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The Rolling Stones - Aftermath album download
Title:

The Rolling Stones - Aftermath album download

Performer:
The Rolling Stones
Album:
Aftermath
Style:
Blues-Rock,British Invasion,Contemporary Pop/Rock,Rock & Roll,AM Pop
Genre:
Duration:
42:31
Recording location:
RCA Studios, Hollywood, CA
MP3 archive size:
1644 mb
FLAC archive size:
1673 mb
Other formats:
DMF MOD AHX MP4 MP1 FLAC
Rating:
4.6
Votes:
420

Aftermath is a studio album by English rock band the Rolling Stones. It was released in the United Kingdom on 15 April 1966 by Decca Records and in the United States on 20 June by London Records. Overall, it is the band's fourth British and sixth American studio release.

Aftermath, released in April 1966 by Decca Records, is the fourth British studio album by the Rolling Stones. It was issued in the United States in June 1966 by London Records as the group's sixth American album  .

Лицензиар: "UMG (от лица компании "RE Musik und Media"); EMI Music Publishing, ABKCO Music, In. ARESA" и другие авторские общества (5). Композиция. High And Dry (Remastered, Mono). AFTERMATH UK. Авторы текста и музыки. Mick Jagger, Keith Richards. Лицензиар: "UMG (от лица компании "ABKCO"); EMI Music Publishing, SOLAR Music Rights Management, ARESA, ABKCO Music, In. UBEM, UMPG Publishing" и другие авторские общества (10). It's Not Easy (Remastered, Mono).

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Aftermath (1966) - download the album and listen online. On this page you can listen to the album, get information about the album, see the list of songs and much more. Listen online and stay in a good mood. Org Album: Aftermath (1966).

Aftermath, released in the UK on April 15, 1966 by Decca Records, is the fourth British studio album by the Rolling Stones. It was released in the United States in June 1966 by London Records as their sixth American album. It remained as the number one album for eight weeks following its release. The album is considered an artistic breakthrough for the band, as it is the first Stones album to consist entirely of Mick Jagger/Keith Richards compositions. Aftermath is one of the final albums to benefit from the unique instrumental forays provided by Brian Jones.

The Rolling Stones finally delivered a set of all-original material with this LP, which also did much to define the group as the bad boys of rock & roll with their sneering attitude toward the world in general and the female sex in particular.

Track List

Title/Composer Performer Time
1 Paint It Black Mick Jagger / Keith Richards The Rolling Stones 4:30
2 Stupid Girl Mick Jagger / Keith Richards The Rolling Stones 4:19
3 Under My Thumb Mick Jagger / Keith Richards The Rolling Stones 3:33
4 Doncha Bother Me Mick Jagger / Keith Richards The Rolling Stones 5:27
5 Lady Jane Mick Jagger / Keith Richards The Rolling Stones 3:07
6 High and Dry Mick Jagger / Keith Richards The Rolling Stones 4:11
7 I Am Waiting Mick Jagger / Keith Richards The Rolling Stones 3:10
8 Think Mick Jagger / Keith Richards The Rolling Stones 6:52
9 Flight 505 Mick Jagger / Keith Richards The Rolling Stones 2:50
10 It's Not Easy Mick Jagger / Keith Richards The Rolling Stones 7:28
11 Going Home Mick Jagger / Keith Richards The Rolling Stones 11:35
  • Most widely known as the first album the band did of all original compositions, it is also important because it is the band’s first great album. It is as fearsome as their singles, perhaps more so, as the band is allowed to be the more vile then they have ever been on songs such as “Stupid Girl” (“look at that stupid girl, the way she powders her nose, she’s the worst thing in this world”), “Under My Thumb” (“under my thumb, a squirming dog who just had her day), and “It’s Not Easy” (“gotcha running like a cat in a thunderstorm”), all about Mick Jagger’s ex-girlfriends. These kind of songs have their roots in the r&b of the early sixties but also point towards something new with the way th band lays down the melodies. The band also really thinks out of the box instrumentally, with Brian Jones adding a variety of background sound effect to “Paint Ii Black” with sitar and Indian influence, marimba to “Under My Thumb”, slide guitar to “Don’t Cha Bother Me”, etc. The most important thing that Aftermath finally gets right about the group is that they can balance these hard rocking tunes with moments of pure beauty such as the dulcimer driven “Lady Jane”, the somewhat generic but still entertaining “Think”, and the hidden pop gem “I Am Waiting”, which is one of the most underrated songs from the band’s entire catalogue. Only “Flight 505” and “High and Dry” ring false notes and are skippable. Last but not least, the album ends with an eleven-minute blues ditty called “Going Home” which is a durable tune despite its extended length. This song sets a precedent for longer songs on albums from 1966, as like-minded musician’s from all over the world were experimenting with longer song lengths: The Seed’s “Up in Her Room”, Frank Zappa’s “Monster Magnet”, Bob Dylan’s “Sad Eyed Lady of the Lowlands”, Love’s “Revelation”, The Who’s “A Quick One”, and “Paul Butterfield’s “East West”. In all, Aftermath set a new standard for how to make a rock album and it never gets old.

  • AFTERMATH was an important milestone for the Stones. After 6 albums of mixing cover songs with their own compositions, this was the very first record where ALL of the compositions are credited to Mick Jagger & Keith Richards. Their confidence is evident on such songs as "Under My Thumb" and "Paint it, Black", both of which have become classic radio staples. Stylistically, you can sense the Stones are gradually outgrowing the early British Blues sound that was such an early staple of their sound and have begun to experiment a bit more. 2nd tier tracks such as "Stupid Girl", "I Am Waiting" (U.S. version only), "Out Of Time" (U.K. Version only) and the Elizabethan ballad "Lady Jane" are decent songs, but the rest of the record isn't nearly as memorable. AFTERMATH was a very promising offering from the Stones, but not thoroughly consistent.Highlights: "Under My Thumb", "Paint It, Black", "Out Of Time" & "I Am Waiting".

  • Aftermath is, as stated several times over the years, the album where the songwriting team of Mick Jagger and Keith Richards asserts itself and delivers a full album of self-written material. But often overlooked about this album is the expanding of the group sonic palette as well.The attitudes of their blues heroes over the years were slowly being co-opted into their self-penned material over the last couple of years during their blues-cover period, helping them earn the title "The Bad Boys of Rock". Here, on this album, they take the bad boy themes a step further and venture into dark territory nobody had dared explore before. Death and suicide are implied in the dark hit "Paint It Black". Unrestrained misogyny adorns "Under My Thumb" and "Stupid Girl". And then there's the dominatrix sung about in the otherwise-gorgeous "Lady Jane". But Jagger-Richards had a romantic side, too: listen to the excellent deep cut "I Am Waiting". But they're still not quite yet fully developed as songwriters; most of the rest of the album is clearly filler. "Going Home" is intended as a jam after the first three minutes but simply meanders pointlessly. "High and Dry" could've done without all that percussion. And "Don'cha Bother Me" is basic blues albeit with some skilled guitar hooks. However, taking a page from Rubber Soul, the Stones (especially Brian Jones) try some new instrumentation. "Paint It Black" is one of the best examples of sitar playing in rock you're ever going to find. Dulcimer adds to the beauty of "Lady Jane" and "I Am Waiting". Marimbas make the nasty "Under My Thumb" sound delicious. And there's the subtle use of fuzz box on "Think".The band would go on to improve on this groundbreaking effort over the next few years. But this is the starting point of the Rolling Stones as a true great classic rock band, and one of the best bands the world would ever see and hear.

  • 3 stars for the U.S. version, 4.5 stars for the EU version. While the U.S version does include the mighty and majestic Paint It Black substituted for EU's Mothers Little Helper - the American omission of great tracks like Out of Time, Take it or Leave It and What to Do dilute the overall effect for me. In the 52 years since this album was released, I've only managed to sit through Going Home 2 or 3 times (not their best "blues jam" by a long shot. A long, long ,long shot.

  • The first Stones album to feature all Jagger/Richards songs, Aftermath is the early peak for the band, musically and lyrically. Right off the bat, the band flexes its muscle musically, with sitar, marimbas, and harpsichord sounds to compliment the rich rock sound. Both Mick and Keith have grown incredibly confident as writers, and the songs they pen are some of the most original of not only the period but of all time. Leave it to the Beatles to write about love, the Stones were covering more intense subject matter and though the two bands were as different as night and day, Aftermath is as close to Revolver as the Stones would ever get to their rivals. Key tracks are Paint It Black, Stupid Girl, Lady Jane, Under My Thumb, Flight 505, It's Not Easy, and Goin' Home.

  • Propelled by the increasingly experimental musical explorations of guitarist Brian Jones, Aftermath is one of the Stones' vital turning points. The first album to consist entirely of Jagger/Richards originals, it redefines the boundaries of their beloved R&B. These songs are infused with arty arrangements and baroque psychedelia, yielding shadowy, slinky tracks like the delicately Elizabethan "Lady Jane" and the marimba-driven groove of "Under My Thumb.” Even the lone blues rave-up, "Goin’ Home," breaks boundaries as an unprecedented 11-minute studio jam.

  • This is like the blueprint for the identity of the Rolling Stones. An important record and the best since their début, it's the first to only feature compositions penned by Jagger and Richards. There's a darker, bluesy, macho edge to the Stones that you just don't get with Lennon-McCartney, but there is plenty of variety in style and they are all great tunes.

  • Everyone agrees that "Aftermath" is a very important album for the Stones and for the 60's rock, but personally the album isn't one of my favorites. It has some songs that I love, like "Stupid Girl", "Mother's Little Helper", "Lady Jane" and the ultimate classic "Under My Thumb". It also have bad songs, like "I Am Waiting", "It's Not Easy", "High and Dry" and of course, their longest and boring song, "Goin' Home".Ranking:14. Goin' Home13. I Am Waiting12. High and Dry11. It's Not Easy10. Think9. What to Do8. Doncha Bother Me7. Flight 5056. Take It or Leave It5. Out of Time4. Stupid Girl3. Mothers Little Helper2. Lady Jane1. Under My Thumb

  • The first Stones real album...new instruments,new lyrical approaches,new sounds...And it's great.Great respons to ''Rubber Soul'' and Dylan . Now i like the ''long'' track more than before...my recommendation...throw the cd to the trash...PURCHASE THE MONO MIX MONO MIX MONO MIX specially in vinyl...it ROCKS.

  • I'm afraid I still can't get into The Rolling Stones, folks. I don't know what it is - perhaps my expectations are too high? I can't imagine how they were even compared to The Beatles in the very same year, but again, that's my personal opinion. There is plenty of experimental material on here as influenced by the ongoing psychedelia and folksy Dylan's words, plus new instruments, like the sitar, marimbas, an Appalachian dulcimer [look that one up!] and even a Japanese Koto. Honestly, though, the eleven-minute-long "Goin' Home" was very painful for me to sit through [have you even heard it? the song is longer than my actual trip home!], while the rest of the songs, still rooted in Chicago electric blues, were (as one journalist put it) "fairly ho-hum". I've listened to the UK version of the album since it does not include tracks which had already been released as singles (a common practice in those days for UK/US pressings). Perhaps "Aftermath" is Stones' "Hard Day's Night" since it's the first album composed entirely of their original material [a Mick Jagger / Keith Richards joint], and so we have plenty to look forward to in the future [sigh!]. I suppose it's all about the context. And in the context of the albums I had to hear before I died, this one rates low on the scale. Which brings me to a new idea - I should write a book called "Albums you don't really need to hear from the 1001 Albums You Must Hear Before You Die" with honest commentary on every entry in chronological order... oh wait...