[18] According to Steven Hyden, Jagger's songwriting explores "sex as pleasure, sex as power, love disguised as hate and hate disguised as love". 2), Time Waits for No One: Anthology 1971–1977, Jump Back: The Best of The Rolling Stones, Rolled Gold: The Very Best of the Rolling Stones, Rolled Gold+: The Very Best of the Rolling Stones, Live at the Checkerboard Lounge, Chicago 1981, https://en.wikipedia.org/w/index.php?title=Aftermath_(Rolling_Stones_album)&oldid=984069985, Short description is different from Wikidata, Certification Table Entry usages for United Kingdom, Pages using certification Table Entry with shipments figures, Certification Table Entry usages for United States, Pages using certification Table Entry with sales footnote, Pages using certification Table Entry with shipments footnote, Creative Commons Attribution-ShareAlike License, This page was last edited on 18 October 2020, at 00:13. [157] Colin Larkin, who rates the British version higher in his Encyclopedia of Popular Music (2011), describes Aftermath as "a breakthrough work in a crucial year" and an album that demonstrates a flexibility in the group's writing and musical styles as well as "signs of the band's inveterate misogyny". Women in music are frequently fetishised and objectified both in song lyrics and in real life, viewed purely in relation to men and through their impact on the male ego. [62] While songs such as "Stupid Girl" and "Under My Thumb" may be misogynistic, they are also interpreted as dark representations of the narrator's hateful masculinity. In response to the lack of creative control, and without another idea for the title, the Stones bitterly settled on Aftermath, and two different photos of the band were used for the cover to each edition of the album. [71] According to Perone, "I Am Waiting" suggests paranoia on the narrator's part and that societal forces are the cause, yet the song presents a degree of resignation in comparison to the album's other commentaries on class- and consumer-focused society. "High and Dry" expresses a cynical outlook on a lost romantic connection, while "Under My Thumb", "Out of Time" and "Think" show how "a man's revenge on his mistress (or perhaps wife) becomes a source of real pleasure". The French magazine Rock & Folk included Aftermath in its 1995 list of "The 300 Best Albums from 1965-1995".

AV Festival 2016: Meanwhile, what about Socialism? The band's misgivings about their rock stardom are also touched on, including relentless concert tours in "Goin' Home" and fans who imitate them in "Doncha Bother Me", in which Jagger sings, "The lines around my eyes are protected by copyright law". You’ve run out of free articles. She has written on music, politics, popular culture and literature for the Guardian, Noisey, the Quietus and New Statesman. It brings together stories from journalists, critics, musicians and fans about artists or songs we love (or used to love) despite their questionable or troubling gender politics, and looks at how these issues interact with race, class and sexuality. "[64] As Perone explains: The individual songs seem to ping-pong back and forth between themes of love/desire for women and the desire to control women and out-and-out misogyny. [42] Margotin and Guesdon go further in saying the album shows the Stones to be free from influences that had overwhelmed their earlier music, specifically the band's Chicago blues roots. 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