Aftermath -- usually (and correctly) viewed as the Stones' response to the newfound maturity of the Beatles'
Rubber Soul -- is notable for a number of reasons, not the least being that it was the group's first album in stereo (courtesy of legendary American engineer Dave Hassinger). It was also the Stones' first completely self-penned LP, with
Mick Jagger and
Keith Richards rising to the occasion with a series of brilliantly commercial -- and occasionally nasty -- songs, ranging from the delicately Elizabethan "Lady Jane" to the Dylanesque "Mother's Little Helper."
Aftermath is also the album that revealed Brian Jones as the band's secret weapon; apparently he was able to play just about any exotic instrument he got his hands on, and his touches are all over the album, particularly in the ironic lilt his marimba lines add to the otherwise malevolent "Under My Thumb." Finally, the concluding blues jam, "Goin' Home," was at the time the longest rock track ever recorded, and though not completely successful as such, there's no doubt that then embryonic San Francisco psychedelic bands like the
Jefferson Airplane and the
Grateful Dead took it as a template for much of their own work.