Aftermath

Release Date: April 15, 1966

Label: Decca

Spotify link to Aftermath (UK Version) (US Version)

Popular Songs:

·         Under My Thumb (YouTube)

·         Paint It Black (YouTube)

·         Mother’s Little Helper (YouTube)

Songs You Need to Listen To:

·         I am Waiting (YouTube)

·         What To Do (YouTube)

·         Take It Or Leave It (YouTube)

·         Going Home (YouTube)

·         Out Of Time (YouTube)

Written By: Andy Trcka

July 11, 2021

My favorite car is a 1966 Corvette. With its sleek lines and powerful engine (427 big block) the vehicle is a rolling piece of art. Equally impressive in the mid-60s were many of rock’s heavy hitters. The likes of the Beatles, The Beach Boys and The Rolling Stones were active with some of their most impressive work. It was a changing moment for rock as artists were exploring new styles and genres. It was in this cauldron of creativity that the Stones produced the iconic Aftermath.

Released in spring 1966, Aftermath is the first Rolling Stones album comprised entirely of Jagger/Richards originals. The apprenticeship is complete! Alongside a handful bona fide hits listeners are also treated to cheeky pop, country twang, and old-English baroque-pop moments that sound as if they stepped out of 1785 London. But the Stones don’t stop there; proving they wanted to contribute to the genres that influenced them, as opposed to merely appropriating, Aftermath thumps along with the bluesy undercurrent of which is their signature, but also features blues-oriented originals that one could mistake as standards. A grabbag of hits, expert musicianship that showcases all members of the band, lyrics that dabble in societal topics, rock & roll that will dial up your heart rate, and folksy Americana that will make you long for home…this album has it all! Buckle up folks, we’re venturing into one of the Stones best albums!

Nuts and Bolts…Why UK and US Versions?

               Prior to 1967’s Their Satanic Majesties Request, Rolling Stones albums were released separately in the United Kingdom and United States. The reason for this was purely commercial. Songs were added or deleted, not so much to contribute to the flow of the album, but rather relating to how singles, EP’s and albums were marketed in their respective countries. In the UK singles were typically sold separately or as part of an EP. The US market largely overlooked EPs, opting instead to sell singles and albums; singles were typically part of the album. This is why the US version jumps out of the gates at a gallop, with the iconic “Paint It Black.” “Paint it Black” is omitted from the UK release as it was a single. Regardless, listeners on either side of the pond have little to complain about. Aftermath runs deep with hits as evidenced by “Mother’s Little Helper,” a song that is no slouch, being the opening track on the British version.  Both of these tunes are radio hits today and recognizable by anyone with casual knowledge of rock & roll. Like most things separating us from our transatlantic cousins, differences are subtle. Variances in tracklists for albums preceding Aftermath didn’t significantly impact the albums. For example, I’ve no stronger affinity for the US or UK version of Out of Our Heads. However, with Aftermath, for reasons we’ll explore in coming paragraphs, I favor the British version. I strongly suggest you give both versions of the album a listen.

               Four songs appear on the UK version that aren’t on the US version: “Mother’s Little Helper,” “Out of Time,” “Take it or Leave It,” and “What To Do.” “Mother’s Little Helper” would become a hit and is still played live today. While “Paint It Black” is a rip-roaring, great song, I think “Mother’s Little Helper,” is a better fit as album opener. In their 400+ song catalog stretching over half a century, the Stones rarely directly speak to topics of societal discourse or politics. It’s kind of pity they don’t more often, because when they do, the result is exceptional. “Mother’s Little Helper” chronicles the taboo’esque topic of amphetamine use amongst stay-at-home Moms. As we will see, relationship dynamics amongst lovers is a theme central to Aftermath. Some might feel this tune is little more than a pot shot at the expense of the vulnerable. But I view “Mother’s Little Helper” as drawing attention to an unfair economic system that forces homebound women into boredom, leading to a rash of drug use. Times have obviously evolved and nowadays a househusband is as common an occupation as housewife. So to all you stay-at-home Dads out there…JUST SAY NO!

Perhaps the Stones should dive into societal discourse more often as “Mother’s Little Helper” is both enjoyable and commercially successful, reaching number 8 on the singles chart. Part of me wishes the Stones had more topical songs, but I also recognize much of my enjoyment of them is the ability to listen and tune out the world. Put the Stones on and rock out – leave the worries for another day! “Paint It Black,” and “Mother’s Little Helper” are both masterful tunes; these hits aside, for me the success of the British version rests with the tunes omitted from the American Aftermath.

               The concluding tracks on British version “Take It Or Leave It,” “Think,” and “What To Do,” leave us with a trio of songs that are earnest and are wrought with emotional intensity. This self-effacing nervousness provides a sentient depth and acts as a counterweight to male centric (and sometimes unkind) tunes that examine romantic endeavors. These songs feature a breezy, poppy air that is simultaneously carefree and uneasy. Uneasy because it is hell waiting for someone to respond! No individual song can encapsulate all the emotions an early twenty-something churns through when traversing the world of courtship, but these songs almost complete the task. Love is a central theme to Aftermath. Specifically, love and it’s entanglements as experienced by youthful adults who’ve stumbled upon fame; fame that altered interactions with partners in manners they could never have predicted. Like everyone at that age, they are struggling to understand, learn, empathize and love. I think the British version tells this story more sincerely and completely.

               “Out of Time” only adds to the list of why the UK version is better. Opening with Brian Jones on the marimba, the song demonstrates how every Stone showcased their talents on early Rolling Stones albums. Early Stones records are rich with contributions from every member. The marimba is one of a number of tracks in the Rolling Stones canon that exhibits the brilliance of Brian Jones. “Out of Time,” like “Take It Or Leave It,” and “What To Do,” features a would-be lover pouring themselves out confidently. The singer is issuing an ultimatum, seemingly not at a loss if the pursuant doesn’t respond. There’s a playful quality to “Out of Time,” an innocent game of lover’s cat and mouse in which no one is damaged. This is a more wholesome and interesting brand of confidence than displayed in more bravado laden tunes like “Under My Thumb.”

               All this being said, namely that Aftermath UK explores the theme of romance more completely, is not to say Aftermath US is a slouch…far from it! If including “Paint it Black” is a sinking factor, then you have your hands on a fantastic piece of work.

Where Aftermath Shines

               If you haven’t done so already, grab yourself a beer and settle in, because Aftermath weighs in at nearly an hour. Influenced by American music, The Beatles and the Rolling Stones landed in LBJ’s America in 1964. While other bands arrived with Mick, Paul, Ringo and Charlie, it was the Stones and Beatles that led the “British Invasion.” Differences between the two bands spearheading the invasion were striking. The Stones highlighted love’s carnal endeavors. Meanwhile, the Beatles were soda fountain wholesome. The common analogy is, “the Beatles were looking to “Hold Your Hand” while the Stones wanted to “Spend the Night Together.” Either way, wholesome or lusty; couple expressive lyrics motivated by adolescent love with the energy of talented musicians, and you get expansive albums that altered the landscape of rock & roll. After hitting America’s shores they didn’t sit idle – 1965 and ’66 was a moment of almost mythic productivity for both the Beatles and Rolling Stones.

               Aftermath has a transitional feel to it. It may as well have been recorded in a train station because this album feels as if it’s a nexus; it respects their apprenticeship by including a number of blues drenched tracks, but also demonstrates where the band is going. The Stones show where they are going not just by expanding their repertoire, but also by providing hits with an earthy, blues-soaked undercurrent. This is a pattern that will serve them well for the remainder of their career; incorporate other influences/styles, but always adhere to a bluesy core. According to the Aftermath’s Wikipedia page, the reason for the array of styles included on the album isn’t so much friction between Jagger, Jones and Richards, but rather Producer Andrew Loog Oldham’s desire for complex and varied instrumentation and structure. It was Oldham who fostered, if not cultivated, Brian Jones’ musical experimentation. Regardless of exactly how he influenced the album, the formula of encouraging Mick & Keith to write, melded with Jones’ artistic vision resulted in a truly fantastic effort.

By commingling bluesyness with British pop, the Stones are eager to contribute to the rich lexicon of American music. This creative hodgepodge is evident in the inclusion of the baroque pop tune “Lady Jane.” Baroque pop is more than incorporating harpsichord into a tune. AllMusic describes it as “infusing rock & roll with elements of classical music, achieving a majestic orchestral sound far removed from rock’s wild, primitive origins.” “Lady Jane” feels like what you would have heard in the lobby while waiting to see Queen Victoria. There’s a prim, almost proper feel to “Lady Jane” – indifferent, almost as if to mock solemnity. The contrast between whimsical and formality makes for an interesting and compelling song. Be on the lookout, because future Rolling Stones albums include baroque pop: Flowers, Between the Buttons, Their Satanic Majesties Request and Beggars Banquet. Far from the only band in the 1960’s doing Baroque, the Stones certainly contributed to the style, but many of rock heavy hitters of the 60s dabbled in the genre including The Beatles, The Grateful Dead, The Who, The Kinks and the Beach Boys. The later penned not only one of the most iconic songs of the genre, but also one of my overall favorite songs with “God Only Knows.” Baroque pop is hardly a genre trapped in the psychedelic times of the 1960s; Wilco, Father John Misty, The Verve, Vampire Weekend and loads of others have dabbled in the genre.

Click Here For A Sample of Modern Baroque Pop Courtesy of Spotify

“Under My Thumb”

Again, we open with the percussiveness of Jones on the marimba, but this time wrapping around Richards guitar, a sound that is snarly folksiness with a rock and roll tempo – it’s a brilliant, infectious sound. Musically, “Under My Thumb” exhibits all of what makes the Rolling Stones great. Blues rock with a confidence and a strut that is best represented by the word swagger. In fact, fast forward a few albums, to Sticky Fingers (1971), and you’ll see the song “Swagger.” The beauty of “Under My Thumb” is no-one is out front. Like the marimba, Billy Wyman’s bass is steady and discernable. On early Rolling Stones albums you’ll find his bass noticeable, it makes for a textured listening experience. Other bass forward tunes on the Aftermath include “Think,” “Take it or Leave it,” “Mother’s Little Helper,” “Paint It Black,” and the monumental “Going Home.” Musically brilliant, but lyrically speaking, “Under My Thumb” is painful. Are these the words of brash youth voicing cruel impulses they would never act upon? Or is “Under My Thumb” genuine chauvinistic outpouring? For now, let’s table the lyrics; later on we’ll revisit them.

“High and Dry” is a galloping folksy tune that sounds like what you’d hear if you were resting your spurs in a tavern on the Texas Panhandle. It demonstrates the Stones are eager and capable of venturing beyond the blues. They expand past their bluesy American roots with Aftermath but they don’t abandon the genre. “Doncha Bother Me” proves the boys can both dish the blues and pen their own standards. “Going Home,” “I Am Waiting,” “Paint It Black,” and “Under My Thumb” all feature a bluesy undercurrent that proves the Stones aim to put their stamp on not only the blues, but other genres of music rooted in America. The legend is Gram Parsons taught Keith Richards how to play country music guitar. The thought of those two as buddies puts a smile on my face, but I listen to a song like “High and Dry” and I wonder how much Keith had to learn? He must have been an easy pupil.

“Flight 505” seems to travel at warp speed because this song rocks. The sounds is similar to other fast moving Stones songs of the early part of their career, but the pace of the tune gallops…it’s fast! It’s the rockiest song on Aftermath and flashing forward to the 70s – matches the pace of Some Girls and other straight forward rock tunes typical of late career Rolling Stones. This is the kind of tune that is so packed with energy you’ll need to exhale after it finishes. There’s also a nasty bassline that at moments is as prevalent as the lead and rhythm guitars of Richards and Jones.

Sure the Stones know how to rock, spill the blues, and tread in gospel, but often overlooked are the exceptional ways they introduce life experiences not commonly represented in popular music. Aftermath provided two such examples with “I Am Waiting,” and “Going Home.” We’ve all returned home; “Going Home” encapsulates the experience on all counts. At eleven plus minutes, every Stone has an opportunity to ply their craft. Mick, whose voice so often guides songs as pronounced as any instrument, again does so on “Going Home.” We’re homebound, our mode of conveyance is a musical train and Mick is the conductor! Going home…trips homewards mean many things, usually exciting, but sometimes nervous or sad. “Going Home” captures all the emotions…comfort, concern, excitement, calm, sadness, introspection. It’s difficult to imagine after all that, but the emotional depth of Aftermath dives even deeper with “I am Waiting.”

With “I am Waiting” The Stones guide us through the experience of waiting. Good news, bad news – we’ve all waited for each; “I am Waiting” speaks of a lover. To enter into the tune, specifically what Mick is feeling, picture a would-be partner waiting for a call back, pardon me, a text back. When Chelsea (my wife) and I were new I remember checking my phone almost minute by minute. A kiss emoji made my day (😘)! That’s good waiting, fun waiting, but unfortunately waiting can be frustrating. In some form or another all of us have experienced waiting that never materialized into something joyful. The refrain of “I am Waiting,” almost shouted by Mick, coupled with the hurried pace of the music, vividly expresses the pain associated with joyless waiting. With “Waiting on a Friend,” on 1981’s Tattoo You, Mick and the boys revisit the theme of waiting, but with friendship as the focus – it is an equally compelling tune to “I am Waiting.”

“I Am Waiting”

I am waiting, I am waiting
Oh yeah, oh yeah
I am waiting, I am waiting
Oh yeah, oh yeah
Waiting for someone to come out of somewhere
Waiting for someone to come out of somewhere

You can’t hold out, you can’t hold out
Oh yeah, oh yeah
You can’t hold out, you can’t hold out
Oh yeah, oh yeah
Waiting for someone to come out of somewhere
Waiting for someone to come out of somewhere

See it come along and
Don’t know where it’s from
Oh, yes you will find out

Well, it happens all the time
It’s censored from our minds
You’ll find out

Slow or fast, slow or fast
Oh yeah, oh yeah
End at last, end at last
Oh yeah, oh yeah
Waiting for someone to come out of somewhere
Waiting for someone to come out of somewhere

Stand up coming years
And escalation fears
Oh, yes we will find out

Well, like a withered stone
Fears will pierce your bones
You’ll find out

Oh we’re waiting, oh we’re waiting
Oh yeah, oh yeah
Oh we’re waiting, oh we’re waiting
Oh yeah, oh yeah
Waiting for someone to come out of somewhere
Waiting for someone to come out of somewhere

Oh we’re waiting, oh we’re waiting
Oh we’re waiting, oh were waiting

Source: LyricFind

Songwriters: Keith Richards/Mick Jagger via ABKCO Records

“Under My Thumb” – Insensitive, Playful or Empowering?

            There’s just no getting around it, Aftermath, at times is lyrically insensitive towards women. No decent or compassionate person would want their daughter, spouse or mother to be under anyone’s thumb. Nor would a mannerly person describe a would-be lover as a “Stupid Girl.” Before pushing in the clutch and shifting into the gear of cancellation, let’s slow down to consider why it’s worth discussing these troublesome lyrics.            

               Rock & roll is the expression of inhibitions. Muzzle the ability for rockers to express their humanity, particularly carnal desires, and you end up with the Goo Goo Dolls. Imagine how bland rock’s landscape would be without the transgender love of “Lola” presented by the Kinks, the Velvet Underground exploring a “Heroin” high, or Mötley Crüe inviting us to “Walk on the Wild Side.” “Under My Thumb” and “Stupid Girl” may very well reflect immature men playing loose with impulses, giving momentary life to sinister thoughts. Are these lyrics simply the result of overheated, overhormoned young men belching their minds in an era less friendly to women? Is it playfulness they didn’t realize could be hurtful? Is one a hypocrite for believing these lyrics insensitive but still loving the Stones? I believe the answer to these questions lie within Aftermath itself.

As already mentioned, Aftermath is a roller coaster of emotion, particularly in the realm of romance. On one track we see a partner held “under a thumb,” moments later we navigate the pain of a love loss with “High and Dry.” There’s the vulnerability of “I Am Waiting,” balanced against the vindictive and mean “Stupid Girl.” Lyrically, and in regard to the fluctuating tempo of the songs, Aftermath lays for bare what a young man experiences while traversing love. I believe that while at times vindictive and insensitive, the feelings are merely impulsive and ultimately not acted upon, as evidenced by the album’s more sensitive and fragile moments. It is worth pointing out again, with the inclusion of “Take It Or Leave It,” and “What To Do,” the British version does a more complete, thus better job of presenting all the varying romantic entanglements one clomps through.

               This is the first Stones post-apprenticeship album, but keep in mind the boys are still young, still naïve. Ultimately, I suggest the Stones be judged not merely by the insensitivity presented with the likes of “Under My Thumb,” but by whether they have matured in their attitudes towards women. Again, thinking of this a transitory moment for the Stones, bounce ahead in their catalog and you will find songs such as “The Worst” and “Already Over Me. These tunes (and others) demonstrate an appreciation of and esteem for women. Peer into their concerts and you’ll see their insensitive songs are difficult to come by. Despite fifty plus years of popularity, “Under My Thumb” is seldomly included in their commercial releases. Another example – nowadays, when played live, “Brown Sugar” features rewritten lyrics that are softer and more respectful. Ok, maybe less disrespectful than respectful, but dissecting the lyrics of “Brown Sugar” could be a very lengthy conversation unto itself.

               Can’t a person just enjoy an album and not be besieged by political correctness? It’s worthwhile talking about this because as aforementioned, a major theme of the album is love, specifically enduring hardships inherent with romantic imbroglio. Pausing to reflect on insensitive lyrics isn’t capitulation towards tyrannical liberalism or reactionary right-wing fervor. It is simply taking a moment to consider if what you just heard contributes to a better world. As their catalog indicates, The Stones have evolved in their thinking, so why can’t we?

Art is expression, inspiring thought; Aftermath is no exception to this definition. As such there are multiple angles of which to view everything. Maybe it’s best if I get out of the way and leave you with how the rocker Patti Smith feels about Aftermath: “…I can tie the Stones in with every sexual release of my late blooming adolescence. The Stones were sexually freeing confused American children, a girl could feel power. Lady glory, a guy could reveal his feminine side without being called a fag. Masculinity was no longer measured on the football field…they aroused in me both a feline sense of power and a longing to be held under the thumb.”

We Were All Apprentices and is this a Stones Classic?

            Thinking of when my apprenticeship ended…I graduated college and embarked on a career in 2002, a year very much in the shadow of 2001. With all that history has dealt us since then, a lot of folks forget following 9/11 there was a miniature recession. 2002 was a difficult time to join the workforce because the labor market was tight. I ended up working 20 hours a week for the State of Minnesota and 20 hours a week at my buddy’s restaurant. During the day I’d jockey a desk; at night I’d ditch the polo and sling pizza. The two experiences merged into one gradual, educational, and enjoyable transition into professional life. Eventually the time came to further my career at the State and with it, graduate school. My apprenticeship effectively ended at that moment, embarking on a graduate degree was my “Aftermath” moment. We’ve all had our own “Aftermath” moment(s) – be it professionally, romantically, artistically or spiritually. What the Stones did in their Aftermath moment, with this album is absolutely remarkable. Chock full of hits (Under My Thumb,” “Mother’s Little Helper,” “Lady Jane,” “Paint It Black”), it’s understandable not only to consider if this is a classic album, but if it is their finest album.

In the 2000s, the days before streaming services, my brother and I split the Stones collection in half, with the aim of owning the entire Stones catalog. Once all albums were purchased we were going to burn our respective stacks for one another. We even had a spreadsheet where we rated each album, we used the Stones tongue to grade instead of stars.  For example, Let It Bleed got five tongues.  Aftermath was in my stack to buy – I remember enjoying this album so much I felt sorry Joe had to wait for me to burn it. Countless, countless hours I’ve spent with Aftermath.

               The question of what makes a “classic” album is a frequent component of Andy’s Stones reviews. Criteria for a classic album certainly expand beyond commercial success and number of hits. Classic albums often occupy a space in your life that feels as physical as any other life event. It’s as if the album were a companion! For example, the soundtrack of my graduating college was U2’s All That You Can’t Leave Behind. When it came time to move into my first place, Aftermath was almost venerated by me and my roommate. Courtesy of the thin walls of Brad’s and my rented duplex, our neighbors also digested a lot of Aftermath. The jury is still out if they enjoyed listening to it as much as we did.

There’s no single, go-to criteria that constitutes a class.With Aftermath, the Stones gift us with an album that is a commercial success, energizes with near perfect musicianship spanning multiple genres, hits the listener with lyrics that dabble in social commentary and explores age-old emotional themes…all this and the album is fun! With their apprenticeships complete, the Stones deliver an album that respects their influences and shines a light on where they are heading. Aftermath alsodelights by showcasing every Stone. This is truly a classic that is sturdy enough for a listening session and fun enough to let rip at a party. It is one of their finest albums. Enjoy!

What’s Next For Andy’s Stones…

You’d be a “Fool to Cry” because more Stonesyness is heading your way! You’d better pour yourself a cool beverage because our next review features some really “Hot Stuff.” That’s right, time to check into the “Memory Motel” because we are heading to 1976 and diving into Black and Blue. The “Hand of Fate” is upon you!

Sources

Aftermath on Wikipedia: https://en.wikipedia.org/wiki/Aftermath_(Rolling_Stones_album)

AllMusic Baroque Pop: https://www.allmusic.com/subgenre/baroque-pop-ma0000012101

Kissy Face Emoji Retrieved From: https://emojipedia.org/face-blowing-a-kiss/

Lyrics Retrieved From: www.lyricfind.com

Music Provided via Spotify www.spotify.com & YouTube www.youtube.com

Creem article (1973) featuring Patti Smith: http://www.oceanstar.com/patti/poetry/jagarr.htm

Track #	UK or US Version	Title	Notes
1	US	Paint it Black	! * $
1	UK	Mother’s Little Helper	! * $
2	US & UK	Stupid Girl	B
3	US & UK	Lady Jane	! B *
4	US & UK	Under My Thumb	! * $
5	US & UK	Doncha Bother Me	*
6	UK	Going Home	! + * $
6	US	Think	$
7	US & UK	Flight 505	$
8	US & UK	High and Dry	*
9	UK	Out of Time	+ $
9	US	It’s Not Easy
10	US	I am Waiting	+ *
10	UK	It’s Not Easy
11	US	Going Home	! + * $
11	UK	I am Waiting	+ *
12	UK	Take It Or Leave It	+ $
13	UK	Think	$
14	UK	What To Do	+ $

Aftermath: Released 4/15/1966 Decca Records – reviewed by Andy Trcka via Andy’s Stones

Legend:

! = Hit, single or famous track

B = B side to single

+ = Top track recommended by Andy’s Stones

$ = Notable instrumentation provided by supporting cast member (e.g., piano by Nicky Hopkins or percussion by Charlie Watts) * = Song where influence can be heard in other Stones efforts or future musical acts, or indicates musical direction the Stones are heading