seventies, More Hot Rocks (Big Hits & Fazed Cookies), "500 Greatest Albums: Aftermath – The Rolling Stones", "British album certifications – The Rolling Stones – Aftermath", "Key Dates in the History of the Official UK Charts", "American album certifications – The Rolling Stones – Aftermath", "The 200 Best Albums of the 1960s: '98.

: 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. [157] 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". It was the first Rolling Stones album to be recorded entirely in the US, at the RCA Studios in California, and their first album released in true stereo. [131] 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". [55][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".

[32] 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. Aftermath is a studio album by the English rock band the Rolling Stones. By The Beatles & Rolling Stones)) 4-16: An Interview With The Rolling Stones After Being Busted) 4-17: The Gomper (Another Studio Demo) 4-18: In Another Land (Studio Demo Versio With Voc. [32] 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. "[163], Some retrospective appraisals are critical towards the harsh treatment of female characters on the album. 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.

[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. Brian Jones emerged 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 guitar and harmonica. [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. U.S.

[46], 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. [105][nb 7], Aftermath received highly favourable reviews in the music press. [117], The album is also highlighted in popular record guides. 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. 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". [96] "Mother's Little Helper" was a Hot 100 hit as well, peaking at number 8 on the chart. Recreating albums that never actually existed. It was released in the United Kingdom on 15 April 1966 by Decca Records and in the United States on 2 July by London Records. 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. Golden Stone Records, London.

[147] In 2017, Pitchfork listed Aftermath at number 98 on the website's "200 Best Albums of the 1960s". This is not related to Aftermath, but I wanted to mention that I've just started a website with a similar theme to yours, Albums That Should Exist.https://albumsthatshouldexist.blogspot.com/I hope you come check it out, and if you like it, add a link to it.On a different note, I really liked your "Trouble Man" album. See all the information available about recording sessions, live appearances, setlists, tracklists, interviews, releases, radio- and TV-appearances and just about everything else that has happened in the musical history of the Rolling Stones. [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.

An Independent Promotional Release. [128][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.

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