This is the July 2, 1966 American release, not the original April 15, 1966 UK release. Most Stones fans consider this to be a vastly inferior album due to meddling by the record execs. At this time it was common for the execs to make decisions on what they thought would sell to the "American" market, which usually translated into holding back releases in order to create new packages to increase sales before the band faded into obscurity.

This American version replaced Mothers Little Helper with what was at that time a recent hit - Paint It, Black, while cutting Out Of Time, Take It Or Leave It, and What To Do.

Nearly everyone knows this music and now you can enjoy it the way it was meant to be heard. For the music itself, it's hard to improve on the review done of the UK Aftermath release by Brian Christie on Aug 29, 2002.

ABCKO acquired the Stones' catalog when Allen Klein became their manager in the 70s. The resulting legal battles produced releases that the Stones opposed (they took out full page adds asking fans not to buy them), including the controversial Metamorphosis releases (which are now available on CD for the 1st time ever). But the sad fact is that the Stones lost control of their great early material. With the recently remastered SACD releases, we at last have some idea of what they really sounded like in the studio. I guess if we had them 40 years ago they would have ended up Greatest Rock And Roll Band in the Universe instead of just our tiny little World.

All the tracks for Aftermath were recorded during 2 sessions at RCA Studios in Hollywood.

Dec 3-8, 1965 at RCA Studios in Hollywood

The tracks recorded during these sessions that were not released on the UK version were Mother's Little Helper, Sittin' On A Fence, Sad Day, 19th Nervous Breakdown, Ride On Baby, Long Long While, Take It Or Leave It, What To Do, and both version 1 - the long version - and version 2 - the short version - of Out Of Time. In addition there were 3 tracks that have still never been released: Looking Tired, Aftermath, and Tracks Of My Tears.

This information comes from "It's Only Rock And Roll: The Ultimate Guide To The Rolling Stones" by Karnbach and Bernson and from my own collection.

Aftermath shows a tremendous leap for the band. Mick Jagger & Keith Richards were starting to bloom as songwriters and the band started to step away from the heavy R&B sounds of their earlier albums. Brian Jones was the founder and spiritual leader of the band and Aftermath contains some of his finest moments with the band. "Paint It Black" was the band's third number one single and it sounded like nothing they had done previously with it's sitar work and eerie, apocalyptic sound and doomsday lyrics. "Stupid Girl" has the lowdown, dirty vibe that would permeate alot of their future records. "Under My Thumb" is one of the all-time best Stones songs and the samba beats and controlling lyrics. "Lady Jane" sounds stately with the harpsichord, "High & Dry" moves along smoothly and the "Going Home" closes the album on a strong note.

Despite my two-star review, it is my firm belief that Aftermath is one of the best Stones albums. The thing is, this isn't that album.

Like the Beatles, the Stones were cursed with a bit of record-company duality; that is, their UK albums were often reconfigured drastically for the US. Aftermath, their first album of all-original songs, was hit harder than most, and this (its US configuration) is almost as disappointing as the US version of Revolver. It loses "What To Do," "Take It or Leave It" and "Mother's Little Helper," and one song (Out Of Time) is edited from its original 5 minute-plus length. Sure, "Paint It Black" is tacked on, but said song is availible on countless other discs. The track order is also changed heavily; what was once one of the longest and most logical of the Stones albums was irrevocably damaged.

For reasons known only to ABKCO, this bastardized American version was the only domestic US CD version availible for several years. With their 2002 remastering campaign, though, while the US version stays in print, the far-superior UK version has also been introduced. As both are priced identically, the correct choice should be obvious: the UK album presents what the Stones intended, has the unedited Out Of Time, and has several tracks not on the US version.

Verdict: Great album, but pass on this disc for the far-superior UK version (with the purple cover).

The Rolling Stones' Aftermath was quite a big deal back in 1966 when it was first released. Their first album in stereo, it featured experimental instrumentation and arrangements, all songs were Jagger/Richards compositions (for the first time) and it included a #1 hit single with Paint It Black. It just got pushed to the back of the room when The Beach Boys released

and The Beatles followed with

the next year. And when the Stones themselves released their classic

album in 1968, Aftermath suddenly seemed like old news. It still doesn't take away the fact that Aftermath is the Stones' best early (pre-Beggars Banquet) album, and one of my personal all-time favorites from the band.

It opens with a total classic, Paint It Black. Not many songs dare to go where this one does, into the bleak and dangerous world of depression. With an Indian beat that's augmented by Brian Jones playing the sitar, the song rocks in and out of two different formats while Mick Jagger sings of living in hopelessness.

Maybe then I'll fade away and not have to face the facts

It's not easy facing up when your whole world is black

Stupid Girl is a mod/hip London scene groupie put-down, and the refined Lady Jane shows an uncharacteristically disciplined side of the band (Brian plays the harpsichord). The marimba (Brian again) and guitar rock Under My Thumb is a classic that's still playing on classic rock radio stations today, and is one of the Stones' greatest songs. Kinda hard to resist the get-even politics, isn't it?

Under my thumb

The girl who once had me down

Under my thumb

The girl who once pushed me around

The slide guitar blues of Doncha Bother Me is a real winner, and then they go bluesy country with acoustic guitars and a harmonica on High And Dry. Keith Richards shows off some nice guitar work on both. Flight 505 has an old-timey piano intro that gives way to a laid-back rock n' harmony exercise, and It's Not Easy is an irrestible toe-tapping Chuck Berry sounding rocker. I Am Waiting is a strange and hypnotic bit of country psychedelia that features the omnipotent Brian Jones on the dulcimer.

The album closes with Going Home, an eleven minute blues epic that starts out innocently enough, but then embarks on a dark, sexual and shamanistic trip into the unknown night. Mick Jagger's sensual vocal improvisations and spirit channeling over a heavy bass and harmonica blues jam won't appeal to the more tidy and polished Stones fans, but it's quite a fascinating piece of work.

Bottom line, Aftermath is an essential part of The Rolling Stones catalog and a top-notch Rolling Stones production. One of their best albums in my book.

I haven't heard the original U.K. cut, but the U.S. version of "Aftermath" was a real triumph for the Rolling Stones. It was the first record composed solely of material written by Jagger and Richards, and it's great stuff--twangy, bluesy, oily, sharp, and crisp as hell. Richards' guitar sounds like a carriage ride into the underworld. And even if "Paint It, Black" sounds like a one-way ticket to that place--which means it sounds pretty darn great--the cat-eyed "Under My Thumb" is the highlight of the record. They hadn't quite figured out how to channel their, for lack of a better term, bitchyness yet, so this cut of the album sounds a little too even. Still, it was the first gem the Stones cut. And for those who point to "Thumb" and "Stupid Girl" as misogynism, Jagger himself said it best: "Any bright girl would understand that if I were gay I'd say the same thing about guys."