![]() Like The Beatles’ Revolver, The Beach Boys’ Pet Sounds, and Bob Dylan’s Blonde on Blonde (all released in mid-1966), Aftermath was an evolutionary step not only in the band’s development, but in the vocabulary of rock music in general. When asked at a press conference a couple of days earlier what the difference was between the Beatles and the Stones, an irritated Mick Jagger said that one band had five people and the other had four, but the scene in Lynn-replicated a handful of times throughout the tour-pointed toward a fundamental difference: The Beatles talked about revolution, and the Stones seemed to revel in personifying it. As it rained, the fans in Lynn were tear-gassed by cops as they rushed the stage. They were measurably famous now: chart success, big advances, new cars, country houses. The week The Rolling Stones released Aftermath in the US, the band touched down in New York for a month-long tour starting in the industrial city of Lynn, Massachusetts.
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