Aftermath (Rolling Stones album)
Aftermath | ||||
---|---|---|---|---|
Studio album by | ||||
Released | 15 April 1966 | |||
Recorded |
| |||
Studio | RCA (Hollywood) | |||
Genre | ||||
Length |
| |||
Label |
| |||
Producer | Andrew Loog Oldham | |||
The Rolling Stones UK chronology | ||||
| ||||
The Rolling Stones US chronology | ||||
| ||||
Alternative cover | ||||
Singles from Aftermath | ||||
|
Aftermath is a
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
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
Aftermath was an immediate commercial success in both the UK and the US, topping the
Background
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 "
misogynist songs of dominanceset to the Stones' darkest, most ardent music.
—Stephen Davis (2001)[11]
Within the Stones, tensions were rife as
Writing and recording
Aftermath is the first Stones LP to be composed entirely of original material by the group.
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]
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
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
Along with their 1967 follow-up,
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
Female characters
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". "
In Guesdon and Margotin's view, the Stones express a more compassionate attitude towards women in "Mother's Little Helper", which examines a
Conceptual structure
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
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
Both "Mother's Little Helper" and "What to Do" connect
Title and packaging
During the recording, Oldham wanted to title the album Could You Walk on the Water?
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
Aftermath's release was preceded by the Rolling Stones'
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.
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
Aftermath received highly favourable reviews in the music press.
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.
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
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
Cultural impact
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.
Aftermath is regarded as the most artistically formative of the Rolling Stones' early work.
Influence on rock music
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.
Reappraisal
Review scores | |
---|---|
Source | Rating |
The Great Rock Discography | 7/10[148] |
MusicHound Rock | 5/5[149] |
NME | 7/10[150] |
The Rolling Stone Album Guide | [151] |
Tom Hull – on the Web | UK: 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
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
Aftermath frequently appears on professional rankings of the best albums. In 1987, it was voted 68th in
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.
Track listing
UK edition
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
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
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
- 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
Weekly charts
|
Year-end charts
|
Certifications
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
Notes
- ^ 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 & 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]
- 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 & 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
- ^ 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 & 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 & Guesdon 2016, p. 140.
- ^ Margotin & 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 & Guesdon 2016, pp. 149, 152, 155.
- ^ Fremer 2010.
- ^ Malvinni 2016, p. 43.
- ^ Margotin & 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 & 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 & Guesdon 2016, p. 138; Anon. 2003.
- ^ Savage 2015, p. 74.
- ^ Perone 2012, pp. 96–97.
- ^ Davis 2001, p. 155; Margotin & Guesdon 2016, p. 139.
- ^ Bonanno 1990, p. 50.
- ^ Wyman 2002, pp. 217, 230.
- ^ Wyman 2002, p. 222.
- ^ Wyman 2002, p. 217; Margotin & 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 & Guesdon 2016, pp. 139–40.
- ^ a b c d Margotin & 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 & Guesdon 2016, p. 139; Salewicz 2002, p. 106.
- ^ a b c Havers 2018.
- ^ Margotin & 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 & 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 & Guesdon 2016, p. 139; Savage 2015, pp. 71–72.
- ^ Margotin & 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 & 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 & 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 & 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 & Guesdon 2016, pp. 134–75.
- ^ Margotin & Guesdon 2016, p. 154.
- ^ Janovitz 2013, p. 88.
- ^ Anon. (b) 2002.
- ISBN 0-646-11917-6.
- ^ Anon. (g) 1966.
- ISBN 978-951-1-21053-5.
- GfK Entertainment Charts. Retrieved 22 December 2022.
- ^ Anon. (b) 1966, p. 5.
- ^ "Rolling Stones". Official Charts Company. Archived from the original on 1 July 2023. Retrieved 22 December 2022.
- ^ "The Rolling Stones Chart History (Billboard 200)". Billboard. Retrieved 22 December 2022.
- ^ Anon. (f) 1966, p. 41.
- ^ a b Anon. (h) 1966, p. 22.
- ^ Anon. (i) 1966, p. 34.
- ^ Anon. (j) 1966, p. 34.
- ^ "British album certifications – The Rolling Stones – Aftermath". British Phonographic Industry.
- ^ "American album certifications – The Rolling Stones – Aftermath". Recording Industry Association of America.
Bibliography
- Altham, Keith (8 April 1966). "The Rolling Stones' most favoured reporter reviews their fourth long-player track by track". New Musical Express.
- Anon. (16 April 1966). "The Rolling Stones: Aftermath (Decca)". Melody Maker. Retrieved 16 December 2019 – via Rock's Backpages.
- Anon. (29 April 1966). "Best Selling LPs in Britain" (PDF). New Musical Express. p. 5. Retrieved 28 September 2022 – via WorldRadioHistory.com.
- Anon. (2 July 1966). "Albums Reviews". Cash Box.
- Anon. (9 July 1966). "Album Reviews". Billboard. Retrieved 7 January 2020 – via Google Books.
- Anon. (9 July 1966). "Albums of the Week" (PDF). Record World. Retrieved 24 February 2022 – via WorldRadioHistory.com.
- Anon. (13 August 1966). "Top 100 Albums". Cash Box.
- Anon. (15 August 1966). "CHUM Hit Parade". CHUM Chart. Retrieved 19 April 2022 – via ChumTribute.com.
- Anon. (20 August 1966). "100 Top LP's" (PDF). Record World. Retrieved 24 February 2022 – via WorldRadioHistory.com.
- Anon. (24 December 1966). "Top Records of 1966" (PDF). Billboard. Retrieved 9 March 2022 – via WorldRadioHistory.com.
- Anon. (24 December 1966). "Best Albums of 1966" (PDF). Cash Box. Retrieved 9 March 2022 – via WorldRadioHistory.com.
- Anon. (8 July 1995). "Aftermath". NME.
- Anon. (1 January 2001). "The Sixties". The Daily Telegraph. Archived from the original on 27 November 2018. Retrieved 27 November 2018.
- Anon. (2002). Aftermath UK (CD booklet). The Rolling Stones. ABKCO Records. 8822952.
- Anon. (2002). Aftermath (CD booklet). The Rolling Stones. ABKCO Records. 94762.
- Anon. (2003). "500 Greatest Albums: Aftermath – The Rolling Stones". Rolling Stone. Archived from the original on 14 August 2011. Retrieved 21 August 2011.
- Anon. (2012). "500 Greatest Albums of All Time". Rolling Stone. Archived from the original on 23 October 2019. Retrieved 19 September 2019.
- Anon. (17 May 2018). "Aftermath released, 1966". The Daily Telegraph. Archived from the original on 31 August 2018. Retrieved 27 November 2018.
- Anon. (22 September 2020). "The 500 Greatest Albums of All Time". Rolling Stone. Retrieved 10 December 2020.
- Anon. (n.d.). "British album certifications – The Rolling Stones – Aftermath". British Phonographic Industry. Select albums in the Format field. Select Silver in the Certification field. Type Aftermath in the "Search BPI Awards" field and then press Enter. Retrieved 4 February 2020.
- Anon. (n.d.). "Charts-Surfer: Liedsuche" (in German). charts-surfer.de. Archived from the original on 6 March 2012. Retrieved 7 January 2020.
- Anon. (n.d.). "Key Dates in the History of the Official UK Charts". Official Charts Company. Archived from the original on 10 January 2008. Retrieved 15 August 2015.
- Anon. (n.d.). "UK charts archive". Official Charts Company. Archived from the original on 8 May 2019. Retrieved 23 March 2010.
- Anon. (n.d.). "American album certifications – The Rolling Stones – Aftermath". Recording Industry Association of America. If necessary, click Advanced, then click Format, then select Album, then click SEARCH. Retrieved 4 February 2020.
- Bentley, Mark (December 2010). "A Rolling Stones Miscellany". Uncut Ultimate Music Guide: The Rolling Stones. No. 4.
- Berman, Judy (22 August 2017). "The 200 Best Albums of the 1960s: '98. The Rolling Stones Aftermath (1966)'". Pitchfork. Archived from the original on 25 December 2018. Retrieved 7 January 2020.
- ISBN 0-09-174397-4.
- Bonanno, Massimo (1990). The Rolling Stones Chronicle: The First Thirty Years. London: Plexus. ISBN 978-0-85965-135-6.
- Bray, Christopher (2014). 1965: The Year Modern Britain Was Born. London: ISBN 978-1-84983-387-5– via Google Books.
- Browne, David (20 September 2002). "Satisfaction?". Entertainment Weekly. Archived from the original on 28 November 2018. Retrieved 12 January 2020.
- ISBN 0-7088-1658-4.
- Christgau, Robert (December 1967). "Secular Music". Esquire. Retrieved 5 February 2020 – via robertchristgau.com.
- Christgau, Robert (March 1969). "A Short and Happy History of Rock". Stereo Review. Archivedfrom the original on 16 December 2019. Retrieved 7 January 2020 – via robertchristgau.com.
- Christgau, Robert (1976). "The Rolling Stones". In Miller, Jim (ed.). The Rolling Stone Illustrated History of Rock & Roll. Rolling Stone Press. ISBN 0-394-40327-4. Retrieved 10 February 2020 – via robertchristgau.com.
- ISBN 0-89919-025-1. Retrieved 16 March 2019 – via robertchristgau.com.
- Christgau, Robert (1998). Grown Up All Wrong: 75 Great Rock and Pop Artists from Vaudeville to Techno. ISBN 0-674-44318-7.
- ISBN 1-84403-494-1.
- Clayson, Alan (2007). Legendary Sessions: The Rolling Stones: Beggars Banquet. Billboard Books. ISBN 978-0-8230-8397-8.
- Coates, Norma (2019). "How can a smart chick like me listen to the Stones and not throw up? A speculative exploration of Beggars Banquet and misogyny". In Reising, Russell (ed.). Beggars Banquet and the Rolling Stones' Rock and Roll Revolution: 'They Call My Name Disturbance'. Routledge. ISBN 978-1-351-39641-7.
- ISBN 978-0-313-34587-6.
- Dalton, David (1982). The Rolling Stones. Delilah/Putnam Books. ISBN 0-399-41005-8.
- ISBN 0-7679-0956-9.
- ISBN 978-1-61060-513-7.
- Dimery, Robert, ed. (2010). ISBN 978-0-7893-2074-2.
- Elliott, Gregory (1998). Perry Anderson: The Merciless Laboratory of History. ISBN 0-8166-2966-8.
- Erlewine, Stephen Thomas (n.d.). "The Rolling Stones". AllMusic. Archived from the original on 13 June 2018. Retrieved 1 December 2018.
- Fremer, Michael (31 October 2010). "Round and Round: The Sound of The Rolling Stones Part 2". Analog Planet. Retrieved 6 February 2020.
- Gillespie, Nick (June 2015). "Everything's Awesome and Camille Paglia Is Unhappy!". Reason. Retrieved 24 March 2020.
- Green, Richard (16 April 1966). "The smash LP of the year?". Record Mirror.
- ISBN 978-0-312-68955-1.
- Havers, Richard (13 August 2018). "'Aftermath': The Rolling Stones at the Dawning of Rock". uDiscover. Archived from the original on 29 November 2018. Retrieved 28 November 2018.
- Harper, Simon (12 November 2006). "Classic Album: The Rolling Stones – Aftermath". Clash. Archived from the original on 28 November 2018. Retrieved 27 November 2018.
- Hegeman, Bas (14 May 1966). "From the Music Capitals of the World – Amsterdam". Billboard. Archived from the original on 30 November 2018. Retrieved 30 November 2018 – via Google Books.
- Hull, Tom (n.d.). "Grade List: The Rolling Stones". Tom Hull – on the Web. Retrieved 11 February 2020.
- Hyden, Steven (3 April 2008). "Primer: The Rolling Stones". The A.V. Club. Archived from the original on 2 December 2018. Retrieved 1 December 2018.
- Jagger, Mick; Richards, Keith; Watts, Charlie; Wood, Ronnie (2003). According to the Rolling Stones. London: Weidenfeld & Nicolson. ISBN 0-297-84332-X.
- Janovitz, Bill (2013). Rocks Off: 50 Tracks That Tell the Story of the Rolling Stones. New York, NY: St. Martin's Press. ISBN 978-1-250-02631-6– via Google Books.
- King, Colin (2004). Rock On!: The Rock 'n' Roll Greats. Caxton. ISBN 1-84067-473-3.
- ISBN 1-57859-061-2.
- Kubernik, Harvey (December 2015). "Rubber Soul 50 Years On". Rock's Backpages. Archived from the original on 29 June 2019. Retrieved 7 November 2019.
- ISBN 0-7535-0493-6.
- Larkin, Colin (2011). ISBN 978-0-85712-595-8.
- ISBN 978-1-84115-226-4.
- MacDonald, Ian (November 2002). "The Rolling Stones: Play With Fire". Uncut. Retrieved 21 July 2018 – via Rock's Backpages.
- Malvinni, David (2016). Experiencing the Rolling Stones: A Listener's Companion. ISBN 978-0-8108-8920-0.
- Margotin, Philippe; Guesdon, Jean-Michel (2016). The Rolling Stones All the Songs: The Story Behind Every Track. Running Press. ISBN 978-0-316-31773-3.
- Marchese, David (May 2017). "The Complete Works: Ranking All 374 Rolling Stones Songs". Vulture. Retrieved 19 March 2020.
- ISBN 0-394-73827-6.
- Marcus, Greil (1980). "The Beatles". In Miller, Jim (ed.). The Rolling Stone Illustrated History of Rock & Roll (Revised and updated ed.). Random House/Rolling Stone Press Book. ISBN 0-394-73938-8.
- Mawer, Sharon (May 2007). "Album Chart History: 1966". The Official UK Charts Company. Archived from the original on 17 December 2007. Retrieved 6 January 2020.
- Mendelsohn, Jason; Klinger, Eric (19 April 2013). "Counterbalance No. 125: The Rolling Stones' 'Aftermath'". PopMatters. Retrieved 28 March 2020.
- ISBN 978-0-86001-762-2.
- Moon, Tom (2004). "The Rolling Stones". In Brackett, Nathan; Hoard, Christian (eds.). ISBN 0-7432-0169-8. Archived from the originalon 12 April 2011. Retrieved 2 December 2011 – via rollingstone.com.
- Monroe, Jazz (23 April 2015). "The Rolling Stones' Top 10 Albums – Ranked". NME. Archived from the original on 23 September 2016. Retrieved 12 January 2020.
- ISBN 0-283-07277-6.
- Norman, Philip (2012). Mick Jagger. ISBN 978-0-385-66906-1.
- Nyman, Jake (2005). Suomi soi 4: Suuri suomalainen listakirja (in Finnish) (1st ed.). Helsinki: Tammi. ISBN 951-31-2503-3.
- O'Rourke, Sally (14 June 2016). "It Was 50 Years Ago Today: 'Aftermath' by The Rolling Stones". REBEAT Magazine. Retrieved 6 February 2020.
- ISBN 0-679-75120-3.
- Palmer, David (27 June 2011). "Playback: 'Aftermath' still has its shine". The Cullman Times. Retrieved 15 March 2020.
- Perone, James E. (2012). The Album: A Guide to Pop Music's Most Provocative, Influential and Important Creations. Santa Barbara, CA: Praeger. ISBN 978-0-313-37906-2.
- Persad, Michelle (15 April 2013). "See The Rolling Stones Before They Released 'Aftermath' (PHOTO)". The Huffington Post. Archivedfrom the original on 27 November 2018. Retrieved 26 November 2018.
- Petridis, Alexis (17 May 2018). "The Rolling Stones – every album ranked!". The Guardian. Archived from the original on 17 October 2019. Retrieved 2 January 2020.
- Philo, Simon (2015). British Invasion: The Crosscurrents of Musical Influence. Lanham, MD: Rowman & Littlefield. ISBN 978-0-8108-8627-8– via Google Books.
- Rosen, Jody (2 July 2006). "The Rolling Stones Part 1: The 1960s and '70s". Blender. Archived from the original on 27 December 2010. Retrieved 12 January 2020.
- Ross, Graeme (12 December 2018). "Playlist: The 10 best Rolling Stones albums". The Independent. Archived from the original on 16 December 2018. Retrieved 19 March 2020.
- ISBN 0-7528-1858-9.
- ISBN 978-0-571-27763-6.
- ISBN 0-07-055089-1.
- Sheffield, Rob (17 August 2012). "Rolling Stones Album Guide: The Good, the Great and the 'Angie'". Rolling Stone. Archived from the original on 2 January 2020. Retrieved 2 January 2020.
- Simonelli, David (2013). Working Class Heroes: Rock Music and British 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.
- ISBN 978-1-62788-782-3.
- 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.
- 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.
- 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
- Merton, Richard (January–February 1968). "Comment on Beckett's 'Stones'". New Left Review. 1 (47) – via newleftreview.org.
External links
- 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)