Aftermath [Vinyl LP] [Import]

Just to clarify one thing first. Below is the order of tracks on the original UK vinyl release. It was changed for US release with four tracks being dropped and "Paint it Black" being included. When the first CD release was made in the UK, Decca chose the US track selection rather than the UK selection. However with the release of several of the albums in digipak format in the UK in 2002, "Aftermath" (thankfully and at long last) reverted to the original fourteen tracks.

Mother's Little Helper
Stupid Girl
Lady Jane
Under my thumb
Doncha bother me
Goin' Home
Flight 505
High and Dry
Out of Time
It's not easy
I am waiting
Take it or leave it
Think
What to do

Not content with releasing a totally self-penned album, whereas previously only the odd few Jagger/Richard tracks had come out (and most of these on singles), the original and now restored, release of "Aftermath" contained fourteen tracks, one in excess of eleven minutes in length and with the total album lasting for longer than 53 minutes. All of this was revolutionary for a pop industry used to getting away with albums not much longer than thirty minutes.

So what were/are these tracks like? The first thing to say is that there's no trace of the Diddley and Berry sounds the lads had grown up with. Nor is there any real evidence of the Chicago blues they loved. There is some blues but it's not so easy to trace. "High and Dry" relates more to songs like "San Francisco Bay Blues" originally from Jesse Fuller but made popular by Ramblin' Jack Elliott. Ramblin' Jack was popular with the folk cum arty crowd in London with whom both Jagger and Richard had had some relationship (and not always amicable according to Keef's book). The old-timey sound of this track was utterly unlike anything the Stones had done before. Another blues track, "Goin' Home" is at once both more and less conventional in terms of blues. More, in that it uses recognised blues patterns. Less in that it strings all these together in one very long instrumental. The idea, and indeed, ambition, was good but the execution didn't quite match it - perhaps this idea might have been worth revisiting when Mick Taylor was on board.

The other songs are mixed and colourful: "Lady Jane" is a baroque cum historic number reminiscent of the Stones penned, Marianne Faithfull number, "As Tears go by"; "Think" and "Out of time" are melodramatic numbers written for Chris Farlowe, a London based white soul singer; "Take it or leave it" is light and poppy and formed a pretty good single for the Searchers; "Mother's little helper" is social comment - something the Stones hadn't concerned themselves with up to now; "Stupid Girl" has, perhaps, unfortunate words but is still a very neat little rocker; "Under my thumb" could well be bracketed with "Stupid Girl" but it has a light almost jazzy feel; and "I am Waiting" is one with an air of mystery.

Not only the songs but the instrumentation was new on this album. The story is of Brian Jones being let loose in a music shop. Certainly there's an argument that this was Jones' greatest hour - he features on more instruments than you can imagine - if there are some unusual sounds on a song then they most likely came from something played by Brian. But these sounds aren't gratuitous - they work.

There are a few throwaway songs here (mainly on the old vinyl side two) but every track has some attractions and a few are real standouts. When I first heard the album, back in those days, I was turned, overnight from a blues snob to someone who was interested in lots more forms of music (and whose next step was to go out and buy Dylan albums). It is still that good? Most definitely. To it's the first of the Rolling Stones classic albums.

The Rolling Stones' first album of entirely self-penned material also showcases both strands of their development from 1966 to 1972, their peak period. The louder, raucous element of their r&b is largely sacrificed here in favour of a more sophisticated approach to the genre, typified by the 11-minute 'Going Home'. Though this track doesn't match up to later classics such as 'Midnight Rambler' or 'Sympathy For The Devil', it points toward that kind of direction. On the other hand, gentler pop-oriented material such as 'Take It Or Leave It' (covered by The Searchers) and the spellbinding 'Lady Jane' presaged the direction taken on the next album, 'Between The Buttons' which ultimately led to the cul-de-sac that was 'Satanic Majesties'. Fortunately, the band got back on track with the superb 'Beggar's Banquet'.

On 'Aftermath', however, the blend of styles works largely because the material is so good. Even lesser known tracks such as 'I Am Waiting' have a distinct identity. 'Doncha Bother Me' and 'It's Not Easy' are welcome remnants of their early style, while the timeless classics department is represented by 'Under My Thumb' and 'Out Of Time'. The Stones also experimented here and there with their sound, particularly the bass which has a peculiar but highly effective resonance on tracks such as 'Under My Thumb'. 'Aftermath' also offers more quantity than previous releases, weighing in at 53 minutes, which is staggering considering that albums of the era were usually half an hour long.

1966 was a good year, the Stone's Aftermath, was released in April, The Beachboy's "Pet sounds" came out in May and the Beatle's released "Revolver" in August that year - all classic water shed albums. Aftermath proved to be a major artistic breakthrough for The Rolling Stones thanks to the group's then musical leader Brian Jones and it was also their first album to consist of jagger/richards songs exclusively - with enough songs left over for the follow up albeit weaker "Between the Buttons".
And what great songs those first ones were and remain. "Under my Thumb", "Out of Time" (brilliantly covered by Chris Farlowe), "Stupid Girl" and "Think" in particular showing misogynistic signs of a sneering Jagger in lyrics aimed at his former model girl friend. With the exception of the following years "Their Satanic Majesties" this is probably the most musically experimental Stones albums instrument- wise thanks to Brian Jones' musicianship - sitar, dulcimer, marimbas etc. Aftermath is far the sharper of the two albums, far less self indulgent with perhaps the exception of the eleven minute long "Going Home". But remember, it's only a classic in its UK version - forget any American versions of any of the Stones albums. Note: The Beatles never allowed their albums to be messed up, shame on you Sir Mick!