Yes, there seems to be a lot of “ in hindsight” opinions in various threads even from people who weren’t around in the original era to HAVE hindsight. Seriously, a person sort of had to be around in whatever era is being discussed sometimes IMO. Someone who could potentially buy the entire Stones catalog in one day, as it stood, say.. in 1990 is certainly gonna have a different perspective of things than someone who bought the albums one at a time as they were released , relative to everything else that was going in that era.
Now, that's what I'm talkin' about! The scene is clean. When I see these photos, I feel like a parent who says "I wish they could stay like this forever." Emulating their heroes. So stylish, yet looking like adults who know how to dress themselves (or hire people who do). I forgave them their hippy look but when Mick entered his jumpsuit period, I was just like all WTF!
Definitely. Yes, there is a lot to be said for that. It matters. It mattered for the Beatles albums of that era as well. The U.S. albums were all we knew, so we are connected to those and they sound perfectly "natural" to us.
The best thing about 66-67 Stones is that they were about to become the best rock and roll band in the world in 1968 with the release of Jumpin’ Jack Flash. And they still are. Before that they were just a good r’n’b band.
Aftermath is for me the Stones' finest moment. But I've always preferred the U.S. versions of Aftermath and Between The Buttons to the UK releases. Flowers is a gem.
They had many hits in this period and most of them are still played regularly on classic rock and/or oldies formatted radio stations. The one big hit (#5 U.K. #9 US in October 66) that radio seems to have largely forgotten is “Have You Seen Your Mother, Baby, Standing In The Shadow?” Not terribly surprising. It certainly doesn’t sound much like anything on Aftermath or Between The Buttons, the two records that sandwich it. Keith finally gets to have the soul influenced horns he’d apparently been wanting to use since “Satisfaction.” The chaotic roar of the instruments, the aggressive vocal delivery, the obscure lyrical content and the picture sleeve for the single all seem designed to draw a line between the generations. The whole sound of the record has the sensation of tuning into a far off scratchy radio station in that moment before your brain can process whether you know the song playing or not. A disorienting feeling. Release the adrenaline!
Yeah I think of Flowers along the same line as The Beatles Yesterday & Today and The Beach Boys 20/20 - maybe not LPs intentionally designed by the bands / not containing all ‘current’ songs, but they’re all pretty darn good!
Re-imagine that studio photo of Macca checking out the rear cover credits of Aftermath and seeing 20 not just 14 Jagger/Richard compositions on their long player!
Really dig this sleeve but was a bit freaked when I was young with Bill Wyman’s graphic physical representation of the B-side: “Because you could stand up if you tried But I wanna see your face when your knees & your legs Are just gonna break down & die And who’s driving your plane? Who’s driving your plane? Are you in control or is it driving you insane?” Fantastic single, really! Deep Dark Baroque Stones.
I think there needs to be a Stones 'Day By Day' book (at least up to 1969) along the lines of the Velvet Underground and Byrds ones Jawbone published! I realize Bill Wyman has practically put as good as out there, and there have been articles in Shindig and Record Collector on this period of 1966-67 specifically, but there is something missing that would follow on in detail from Alan Clayson's 'The Origin Of The Species' book (on the earliest years).
My Obsession backing track 3rd - 11th August, 1966 : Los Angeles, RCA Studios, Hollywood. Stu on piano; instrumental backing track.
Y'all inspired this mornings first spin........ Aftermath 1966 The Rolling Stones UK Decca Stereo Cat: SKL 4786 Unboxed & Grooved Labels
Now onto the next installment...... Between The Buttons 1967 The Rolling Stones UK Decca Stereo Cat: SKL 4852 Unboxed & Grooved Labels
I had to check... I didn't want to buy that Good Times Bad Times book because Terry Rawlings was a name on it and I thought it might be a lot of Who Killed Christopher Robin/Stoned movie type stuff in it (in other words sensationalist tabloidy kinda). I'd still get it if I thought it was up to the quality of Clayson and the 'Day By Day' books I mentioned though (also there's a Monkees one but don't own that one although it seemed quite thorough too). I'll have to see about Massimo Bonano though.
