THE ROLLING STONES AFTERMATH UK IMPORT LP on DECCA EXCELLENT PLUS 1966
$
36
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Description
Here is an EXCELLENT PLUS! LP by THE ROLLING STONES titled AFTERMATH. It is an UK IMPORT! pressing on the DECCA “FFSS” label, catalog #SKL 4786 in STEREO sound and released in 1966. The vinyl is in EXCELLENT PLUS! condition shiny and black with a few wispy non-sounding hairlines and should have excellent playback. The cover is in EXCELLENT PLUS! condition with a few typical creases in the thin cardboard, light corner and edge wear. It is an opportunity to purchase this UK IMPORT! LP by THE ROLLING STONES in this condition. It’s a true gem for the BRITISH INVASION / BLUES-ROCK / ROCK collector! Email me with any questions and be sure to look at the pic’s. I DO NOT ACCEPT BIDS FROM OR MAIL TO SOUTH AMERICA, SOUTH AFRICA, ITALY & OTHER COUNTRIES. IF YOU ARE NOT FROM THE USA CONTACT ME BEFORE BIDDING! International bidders can email me for shipping rates. SHIPPING IN THE US IS $4.00 for MEDIA MAIL. I COMBINE SHIPPING SO US BUYERS PLEASE WAIT FOR INVOICE! Thanks for Looking & Good Luck!
Music Review from AllMusic.com by Richie Unterberger
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. Other classics included the jazzy "Under My Thumb," where Jones added exotic accents with his vibes, and the delicate Elizabethan ballad "Lady Jane," where dulcimer can be heard. Some of the material is fairly ho-hum, to be honest, as Mick Jagger and Keith Richards were still prone to inconsistent songwriting; "Goin' Home," an 11-minute blues jam, was remarkable more for its barrier-crashing length than its content. Look out for an obscure gem, however, in the brooding, meditative "I Am Waiting."
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