It's difficult for American listeners to remember this, but like the recordings of the Beatles and nearly all other British groups of the '60s, the Rolling … Full DescriptionStones' first several albums did not make it across the Atlantic in one piece. Prior to ABKCO's comprehensive 2006 reissue program, the US versions of the Stones' early albums were the de facto standards on CD, but particularly in the case of 1966's AFTERMATH, the UK album was very different.
The track lineup is shuffled and expanded to create a much different mood. "Paint It Black" is gone, replaced as the opening track by the snotty social commentary of "Mother's Little Helper," which–when followed by "Stupid Girl," "Lady Jane," "Under My Thumb," and "Dontcha Bother Me"–is like a pentathlon of punky misogyny capped by the grinding blues jam "Goin' Home." Side Two is more emotionally varied but just as musically far-reaching, adding the poppy "Take It Or Leave It" and "What To Do" to an already strong set of tunes centered on the stunning full-length version of "Out of Time" that for some reason had never been released in the United States before this belated reissue.
The Rolling Stones finally delivered a set of all-original material with this LP, which also did much to define the group as the bad boys of rock & roll with their sneering attitude toward the world in general and the female sex in particular. The borderline misogyny could get a bit juvenile in tunes like "Stupid Girl." But on the other hand the group began incorporating the influences of psychedelia and Dylan into their material with classics like "Paint It Black," an eerily insistent number one hit graced by some of the best use of sitar (played by Brian Jones) on a rock record.
The Rolling Stones are an English rock band formed in London, England, in 1962. The first stable line-up consisted of Brian Jones (guitar, harmonica), Mick Jagger (lead vocals), Keith Richards (guitar, backing vocals), Bill Wyman (bass), Charlie Watts (drums), and Ian Stewart (piano)…
Flowers was dismissed as a rip-off of sorts by some critics, since it took the patchwork bastardization of British releases for the American audience to extremes, gathering stray tracks from the U.K. versions of Aftermath and Between the Buttons, 1966-1967 singles (some of which had already been used on the U.S. editions of Aftermath and Between the Buttons), and a few outtakes.