Aftermath is where The Rolling Stones truly started to carve out their own identity, moving beyond their blues-cover roots and proving they could craft an entire album of original material that stands on its own. The songwriting is sharper, the instrumentation more adventurous, and there’s a sense of confidence throughout that makes it feel like a turning point for the band. Tracks like Paint It, Black and Under My Thumb are undeniable classics, full of dark energy and iconic riffs, while deeper cuts like Lady Jane and I Am Waiting show a more delicate, baroque-inspired side that adds some unexpected texture. Brian Jones, in particular, is the album’s secret weapon, adding marimba, dulcimer, and sitar to the mix, giving the record a distinctive edge that sets it apart from the standard blues-rock fare of the time. That said, Aftermath isn’t without its flaws. At 53 minutes, it’s a bit long for an album of this era, and not every track justifies its runtime—some of the bluesier numbers drag a little compared to the more inventive moments. Lyrically, it’s got that sneering, rebellious Stones attitude, but songs like Stupid Girl and Under My Thumb lean into a kind of arrogance that hasn’t aged particularly well. Still, the sheer variety and ambition make Aftermath one of the most important albums of their early years. It’s not perfect, but it’s a crucial step forward—one that set the stage for the band’s best work to come.