Recorded & mixed:
December 3-8, 1965: RCA Studios, Los Angeles, USA
March 6-9, 1966: RCA Studios, Los Angeles, USA

Producer: Andrew Oldham
Engineer: Dave Hassinger
Released: April 1966
Original label: Decca Records

Contributing musicians: Mick Jagger, Keith Richards, Charlie Watts, Bill Wyman, Brian Jones, Ian Stewart, Jack Nitzsche.

Mother's Little Helper
Stupid Girl
Lady Jane
Under My Thumb
Doncha Bother Me
Going Home
Flight 505
High and Dry
Out of Time
It's Not Easy
I Am Waiting
Take It Or Leave It
Think
What to Do

What are your thoughts on this album?

The best version by far.

Also interesting to compare the track listing to the first version of Aftermath (Could You Walk On Water) : [www.rollingstonesnet.com]

Great album. Reasonable mixture of blues, rock and experiments.

Although, Goin' Home could be a bit shorter . If they would also include Paint It, Black on the UK version this would be their best album .



The best stereo mix ever.



Edited 1 time(s). Last edit at 2015-06-05 12:35 by ironbelly.

The biggest step forward the band ever made in their carreer, if you ask me.
Not only the first album to contain only Jagger/Richard compositions, but also the album
where Brian shifted from being a blues purist to a creative multi instrumentalist.
Maybe both transitions stimulated each other, maybe it was coincidence, but the results
are great. This album is definitely on my list of those I can listen to on a daily basis.

About the song writing: what a great collection catchy tunes! A starting rock band could
choose any of these songs to cover and have a chance of a major world wide breakthrough.
Besides the music being catchy, the lyrics of many songs must have hit the world quite
hard at the time. Stupid girl, Under my thumb, Mothers Little Helper. Not exactly
the stuff to break a young girls heart. Pop music? The tunes might sound poppish,
the lyrics sure aren't.

From now on we're about to get a lot more self written songs from the band on their
albums. And aren't we blessed? Who needs warmed up Sam Cooke or Drifters' songs when
there's such great songs coming from the band itself?

Just as long as the guitar plays, let it steal your heart away

Quote
ironbelly
The best stereo mix ever.

Yes, if you like the to hear just the singer (and one guitar) i one channel, everything else in the other. That's the case for Mother's Little Helper.

I guess that was the right way to use the stereo technique those days. Not just the Stones, they all did.
Personally I prefer a more balanced stereo mix. Especially if you listen to the music in headphones.

Quote
Thommie

Quote
ironbelly
The best stereo mix ever.

Yes, if you like the to hear just the singer (and one guitar) i one channel, everything else in the other. That's the case for Mother's Little Helper.

I guess that was the right way to use the stereo technique those days. Not just the Stones, they all did.
Personally I prefer a more balanced stereo mix. Especially if you listen to the music in headphones.

I think he means the stereo mix in that particular release.

Quote
DandelionPowderman

Quote
Thommie

Quote
ironbelly
The best stereo mix ever.

Yes, if you like the to hear just the singer (and one guitar) i one channel, everything else in the other. That's the case for Mother's Little Helper.

I guess that was the right way to use the stereo technique those days. Not just the Stones, they all did.
Personally I prefer a more balanced stereo mix. Especially if you listen to the music in headphones.

I think he means the stereo mix in that particular release.

Yes, me too. I have both the German pressing of the UK Version pictured above and the US Version (abkco). If you compare them they´re different.

Now theres an album I would love to hear played live.

Quote
Thommie

Quote
DandelionPowderman

Quote
Thommie

Quote
ironbelly
The best stereo mix ever.

Yes, if you like the to hear just the singer (and one guitar) i one channel, everything else in the other. That's the case for Mother's Little Helper.

I guess that was the right way to use the stereo technique those days. Not just the Stones, they all did.
Personally I prefer a more balanced stereo mix. Especially if you listen to the music in headphones.

I think he means the stereo mix in that particular release.

Yes, me too. I have both the German pressing of the UK Version pictured above and the US Version (abkco). If you compare them they´re different.

And this one isn't the better of them?

We have to keep in mind how the sound guys worked back in the day. The committment they put into making stero mixes was about zilch. It was a good mono mix they wanted. Even in 65/66.

The Stones' 5th best album. Brian's finest moments are captured on this great record.

Quote
Thommie
Yes, me too. I have both the German pressing of the UK Version pictured above and the US Version (abkco). If you compare them they´re different.

Do you mean old ABKCO? That series was mastered funny way, you know.
___________
Musician - April 1987 # 102
Rolling Stones on CD: You Can Get What You Need. By Scott Isler
___________
Still, the digital remastering required for CD gave Oldham a second chance to go over his work. PolyGram, ABKCO's distributor, offered production facilities at its huge CD pressing plant in Hanover, West Germany. Oldham went over the master tapes with a German engineer who "was fortunately the right age. He knew the records," Oldham says. The two developed a sign language to overcome verbal barriers. Oldham would move his palms toward each other - like squeezing an invisible accordion - to signify a narrowing of the stereo soundstage. Another gesture involved moving his hand from the base of his neck over the top of his head; this meant bringing up the vocal.

Sometimes solving one problem created others. With "Nineteenth Nervous Breakdown," for example, Oldham was "totally happy with where the vocal was on the single. But when you put that up with all the clarity that you've got now, you can put the balls back into the tape. Then, for some weird reason, where you put the voice doesn't sound right! It doesn't sound like the right amount of voice; it sounds like not enough. You've got the ball of the track sounding like the other records, and for some reason it's affected the vocal. The requirement is: Lift it up!"

Integration of the sometimes extreme stereo separation was number one on Oldham's list of priorities. He cites the previous stereo mix of "Mother's Little Helper" as a "nightmare." "The guitar sounded like Herman's Hermits. Awful.

{note from Luke - all US issues of this song have been either mono or reprocessed stereo. The true stereo mix has been issued in the UK since 1966. The ABKCO CDs mostly use the fake stereo mix - none are true stereo}

"You'd be a fool to think you could correct a lame song, a lame vocal or a track that doesn't move," Oldham says of his remixing philosophy. "But I was able to remember little things like, 'Yeah, that tambourine really bothers me now'; in Hanover we had a little gizmo where we could tuck it under. It's not so much a technical point. I was saying, 'Look, Keith's guitar comes in there. I can't have this.' I knew on things like Flowers or Between The Buttons I was in shock when I heard the tambourine hanging out of the bottom left-hand corner. It was like - no respect. It was aggravating."

Other surprises were easier to take. Oldham heard bass parts he'd never heard before. On "Ruby Tuesday" he discovered someone counting off at the chorus/verse turnaround. (The conscientious timekeeper - possibly the cellist? - whispers twice, at 1:50 and 3:04 into the song.)

[forums.stevehoffman.tv]
___________
Sure stereo spectrum became narrow after those manipulations .



Edited 1 time(s). Last edit at 2015-06-05 15:46 by ironbelly.

Just in case you'd ever wondered which version of "Yes Sir, That's My Baby" that Jack Nitzsche was working on when he met the Stones (as mentioned in his sleeve notes for "Aftermath" ):



Edna Wright (lead) with Darlene Love, Brian Wilson, Sonny and Cher, Jackie deShannon, The Blossoms, Albert Stone and "the guy singing bass was a black guy in the lobby"
That was also the session where I met The Rolling Stones, Andrew Oldham called
me and asked if they could come. All these people were in the the studio recording
and The Stones walked in. Wow, ... but nobody cared"
Jack Nitzsche (Bomp no. 16, Winter 76)

[www.45cat.com]

[www.45cat.com]


"As we say in England, it can get a bit trainspottery"



Edited 1 time(s). Last edit at 2015-06-05 16:10 by Deltics.

Interesting read, Ironbelly!

Integration of the sometimes extreme stereo separation was number one on Oldham's list of priorities. He cites the previous stereo mix of "Mother's Little Helper" as a "nightmare." "The guitar sounded like Herman's Hermits. Awful."

I can fully understand Andy!

For the time being, no comment from me in these albums threads, apart from this only: I want to resist any shortening of "Goin' Home". Full length of this song contributes to make AFTERMATH the album it is.At the same time, a link back on the R&B band they had been, and by virtue of the pure length and the jam approach and feeling, with the old term, a progressive pop characteristic. The album not simply a pop album, but an experimental pop album with a R&B basis and outspring. An album something in that vein.

Remarkable.

6 days in Dec; 4 days in March; released in April.

14 songs recorded and mixed in 10 days!

No doubt some state-of-the-art little yellow (or white?) pills helped fuel that burst of activity!

UK release obviously a fuller, better album in terms of the tracks.

The songs are a mixed bag of styles which gives it an edge, but nothing truly great and for me underwhelming (especially in comparison to other classic records from the era such as Rubber Soul, Revolver, Pet Sounds, etc.). For the most part Aftermath is distinctive and bolstered not by Jagger-Richards songs but by Brian Jones' musicianship (who obviously shines on this his 'showcase' album).

The tracks that stand out and make it a fun listen are the catchy/snarky songs (Mother's Little Helper, Out of Time, What to Do) and the rhythm & blues/country numbers (Doncha Bother Me, High and Dry, It's Not Easy, Flight 505). But the two standout tracks for me are classic bluesy instrumental Going Home and especially the great, surreal Under My Thumb.

So I'd say Rubber Soul ass kicks Aftermath in terms of the songs, but the musicianship and production (not just by Brian Jones but by the whole band) saves it from obscurity. Still, it did mark a turning point for the Stones in much the same way the song 'Satisfcation' did.



Edited 3 time(s). Last edit at 2015-06-05 18:36 by nightskyman.

Original photo by Guy Webster


"As we say in England, it can get a bit trainspottery"

Quote
ironbelly
Great album. Reasonable mixture of blues, rock and experiments.

Although, Goin' Home could be a bit shorter . If they would also include Paint It, Black on the UK version this would be their best album .

Goin' Home IMO is great for being drawn out so extensively. They sort of set a new standard back then how an album could be structured.
My favourite part of it comes at 9:52 when Mick drops to that spooky voice "I'm gettin' out..." It would be nice to see Paint It Black included,
even more so the B-side Long Long While. One of their greatest ballads.

Quote
marcovandereijk
The biggest step forward the band ever made in their carreer, if you ask me.
Not only the first album to contain only Jagger/Richard compositions, but also the album
where Brian shifted from being a blues purist to a creative multi instrumentalist.
Maybe both transitions stimulated each other, maybe it was coincidence, but the results
are great. This album is definitely on my list of those I can listen to on a daily basis.

About the song writing: what a great collection catchy tunes! A starting rock band could
choose any of these songs to cover and have a chance of a major world wide breakthrough.
Besides the music being catchy, the lyrics of many songs must have hit the world quite
hard at the time. Stupid girl, Under my thumb, Mothers Little Helper. Not exactly
the stuff to break a young girls heart. Pop music? The tunes might sound poppish,
the lyrics sure aren't.

From now on we're about to get a lot more self written songs from the band on their
albums. And aren't we blessed? Who needs warmed up Sam Cooke or Drifters' songs when
there's such great songs coming from the band itself?

This is an excellent analysis. I was going to write something, but this is better than whatever I would have written.

Aftermath is a great example of the unique contributions of Brian; they were never able to replace him properly.

Quote
Turner68

Quote
marcovandereijk
The biggest step forward the band ever made in their carreer, if you ask me.
Not only the first album to contain only Jagger/Richard compositions, but also the album
where Brian shifted from being a blues purist to a creative multi instrumentalist.
Maybe both transitions stimulated each other, maybe it was coincidence, but the results
are great. This album is definitely on my list of those I can listen to on a daily basis.

About the song writing: what a great collection catchy tunes! A starting rock band could
choose any of these songs to cover and have a chance of a major world wide breakthrough.
Besides the music being catchy, the lyrics of many songs must have hit the world quite
hard at the time. Stupid girl, Under my thumb, Mothers Little Helper. Not exactly
the stuff to break a young girls heart. Pop music? The tunes might sound poppish,
the lyrics sure aren't.

From now on we're about to get a lot more self written songs from the band on their
albums. And aren't we blessed? Who needs warmed up Sam Cooke or Drifters' songs when
there's such great songs coming from the band itself?

This is an excellent analysis. I was going to write something, but this is better than whatever I would have written.

Aftermath is a great example of the unique contributions of Brian; they were never able to replace him properly.

I'd say that the results are good, but not great. Yes, Brian Jones musicianship is good and I think saves the album from obscurity, but the songs themselves are so-so. The 4 best/stand out tracks (song and recording/production) that give it some distinction are 'Mother's Little Helper,' 'Under My Thumb,' 'Out of Time' and 'Going Home.' The others are OK, but forgettable (including fillers such as 'Think,' 'Take it or Leave it,' and 'I am Waiting').

Otherwise, you know, there are other albums released during the same period that are equal to if not better for songs, musicianship, cover art and production (Beatles - Rubber Soul & Revolver, Beach Boys - Pet Sounds, Simon & Garfunkel - Sounds of Silence, Dylan - Blonde on Blonde, Kinks - Face to Face and even The Who's U.S. album 'A Quick One' is comparable). I don't think the Stones really hit their stride in terms of albums till Beggars Banquet.



Edited 4 time(s). Last edit at 2015-06-05 19:02 by nightskyman.

Quote
LongBeachArena72
Remarkable.

6 days in Dec; 4 days in March; released in April.

14 songs recorded and mixed in 10 days!

No doubt some state-of-the-art little yellow (or white?) pills helped fuel that burst of activity!

Crazy isn't it?

Quote
nightskyman
Otherwise, you know, there are other albums released during the same period that are equal to if not better for songs, musicianship, cover art and production (Beatles - Rubber Soul & Revolver, Beach Boys - Pet Sounds, Simon & Garfunkel - Sounds of Silence, Dylan - Blonde on Blonde, Kinks - Face to Face and even The Who's U.S. album 'A Quick One' is comparable). I don't think the Stones really hit their stride in terms of albums till Beggars Banquet.

Yes, totally agree.

"aftermath" is the BEST Stones-Album in the last 51 Years!!!

Quote
Witness
For the time being, no comment from me in these albums threads, apart from this only: I want to resist any shortening of "Goin' Home". Full length of this song contributes to make AFTERMATH the album it is.At the same time, a link back on the R&B band they had been, and by virtue of the pure length and the jam approach and feeling, with the old term, a progressive pop characteristic. The album not simply a pop album, but an experimental pop album with a R&B basis and outspring. An album something in that vein.

+1

1966 was a great year for the stones also like so many times of the 60,s represented a period of change.

they didnt produce and release as much in 1966 as they had done the previous couple of years but thier overall sound was changing from blues to a more classic sound with brian showing the true creative talent he was.

aftermath itself however is full of filler which if left out and replaced with the singles and b-sides of the time would have made for a real classic.

the stones did make some great songs in 1966

paint it black
19th nervous breakdown
have you seen your mother baby
lady jane
as tears go by
under my thumb
take it or leave it
i am waiting
mothers little helper
stupid girl

is what aftermath could have been, instead of the filler which drags it down.

Anybody have a clue what the significance of the title "Aftermath" is ? What was the big event that this is the Aftermath of? The previous record? The amazing tours of 1965? The Stones first use of drugs?

peace

Quote
LongBeachArena72

Quote
nightskyman
Otherwise, you know, there are other albums released during the same period that are equal to if not better for songs, musicianship, cover art and production (Beatles - Rubber Soul & Revolver, Beach Boys - Pet Sounds, Simon & Garfunkel - Sounds of Silence, Dylan - Blonde on Blonde, Kinks - Face to Face and even The Who's U.S. album 'A Quick One' is comparable). I don't think the Stones really hit their stride in terms of albums till Beggars Banquet.

Yes, totally agree.

aftermath is better than anything the stones have done since 1972.

might be wrong but i think aftermath is a reference to what happens after an all out nuclear attack.

in the 50,s and 60,s the cold war was ongoing with usa and the soviets building bigger bombs that could destroy the planet, the cuba crisis being a major event in the cold war, it seemed that a nuclear war was a distinct possibility and a major theme of those days.

one of the stones early albums makes reference to getting higher than the bomb and taking this record with you.

Quote
Naturalust
Anybody have a clue what the significance of the title "Aftermath" is ? What was the big event that this is the Aftermath of? The previous record? The amazing tours of 1965? The Stones first use of drugs?

peace

Satisfaction?

Quote
Turner68

Quote
LongBeachArena72

Quote
nightskyman
Otherwise, you know, there are other albums released during the same period that are equal to if not better for songs, musicianship, cover art and production (Beatles - Rubber Soul & Revolver, Beach Boys - Pet Sounds, Simon & Garfunkel - Sounds of Silence, Dylan - Blonde on Blonde, Kinks - Face to Face and even The Who's U.S. album 'A Quick One' is comparable). I don't think the Stones really hit their stride in terms of albums till Beggars Banquet.

Yes, totally agree.

aftermath is better than anything the stones have done since 1972.

Yes, it is.