Aftermath (Rolling Stones album)

Aftermath is a studio album by the English rock band the Rolling

Stones. The group recorded the album at RCA Studios in California
Aftermath
in December 1965 and March 1966, during breaks between their
international tours. 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. 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.

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 Mick
Jagger and Keith Richards. Brian Jones emerged as a key contributor
and experimented with instruments not usually associated with UK release
popular music, including the sitar, Appalachian dulcimer, Japanese Studio album by the Rolling
koto and marimbas, as well as guitar and harmonica. Along with Stones
Jones' instrumental textures, the Stones incorporated a wider range of
chords and stylistic elements beyond their Chicago blues and R&B Released 15 April 1966
influences, such as pop, folk, country, psychedelia, Baroque and Recorded 6–10 December 1965 ·
Middle Eastern music. Influenced in part by intense love affairs 3–12 March 1966
outside the band and their demanding touring itinerary, Jagger and
Studio RCA (Hollywood)
Richards wrote the album around psychodramatic themes of love, sex,
desire, power and dominance, hate, obsession, modern society and Genre Hard rock · pop rock ·
rock stardom. Women feature as prominent characters in their often blues rock · art rock
dark, sarcastic, casually offensive lyrics. Length 52:23

The album's release was briefly delayed by controversy over the Label Decca
proposed packaging and title – Could You Walk on the Water? – by Producer Andrew Loog Oldham
the Stones' manager/producer Andrew Loog Oldham. Decca and
The Rolling Stones chronology
London rejected his idea, fearing the allusion to Jesus walking on
water would provoke a negative reaction from Christians in the US. Big Hits Aftermath Got Live If
In response to the lack of creative control, and without another idea (High Tide (1966) You Want
for the title, the Stones bitterly settled on Aftermath, and two different and Green It!
photos of the band were used for the cover to each edition of the Grass) (1966)
album. The UK release featured a run-time of more than 52 minutes, (1966)
the longest for a popular music LP up to that point. The American
edition was issued with a shorter track listing, substituting the single Alternative cover
"Paint It, Black" in place of four of the British version's songs, in
keeping with the industry preference for shorter LPs in the US market
at the time.

Aftermath was an immediate commercial success in both the UK and

the US, topping the British albums chart for eight consecutive weeks
and eventually achieving platinum certification from the Recording
Industry Association of America. 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. An inaugural release of the album era, it marked
the beginnings of the LP replacing the single as popular music's
dominant product and artistic medium. The album was also highly
successful with critics, although some listeners were offended by the
derisive attitudes towards female characters in certain songs. 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. Aftermath has
since been considered the most important of the Stones' early,
formative music and their first classic album, frequently ranking on
US release by London Records
professional lists of the greatest albums.
Singles from Aftermath

1. "Paint It, Black" / "Stupid Girl"

Contents Released: 7 May 1966 (US)
Background 2. "Mother's Little Helper" / "Lady
Writing and recording Jane"
Released: 2 July 1966 (US)
Musical style
Lyrics and themes
Title and packaging
Marketing and sales
Critical reception
Influence
Legacy and reappraisal
Rankings
Track listing
UK edition
US edition
Personnel
Charts
Certifications
See also
Notes
References
Bibliography
Further reading
External links

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.[1] 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.[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.[3] Their October–December 1965 tour of North America was the group's fourth and largest tour
there up to that point.[4] 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".[5]

By this time, the Rolling Stones had begun to respond to the increasingly sophisticated music of the Beatles, to
whom they had long been promoted by Oldham as a rougher alternative.[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.[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."[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".[9]

Within the Stones, tensions were rife as Brian Jones

In 1966, inspired by the formidable women around them, continued to be viewed by fans and the press as the
driven by the twin engines of ambition and drugs, the band's leader, a situation that Jagger and Oldham
Rolling Stones continued a run of visionary hit singles and
began to release albums that stood as crucial works of the resented.[11] The group dynamics were also
era. The influence of a powerful new female energy on the affected by some of the band members' romantic
Stones was undeniable … At the same time, it was the era entanglements.[12] Jones' new relationship with the
of "Stupid Girl" and "Under My Thumb," misogynist German model Anita Pallenberg, which had taken
songs of dominance set to the Stones' darkest, most ardent on sadomasochistic aspects, helped renew his
music. confidence and encourage him to experiment
musically, while her intelligence and sophistication
—Stephen Davis (2001)[10] both intimidated and elicited envy from the other
Stones.[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.[14] Richards' relationship with Linda Keith also deteriorated as her drug use escalated to include
Mandrax and heroin.[15] The band's biographer Stephen Davis describes these entanglements as a "revolution
under way within the Stones", adding that "Anita Pallenberg restored the faltering Brian Jones to his place in
the band and in the Rolling Stones mythos. Keith Richards fell in love with her too, and their romantic triad
realigned the precarious political axis within the Stones."[16]

Writing and recording

Aftermath is the first Stones LP to have all-original material by the group.[17] All the songs were, at Oldham's
instigation, written by and credited to the songwriting partnership of Jagger and Richards.[18] The pair wrote
much of the material during the October–December 1965 tour and recording began immediately after the tour
ended.[19] According to the band's bassist Bill Wyman in his book Rolling with the Stones, they originally
conceived Aftermath as the soundtrack for a planned film, Back, Behind and in Front. The plan was
abandoned after Jagger met the potential director, Nicholas Ray, and
disliked him.[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.[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.[24] Among the songs were four tracks issued on
singles by the Rolling Stones in the first half of 1966, the A-sides of
which were "19th Nervous Breakdown" and "Paint It,
Black".[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. This time we were able to relax a little, take our time."[27]
The main engineer for the album, Dave Hassinger, was pivotal in
making the group feel comfortable during the sessions, as he let them Mick Jagger (left) and Keith Richards
experiment with instrumentals and team up with session musicians (right), the band's chief songwriters,
like Jack Nitzsche to variegate their sound. Wyman recalled that and Brian Jones (back, center), who
Nitzsche and Jones would pick up instruments that were in the studio contributed to Aftermath as a multi-
and experiment with sounds for each song. According to Jagger, instrumentalist
Richards was writing a lot of melodies and the group would perform
them in different ways, which were mainly thought out in the
studio.[28] In the recollection of the engineer Denny Bruce, the songs often developed through Nitzsche
organising the musical ideas on piano.[29] Wyman was later critical of Oldham for nurturing Jagger and
Richards as songwriters to the exclusion of the rest of the band.[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.[31]

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.[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."[12] 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.[33]
Wyman agreed, saying, "Well, without the marimba part, it's not really a song, is it?"[34]

During the recording sessions, Richards and Oldham dismissed Jones'

An Appalachian dulcimer, one of
several instruments Jones
introduced to the Stones' sound for
the album
interest in exotic instrumentation as an affectation.[35] 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".[36] While
Nitzsche was shocked at how cruelly they treated Jones, he later said
that Jones was sometimes absent or incapacitated by drugs.[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.[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. 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.[39] 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 the Beatles' Rubber Soul album.[40] Aftermath
was also the first Stones LP to be recorded in true stereo, as opposed to electronically recreated stereo.[41]

Musical style
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.[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. 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.[43] Musical tones and scales from English lute song and Middle Eastern music
feature among Aftermath's riff-based rock and blues (in both its country and urban forms).[44] While still
considering it a blues rock effort, Tom Moon likens the music to a collaboration between the art rock band the
Velvet Underground and the Stax house band.[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".[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.[47] According to Kevin Courrier, the Stones use "softly intricate" arrangements that
lend the record a "seductive ambience" similar to Rubber Soul, particularly on "Lady Jane", "I Am Waiting",
"Under My Thumb" and "Out of Time".[48] The latter two songs, among Aftermath's more standard pop-rock
titles, are often-cited examples of Jones interweaving unconventional instruments and quirky sounds into the
album's sonic character, his use of the marimba featured on both.[49] In the opinion of Philip Norman, Jones'
varied contributions give Aftermath both the "chameleon colours" associated with Swinging London fashion
and a "visual quality" unlike any other Stones album.[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.[50]

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')".[51] 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')".[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. 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".[53]
Lyrics and themes
It was almost as if women in all their contradictory Aftermath's diverse musical style contrasts the dark
humanity symbolised the conditions of life that were the themes explored in Jagger and Richards' lyrics,
ultimate target of the Stones' anger. which often scorn female lovers. Margotin and
Guesdon say that Jagger, who had been accused of
—An unnamed music critic (c. 1966) [54] misogyny before the album, is avenging real-life
grievances with the songs, using "language and
imagery that had the power to hurt". "Stupid Girl",
which assails the "supposed greed and facile certitudes of women", is speculated by the writers to indirectly
criticise Shrimpton. "High and Dry" expresses a cynical outlook on a lost romantic connection, while "Under
My Thumb", "Out of Time" and "Think" show how "a man's revenge on his mistress (or perhaps wife)
becomes a source of real pleasure".[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".[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".[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.
Not all dumb, not by any means, but that's how one got. You got really cut off."[54]

In Guesdon and Margotin's view, the Stones express a more compassionate attitude towards women in
"Mother's Little Helper", which examines a housewife's reliance on pharmaceutical drugs to cope with her
daily life, and in "Lady Jane"'s story of romantic courtship.[18] By contrast, Davis writes of Aftermath
containing a "blatant attack on motherhood" and says that "Mother's Little Helper" addresses "tranquilised
suburban housewives".[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.[58] Davis
likens "Lady Jane" to a Tudor love song with lyrics apparently inspired by Henry VIII's love letters to Lady
Jane Seymour.[59] Some listeners assumed the song was about Jagger's high-society friend Jane Ormsby-Gore,
daughter of David Ormsby-Gore, 5th Baron Harlech.[59] In what the music journalist Chris Salewicz terms a
"disingenuous" claim, Jagger told Shrimpton that "Lady Jane" was written for her.[60]

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".[18] According to Steven Hyden, Jagger's
songwriting explores "sex as pleasure, sex as power, love disguised as hate and hate disguised as love".[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.[62] 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.[63] 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."[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. 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.[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.[66] Author Ian MacDonald says
that, as on Between the Buttons, the Stones perform here as
storytellers of the scene and produce a "subversive" kind of pop
music comparable to their contemporaries the Kinks.[67] As Greil
Marcus observes, the songs' protagonists can be interpreted as 'Swinging London': Carnaby Street, c.
London bohemians severely disdainful of bourgeois comfort, positing 1968. Aftermath captured the Rolling
"a duel between the sexes" and weaponizing humour and derision.[68] Stones' engagement with Swinging
In agreement with Marcus, Courrier adds that, as the "evil twin" of London at a time when the city was
Rubber Soul, Aftermath takes that album's "romantic scepticism" and gaining international recognition as
reframes it into a narrative of "underclass revolt".[69] the centre of youth culture.

Both "Mother's Little Helper" and "What to Do" connect modern

society to feelings of unhappiness. 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".[70] Savage views the same
lyric, preceded by the lines "All the clubs and the bars / And the little red cars / Not knowing why, but trying
to get high", as the Stones' cynical take on Swinging London at a time when the phenomenon was receiving
international attention and being presented as a tourist attraction.[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.[72]

Title and packaging

During the recording, Oldham wanted to title the album Could You
Walk on the Water?[73] In mid-January 1966, the British press
announced that a new Rolling Stones LP carrying that title would be
released on 10 March.[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? as their manager's proposed
title for the band's March compilation album Big Hits (High Tide and The preliminary title and cover were
Green Grass), rather than for Aftermath.[75] At the time, Richards rejected by the Stones' record label
complained that Oldham was continually trying to "[get] in on the for alluding to Jesus walking on
act" and "the Stones have practically become a projection of his own water. (Christ Walking on the Water
by Julius von Klever, c. 1880, shown
ego."[76] While a Decca spokesman said they would not issue an
above)
album with such a title "at any price", the idea upset executives at the
company's American distributor, London Records, who feared the
allusion to Jesus walking on water would provoke a negative
response from Christians.[77]

The title controversy embroiled the Stones in a conflict with Decca, delaying Aftermath's release from March
to April 1966.[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. 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.[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."[10] 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".[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".[80]

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".[81] 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.[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."[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.[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.[85] Jones was vocal in his dislike of Oldham's design when interviewed by Melody Maker in
April.[84]

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".[84][nb 4]

Marketing and sales

Seated left to right: Bill Wyman,
Jones, Richards and Jagger,
interviewed by music press in
Amsterdam's Schiphol Airport while
on tour shortly before Aftermath's
release
Aftermath's release was preceded by the Rolling Stones' two-week
tour of Europe, which began on 25 March 1966.[87] Decca issued the
album in the United Kingdom on 15 April and an accompanying
press release that declared: "We look to Shakespeare and Dickens and
Chaucer for accounts of other times in our history, and we feel that
tomorrow we will on many occasions look to the gramophone records
of the Rolling Stones ... who act as a mirror for today's mind, action
and happenings."[88] On the same day, Time magazine published a
feature titled "London: A Swinging City", belatedly recognising the
Swinging London phenomenon a year after its peak.[89] The British
edition of Aftermath featured a run-time of 52 minutes and 23
seconds, the longest for a popular music LP at that time.[90] The
record was pressed with reduced volume to allow for its unusual
length.[52] In the Netherlands, Phonogram Records rush-released the
album during the week of 14 May in response to high demand from
Dutch music retailers.[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.[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.[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.[97][nb 6] Aftermath was the band's fourth British and sixth American studio album.[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. It
stayed on the chart for 28 weeks.[101] Aftermath proved the fourth-highest-selling album of 1966 in the UK,
and it also became a top-10 best-seller in the Netherlands.[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. By 13 August, it had risen to
number 2 behind the Beatles' Yesterday and Today.[96] 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.[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.[96] "Mother's Little Helper" was
a Hot 100 hit as well, peaking at number 8 on the chart.[84] 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.[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.[105][nb 7]

Critical reception
Aftermath received highly favourable reviews in the music press.[107] It was released just months before Bob
Dylan's Blonde on Blonde and the Beatles' Revolver, albums by artists that Jagger and Richards had received
comparisons to while Oldham was promoting the band's artistic maturation to the press.[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. Green said the music is
unmistakably rock and roll and was especially impressed by Watts' drumming.[109] Keith Altham of the New
Musical Express (NME) hailed the Stones as "masterminds behind the electric machines" who have recorded
an LP of "the finest value for money ever". He described "Goin' Home" as a "fantastic R&B improvisation"
and said that "Lady Jane", "Under My Thumb" and "Mother's Little Helper" have the potential to be great
singles.[110] Aftermath was regarded in Melody Maker as the group's best LP to date and one that would
"effortlessly take Britain by storm". The magazine's reviewer applauded its focus "on big beat, power and
interesting 'sounds'", noting how the use of dulcimer, sitar, organ, harpsichord, marimba and fuzz boxes creates
an "overwhelming variety of atmospherics and tones".[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.[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. He said that the Stones' "archetypal girl", as first introduced in their 1965 song "Play
with Fire", was "rich, spoiled, confused, weak, using drugs, etc.", adding that: "Anyone who has been around
Chelsea or Kensington can put at least one name to this character."[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. He said that in songs such as "Stupid Girl"
and "Under My Thumb", the Stones had "defied a central taboo of the social system" and that "they have
done so in the most radical and unacceptable way possible: by celebrating it."[115][nb 9]
Some feminist writers defended Jagger's stance in "Under My
Thumb".[117] Camille Paglia considered the song "a work of art",
despite its sexist lyrics, and Aftermath a "great album" with "rich
sonorities".[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. 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."[120] Among the album's earliest
supporters was the musician,
Among US commentators, Bryan Gray wrote in the Deseret News: journalist and feminist icon Patti
"This album does the best job yet of alienating the over-twenties. The Smith (1978).
reason – they attempt to sing."[20] Billboard's reviewer predicted that
Aftermath would become another hit for the Stones, citing "Paint It,
Black" as the focal point of the hard rock album and revering Oldham for his production.[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.[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.[123] About
two years later, in Stereo Review, he included the American Aftermath in his basic rock "library" of 25 albums
and attributed the Stones' artistic identity largely to Jagger, "whose power, subtlety and wit are unparalleled in
contemporary popular music".[124] While suggesting Jagger and Richards rank second behind John Lennon
and Paul McCartney as composers of melody in rock, Christgau still considered it the best album in any
category and wrote:

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.[124][nb 11]

Influence
Aftermath is considered the most important of the Rolling Stones' early albums.[125] 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.[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.[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.[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.[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".[132]
Aftermath is regarded as the most artistically
formative of the Rolling Stones' early work.[125] Aftermath follows directly in the wake of the Stones'
trilogy of songs based on their American Experience: "(I
Their new sound on the album helped expand their
Can't Get No) Satisfaction", "Get Off of My Cloud" and
following by the thousands, while its content "19th Nervous Breakdown", and it establishes that they
solidified their dark image.[134] As Ritchie had gained sufficient confidence in their own writing
Unterberger observes, its contemptuous perspective prowess to present an album of all-original material.
about society and women contributed significantly Though perhaps they weren't aware of it then, their initial
to the group's reputation as "the bad boys" of rock adrenalin rush (which had sustained them for three years)
music. [135] According to John Mendelsohn from was just about exhausted. However, the sheer momentum
PopMatters, the social commentary of "Mother's of their struggle for Stateside supremacy enabled them to
pull off this coup de grace without showing any signs of
Little Helper" in particular "cemented their artistic fatigue.
reputation as a subversive cultural force", as it
exposed the hypocrisy of mainstream culture's
—Roy Carr (1976)[133]
exclusive association of psychoactive drug use with
addicts and rock stars.[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.[137] Writing
for The A.V. Club, Hyden describes it as "a template for every classic Stones album that came afterward",
crediting its "sarcastic, dark and casually shocking" songs with introducing themes Jagger would explore
further in the future through a "complex, slippery persona" that allowed him to "be good and evil, man and
woman, tough and tender, victim and victimiser". This deliberately "confounding, complicated image" helped
make Jagger one of the most captivating lead musicians in rock, Hyden concludes.[61]

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.[138] 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".[139] The
attitude of songs like "Paint It, Black" in particular influenced punk's nihilistic outlook.[140]

Some of Aftermath's blues-oriented rock elements foreshadowed the blues-rock music of the late 1960s.[44]
Schaffner suggests "Goin' Home" anticipated the trend of extended musical improvisations by professional
rock bands, while Rob Young of Uncut says it heralded "the approaching psychedelic tide" in the manner of
Rubber Soul.[141] Summarising Aftermath's impact in 2017, the pop culture writer Judy Berman describes
"Paint It, Black" as "rock's most nihilistic hit to date" and concludes that, "with Jones ditching his guitar for a
closetful of exotic instruments and the band channelling their touring musicians' homesickness on the record's
11-minute culminating blues jam, 'Goin' Home,' they also pushed rock forward."[117]

Legacy and reappraisal

Aftermath is often considered the Rolling Stones' first classic album.[151] According to Stephen Davis, its
standing as the first wholly Jagger–Richards collection makes it, "for serious fans, the first real Rolling Stones
album".[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".[153] 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.[154] 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.[155]
In The Rolling Stone Illustrated History of Rock & Roll
Retrospective professional reviews
(1976), Christgau names Aftermath the first in a series of
Stones LPs – including Between the Buttons, Beggars Review scores
Banquet (1968) and Let It Bleed (1969) – that stand
Source Rating
"among the greatest rock albums".[156] In MusicHound
[135]
Rock (1999), Greg Kot highlights Jones' "canny" AllMusic
instrumental contributions while identifying Aftermath as Blender [142]
the album that transformed the Stones from British blues
"traditionalists" into canonical artists of the album-rock era, Encyclopedia of Popular UK:
Music US: [143]
alongside the Beatles and Bob Dylan.[146] In a
retrospective review for AllMusic, Unterberger applauds Entertainment Weekly A–[144]
the band's use of influences from Dylan and psychedelia on The Great Rock Discography 7/10[145]
"Paint It, Black", and similarly praises "Under My
Thumb", "Lady Jane" and "I Am Waiting" as MusicHound Rock 5/5[146]
masterpieces.[135] Music Story [147]

NME 7/10[148]
In 2002, both versions of Aftermath were digitally
remastered as part of ABKCO Records' reissue campaign The Rolling Stone Album [149]
of the Rolling Stones' 1960s albums. Reviewing the Guide
reissues for Entertainment Weekly, David Browne UK: A–
recommends the UK version over the US, while Tom Tom Hull – on the Web
US: A [150]
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.[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".[158] In their book The Beatles vs. The Rolling Stones: Sound Opinions on the Great
Rock 'n' Roll Rivalry (2010), Jim DeRogatis and Greg Kot agree that Aftermath is "the first really great Stones
album beginning to end", with DeRogatis especially impressed by the British edition's first half of songs.[159]

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".[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.[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. (1972).[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."[163]

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."[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".[162] 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".[117] Unterberger expresses similar reservations about the
substance behind songs like "Goin' Home" and "Stupid Girl", finding the latter particularly callow.[135]

Rankings

Aftermath frequently appears on professional rankings of the best albums.[147] In 1987, it was voted 68th in
Paul Gambaccini's book Critics' Choice: The Top 100 Rock 'n' Roll Albums of All Time, based on submissions
from an international panel of 81 critics, writers and broadcasters.[164] In contemporaneous rankings of the
greatest albums, the Dutch OOR, the British Sounds and the Irish Hot Press placed it as 17th, 61st and 85th,
respectively. The French magazine Rock & Folk included Aftermath in its 1995 list of "The 300 Best Albums
from 1965–1995".[147] In 2000, it was voted number 387 in Colin Larkin's All Time Top 1000 Albums.[165] In
2003, Rolling Stone ranked the American edition at number 108 on the magazine's "500 Greatest Albums of
All Time" list.[51][nb 14] The French retailer FNAC's 2008 list named Aftermath the 183rd-greatest album of
all time. In contemporaneous listings of the "coolest" albums, Rolling Stone and GQ ranked it second and
10th, respectively.[147] In 2017, Pitchfork listed Aftermath at number 98 on the website's "200 Best Albums of
the 1960s".[117]

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.[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).[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".[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).[170]

Based on Aftermath's appearances in professional rankings and listings, the aggregate website Acclaimed
Music lists it as the 34th-most-acclaimed album of the 1960s and the 155th-most-acclaimed album in
history.[147][nb 15]

Track listing

UK edition

All tracks are written by Mick Jagger and Keith Richards.

Side one
No. Title Length
1. "Mother's Little Helper" 2:40
2. "Stupid Girl" 2:52
3. "Lady Jane" 3:06
4. "Under My Thumb" 3:20
5. "Doncha Bother Me" 2:35
6. "Goin' Home" 11:35
Total length: 26:08
Side two
No. Title Length
1. "Flight 505" 3:25
2. "High and Dry" 3:06
3. "Out of Time" 5:15
4. "It's Not Easy" 2:52
5. "I Am Waiting" 3:10
6. "Take It or Leave It" 2:47
7. "Think" 3:10
8. "What to Do" 2:30
Total length: 26:15
ABKCO's 2002 SACD remaster of the UK edition was released with an otherwise unavailable
stereo mix of "Mother's Little Helper".[171]

US edition

All tracks are written by Mick Jagger and Keith Richards.

Side one
No. Title Length
1. "Paint It, Black" 3:20
2. "Stupid Girl" 2:52
3. "Lady Jane" 3:06
4. "Under My Thumb" 3:20
5. "Doncha Bother Me" 2:35
6. "Think" 3:10
Total length: 18:23
Side two
No. Title Length
1. "Flight 505" 3:25
2. "High and Dry" 3:06
3. "It's Not Easy" 2:52
4. "I Am Waiting" 3:10
5. "Goin' Home" 11:35
Total length: 24:08

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.[172]

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") ,
koto ("Take It or Leave It")[173]
 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)[174]

Dave Hassinger – engineering
Andrew Loog Oldham – production, cover design (UK edition)[82]
Jerry Schatzberg – photography
Guy Webster – photography (UK edition)

Charts
Peak
Chart (1966)
position

UK Record Retailer LPs Chart[175] 1

US Billboard Top LPs[156] 2

US Cash Box Top 100 Albums[176] 1

West German Musikmarkt LP Hit-Parade[177] 1

Certifications

Region Certification Certified units/sales

United Kingdom (BPI)[178] Silver 60,000^

United States (RIAA)[103] Platinum 1,000,000^

^ Shipments figures based on certification alone.

See also
British Invasion
Classic rock
List of rock albums

Notes
1. The film was announced on 17 December 1965, with the Rolling Stones reportedly in starring
roles.[21] 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.[22]
2. "Ride On, Baby" and "Sittin' on a Fence" were also recorded during the sessions but were first
released on the 1967 US album Flowers.[26]
3. She was also devastated by the withering depiction of a neurotic girl in "19th Nervous
Breakdown".[55]
4. 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.[86]
5. 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.[95] The album entered the
US chart compiled by Billboard magazine on 9 July.[96]
6. "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.[98] "What to Do" was eventually
released on the 1972 American compilation More Hot Rocks (Big Hits & Fazed Cookies).[99]
7. 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.[106]
8. 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.[113]
9. 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".[116]
10. In 1970, Paglia defended "Under My Thumb" in an exchange with members of the New Haven
Women's Liberation Rock Band, who she recounted "went into a rage, surrounded me,
practically spat in my face" and "cornered me with my back against the wall" before telling her,
"Nothing that demeans woman can be art." Addressing the incident in an interview for Reason
magazine, Paglia says, "Now, as a student of art history, how can you have any dialogue with
these people? That is the Nazi and Stalinist view of art, where art is subordinate to a pre-fab
political agenda." She explains that such incidents contributed to her exclusion from the
women's movement.[119]
11. 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."[124]
12. In tribute to Aftermath, the Beatles jokingly considered naming their next album After
Geography.[129] The title of Rubber Soul had come about through Paul McCartney overhearing
black American musicians describing Jagger's singing as "plastic soul".[130]
13. In Simon Philo's description, Revolver announced "underground London"'s arrival in pop,
supplanting the sound associated with Swinging London.[161]
14. The magazine ranked the album at number 109 in the 2012 revised edition of the list and at
number 330 in its 2020 revision.[166]
15. In 2013, the album had placed as high as number 125 on Acclaimed Music's all-time list.[136]

References
1. Perone 2012, p. 91; Erlewine n.d..
 2. Charone 1979, pp. 75–76; Bockris 1992, p. 69; Norman 2001, p. 176.
3. Davis 2001, p. 134.
4. Wyman 2002, p. 208.
5. Bockris 1992, p. 69.
6. Erlewine n.d.; Simonelli 2013, pp. 44–45; Philo 2015, p. 71.
7. Williams 2002.
8. King 2004, p. 68.
9. Simonelli 2013, p. 96; Kubernik 2015.
10. Davis 2001, p. 155.
11. Salewicz 2002, p. 98; Trynka 2015, p. 180.
12. Davis 2001, pp. 155–56.
13. Davis 2001, pp. 147, 155–56.
14. Salewicz 2002, p. 98; Norman 2001, pp. 197, 201.
15. Salewicz 2002, p. 99.
16. Davis 2001, pp. 155, 156.
17. Jagger et al. 2003, p. 108.
18. Margotin & Guesdon 2016, p. 138.
19. Salewicz 2002, p. 96; Davis 2001, p. 150.
20. Wyman 2002, p. 232.
21. Bonanno 1990, p. 48.
22. Bonanno 1990, p. 54.
23. Bonanno 1990, pp. 49–50, 52.
24. Wyman 2002, pp. 212, 222.
25. Margotin & Guesdon 2016, p. 140.
26. Margotin & Guesdon 2016, p. 140; Davis 2001, p. 212.
27. Wyman 2002, p. 213.
28. Jagger et al. 2003, p. 100.
29. Trynka 2015, p. 177.
30. Charone 1979, p. 84.
31. Wyman 2002, p. 234; Trynka 2015, p. 187.
32. Norman 2001, p. 197.
33. Trynka 2015, pp. 185–86.
34. Trynka 2015, p. 187.
35. Trynka 2015, p. 188.
36. Charone 1979, p. 83.
37. Trynka 2015, pp. 177–78; Charone 1979, p. 85.
38. Charone 1979, pp. 88–89.
39. Charone 1979, p. 85; Bockris 1992, pp. 70–71.
40. Margotin & Guesdon 2016, pp. 149, 152, 155.
41. Fremer 2010.
42. Malvinni 2016, p. 43.
43. Margotin & Guesdon 2016, pp. 136, 138.
44. Perone 2012, p. 91.
45. Moon 2004, p. 697.
46. Wenner 1995.
47. Malvinni 2016, p. 136.
48. Courrier 2008, p. 134.
49. O'Rourke 2016; Clayson 2007, p. 52.
50. Christgau 1998, p. 77; Moon 2004, p. 697.
51. Anon. 2003.
52. Savage 2015, p. 71.
53. Perone 2012, pp. 95–96.
54. Bockris 1992, p. 70.
55. Salewicz 2002, pp. 103, 107.
56. Savage 2015, p. 72.
57. Davis 2001, pp. 161–62.
58. Margotin & Guesdon 2016, p. 142.
59. Davis 2001, p. 162.
60. Salewicz 2002, p. 106.
61. Hyden 2008.
62. Moon 2004, p. 697; Norman 2001, p. 197.
63. Hyden 2008; Coates 2019.
64. Perone 2012, pp. 91–92, 97.
65. Perone 2012, pp. 91–92.
66. Philo 2015, pp. 103–04.
67. MacDonald 2002.
68. Marcus 1980, p. 181.
69. Courrier 2008, p. 133.
70. Margotin & Guesdon 2016, p. 138; Anon. 2003.
71. Savage 2015, p. 74.
72. Perone 2012, pp. 96–97.
73. Davis 2001, p. 155; Margotin & Guesdon 2016, p. 139.
74. Bonanno 1990, p. 50.
75. Wyman 2002, pp. 217, 230.
76. Wyman 2002, p. 222.
77. Wyman 2002, p. 217; Margotin & Guesdon 2016, p. 139; Norman 2012, p. 203.
78. Davis 2001, p. 155; Anon. 2001.
79. Davis 2001, pp. 155, 160.
80. Norman 2012, p. 203.
81. Davis 2001, p. 161; Norman 2001, p. 196.
82. Norman 2001, p. 196.
83. Margotin & Guesdon 2016, pp. 139–40.
84. Margotin & Guesdon 2016, p. 139.
85. Davis 2001, pp. 158, 161.
86. Bray 2014, pp. xii, 252–53.
87. Bonanno 1990, pp. 52–53.
88. Clayson 2006, p. 40; Bockris 1992, pp. 75–76.
89. Savage 2015, pp. 73–74.
90. Schaffner 1982, p. 68.
91. Hegeman 1966, p. 32.
92. Salewicz 2002, pp. 105, 106.
93. Bonanno 1990, p. 55; Wyman 2002, p. 236; Charone 1979, p. 89.
94. Wyman 2002, p. 232; Salewicz 2002, p. 106; Wyman 2002, p. 240; Bonanno 1990, pp. 54–55.
95. Margotin & Guesdon 2016, p. 139; Salewicz 2002, p. 106.
96. Havers 2018.
97. Margotin & Guesdon 2016, p. 139; Havers 2018; Bentley 2010, p. 142.
98. Davis 2001, p. 212.
99. Unterberger (a) n.d.
00. Persad 2013; Dalton 1982, p. 34.
01. Margotin & Guesdon 2016, p. 139; Anon. (c) n.d..
02. Mawer 2007; Hegeman 1966, p. 32.
03. Anon. (e) n.d.
04. Bonanno 1990, p. 53.
05. Norman 2001, p. 210; Larkin 2011, pp. 1995–96.
06. Norman 2001, p. 210.
07. Margotin & Guesdon 2016, p. 139; Savage 2015, pp. 71–72.
08. Margotin & Guesdon 2016, pp. 137–39.
09. Green 1966, p. 5.
10. Altham 1966, p. 48.
11. Anon. (a) 1966.
12. Davis 2001, p. 163; Savage 2015, pp. 72–73.
13. Davis 2001, p. 164.
14. Bockris 1992, p. 76.
15. Davis 2001, p. 163.
16. Elliott 1998, p. 60.
17. Berman 2017.
18. Gillespie 2015; Paglia 1994, p. 224.
19. Smith 2019; Gillespie 2015.
20. Smith 1973.
21. Anon. (c) 1966, p. 66.
22. Anon. (b) 1966, p. 192.
23. Christgau 1967, p. 283.
24. Christgau 1969.
25. Anon. 2018.
26. Snow 2015, p. 67.
27. Simonelli 2013, p. 96.
28. Malvinni 2016, pp. 43, xxxvi.
29. Sheffield 2012.
30. Bray 2014, p. 269.
31. Simonelli 2013, p. 97.
32. Margotin & Guesdon 2016, p. 136.
33. Bockris 1992, p. 75.
34. Anon. 2018; Perone 2012, p. 97.
35. Unterberger (b) n.d.
36. Mendelsohn & Klinger 2013.
37. Monroe 2015.
38. Perone 2012, p. 97.
39. Schaffner 1982, p. 69.
40. Palmer 2011.
41. Schaffner 1982, p. 69; Young 2010, pp. 18–19.
42. Rosen 2006.
43. Larkin 2011, p. 2005.
44. Browne 2002.
45. Strong 2006, p. 993.
46. Kot 1999, p. 950.
47. Franzon n.d.
48. Anon. 1995, p. 46.
49. Moon 2004, p. 695.
50. Hull n.d.
51. Marchese 2017.
52. Davis 2001, p. 161.
53. Schaffner 1982, p. 68; Hyden 2008.
54. MacDonald 2002; Rosen 2006.
55. Petridis 2018; Ross 2018.
56. Christgau 1976.
57. Browne 2002; Moon 2004, p. 697
58. Larkin 2011, pp. 1995–96.
59. DeRogatis & Kot 2010, pp. 38–39.
60. Levy 2002, p. 175.
61. Philo 2015, p. 112.
62. Young 2010, pp. 18–19.
63. Harper 2006.
64. Franzon n.d.; Taylor 1987.
65. Larkin 2000, p. 147.
66. Anon. 2012; Anon. 2020.
67. Marcus 1979.
68. Christgau 1981.
69. Perone 2012, p. vi; Smith 2009, pp. 243, 244.
70. Franzon n.d.; Dimery 2010, p. 93.
71. Walsh 2002, p. 27.
72. Anon. (a) 2002; Margotin & Guesdon 2016, pp. 134–75.
73. Janovitz 2013, p. 88.
74. Anon. (b) 2002.
75. Anon. (d) n.d.
76. Anon. (d) 1966, p. 41.
77. Anon. (b) n.d.
78. Anon. (a) n.d.

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)" (https://rocksbackpages.com/Li
brary/Article/the-rolling-stones-iaftermathi-decca-3). Melody Maker. Retrieved 16 December
2019 – via Rock's Backpages.
Anon. (2 July 1966). "Albums Reviews". Cash Box.
Anon. (9 July 1966). "Album Reviews" (https://books.google.com/books?id=9BAEAAAAMBAJ
&q=Aftermath). Billboard. Retrieved 7 January 2020 – via Google Books.
Anon. (13 August 1966). "Top 100 Albums". Cash Box.
Anon. (8 July 1995). "Aftermath". NME.
Anon. (1 January 2001). "The Sixties" (https://www.telegraph.co.uk/news/1400288/The-Sixties.
html). The Daily Telegraph. Archived (https://web.archive.org/web/20181127151909/https://ww
w.telegraph.co.uk/news/1400288/The-Sixties.html) 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" (https://web.archive.org/
web/20110814170812/http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-
19691231/aftermath-the-rolling-stones-19691231). Rolling Stone. Archived from the original (ht
tps://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-19691231/aftermath-the-
rolling-stones-19691231) on 14 August 2011. Retrieved 21 August 2011.
Anon. (2012). "500 Greatest Albums of All Time" (https://www.rollingstone.com/music/music-list
s/500-greatest-albums-of-all-time-156826/the-rolling-stones-aftermath-172058/). Rolling Stone.
Archived (https://web.archive.org/web/20191023215928/https://www.rollingstone.com/music/m
usic-lists/500-greatest-albums-of-all-time-156826/the-rolling-stones-aftermath-172058/) from
the original on 23 October 2019. Retrieved 19 September 2019.
Anon. (17 May 2018). "Aftermath released, 1966" (https://www.telegraph.co.uk/music/what-to-li
sten-to/rolling-stones-defining-moments/aftermath-released-1966although-their-first-two-album
s--the-roll/). The Daily Telegraph. Archived (https://web.archive.org/web/20180831200929/http
s://www.telegraph.co.uk/music/what-to-listen-to/rolling-stones-defining-moments/aftermath-rele
ased-1966although-their-first-two-albums--the-roll/) from the original on 31 August 2018.
Retrieved 27 November 2018.
Anon. (22 September 2020). "The 500 Greatest Albums of All Time" (https://www.rollingstone.c
om/music/music-lists/best-albums-of-all-time-1062063/the-rolling-stones-aftermath-2-
1062903/). Rolling Stone. Retrieved 10 December 2020.
Anon. (n.d.). "British album certifications – The Rolling Stones – Aftermath" (https://www.bpi.co.
uk/brit-certified/). 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" (http://www.charts-surfer.de/musiksuche.php) (in
German). charts-surfer.de. Archived (https://www.webcitation.org/65p9Vuyxi?url=http://www.cha
rts-surfer.de/musiksuche.php) from the original on 29 February 2012. Retrieved 7 January
2020.
Anon. (n.d.). "Key Dates in the History of the Official UK Charts" (https://web.archive.org/web/20
080110032725/http://www.theofficialcharts.com/company_history.php). Official Charts
Company. Archived from the original (http://www.theofficialcharts.com/company_history.php) on
10 January 2008. Retrieved 15 August 2015.
Anon. (n.d.). "UK charts archive" (https://www.officialcharts.com/artists/). Official Charts
Company. Archived (https://web.archive.org/web/20190508182655/https://www.officialcharts.co
m/artists/) from the original on 8 May 2019. Retrieved 23 March 2010.
Anon. (n.d.). "American album certifications – The Rolling Stones – Aftermath" (https://www.ria
a.com/gold-platinum/?tab_active=default-award&ar=The+Rolling+Stones&ti=Aftermath#search
_section). 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)' " (https://pitchfork.com/features/lists-and-guides/the-200-best-albums-of-the-1
960s/?page=6). Pitchfork. Archived (https://web.archive.org/web/20181225231319/https://pitchf
ork.com/features/lists-and-guides/the-200-best-albums-of-the-1960s/?page=6) from the original
on 25 December 2018. Retrieved 7 January 2020.
Bockris, Victor (1992). Keith Richards: The Unauthorised Biography. London: Hutchinson.
ISBN 0-09-174397-4.
Bonanno, Massimo (1990). The Rolling Stones Chronicle: The First Thirty Years. London:
Plexus. ISBN 978-0-859651356.
Bray, Christopher (2014). 1965: The Year Modern Britain Was Born (https://books.google.com/b
ooks?id=8XwyAQAAQBAJ&q=David+Bailey). London: Simon & Schuster. ISBN 978-1-84983-
387-5 – via Google Books.
Browne, David (20 September 2002). "Satisfaction?" (https://ew.com/article/2002/09/20/satisfac
tion/). Entertainment Weekly. Archived (https://web.archive.org/web/20181128164556/https://e
w.com/article/2002/09/20/satisfaction/) from the original on 28 November 2018. Retrieved
12 January 2020.
Charone, Barbara (1979). Keith Richards. London: Futura. ISBN 0-7088-1658-4.
Christgau, Robert (December 1967). "Secular Music" (https://www.robertchristgau.com/xg/bk-a
ow/column2.php). Esquire. Retrieved 5 February 2020 – via robertchristgau.com.
Christgau, Robert (March 1969). "A Short and Happy History of Rock" (https://robertchristgau.c
om/xg/music/rock-69.php). Stereo Review. Archived (https://web.archive.org/web/20191216113
638/https://robertchristgau.com/xg/music/rock-69.php) from the original on 16 December 2019.
Retrieved 7 January 2020 – via robertchristgau.com.
Christgau, Robert (1976). "The Rolling Stones" (https://www.robertchristgau.com/xg/music/ston
es-76.php). In Miller, Jim (ed.). The Rolling Stone Illustrated History of Rock & Roll. Rolling
Stone Press. ISBN 0394403274. Retrieved 10 February 2020 – via robertchristgau.com.
Christgau, Robert (1981). "A Basic Record Library: The Fifties and Sixties" (https://www.robertc
hristgau.com/xg/bk-cg70/basics.php). Christgau's Record Guide: Rock Albums of the
Seventies. Ticknor & Fields. ISBN 0899190251. Retrieved 16 March 2019 – via
robertchristgau.com.
Christgau, Robert (1998). Grown Up All Wrong: 75 Great Rock and Pop Artists from Vaudeville
to Techno. Harvard University Press. ISBN 0674443187.
Clayson, Alan (2006). The Rolling Stones Album File & Complete Discography. Cassell
Illustrated. ISBN 1844034941.
Clayson, Alan (2007). Legendary Sessions: The Rolling Stones: Beggars Banquet (https://archi
ve.org/details/rollingstonesbeg00clay). Billboard Books. ISBN 978-0823083978.
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 978-1351396417.
Courrier, Kevin (2008). Artificial Paradise: The Dark Side of the Beatles' Utopian Dream: The
Dark Side of the Beatles' Utopian Dream. ABC-CLIO. ISBN 978-0313345876.
Dalton, David (1982). The Rolling Stones. Delilah/Putnam Books. ISBN 0399410058.
Davis, Stephen (2001). Old Gods Almost Dead: The 40-Year Odyssey of the Rolling Stones.
Crown/Archetype. ISBN 0767909569.
DeRogatis, Jim; Kot, Greg (2010). The Beatles vs. The Rolling Stones: Sound Opinions on the
Great Rock 'n' Roll Rivalry. Voyageur Press. ISBN 978-1610605137.
Dimery, Robert, ed. (2010). 1001 Albums You Must Hear Before You Die (Revised and
updated ed.). Universe. ISBN 978-0-7893-2074-2.
Elliott, Gregory (1998). Perry Anderson: The Merciless Laboratory of History. U of Minnesota
Press. ISBN 0-8166-2966-8.
Erlewine, Stephen Thomas (n.d.). "The Rolling Stones" (https://www.allmusic.com/artist/the-roll
ing-stones-mn0000894465/biography). AllMusic. Archived (https://web.archive.org/web/201806
13234231/https://www.allmusic.com/artist/the-rolling-stones-mn0000894465/biography) from
the original on 13 June 2018. Retrieved 1 December 2018.
Franzon, Henrik (n.d.). "Aftermath" (http://www.acclaimedmusic.net/album/A64.htm). Acclaimed
Music. Archived (https://web.archive.org/web/20181006182157/http://www.acclaimedmusic.net/
album/A64.htm) from the original on 6 October 2018. Retrieved 28 November 2018.
Fremer, Michael (31 October 2010). "Round and Round: The Sound of The Rolling Stones Part
2" (https://www.analogplanet.com/content/round-and-round-sound-rolling-stones-part-2-0).
Analog Planet. Retrieved 6 February 2020.
Gillespie, Nick (June 2015). "Everything's Awesome and Camille Paglia Is Unhappy!" (https://r
eason.com/2015/05/30/everythings-awesome-and-camill/). Reason. Retrieved 24 March 2020.
Green, Richard (16 April 1966). "The smash LP of the year?". Record Mirror.
Havers, Richard (13 August 2018). " 'Aftermath': The Rolling Stones at the Dawning of Rock" (h
ttps://www.udiscovermusic.com/stories/aftermath-at-the-dawning-of-rock/). uDiscover. Archived
(https://web.archive.org/web/20181129000747/https://www.udiscovermusic.com/stories/afterma
th-at-the-dawning-of-rock/) from the original on 29 November 2018. Retrieved 28 November
2018.
Harper, Simon (12 November 2006). "Classic Album: The Rolling Stones – Aftermath" (https://
www.clashmusic.com/features/classic-album-the-rolling-stones-aftermath). Clash. Archived (htt
ps://web.archive.org/web/20181128132652/https://www.clashmusic.com/features/classic-albu
m-the-rolling-stones-aftermath) from the original on 28 November 2018. Retrieved
27 November 2018.
Hegeman, Bas (14 May 1966). "From the Music Capitals of the World – Amsterdam" (https://bo
oks.google.com/books?id=0ygEAAAAMBAJ&q=Aftermath). Billboard. Archived (https://web.arc
hive.org/web/20181130202408/https://books.google.com.au/books?id=0ygEAAAAMBAJ&q=Af
termath#v=snippet&q=Aftermath&f=false) from the original on 30 November 2018. Retrieved
30 November 2018 – via Google Books.
Hull, Tom (n.d.). "Grade List: The Rolling Stones" (http://tomhull.com/ocston/nm/get_gl.php?n=T
he+Rolling+Stones). Tom Hull – on the Web. Retrieved 11 February 2020.
Hyden, Steven (3 April 2008). "Primer: The Rolling Stones" (https://music.avclub.com/primer-th
e-rolling-stones-1798213682). The A.V. Club. Archived (https://web.archive.org/web/20181202
070608/https://music.avclub.com/primer-the-rolling-stones-1798213682) 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 (https://book
s.google.com/books?id=tqC8BQAAQBAJ&q=Brian+JOnes+%22Take+It+or+Leave+It%22+kot
o&pg=PT85). 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 1840674733.
Kot, Greg (1999). "The Rolling Stones". In Graff, Gary; Durchholz, Daniel (eds.). MusicHound
Rock: The Essential Album Guide (https://archive.org/details/isbn_9781578590612).
Farmington Hills, MI: Visible Ink Press. ISBN 1-57859-061-2.
Kubernik, Harvey (December 2015). "Rubber Soul 50 Years On" (http://www.rocksbackpages.c
om/Library/Article/irubber-souli-50-years-on-). Rock's Backpages. Archived (https://web.archiv
e.org/web/20190629230900/https://www.rocksbackpages.com/Library/Article/irubber-souli-50-y
ears-on-) from the original on 29 June 2019. Retrieved 7 November 2019.
Larkin, Colin (2000). All Time Top 1000 Albums (3rd ed.). Virgin Books. ISBN 0-7535-0493-6.
Larkin, Colin (2011). Encyclopedia of Popular Music. London: Omnibus Press. ISBN 978-0-
85712-595-8.
Levy, Shawn (2002). Ready, Steady, Go!: Swinging London and the Invention of Cool. London:
Fourth Estate. ISBN 978-1-84115-226-4.
MacDonald, Ian (November 2002). "The Rolling Stones: Play With Fire" (https://www.rocksback
pages.com/Library/Article/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. Rowman &
Littlefield. ISBN 978-0810889200.
Margotin, Philippe; Guesdon, Jean-Michel (2016). The Rolling Stones All the Songs: The Story
Behind Every Track. Running Press. ISBN 978-0316317733.
Marchese, David (May 2017). "The Complete Works: Ranking All 374 Rolling Stones Songs"
(https://www.vulture.com/2017/05/whats-the-best-rolling-stones-song-of-all-time.html). Vulture.
Retrieved 19 March 2020.
Marcus, Greil (1979). "Treasure Island". Stranded. Knopf. ISBN 0394738276.
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 0394739388.
Mawer, Sharon (May 2007). "Album Chart History: 1966" (https://web.archive.org/web/2007121
7020406/http://www.theofficialcharts.com/album_chart_history_1966.php). The Official UK
Charts Company. Archived from the original (http://www.theofficialcharts.com/album_chart_hist
ory_1966.php) on 17 December 2007. Retrieved 6 January 2020.
Mendelsohn, Jason; Klinger, Eric (19 April 2013). "Counterbalance No. 125: The Rolling
Stones' 'Aftermath' " (https://www.popmatters.com/170593-rolling-stones-2495762526.html).
PopMatters. Retrieved 28 March 2020.
Moon, Tom (2004). "The Rolling Stones" (https://web.archive.org/web/20110412195111/https://
www.rollingstone.com/music/artists/the-rolling-stones/albumguide). In Brackett, Nathan; Hoard,
Christian (eds.). The New Rolling Stone Album Guide. London: Fireside. ISBN 0-7432-0169-8.
Archived from the original (https://www.rollingstone.com/music/artists/the-rolling-stones/albumg
uide) on 12 April 2011. Retrieved 2 December 2011 – via rollingstone.com.
Monroe, Jazz (23 April 2015). "The Rolling Stones' Top 10 Albums – Ranked" (https://www.nm
e.com/list/the-rolling-stones-top-10-albums-ranked/376832). NME. Archived (https://web.archiv
e.org/web/20160923140836/http://www.nme.com/list/the-rolling-stones-top-10-albums-ranked/3
76832) from the original on 23 September 2016. Retrieved 12 January 2020.
Norman, Philip (2001). The Stones. London: Sidgwick & Jackson. ISBN 0-283-07277-6.
Norman, Philip (2012). Mick Jagger. Doubleday Canada. ISBN 978-0-385-66906-1.
O'Rourke, Sally (14 June 2016). "It Was 50 Years Ago Today: 'Aftermath' by The Rolling
Stones" (https://www.rebeatmag.com/it-was-50-years-ago-today-aftermath-by-the-rolling-stone
s/). REBEAT Magazine. Retrieved 6 February 2020.
Paglia, Camille (1994). Vamps & Tramps: New Essays. Vintage Books. ISBN 0-679-75120-3.
Palmer, David (27 June 2011). "Playback: 'Aftermath' still has its shine" (https://www.cullmantim
es.com/community/playback-aftermath-still-has-its-shine/article_0669320c-3559-5398-a044-37
eb89ebc94e.html). 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)" (https://www.huffpost.com/entry/rolling-stones-photo-aftermath_n_2885956). The
Huffington Post. Archived (https://web.archive.org/web/20181127151901/https://www.huffpost.c
om/entry/rolling-stones-photo-aftermath_n_2885956) from the original on 27 November 2018.
Retrieved 26 November 2018.
Petridis, Alexis (17 May 2018). "The Rolling Stones – every album ranked!" (https://www.thegu
ardian.com/music/2018/may/17/the-rolling-stones-every-album-ranked). The Guardian.
Archived (https://web.archive.org/web/20191017053038/https://www.theguardian.com/music/20
18/may/17/the-rolling-stones-every-album-ranked) from the original on 17 October 2019.
Retrieved 2 January 2020.
Philo, Simon (2015). British Invasion: The Crosscurrents of Musical Influence (https://books.goo
gle.com/books?id=WqiDBQAAQBAJ). 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" (https://web.archiv
e.org/web/20101227005517/http://www.blender.com/guide/back-catalogue/68202/rolling-stone
s-smallpart-1-1960s-14670ssmall.html). Blender. Archived from the original (http://www.blende
r.com/guide/back-catalogue/68202/rolling-stones-smallpart-1-1960s-14670ssmall.html) on 27
December 2010. Retrieved 12 January 2020.
Ross, Graeme (12 December 2018). "Playlist: The 10 best Rolling Stones albums" (https://ww
w.independent.co.uk/arts-entertainment/music/playlist-10-best-rolling-stones-albums-a868005
1.html). The Independent. Retrieved 19 March 2020.
Salewicz, Chris (2002). Mick & Keith. London: Orion. ISBN 0-75281-858-9.
Savage, Jon (2015). 1966: The Year the Decade Exploded. London: Faber & Faber. ISBN 978-
0-571-27763-6.
Schaffner, Nicholas (1982). The British Invasion: From the First Wave to the New Wave.
McGraw-Hill. ISBN 0070550891.
Sheffield, Rob (17 August 2012). "Rolling Stones Album Guide: The Good, the Great and the
'Angie' " (https://www.rollingstone.com/music/music-lists/rolling-stones-album-guide-the-good-t
he-great-and-the-angie-160209/aftermath-1966-225210/). Rolling Stone. Archived (https://web.
archive.org/web/20200102125932/https://www.rollingstone.com/music/music-lists/rolling-stone
s-album-guide-the-good-the-great-and-the-angie-160209/aftermath-1966-225210/) 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 (https://books.google.com/books?id=mnrwy7P3KvQC&q=%22jack+Kroll%22+%22
A+Day+in+the+Life%22). 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" (https://www.city-j
ournal.org/camille-paglia). City Journal. Retrieved 24 March 2020.
Smith, Patti (January 1973). "Jag-Arr of the Jungle" (http://www.oceanstar.com/patti/poetry/jagar
r.htm). Creem. Retrieved 6 February 2020 – via oceanstar.com.
Snow, Mat (2015). The Who: Fifty Years of My Generation. Race Point Publishing. ISBN 978-1-
627-88782-3.
Strong, Martin C. (2006). The Great Rock Discography. Edinburgh, UK: Canongate. ISBN 978-
1841956152.
Taylor, Jonathan (25 March 1987). "Pop Critics Pick Rock's Top 100" (https://www.chicagotribu
ne.com/news/ct-xpm-1987-03-25-8701230198-story.html). Los Angeles Daily News. Archived
(https://web.archive.org/web/20191111151244/https://www.chicagotribune.com/news/ct-xpm-1
987-03-25-8701230198-story.html) from the original on 11 November 2019. Retrieved
12 November 2019 – via chicagotribune.com.
 Trynka, Paul (2015). Brian Jones: The Making of the Rolling Stones. New York, NY: Plume.
ISBN 978-0-14-751645-9.
Unterberger, Richie (n.d.). "The Rolling Stones 'What to Do' " (https://www.allmusic.com/song/w
hat-to-do-mt0010702670). AllMusic. Archived (https://web.archive.org/web/20181128211018/ht
tps://www.allmusic.com/song/what-to-do-mt0010702670) from the original on 28 November
2018. Retrieved 28 November 2018.
Unterberger, Richie (n.d.). "Aftermath – The Rolling Stones" (https://www.allmusic.com/album/a
ftermath-uk-mw0000191599). AllMusic. Archived (https://web.archive.org/web/2018120118090
8/https://www.allmusic.com/album/aftermath-uk-mw0000191599) 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" (http
s://web.archive.org/web/20101109042438/http://www.jannswenner.com/Archives/Jagger_Rem
embers.aspx). Rolling Stone. Archived from the original (http://www.jannswenner.com/Archives/
Jagger_Remembers.aspx) on 9 November 2010. Retrieved 2 December 2018 – via
jannswenner.com.
Williams, Richard (10 October 2002). "The loudest thing we'd ever heard" (https://www.theguar
dian.com/music/2002/oct/11/artsfeatures.therollingstones). The Guardian. Retrieved 5 March
2020.
Wyman, Bill (2002). Rolling with the Stones. London: Dorling Kindersley. 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' " (https://newleftrevi
ew.org/issues/I47/articles/richard-merton-comment-on-beckett-s-stones). New Left Review. 1
(47) – via newleftreview.org.

External links
Aftermath (https://www.discogs.com/master/30194) at Discogs (list of releases)
Aftermath (2002 ABKCO remaster of UK edition) (https://open.spotify.com/album/1MaP82K4m
OoGYW5Ej0eUyM) (Adobe Flash) at Spotify (streamed copy where licensed)
Aftermath (2002 ABKCO remaster of US edition) (https://open.spotify.com/album/72qrnM4yUN
MDDlWiqKc8iY) (Adobe Flash) at Spotify (streamed copy where licensed)

Retrieved from "https://en.wikipedia.org/w/index.php?title=Aftermath_(Rolling_Stones_album)&oldid=1018013707"

This page was last edited on 15 April 2021, at 20:44 (UTC).

Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this
site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia
Foundation, Inc., a non-profit organization.