sixth American studio album. In the UK, Aftermath topped the Record Retailer LPs chart (subsequently adopted as the UK Albums Chart) for eight consecutive weeks, replacing the soundtrack album for The Sound of Music (1965) at number 1. It stayed on the chart for 28 weeks. Aftermath proved the fourth-highest-selling album of 1966 in the UK, and it also became a top-10 best-seller in the Netherlands. In the US, the album entered the Billboard Top LPs at number 117 on 2 July, making it the chart's highest new entry that week. By 13 August, it had risen to number 2 behind the Beatles' Yesterday and Today. That month, the Recording Industry Association of America awarded Aftermath a Gold certification for shipments of 500,000 copies; in 1989 it was certified Platinum for one million copies. According to the pop historian Richard Havers, Aftermaths 1966 US chart run was assisted by the success of "Paint It Black", which topped the Billboard Hot 100 for two weeks in June. "Mother's Little Helper" was a Hot 100 hit as well, peaking at number 8 on the chart. The album's songs also proved popular among other recording artists, "Mother's Little Helper", "Take It or Leave It", "Under My Thumb" and "Lady Jane" all being covered within a month of Aftermaths release. Adding to Jagger and Richards' success as writers, Chris Farlowe topped the UK charts with his Jagger-produced recording of "Out of Time" in August. Critical reception Aftermath received highly favourable reviews in the music press. It was released just months before Bob Dylan's Blonde on Blonde and the Beatles' Revolver, albums by artists that Jagger and Richards had received comparisons to while Oldham was promoting the band's artistic maturation to the press. Among British critics, Richard Green of Record Mirror, in April 1966, began his review by saying: "Whether they realise it or not – and I think Andrew Oldham does – the Rolling Stones have on their hands the smash LP of the year with Aftermath", adding that it would take much effort to surpass their achievement. Green said the music is unmistakably rock and roll and was especially impressed by Watts' drumming. Keith Altham of the New Musical Express (NME) hailed the Stones as "masterminds behind the electric machines" who have recorded an LP of "the finest value for money ever". He described "Goin' Home" as a "fantastic R&B improvisation" and said