Records, who feared the allusion to Jesus walking on water would provoke a negative response from Christians. The title controversy embroiled the Stones in a conflict with Decca, delaying Aftermaths release from March to April 1966. Oldham had also proposed the idea of producing a deluxe gatefold featuring six pages of colour photos from the Stones' recent American tour and a cover depicting the band walking atop a California reservoir in the manner of "pop messiahs on the Sea of Galilee", as Davis describes. Rejected by Decca, the packaging was used instead for the US version of Big Hits, albeit with a cover showing the band standing on the shore of the reservoir. According to Davis, "in the bitterness (over lack of control of their work) that followed, the album was called Aftermath for want of another concept." Rolling Stone discerns a connection between the final title and themes explored in the music: "Aftermath of what? of the whirlwind fame that had resulted from releasing five albums in two years, for one thing... And of hypocritical women". In Norman's view, an "aftermath" of the earlier title's "sacrilegious reference to the most spectacular of Christ's miracles" is "the very thing from which their God-fearing bosses may well have saved them", effectively avoiding the international furore that John Lennon created with his remark, in March, that the Beatles are "more popular than Jesus". The front cover photo for Aftermaths British release was taken by Guy Webster and the cover design was done by Oldham, credited as "Sandy Beach". Instead of the elaborate essay that Oldham usually supplied for the Stones' albums, the liner notes were written by Hassinger and were a straight commentary on the music. Hassinger wrote in part: "It's been great working with the Stones, who, contrary to the countless jibes of mediocre comedians all over the world, are real professionals, and a gas to work with." For the cover image, close-ups of the band members' faces were diagonally aligned against a pale-pink and black coloured background, and the album title was cut in half across a line break. The back of the LP featured four black-and-white photos of the group taken by Jerry Schatzberg at his photographic studio in New York in February 1966. Jones was vocal in his dislike of Oldham's design when interviewed by Melody Maker in April. For the American edition's cover, David Bailey took a