Covers Of The Rolling Stones (Aftermath)

In April 1966 the Rolling Stones released “Aftermath”, their 4th (well, in the UK anyway) LP, a marked departure from the previous three in that all 14 tracks were composed by Mick Jagger & Keith Richards. The repertoire of every British Beat Boom group was a mix of Rock & Roll & R&B favourites, often new US songs were quickly covered & became bigger hits than the original on both sides of the Atlantic. After a couple of years this was a little played out & a second wave of groups (the Kinks, the Who) included talents who, like Lennon & McCartney, wrote their own songs. “Aftermath” came between “19th Nervous Breakdown” & “Paint It Black”, self-penned smashes. Now there were these fresh potential hits. Just like new LP’s by those Beatles & that Bob Dylan there was a queue, a long one, to cover these songs.

 

 

Image result for chris farlowe thinkChris Farlowe had an inside line to the new songs by Mick & Keith. In 1965 the singer signed to the new Immediate record label founded by Andrew Loog Oldham, the publicist-turned-Stones manager, by their side in the rapid elevation from “England’s Newest Hitmakers” to one of the biggest groups in the world. Farlowe’s version of “Think” was released as a single in January 1966, four months before “Aftermath”. Produced by Oldham, Jagger & Richards & isn’t that the Stones’ singer on the closing backing vocals, Farlowe’s strong mature voice set off with a brassy, sassy, Soul arrangement. There’s no doubt that Chris had one of the most distinct voices around but his debut LP,  “14 Things to Think About”, is a little heavy on big ballads that had been done better elsewhere rather than the bluesy Soul to which he was more suited. “Think” made the Top 40 in the UK, next time around another “Aftermath” cover & he hit big.

 

Image result for chris farlowe mick jagger“Out of Time” is one of the strongest tracks on “Aftermath”, Brian’s light, imaginative marimba introduction leading into Mick’s restrained vocal & an instantly memorable chorus. Chris, produced by Jagger, gave it the Big Beat treatment & made the UK #1 spot in July 1966. It was perhaps an over reliance on the Stones connection, an easy option, that prevented Farlowe consolidating such a success. There were three more 45’s by Jagger-Richards, “Ride On Baby”, “Yesterday’s Papers” & “Paint It Black” which all missed the Top 30. He got first crack at Mike d’Abo’s “Handbags & Gladrags”, a great song which sure sounded like a hit but wasn’t. When Immediate folded in 1970 he became a voice for hire with Prog bands Colosseum & Atomic Rooster. In 1966 groups performing original material was the thing, that’s why the Stones moved away from the R&B covers. British singers like Joe Cocker & Rod Stewart were appreciated for their individual interpretations of discerningly selected material. This came a little too late for Chris Farlowe.

 

 

Related imageTime was when the Searchers were bigger than the Stones. After an apprenticeship which, like the Beatles, included a residency at the Star Club in Hamburg, they were caught up in the Mersey Mania &, under the guidance of producer Tony Hatch at Pye Records, 3 of their first 4 singles were UK #1 hits (the 4th “Sugar & Spice” was only #2). The departure of bassist Tony Jackson, lead vocals on the earliest hits, had no real effect & with 3 US Top 20 songs in 1964 the group were part of the British Invasion. Their harmonies & John McNally’s 12-string jangle were an influence on the upcoming Folk Rockers. “When You Walk in the Room” was a perfect Pop record & there were a few of those around in 1964. A dependence on other people’s songs in an industry where you were as only as good as your last record meant that it was difficult to keep up.

 

Image result for searchers take it or leave itAfter 1965’s “Goodbye My Love” the Searchers were no longer hitting the UK Top 10 & when drummer/harmoniser Chris Curtis, on & off stage a strong personality, left the group they lost a little individuality. They were looking for more modern material but covering a Stones song was still a little surprising. “Take It or Leave It”, gentler than the original & pleasant enough, just failed to reach the UK Top 30. Subsequent singles, in a variety of styles, made less impression & the Searchers were finding gigs on the cabaret circuit. Later these progenitors of Power Pop found a new, deserved lease of life with Sire Records. I caught a show of theirs in the early 80’s before an appreciative young audience. They did all the old hits, “Needles & Pins” was demanded twice, an evening of melodic Mersey Beat was thoroughly enjoyed by all.

 

 

Related image“Would you let your daughter marry a Rolling Stone?”. Andrew Loog Oldham’s Situationist mischief positioned the group as the evil twins of the Beatles. Long hair, being rude to journalists & peeing in public was rebellious enough but the band’s recreational drug use made them a target for the Sunday tabloids & Scotland Yard. After a raid in February 1967 the following June Mick & Keith were sentenced to 3 months & a year in prison respectively. Meanwhile Brian had been charged with possession in May. The Who, prompted by Pete Townshend, pledged their support by rush-releasing a double A-side of Jagger-Richards songs, the first, they said, of a monthly series for as long as the pair faced doing time.

 

Image result for the who under my thumb

 

“Under My Thumb”, possibly the most misogynistic of the “Aftermath” songs (there’s a few but the Stones disliked everybody not just women) was covered first by Wayne Gibson, a favourite in the Soul clubs up North & finally a hit in 1974. In the US rock & roller Del Shannon made a pretty good stab at it. Released on June 30th 1967 the Who’s version is a rush propelled by Keith Moon’s drums while, with bassist John Entwistle away on honeymoon, Pete plays everything else including those great stabs of fuzz guitar. The single, coupled with “The Last Time” was both the first & last in the series as in July Keith’s conviction was overturned & Mick given a conditional discharge. Still, it’s the thought that counts & it was a pretty great thought.

 

 

Related imageOK, there’s room for one more & this is from 1979, hardly jumping on the Stones bandwagon but my what a track. Ellen Foley had duetted with someone called Meatloaf on “Paradise By the Dashboard Light” from something called “Bat Out of Hell” which I believe was quite a big deal. Like many attractive, intelligent American women she was an Anglophile & chose two experienced British musicians to produce her debut LP “Night Out”. Ian Hunter & Mick Ronson were touring & recording together after leaving successful bands, Mott the Hoople & the Spiders From Mars respectively, & they did a fine job.

 

Image result for ellen foley mick ronson

Ronson, Foley, Jones, Hunter.

Mick Ronson (that’s the great…) was no stranger to a crunchy Keith Richards riff,  there’s  “Rebel Rebel”, “Jean Genie” & that’s just a start. “Stupid Girl” is a full-on Glam assault & it’s great to hear. In fact Ronno’s guitar flourishes & perfect solos allied to Hunter’s attachment to a bit of Rock & Roll drama makes for a most listenable album. Ellen became romantically involved with Mick Jones off of the Clash & on “Spirit of St Louis” (1981), recorded after “Sandanista”, she was backed by the band. With 6 Strummer/Jones songs included that’s definitely one to check out.

Aftermath (Rolling Stones)

In 1966 the Rolling Stones released their first LP to consist of all Jagger/Richard compositions. The early records had been reliant upon the Chicago blues and Chuck Berry songs which had formed their repertoire on the London club scene. 1965’s “Out Of Our Heads” included  compositions by Sam Cooke, Marvin Gaye, Barbara Lynn, even Sonny Bono. So “Aftermath” was a move forward for the band. The Beatles, Bob Dylan & other new musicians wrote their own material, it was time for the Stones to  contribute their lyrical take on a tumultuous decade.

In the UK both the Beatles and the Stones did not put their singles onto LPs. “Aftermath” was released between “19th Nervous Breakdown” & “Paint It Black”. There is not the same crepuscular density as these singles but there is some pretty good stuff and “Under My Thumb” is one of the best. There is an element of misogyny in more than a few of the early Stones lyrics. This, “Stupid Girl” & “Play With Fire” are all acerbic but the band were sneering at everything in 1966, it was what they did, better than anyone else.

The Stones were still a blues band on “Aftermath”, there was an 11 minute jam to close side one. They were, though, looking for a new sound and on this record they gave Brian Jones free range in the music shop. Brian’s imaginative contribution to this record, like the sitar on “Paint It Black”, introduces touches of psychedelia and the baroque. “Under My Thumb” is propelled by the marimbas, I don’t think they had any of those in the Chess studios at 2120 South Michigan Avenue.

For “Lady Jane” it’s the Appalachian dulcimer! It’s interesting to see the wild men of rock, in their new dandy finery, sitting down to perform a courtly song of Elizabethan chivalry. I never really “got” this song, “I pledge myself to…” what’s all that about  ? The dulcimer…that’s OK, Brian was not writing songs but was playing his part in the band’s developing sounds. The experiments of the next two studio records are often a result of his involvement. By the time of “Beggars Banquet” (just 2 years after “Aftermath”)  Jones was a spent force, marginalised from the band he formed and too stoned to roll. Next time around the band got this mellow sound just right on “Ruby Tuesday”, “Lady Jane” was a step on the way.

The overall quality of the Stones’ songs at this time could be a little patchy. When they got it right though they made some classics and here’s one now.

It’s back to “Ready Steady Go” the 1960s British TV programme that brought the excitement of the music to our living rooms. They had a head start because the Beatles and the Stones were only too eager to appear on something outside of the confines of the standard variety show which was still anchored in the 1950s. The show was very sharp and spoiled for choice by the music explosion in the UK. As an untroubled young boy in 1964 the only thing that could have improved my life would have been allowed to stay up late enough to watch it !

The dulcimer is around again for “I Am Waiting”. This song is less honeyed, a little ominous and one of the best on the record. At this time the Stones were unable to finish most concerts they played because of the hysteria and chaos they induced. They must have been happy to play these new, more polished songs properly. “I Am Waiting” is used very well by Wes Anderson in his movie “Rushmore”. Anderson is obviously an Anglophile when it comes to music, I was pleased and impressed that he’d selected such a quality but more obscure Stones track.

With “Aftermath” and “Between The Buttons” the Rolling Stones were attempting to find their own voice. The records are inevitably compared to “Rubber Soul” and “Revolver” and come up short against two songwriters at the top of their game. Jagger and Richard did get to it by asserting their blues roots and becoming lyrically more sophisticated. From “Beggars Banquet” to “Exile On Main St” they made records for the ages. These two earlier works are pop experiments and sometimes not successful. They are though pretty pretty good.