CD2 #13 – Rocks Off [141] Summarising Aftermath's impact in 2017, the pop culture writer Judy Berman describes "Paint It, Black" as "rock's most nihilistic hit to date" and concludes that, "with Jones ditching his guitar for a closetful of exotic instruments and the band channelling their touring musicians' homesickness on the record's 11-minute culminating blues jam, 'Goin' Home,' they also pushed rock forward. [12] Jones' new relationship with the German model Anita Pallenberg, which had taken on sadomasochistic aspects, helped renew his confidence and encourage him to experiment musically, while her intelligence and sophistication both intimidated and elicited envy from the other Stones. [6] With the success of the Jagger-Richards-penned singles "(I Can't Get No) Satisfaction" (1965), "Get Off of My Cloud" (1965) and "19th Nervous Breakdown" (1966), the band increasingly rivalled the Beatles' musical and cultural influence. The Rolling Stones gave their first performance at the Marquee Club in London on July 12, 1962. [92] The band began their fifth North American tour on 24 June in support of Aftermath; it was their highest-grossing tour yet and, according to Richards, the start of a period of rapprochement between Jones, Jagger and himself. (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. [87] Decca issued the album in the United Kingdom on 15 April and an accompanying press release that declared: "We look to Shakespeare and Dickens and Chaucer for accounts of other times in our history, and we feel that tomorrow we will on many occasions look to the gramophone records of the Rolling Stones ... who act as a mirror for today's mind, action and happenings. By 13 August, it had risen to number 2 behind the Beatles' Yesterday and Today. [43] Musical tones and scales from English lute song and Middle Eastern music feature among Aftermath's riff-based rock and blues (in both its country and urban forms). CD3 #08 – She Was Hot [47] According to Kevin Courrier, the Stones use "softly intricate" arrangements that lend the record a "seductive ambience" similar to Rubber Soul, particularly on "Lady Jane", "I Am Waiting", "Under My Thumb" and "Out of Time". CD1 #17 – We Love You, CD2 #01 – Jumpin’ Jack Flash [59] Some listeners assumed the song was about Jagger's high-society friend Jane Ormsby-Gore, daughter of David Ormsby-Gore, 5th Baron Harlech. 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. [124] While suggesting Jagger and Richards rank second behind John Lennon and Paul McCartney as composers of melody in rock, Christgau still considered it the best album in any category and wrote: Rock aficionados class the Stones with the Beatles, but perhaps they haven't impressed a wider audience because their devotion to the music is pure: the Hollyridge Strings will never record an album of Jagger–Richard melodies. [13] Jagger came to view his girlfriend, Chrissie Shrimpton, as inadequate by comparison; while Jagger sought a more glamorous companion commensurate with his newfound wealth, the aura surrounding Jones and Pallenberg contributed to the end of his and Shrimpton's increasingly acrimonious relationship. [20][nb 1] The recording sessions took place at RCA Studios in Los Angeles on 6–10 December 1965 and, following promotion for their "19th Nervous Breakdown" single and an Australasian tour, on 3–12 March 1966. 125: The Rolling Stones' 'Aftermath, "The Rolling Stones' Top 10 Albums – Ranked", "It Was 50 Years Ago Today: 'Aftermath' by The Rolling Stones", "Playback: 'Aftermath' still has its shine", "See The Rolling Stones Before They Released 'Aftermath' (PHOTO)", "The Rolling Stones – every album ranked! [103], According to the pop historian Richard Havers, Aftermath's 1966 US chart run was assisted by the success of "Paint It, Black", which topped the Billboard Hot 100 for two weeks in June. The Rolling Stones: Sound Opinions on the Great Rock 'n' Roll Rivalry (2010), Jim DeRogatis and Greg Kot agree that Aftermath is "the first really great Stones album beginning to end", with DeRogatis especially impressed by the British edition's first half of songs. 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. Overall, the darker themes lead Margotin and Guesdon to call Aftermath "a sombre album in which desolation, paranoia, despair and frustration are echoed as track succeeds track". Among US commentators, Bryan Gray wrote in the Deseret News: "This album does the best job yet of alienating the over-twenties. In response to the lack of creative control, and without another idea for the title, the Stones bitterly settled on Aftermath, and two different photos of the band were used for the cover to each edition of the album. [62] While songs such as "Stupid Girl" and "Under My Thumb" may be misogynistic, they are also interpreted as dark representations of the narrator's hateful masculinity. Green said the music is unmistakably rock and roll and was especially impressed by Watts' drumming. [107] It was released just months before Bob Dylan's Blonde on Blonde and the Beatles' Revolver, albums by artists that Jagger and Richards had received comparisons to while Oldham was promoting the band's artistic maturation to the press. Its dark content pioneered the darker psychological and social themes of glam rock and British punk rock in the 1970s. CD3 #03 – Beast Of Burden [84][nb 4], Aftermath's release was preceded by the Rolling Stones' two-week tour of Europe, which began on 25 March 1966. 1) Barry Gibb MP3 Music. [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. [32] Robert Christgau says the texture of the Stones' blues-derived hard rock is "permanently enriched" as Jones "daub[s] on occult instrumental [colours]", Watts "mold[s] jazz chops to rock forms", Richards "rock[s] roughly on" and the band "as a whole learn[s] to respect and exploit (never revere) studio nuance"; Wyman's playing here is described by Moon as the "funkiest" on a Stones LP. [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. ", "The Rolling Stones Part 1: The 1960s and '70s", "Playlist: The 10 best Rolling Stones albums", "Rolling Stones Album Guide: The Good, the Great and the 'Angie, "The Rolling Stone Interview: Jagger Remembers", Muddy Waters & The Rolling Stones Live At The Checkerboard Lounge, Chicago 1981, 25×5: the Continuing Adventures of the Rolling Stones, Olé Olé Olé! The album's release was briefly delayed by controversy over the proposed packaging and title – Could You Walk on the Water? [15] The band's biographer Stephen Davis describes these entanglements as a "revolution under way within the Stones", adding that "Anita Pallenberg restored the faltering Brian Jones to his place in the band and in the Rolling Stones mythos. "[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. "[115][nb 9], Some feminist writers defended Jagger's stance in "Under My Thumb". It is the band's fourth British and sixth American studio album, and closely follows a series of international hit singles that helped bring the Stones newfound wealth and popularity that rivalled their contemporaries, the Beatles. 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