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The Rolling Stones in the press: “Aftermath – Mick Jagger Answers Some Questions”
In April 1966 The Rolling Stones released Aftermath, an album that marked a significant evolution in their sound and songwriting. Coming off the success of hits like (I Can’t Get No) Satisfaction, the band—then composed of Mick Jagger, Keith Richards, Brian Jones, Charlie Watts, and Bill Wyman—shifted gears with this record, embracing a darker, more experimental tone. Aftermath was their first album to feature entirely original material, penned mostly by the Jagger-Richards duo, showcasing their growing confidence as composers. Recorded between late 1965 and early 1966 in Los Angeles, it arrived at a pivotal moment in rock music, as bands began pushing boundaries beyond the standard pop formula.
The album’s 11 tracks (14 in the U.S. version) blend blues, rock, and psychedelic influences, with Brian Jones’ multi-instrumental flair adding unique textures. His use of the sitar on Paint It Black(included in the U.S. release), dulcimer on Lady Jane, and marimba on Under My Thumb expanded the Stones’ sonic palette. Lyrically, Aftermath dives into themes of heartbreak, cynicism, and social commentary, often with a biting edge. Songs like Stupid Girland Under My Thumb stirred controversy for their perceived misogyny, though Jagger later framed them as satirical takes on relationships. Clocking in at over 53 minutes, it was unusually long for its time, reflecting the band’s ambition to create a cohesive artistic statement.
Legacy and Impact
Aftermath peaked at number one in the UK and number two in the U.S., cementing The Rolling Stones’ status as rivals to The Beatles in the mid-60s rock scene. It influenced countless artists by proving rock could be both raw and sophisticated. Today, it’s hailed as a cornerstone of their discography, a bridge between their early blues roots and the bolder experimentation of later works like Beggars Banquet. For fans and critics alike, Aftermath remains a testament to the Stones’ restless creativity in 1966.
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