The Rolling Stones
Aftermath

THE REVIEW

Assuming as a basis that the Rolling Stones have been one of the fundamental groups of popular music, of importance matched by very few others (among them, their "historical rivals" Beatles), and that before their decline and stylistic flattening they had a golden age, well, this album perhaps marks the highest point reached by Mick Jagger, Keith Richards, and Brian Jones (founding member, who died a few years later under still mysterious circumstances).

"Aftermath" is the first album that contains exclusively original songs and the first after the consecration through the famous single "(I can't get no) Satisfaction", the "perfect" song which, according to Roger Daltrey of the Who, condemned them to play for another forty years, and above all the first of the masterpieces that established the global and immortal success of the group, before "Beggar's Banquet", "Let It Bleed", and "Sticky Fingers". The album opens with "Paint It Black", which incidentally marked my infatuation with rock music (I heard it over the end credits of "Full Metal Jacket", and if good old Stanley chose it, it means it has something special. . .) and I still consider it my favorite track. Musically, this song is imbued with an unparalleled power, which four decades of hard rock, heavy metal, and other increasingly aggressive styles have not managed to surpass, nor probably ever will: listen to the covers by Judas Priest and Marilyn Manson to believe it. On a relatively simple melodic skeleton, characterized by a sharp sitar played by Jones, the Stones explode with an overwhelming and perfect blues energy, almost oceanic. (Speaking of covers, I recommend also seeking out those by Incubus, REM, U2, and Doors to simultaneously understand the enormous potential of the song and the magical, indescribable insuperability of the original.)

The only track that can hold its own against "Paint it Black" is the magnificent "Under My Thumb", supported by one of Jagger's best and most "acted" performances. In addition, pieces of varying quality, different styles (r&b, blues-rock, psychedelia, elements of folk and jazz), and above all different topics and sentiments: "Going Home" on the theme of travel, the apocalyptic "Flight 505" and the hopeful "I Am Waiting", the misogynistic "Stupid Girl" and the sarcastic "Mother's Little Helper" about the frustrating condition of women crushed by a male-dominated society who need the little helper of tranquilizers and the like to get by. Along with "Out Of Time", the latter is one of the two gems contained in the CD reissue of the album, which should be approached with caution because it does not contain "Paint it Black".

In conclusion, it is one of the most significant and precious albums of the Rolling Stones' discography (which is saying something), historically crucial, partly tarnished by time, partly immortal.