33. Aftermath- The Rolling Stones.

 Aftermath is the first album from the Rolling Stones that we have encountered. In fact, due to the somewhat chronological nature of my list, we have a triple shot of Stones albums to listen to. They run into one another seamlessly, so it won't be too painful. I really like the raw sound of the early Rolling Stones. A disclaimer here, the album that is on the 500 Greatest Albums list is the American release of Aftermath. The most notable difference on the British release is the substitution of  "Mother's Little Helper" for "Paint it Black" and three other songs on the track listing. The American release included "Paint it Black" since it was the number one single at the time of release and presented a sleeker, better organized package as a whole.

 "Paint it Black" is one of the Stones' most recognizable songs, and shows that they were ready to branch away from their bluesy roots, with the adventurous use of the sitar for the main riff. Brian Jones was a talented multi-instrument musician by all accounts, and the genre was expanding, as were peoples minds due to increased drug use, so the conventional rules were out the door. This was the first track to feature a sitar to hit number one.  

 

 "Stupid Girl" is less memorable, and rather dated. It lacks the solid, dark lyrics of the previous track, and seems a bit of a let down listening in order. I guess that it is just a straightforward tune wedged in between two memorable ones, so it loses some lustre. The track that follows is "Lady Jane", this one taps into the Stones' quieter side, and features an Appalachian dulcimer. We haven't heard anything like this to date, it is like baroque music, and further stretches the boundaries of what could be done on a rock and roll album. Jagger, for all of his strut and swagger, has a way of coming across with sincerity on a slow ballad.  I really like this one.

 "Under My Thumb" is another popular tune. I had no idea it was released this early on in their career. It has always been a favourite of mine, and has been covered a few times. The Streetheart version is well known in Canada, and the Social Distortion version kicks ass. The misogynist nature of the lyrics sparked some controversy with the feminist set, but that was downplayed by the band. Interesting that it pops up two songs after "Stupid Girl" and "Mother's Little Helper" (on the UK release).  Draw your own conclusions. 

 "Doncha Bother Me" is straight ahead blues, and "Think" brings the feel of horns, through what I assume was Brian Jones' fuzzed out guitar. Different sounds and techniques are being implemented. This must have been an incredible experience, with technology and attitudes allowing for increased artistic freedom. I imagine the attitude upon entering the studio would be 'Sky's the limit', and the competition to get there first must have been exciting and creatively stimulating. "Flight 505" embeds the riff from "Satisfaction" in some almost parlour sounding piano and then kicks into a straight ahead Stones tune. The guitar work is special, there is the main rhythm and lots of little fills creating that signature sound.

 " High and Dry" is a bluesy country tune with lots of background harmonica and a hypnotizing hi hat throughout. The solo is actually done on harmonica and is warm, lacking the shrillness of Bob Dylan's offerings on the instrument. I actually really enjoy the playing, it is featured throughout the song and makes the tune special. "Its Not Easy" goes back to the driving electric blues sound, with background vocals reminiscent of the Beatles. A great line in the song is "Running like a cat in a thunderstorm...". While the solo isn't a blazing flurry of notes like we have become accustomed to, it is clever and the right notes are played. "I Am Waiting" returns to the baroque feel, replete with harpsichord. It is a little more upbeat than "Lady Jane", lacking the melancholy feel, but is very interesting in its own right. I was unaware of the existence per se of  the genre of Baroque Pop , and equally ignorant that the Stones were pioneers of said genre. The sounds of these instruments and stylings in a rock setting are interesting to say the least and quite enjoyable. We are starting to bridge that gap between the early Beatles and King Crimson that I was wondering about a few posts ago. 

 

 The album closes with "Goin Home". This eleven minute offering was buried in the middle of the UK issue, but is in it's proper place as the last track of the sleeker American offering. The song starts out with a basic country blues feel, and is fairly straightforward and then suddenly takes that right turn at Albuquerque, and heads into the song that must have inspired Jim Morrison and the Doors to do their thing. I was listening to the album and doing some other things, when I stopped dead in my tracks and made the realization that this was the sound of the Doors. Jagger sings sporadically and pants into the microphone, the bass thumps out one note ad nauseum while the keyboards and guitars fade in and out ephemerally. Someone is playing around with the volumes at the sound board. It is definitely the same sound the Doors made famous. Perhaps this track was the genesis of that sound, perhaps not, I wasn't there. Regardless, it is an excellent way to end the album, an eleven minute adventure to wrap things up. 

 Rolling Stone Magazine placed this album at number 108 on the 500 Greatest Albums of All Time.

 Buy it here.