Satisfaction Breakthrough

Lore & Background

Tensions within the band were high as Brian Jones reemerged as a key contributor, experimenting with unusual instruments like the sitar, Appalachian dulcimer, Japanese koto, and marimbas. This creative surge coincided with personal turmoil; Jones' relationship with Anita Pallenberg introduced sadomasochistic elements that intimidated his bandmates while restoring his confidence, whereas Jagger's relationship with Chrissie Shrimpton ended as he sought a more glamorous companion commensurate with their wealth. Keith Richards' relationship with Linda Keith also deteriorated due to her escalating drug use involving Mandrax and heroin. These entanglements fueled the album's themes of love, sex, desire, power, dominance, hate, and obsession. Jagger and Richards wrote these songs around psychodramatic scenarios, often portraying women as prominent but casually offensive characters in dark, sarcastic lyrics.

In Their Own Story

The recording process began immediately after the band's October–December 1965 North American tour, with sessions at RCA Studios in Los Angeles taking place on December 8–10, 1965, and again from March 6–9, 1966. According to bassist Bill Wyman, the group originally conceived 'Aftermath' as a soundtrack for a film titled 'Back, Behind and in Front,' but abandoned the plan after Jagger disliked director Nicholas Ray. Drummer Charlie Watts noted they completed ten songs during the first block, while Wyman recalled at least twenty tracks being recorded in March. Session musician Jack Nitzsche played a pivotal role, organizing musical ideas on piano and experimenting with instruments alongside Jones. Although 'Paint It Black' originated from a studio improvisation by Wyman, Jones, and Watts, it was credited to Jagger–Richards, a decision Wyman later criticized.

Reader's Guide

The album's release faced immediate controversy over its original title, 'Could You Walk on the Water?', which London Records rejected for fear of offending Christians in the US with allusions to Jesus walking on water. Forced to settle on 'Aftermath' without another idea, the band issued two different cover photos for the UK and US editions. The UK version ran over 52 minutes, making it the longest popular music LP up to that point, while the US edition was shortened by substituting four tracks with the single 'Paint It Black'. Despite these compromises, the album topped the British charts for eight consecutive weeks and achieved platinum certification in the US. Critics praised its subversive music and innovation, though some were offended by the derisive attitudes toward female characters. The record is now considered the band's first classic album and a pivotal moment that pioneered darker psychological content later explored by glam rock and British punk.

Did You Know?

• 'Paint It Black' was credited to Jagger/Richards; the distinctive sitar riff was developed through a collaborative arrangement, not improvised solely by Brian Jones.
• The UK version of 'Aftermath' had a runtime of over 52 minutes, but it was not the longest popular music LP up to that point—Bob Dylan's 'Blonde on Blonde' (released May 1966) is longer at about 72 minutes.
• Brian Jones experimented with the Japanese koto and Appalachian dulcimer on this album, instruments not usually associated with popular music at the time.
• The original working title 'Could You Walk on the Water?' was rejected by Decca Records (and its US subsidiary London Records) due to fears of offending Christian audiences.

Artistic Breakthrough and Musical Innovation

'Aftermath' marks the Stones' transition from interpreters of blues covers to innovators of original art. Every song is credited to Jagger and Richards, ending their reliance on outside material. Brian Jones played a crucial role in shaping the album's texture by introducing instruments rarely heard in pop music: the sitar, Appalachian dulcimer, Japanese koto, and marimbas. These exotic sounds blended with standard guitar and harmonica work, pushing the band's style beyond Chicago blues into diverse territories including folk, country, psychedelia, Baroque, and Middle Eastern influences. This expansion of chords and stylistic elements created a complex sonic landscape that matched the sophistication of contemporaries like the Beatles.

Lyrical Themes and Cultural Rebellion

The lyrics on 'Aftermath' reflect intense personal turmoil, including love affairs, internal group friction, and the pressures of touring. Jagger and Richards explored psychodramatic themes of power, dominance, obsession, and modern society through dark, sarcastic narratives. Women often appear as central but criticized figures in these tales, a stance that alienated conservative listeners while resonating with the disenfranchised youth culture of Swinging London. The album captured the values of the 1960s counterculture, moving away from the Establishment's hypocrisies. This subversive approach solidified the band's rebellious image and introduced psychological depth that would influence future genres like glam rock and punk.

Production Challenges and Release Controversy

Creative control issues plagued the album's launch, starting with the title dispute. London Records rejected 'Could You Walk on the Water?' over religious sensitivities in the US market, leaving the band to reluctantly choose 'Aftermath'. This lack of agency extended to packaging, resulting in two different cover photos for different regions. Furthermore, industry norms dictated a shorter runtime for American audiences; the UK release spanned over 52 minutes, while the US version replaced four tracks with 'Paint It Black' to fit the preference for shorter LPs. Despite these external constraints and the band's bitterness over the compromises, the final product remained a cohesive artistic statement.

Commercial Success and Enduring Legacy

Upon release in April and June 1966, 'Aftermath' was an immediate commercial hit, topping the UK albums chart for eight weeks and earning platinum status from the RIAA in the US. It stood as a rival to the Beatles' 'Rubber Soul', reflecting the burgeoning counterculture and attracting thousands of new fans. While some critics and listeners were offended by the album's treatment of women, its musical innovation was widely acclaimed. Today, it is regarded as the most important of the Stones' early works and their first classic album, frequently appearing on lists of the greatest albums ever made.