[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". [147] In 2000, it was voted number 387 in Colin Larkin's All Time Top 1000 Albums. [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". CD1 #10 – 19th Nervous Breakdown "[114] Responding in the same publication, the intellectual historian Perry Anderson (using the pseudonym of Richard Merton) defended the band's message as an audacious and satirical exposé on sexual inequality. [146] 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. [71] According to Perone, "I Am Waiting" suggests paranoia on the narrator's part and that societal forces are the cause, yet the song presents a degree of resignation in comparison to the album's other commentaries on class- and consumer-focused society. [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. [152] 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". [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. "[115][nb 9], Some feminist writers defended Jagger's stance in "Under My Thumb". It stayed on the chart for 28 weeks. 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. CD1 #04 – Little Red Rooster In contemporaneous listings of the "coolest" albums, Rolling Stone and GQ ranked it second and 10th, respectively. "[117], Aftermath is often considered the Rolling Stones' first classic album. Dangerous: The Double Album [Explicit] Morgan Wallen MP3 Music. [156] 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. "[8] 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". [160][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. $9.49 10. "[16], Aftermath is the first Stones LP to have all-original material by the group. 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. CD3 #10 – The Harlem Shuffle CD2 #07 – Wild Horses [13] Jagger came to view his girlfriend, Chrissie Shrimpton, as inadequate by comparison; while Jagger sought a more glamorous companion commensurate with his newfound wealth, the aura surrounding Jones and Pallenberg contributed to the end of his and Shrimpton's increasingly acrimonious relationship. Heaux Tales [Explicit] Jazmine Sullivan MP3 Music. CD1 #07 – Time Is On My Side [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). CD3 #16 – Doom And Gloom [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. [96] "Mother's Little Helper" was a Hot 100 hit as well, peaking at number 8 on the chart. [102] 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. 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. Black Pumas Black Pumas MP3 Music. (2012.11.09/FLAC 24bit/RAR) 簡単無料ダウンロード zip rar 漫画 MP3 FLAC 24bit Lossless AAC MUSIC JAPAN Download Free. [29] Wyman was later critical of Oldham for nurturing Jagger and Richards as songwriters to the exclusion of the rest of the band. [56] Conceding that male chauvinism became a key theme of the Stones' lyrics from late 1965 onwards, Richards later told Bockris: "It was all a spin-off from our environment ... hotels and too many dumb chicks. Rivalling the contemporaneous impact of the Beatles' Rubber Soul (1965), the album reflected the youth culture and values of 1960s Swinging London and the burgeoning counterculture while attracting thousands of new fans to the Rolling Stones. CD1 #16 – Let’s Spend The Night Together [136] The NME's Jazz Monroe writes that Aftermath simultaneously disowned and reimagined rock tradition and forever elevated the Stones as equals to the Beatles. [125] Their new sound on the album helped expand their following by the thousands, while its content solidified their dark image. [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. [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. [37] 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. [82] 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. [23] Charlie Watts, the group's drummer, told the press that they had completed 10 songs during the first block of sessions; according to Wyman's book, at least 20 were recorded in March. [72], During the recording, Oldham wanted to title the album Could You Walk on the Water? This time we were able to relax a little, take our time. [111], 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. [9], Within the Stones, tensions were rife as Brian Jones continued to be viewed by fans and the press as the band's leader, a situation that Jagger and Oldham resented. 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. [85] Jones was vocal in his dislike of Oldham's design when interviewed by Melody Maker in April. – by the Stones' manager/producer Andrew Loog Oldham. [57] According to Hassinger, his wife Marie provided the inspiration for "Mother's Little Helper" when she supplied some downers in response to a request from one of the studio staff. [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). [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. ("Under My Thumb", "Flight 505", "It's Not Easy"). The Rolling Stones lyrics - 387 song lyrics sorted by album, including "Sympathy For The Devil", "You Can't Always Get What You Want", "Paint It Black". [7] 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. [110] Aftermath was regarded in Melody Maker as the group's best LP to date and one that would "effortlessly take Britain by storm". [78] 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. [147] In 2017, Pitchfork listed Aftermath at number 98 on the website's "200 Best Albums of the 1960s". [104] 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. "[83] 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. CD3 #08 – She Was Hot Reviewing the reissues for Entertainment Weekly, David Browne recommends the UK version over the US, while Tom Moon, in his appraisal in The Rolling Stone Album Guide (2004), prefers the US edition for its replacement of "Mother's Little Helper" with "Paint It, Black" and highlights the clever lyrics of Jagger. At the time, the group consisted of Jagger, Richards, Jones, pianist Ian Stewart, drummer Mick Avory, and Dick Taylor, who had briefly returned to the fold.Weeks after the concert, Taylor left again and was replaced by Bill Wyman, formerly of the Cliftons. doncha bother me. "[163], Some retrospective appraisals are critical towards the harsh treatment of female characters on the album. [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. [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. [103], 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. CD3 #05 – Start Me Up [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? [126] 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. CD1 #15 – Ruby Tuesday [147][nb 15]. [100], 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. [45] Jagger echoes these sentiments in a 1995 interview for Rolling Stone, regarding it as a stylistically diverse work and milestone for him that "finally laid to rest the ghost of having to do these very nice and interesting, no doubt, but still, cover versions of old R&B songs – which we didn't really feel we were doing justice, to be perfectly honest". [65], 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 meritocratic ideals of youth, looks and wealth over social class. "[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". [172], ^shipments figures based on certification alone, 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. [41], 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 blues, rock and roll, rhythm and blues, soul, folk rock and pop ballads. [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. The UK release featured a run-time of more than 52 minutes, the longest for a popular music LP up to that point. ... CD1 #10 – 19th Nervous Breakdown CD1 #11 – As Tears Go By CD1 #12 – Paint It, Black CD1 #13 – Under My Thumb It reached number 2 on both the US Billboard Hot 100 and Britain's Record Retailer chart (subsequently the UK Singles Chart), while topping the charts compiled by Cash Box and NME CD2 #13 – Rocks Off CD1 #17 – We Love You, CD2 #01 – Jumpin’ Jack Flash [135], In 2002, both versions of Aftermath were digitally remastered as part of ABKCO Records' reissue campaign of the Rolling Stones' 1960s albums. [136] 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. ～キミは燃えているか～(2015.08.05/FLAC/RAR), [Album] Crystal Kay – Almost Seventeen (2002.10.23/MP3/RAR), [Single] メトロノーム – しゃーたん＆めとたん (2017.08.25/MP3+Flac/RAR), [Album] Rihwa – WILD INSIDE (2018.10.31/MP3/RAR). 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. 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. JFK’s inauguration was 60 years ago today: Look back at the day's history-making moments. [132], Aftermath is regarded as the most artistically formative of the Rolling Stones' early work. [38], 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. [118][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. : 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. CD3 #07 – Undercover Of The Night Aftermath has since been considered the most important of the Stones' early, formative music and their first classic album, frequently ranking on professional lists of the greatest albums. [67] As Greil Marcus observes, the songs' protagonists can be interpreted as London bohemians severely disdainful of bourgeois comfort, positing "a duel between the sexes" and weaponizing humour and derision. 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. These striking black and white images capture interracial couples in the US in the late 1800s and early 1900s, at a time when such relationships were taboo and - in some cases - illegal. [117] Camille Paglia considered the song "a work of art", despite its sexist lyrics, and Aftermath a "great album" with "rich sonorities". [59] Some listeners assumed the song was about Jagger's high-society friend Jane Ormsby-Gore, daughter of David Ormsby-Gore, 5th Baron Harlech. [135], Aftermath frequently appears on professional rankings of the best albums. Its subversive music solidified the band's rebellious rock image while pioneering the darker psychological and social content that glam rock and British punk rock would explore in the 1970s. [51][nb 14] The French retailer FNAC's 2008 list named Aftermath the 183rd greatest album of all time. 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. CD3 #15 – Don’t Stop "[34], During the recording sessions, Richards and Oldham dismissed Jones' interest in exotic instrumentation as an affectation. Aftermath is a studio album by the English rock band the Rolling Stones. Among US commentators, Bryan Gray wrote in the Deseret News: "This album does the best job yet of alienating the over-twenties. Its dark content pioneered the darker psychological and social themes of glam rock and British punk rock in the 1970s. Keith Richards fell in love with her too, and their romantic triad realigned the precarious political axis within the Stones. 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! [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". [92] The band began their fifth North American tour on 24 June in support of Aftermath; it was their highest-grossing tour yet and, according to Richards, the start of a period of rapprochement between Jones, Jagger and himself. [140], Some of Aftermath's blues-oriented rock elements foreshadowed the blues-rock music of the late 1960s. 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". [162] 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. 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. [40] Aftermath was also the first Stones LP to be recorded in true stereo, as opposed to electronically recreated stereo. [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. [93] On 2 July, London released the American edition of the album with "Paint It, Black" replacing "Mother's Little Helper", which was released the same day in the US as a single with "Lady Jane" as the B-side. [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. [69], Both "Mother's Little Helper" and "What to Do" connect modern society to feelings of unhappiness. CD1 #13 – Under My Thumb Not all dumb, not by any means, but that's how one got. [117] Unterberger expresses similar reservations about the substance behind songs like "Goin' Home" and "Stupid Girl", finding the latter particularly callow. CD1 #12 – Paint It, Black [61], The album proved influential in the development of rock music. 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". The group recorded the album at RCA Studios in California in December 1965 and March 1966, during breaks between their international tours. [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. [61] 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. Instead, they say, the record features an original style of art rock that resulted from Jones' musical experimentation and draws not only on the blues and rock but also pop, R&B, country, Baroque, classical and world music. [6] 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. [79] 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. [Album] The Rolling Stones – GRRR! The album is considered by music scholars to be an artistic breakthrough for the Rolling Stones. "[64] 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. [108] Among British critics, Richard Green of Record Mirror, in April 1966, began his review by saying: "Whether they realise it or not – and I think Andrew Oldham does – the Rolling Stones have on their hands the smash LP of the year with Aftermath", adding that it would take much effort to surpass their achievement. 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. The reason – they attempt to sing. [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. 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