Rolling Stones: Aftermath (1966)

The Rolling Stones released the excellent "Aftermath" on April 15, 1966, in England. Two months later, an (amputated) American version was released. The album was recorded at RCA Studios in Hollywood with Andrew Loog Oldham as the producer.

By Martin Johannessen

The album is an artistic triumph, featuring only original songs credited to Jagger/Richards for the very first time. It's a historic event in music history, to say the least.

1966 was a great year for record-buying folks. Dylan released "Blonde On Blonde" the same summer, and The Beatles released "Revolver."

As was the tradition in England in the 60s, the singles released ahead of the album were not included on the record. Therefore, "Paint it, Black" was not included on the English version.

A Couple of Hits

The Americans had recently released "Big Hits (High Tide and Green Grass)" and therefore waited a while to release "Aftermath."

The American version has three fewer tracks than the British one and a different track order. The songs exclusive to the British version are "Out of Time," "Take It Or Leave It," and "What to Do." Additionally, "Mother's Little Helper" was replaced with "Paint It, Black." Both of these are clearly among my favorites.

Both "Lady Jane" and "Mother's Little Helper" were released as singles the same summer. And the album itself was a hit, reaching number one in England and Germany, and number two in the USA and Australia.

Marimba
There are many cream-of-the-crop songs here. Already mentioned, "Lady Jane" and "Mother's Little Helper" are solid classics in the Stones' catalog. And let's not forget "Under My Thumb" and "Out of Time" either: Lovely marimba opening from Brian Jones!

The marimba was so crucial that Jones actually deserved songwriting credit, according to Bill Wyman. Especially on "Under My Thumb": "Well, without the marimba part, it's not really a song, is it?”

Watch "Under My Thumb" live below.

Walk on Water?

"Aftermath" was an artistic breakthrough for the band. As mentioned, all the songs were written by Mick and Keef. But the creative instrumental contributions from Brian Jones were also crucial: marimba, sitar, koto (a Japanese long zither with 13 strings), dulcimer, guitar, and harmonica.

The sitar was, of course, inspired by George Harrison. Stones biographer Stephen Davis tells: "One night George put the massive sitar in Brian's hands, and within an hour Brian was working out little melodies.”

Manager Andrew Loog Oldham had suggested "Could You Walk on the Water?" as the title. But the record company didn't want such Jesus references. They feared resistance, especially in the USA. The band therefore decided to call it "Aftermath" instead. With its 52 minutes (in England), the album was also the longest up to that point.

What a drag it is getting old
The Rolling Stones had enjoyed great success in England from their first album, and several of their singles and albums had reached the top of the charts. They were also doing big in the USA. It was therefore an extra pat on the back that they did just as well with only original compositions.

The two versions also have different covers. In England, they used the one pictured on the left, while in the USA, they went for a more blurry cover.

At this time, they also had better finances and time. Keef says: "Our previous sessions have always been rush jobs. This time we were able to relax a little, take our time.”

Although Jones has some creative bursts that suit the songs well, he also struggled with drugs and was often absent from the studio. Therefore, it's mostly Keef's guitar we hear on the album.

The album received good reviews when it came out. Record Mirror wrote: “The Rolling Stones have on their hands the smash LP of the year with Aftermath."

NME wrote that they were “masterminds behind the electric machines."

In the USA, Billboard wrote that "Paint It, Black” was the highlight.

“What a drag it is getting old” indeed.