The Rolling Stones gave their first performance at the Marquee Club in London on July 12, 1962. "[163], Some retrospective appraisals are critical towards the harsh treatment of female characters on the album. [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. 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. [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. 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. [14] Richards' relationship with Linda Keith also deteriorated as her drug use escalated to include Mandrax and heroin. CD2 #04 – You Can’t Always Get What You Want [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. "[16], Aftermath is the first Stones LP to have all-original material by the group. [110] Aftermath was regarded in Melody Maker as the group's best LP to date and one that would "effortlessly take Britain by storm". [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. [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. [146] In a retrospective review for AllMusic, Unterberger applauds the band's use of influences from Dylan and psychedelia on "Paint It, Black", and similarly praises "Under My Thumb", "Lady Jane" and "I Am Waiting" as masterpieces. [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. [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. [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. [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. [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. [41], According to the musicologist David Malvinni, Aftermath is the culmination of the Rolling Stones' stylistic development dating back to 1964, a synthesis of previously explored sounds from the blues, rock and roll, rhythm and blues, soul, folk rock and pop ballads. [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. then he raises her as queen. "[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. [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. (2012.11.09/FLAC 24bit/RAR) 簡単無料ダウンロード zip rar 漫画 MP3 FLAC 24bit Lossless AAC MUSIC JAPAN Download Free. 'goin home.' [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". [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. [33] Wyman agreed, saying, "Well, without the marimba part, it's not really a song, is it? CD1 #15 – Ruby Tuesday CD2 #02 – Honky Tonk Women Wyman recalled that Nitzsche and Jones would pick up instruments that were in the studio and experiment with sounds for each song. – 完ペキ主義なセカイにふかんぜんな音楽を♥ (MP3/2017.03.08/MP3/RAR), [Album] Feryquitous – BYAKKAI (2019.12.29/MP3/RAR), [Album] Kanako Ito (いとうかなこ) – Chaos Attractor (2010.01.27/FLAC 24bit Lossless /RAR), [Single] ゲスの極み乙女。 – もう切ないとは言わせない (2018.05.12/MP3+Flac/RAR), [Single] 原エリコ VS高野歌恋 – Venus Drive!! ", adding that: "Anyone who has been around Chelsea or Kensington can put at least one name to this character. [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. : A Trip Across Latin America, The Rolling Stones: An Illustrated Record, Stone Country: Country Artists Perform the Songs of the Rolling Stones, Live 1965: Music From Charlie Is My Darling, Through the Past, Darkly (Big Hits Vol. [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. [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. [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. [61], The album proved influential in the development of rock music. CD2 #06 – Street Fighting Man CD3 #03 – Beast Of Burden [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. [59] Some listeners assumed the song was about Jagger's high-society friend Jane Ormsby-Gore, daughter of David Ormsby-Gore, 5th Baron Harlech. "[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. [156] In MusicHound Rock (1999), Greg Kot highlights Jones' "canny" instrumental contributions while identifying Aftermath as the album that transformed the Stones from British blues "traditionalists" into canonical artists of the album-rock era, alongside the Beatles and Bob Dylan. 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. The group recorded the album at RCA Studios in California in December 1965 and March 1966, during breaks between their international tours. [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. "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". [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. Reviewing the reissues for Entertainment Weekly, David Browne recommends the UK version over the US, while Tom Moon, in his appraisal in The Rolling Stone Album Guide (2004), prefers the US edition for its replacement of "Mother's Little Helper" with "Paint It, Black" and highlights the clever lyrics of Jagger. "[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. 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. CD1 #16 – Let’s Spend The Night Together CD3 #14 – Anybody Seen My Baby? CD1 #02 – Not Fade Away (1972). 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". [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. [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. CD3 #10 – The Harlem Shuffle [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. [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. Green said the music is unmistakably rock and roll and was especially impressed by Watts' drumming. [125] Their new sound on the album helped expand their following by the thousands, while its content solidified their dark image. [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). 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". [147] In 2000, it was voted number 387 in Colin Larkin's All Time Top 1000 Albums. CD1 #07 – Time Is On My Side [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. "[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. The album was also highly successful with critics, although some listeners were offended by the derisive attitudes towards female characters in certain songs. CD1 #06 – (I Can’t Get No) Satisfaction 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. [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". [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. The UK release featured a run-time of more than 52 minutes, the longest for a popular music LP up to that point. CD2 #03 – Sympathy For The Devil [9], Within the Stones, tensions were rife as Brian Jones continued to be viewed by fans and the press as the band's leader, a situation that Jagger and Oldham resented. [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')". 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