The Rolling Stones recorded the album “Aftermath” at RCA Studios in California in December 1965 and March 1966, during breaks between their international tours. It was released in the UK on 15 April 1966 by Decca Records and in the US on 2 July by London Records. The album is considered by music scholars to be an artistic breakthrough for the Rolling Stones. It is their first album to consist entirely of original compositions, all credited to Mick Jagger and Keith Richards. Brian Jones emerged as a key collaborator and experimented with instruments not usually associated with popular music, including the sitar, Appalachian dulcimer and Japanese koto….

The Rolling Stones’ Aftermath: A Bold Artistic Leap

Released in 1966, Aftermath marked a significant turning point in the Rolling Stones’ evolution—from blues interpreters to pioneering songwriters in their own right. Recorded at RCA Studios in Hollywood during December 1965 and March 1966, the sessions were squeezed in between stops on their hectic international touring schedule. Despite the fragmented process, the resulting album would come to be seen as one of their most important early artistic statements.

Aftermath is historically notable as the first Rolling Stones album to consist entirely of original material. Every track was penned by Mick Jagger and Keith Richards, signaling a newfound confidence in their songwriting partnership and a desire to step out from under the looming shadow of American blues and R&B covers that had defined their early work. Songs like “Mother’s Little Helper,” “Under My Thumb,” and “Lady Jane” showcased their expanding lyrical range—tackling themes of social anxiety, power dynamics, and romantic disillusionment with a mix of wit, irony, and edge.

A major creative force on the album was Brian Jones, who, while no longer central to songwriting, elevated the group’s sound through his instrumental experimentation. On Aftermath, Jones pushed the Stones into new sonic territory by incorporating non-traditional rock instruments such as the sitar, Appalachian dulcimer, and Japanese koto. These exotic textures gave tracks like “Paint It, Black” (released separately as a single) and “I Am Waiting” an innovative, almost psychedelic flavor that foreshadowed the musical experimentation of the late ’60s.

The UK version of Aftermath, released on April 15, 1966, by Decca Records, ran longer and featured a different tracklist compared to the US version, which was issued by London Records on July 2. Despite the variations, both editions captured the Rolling Stones at a moment of crucial artistic growth—embracing studio experimentation, social commentary, and a distinct sound that moved them closer to rivals like The Beatles in terms of creative ambition.

Aftermath remains a landmark in the Rolling Stones’ discography—not only for what it represented at the time, but for the way it laid the foundation for the classic albums that would follow. It was the sound of a band discovering its voice, and in doing so, redefining the scope of rock music in the 1960s.