Albums Under The Radar
An educational history of under-appreciated, under-rated, undiscovered or fading albums that are under the radar but need to shine.
Albums Under The Radar
The Lost Stones Album: The Legendary Chess Sessions
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What if the Rolling Stones had released an album built entirely from their Chess Studios recordings? In this episode of Albums Under the Radar, we imagine The Lost Stones Album: The Legendary Chess Sessions, exploring the band’s 1964 and ’65 recordings in Chicago and the blues roots that shaped their sound. It’s a fresh look at a remarkable chapter in Stones history.
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Shine the light on the shadow sound Golden Leaf where dust is found for God and still hanging tight Shine light, shining bright Albums Under the Radar.
SPEAKER_15Welcome to Albums Under the Radar, podcast where we dig beneath the surface of some of music's greatest albums to discover how they were made, why they matter, and why they still deserve your attention. Today we're doing something a little different, because today's episode isn't about an album that was forgotten. It's about an album that was never actually created. At least, not officially. Here on Albums Under the Radar, we're opening the vault and reconstructing the Legendary Chess Sessions, the Lost Stones album. Between 1964 and 1965, a young hungry band from London made several trips across the Atlantic to record at one of the most legendary studios in music history, Chess Studios in Chicago. Inside those walls, they recorded songs rooted in the blues, rhythm and blues, and early rock and roll that had inspired them to pick up instruments in the first place. But those recordings were never released together as a complete album. Instead, they were scattered across different albums, singles, EPs, and compilations. So today we're imagining the album the Rolling Stones might have made had they gathered their favorite chess recordings into one unforgettable LP. But before we step inside chess studios, let's start where the story really begins. In post-war London, where they discover the blues. When most people think of the Rolling Stones, they think of stadiums packed with hundreds of thousands of fans.
SPEAKER_08I've been around for long, long years. So many a man, so late.
SPEAKER_15Let it bleed. But before the fame, before all the controversy, before the decades of rock and roll mythology, Rolling Stones was simply a group of young London musicians who wanted to sound like their heroes. And those heroes weren't Elvis Presley. Or Buddy Holly. Artists like Muddy Waters. Howling Wolf. Chuck Berry. And Jimmy Reed.
SPEAKER_18I got a little rock cattle back. With the back on the back. I got a dog to come.
SPEAKER_15But I ain't got you to Mick Jagger, Keith Richards, and Brian Jones, this wasn't just music. It was their obsession. But they needed a conduit. Enter the London Impresario. In the late 1950s and early 1960s, a small but passionate blue scene was developing in Britain. One of the most important figures in this movement was guitarist and singer Alexis Corner. Hurry down blues. Corner became known as the father of British blues because he helped create a community where musicians could learn, experiment, and play this music seriously. His band, Blues Incorporated. And their performances at venues like the Ealing Club in West London became legendary. But inside that room, something important was happening. Young musicians were discovering a sound that felt raw, emotional, and completely different from the polished pop dominating the charts.
SPEAKER_07And you're talking that talk. You knocking me out.
SPEAKER_15And one of those young musicians was a guitarist named Brian Jones. Born Lewis Brian Hopkins Jones. He was fascinated by American blues records and became one of the earliest figures in London's blues movement in the early 60s. Jones was not only a talented multi-instrumentalist, he was also a musical explorer. In 1962, Jones placed an advertisement looking for musicians to form a rhythm and blues group. Two of the musicians who answered the ad was a young singer named Mick Jagger and a guitarist named Keith Richards. They quickly formed a musical partnership that would change rock history. They simply wanted to play the music they loved. Their early shows were loud, sweaty, and intense. But there was one place they dreamed of visiting, one building, one address, 2120 South Michigan Avenue, Chicago, home of chess records, home of the electric blues.
SPEAKER_16Even though chess never let outside people record in our studios, I decided to do it. So uh they arrived, and there was Keith Richards uh drinking Jack Daniels whiskey uh straight out of the bottle.
SPEAKER_15By 1964, the Rolling Stones were no longer just a hungry young blues band playing clubs in London. They were becoming a phenomenon. Their debut album, simply called The Rolling Stones, had been released in the United Kingdom in April of that year and quickly climbed the charts. In America, the band was beginning to attract attention as a part of the British invasion that had exploded after the Beatles arrived on the American shores. But while Beenal Mania was sweeping the world, the Rolling Stones were chasing something different. They weren't interested in leaving their blues influences behind. They wanted to go straight to the source. Founded in 1950 by brothers Leonard and Phil Chess, Chess Records became one of the most important independent record labels in American music history. Located on Chicago's South Side, Chess was the home of some of the most influential blues recordings ever made. This was where Muddy Waters transformed the blues from an acoustic country tradition into powerful electric sound. This was where Howling Wolf recorded his thunderous, unforgettable vocals. And Chuck Berry? Help create the blueprint for rock and roll. For Mick Jagger, Keith Richards, and Brian Jones, chess wasn't just a recording studio, it was a musical temple. And nothing was gonna stop them from getting to the Holy Land. The Stones' first trip to chess studios came in June of 1964, shortly after their breakthrough in America. They were all still incredibly young, in their early twenties, all except for bassist Bill Wyman, who was nearly 30, but sh that's another story for another podcast. And they were walking into the legendary chess studios with the confidence of a successful band, but who knew they were standing on sacred ground. And then came one of the most famous stories from the sessions. Interesting fact when the Stones arrived at Chess Studios, they reportedly and I use the word reportedly because it's been highly contested over the years, found none other than Muddy Waters himself inside the building, painting the ceiling. As quoted by Keith Richards in his autobiography, Life. Imagine that moment. You're a young musician from England, you spent years listening to Muddy Water records, you study his guitar playing, you've dreamed about this place. And when you finally arrive, your hero is standing there with a paintbrush doing odd jobs.
SPEAKER_16So sometimes you use that fame bit as uh yeah, to do what you think you gotta do. Big time.
SPEAKER_15Alright, let's get into the sessions itself. The stones recorded at chess during two American visits, one in June of 1964, and the other in May of 1965. The sessions produced a collection of covers, originals, and performances that captured the band at a fascinating moment. The musicians included the Core Rolling Stones lineup, Mick Jagger, on vocals, and harmonica, Keith Richards guitar, Brian Jones guitar on additional various instruments, Bill Wyman on bass, Charlie Watts on drums, and Ian Stewart on piano. And behind the glass at chess was engineer Ron Mallow, who helped capture the raw energy of the band and engineered albums for some pretty heavy hitters over the years, such as Edda James and her legendary debut studio album At Last in 1960, my love has come along. Marty Waters and his landmark acoustic masterpiece folk singer in 1964.
SPEAKER_11Now you know I'm leaving Chicago. And people I show do hate to go.
SPEAKER_19Another serenader and another long-haired band. Today I am your champion, a male won your heart.
SPEAKER_15And Weather Reports critically acclaimed multi-platinum album Heavy Weather in 1977. Dixon was not only one of the greatest blues songwriters in history, responsible for classics like Uchi Coochie Man. Spoonful. And I just wanna make love to you.
SPEAKER_14Wash my clothes, no, no. I don't want you no no keep me home. No, I don't want your no money to no. I just wanna make love to you.
SPEAKER_15He was also a crucial behind-the-scenes architect of the chess sound. His presence connected the stones directly to the tradition they had spent years studying. Fun fact although the Rolling Stones producer Andrew Luke Allman was absolutely crucial to their development, his influence was mostly managerial, image building, and career strategy. And although he was present at the chess studio sessions, he did not technically produce any of the sessions, leaving the hands-on work to Mick and engineer Ron Mallow. Even though Andrew received the production credit on the songs used from the sessions. Okay, let's ask the question: why wasn't there a chess sessions album? That's what they had gone there for. But the mystery to the lost album begins with the record industry's then different approach, which could be summed up with one word. Greed. Record companies couldn't churn out British invasion records fast enough.
SPEAKER_23There is a house in New Orleans.
SPEAKER_15Decca Records in the UK and London Records in the US needed songs for the upcoming releases quickly to cash in on what they perceived as a flash in the pan fleeting hot trend. So they distributed the chess recordings wherever needed. A UK EP here, a US album there, compilation albums everywhere. Capitol Records in the US employed the same modus operandi with the early Beatles songs. Record companies didn't think about making artistic statements in 1964. They were thinking about milking the cat. And that's what makes this theoretical album fascinating. The songs were never compiled as an album, but listening to them together today, you can hear a story. A band moving from imitation to innovation. Five young musicians absorbing the blues and slowly becoming the Rolling Stones. Okay, track one, Around and Around.
SPEAKER_08And they never stop rocking.
SPEAKER_15Opening an imaginary Rolling Stones album with this track is a brilliant choice. Round and around is pure Chuck Berry nitroglycerin, a record that practically invented rock and roll. Berry originally released it in 1958. It's fast, confident, funny, and driven by Berry's unmistakable guitar riffs. Keith Richards, who loved and understood Barry more than anyone, captures the spirit of Berry's playing, the swagger, the bounce, the infectious rhythm. Mick Jagger sounds wonderfully loose, youthful, slightly rough around the edges, and developing the confidence that would soon become one of Rock's most recognizable voices. The stones inhabit this music naturally. Not as a British band trying to play American rock and roll, but as a band completely. Immersed in it.
SPEAKER_08But to keep on rocking. Going round and round.
SPEAKER_15As the opening track to our lost album, it accomplishes exactly what a great opener should. It throws the doors wide open. Track two, down the road apiece. Down the Road a Piece, originally written by Don Ray in 1940. But the 1946 Amos Milburn version clearly inspired the Stones' to cover it. The Stones inject it with reckless energy. Heath and Brian locked together beautifully on guitar, while Ian Stewart's piano is essential to that honky tonk rock and roll sound. This song reminds us of Ian Stewart's importance to the early Rolling Stones. Despite manager Andrew Luke Ollman's removing him from the official lineup, he remained the musical anchor and go-to boogie-woogie piano player for decades. This song is prime evidence that these chess recordings capture a time before stadium tours, superstardom and the weight of expectations. They are simply five musicians playing the music they love and having the time of their lives doing it. Track 3 Time is on my side. It was the Rolling Stones' first top 10 hit in the US, introducing millions of Americans to the band. This is a moment where you can hear Mick Jagger becoming Mick Jagger. Keith Richards later said, Walking into chess studios was like walking into heaven. And listening to this performance, it's easy to understand why. Track four.
SPEAKER_13Seems that I'm in heaven when you hold me in your well.
SPEAKER_15There's no gimmicks, no pop ambitions, radio concessions, just twelve bars of pure feeling. Brian Jones shines. His guitar playing is often overshadowed by Keith's later reputation, but these recordings show he was their resident blues scholar. His phrasing is tasteful, never flashy, but always serving the song. Mick delivers an authentic early blues vocal. He's still learning, but that's part of the charm. He sings these songs out of admiration, not imitation.
SPEAKER_08Forget about Joe used to be.
SPEAKER_15Stones weren't pretending to be muddy waters. They paid respect by playing the music honestly. Okay, track five, What a Shame.
SPEAKER_08What a shame! Now this seems to be going right.
SPEAKER_15It's a Jagger Richards original, not a cover. The Stones were known for interpreting American blues and RB. But producer Andrew Lug Allman encouraged Mick and Keith to write their own material, often locking them in rooms until they came up with the songs. Initially they were hesitant, preferring to play muddy waters. However, what a shame shows the beginning of their breakthrough. Track six starts with a fun fact. Before we move on to the next track, there's a little bit of Stone's detective work here. For years the Rolling Stones fans and even some respected discographers thought the band had recorded their own song Tell Me You're Coming Back during the 1964 chess sessions. That's because the original session logs listed the title simply as Tell Me, but over time, researchers took a closer look at the tapes and the session notes and realized something interesting. The song recorded at Chess wasn't Tell Me You're Coming Back at All. It was actually the big Bill Brunzi Blues song, Tell Me Baby, How Many More Times. Tell me darling how many times It's a great reminder that even after more than 60 years, rock and roll history can still surprise us. Okay, back to the track by track with Tell Me Baby How Many More Times. It's one of the true hidden gems of these sessions. Originally recorded by Big Bill Brunzi in 1952. This performance has remained under the radar even among many longtime Stones fans. Mick leans fully into the blues tradition without sounding like he's doing an impression. This isn't polished, it's not trying to be commercial, it's simply a band playing tribute to one of their greatest influences. And that's exactly what these chess sessions are all about. Next up, track seven, I Can't Be Satisfied. Every great final album needs a memorable side closer. I Can't Be Satisfied, originally recorded by Muddy Waters in 1948. With Muddy Waters. Brian Jones' expressive slide guitar showcases his study of muddy's playing while finding his own voice. Nick delivers a mature blues performance, understanding the songs rather than merely singing them.
SPEAKER_08Yeah, I just can't be satisfied. Just can't keep on.
SPEAKER_15Side one fades out. Our theoretical album has taken us on a journey from Chuck Berry's Joyful Rock and Roll to Rhythm and Blues and into the deep heart of Chicago blues. It all hangs together remarkably well. As if it'd been planned as an album all along. If you're enjoying today's broadcast and like to help keep albums under the radar on the air, here's the easiest way to do it. If you're listening on Apple Podcasts, simply open the show's page, scroll all the way down to the ratings and reviews, tap the five stars, and if you got another minute, tap right in a review to leave one. Those reviews really do help grow our podcast and help more musical lovers discover the show. If you're listening on Spotify, head to the show's page and tap the three dots near the top and leave a star rating. It only takes a second, but it makes a huge difference. Welcome back. Since we ran out of tracks on the top side, it's time to flip that pancake. Drop the needle and let the B side beak. Alright, side two, track eight, if you need me.
SPEAKER_08If you need me, why don't you call me? Say if you need me, why don't you call me?
SPEAKER_15Sometimes the quietest performances reveal the most. If you need me isn't flashy. It doesn't announce itself with a famous guitar riff or a dramatic vocal. Instead, it does something much harder. It creates atmosphere. Originally written by the legendary soul pioneer Wilson Pickett in 1963 for becoming a hit for Solomon Burke later that year.
SPEAKER_09I want you to call me. Say it if you need me. All you gotta do is call me. Don't wait too long.
SPEAKER_15It's a song built on restraint. It's exactly why the Stones version works so well. Charlie Watts barely rises above a whisper behind the drums. Bill Wyman's bass doesn't compete for her attention, and Ian Stewart's organ quietly adds an almost gospel feel to the track. Everything serves the song. And Mick, this may be one of his most understated performances from the chess sessions. He's not trying to overpower the music, he's simply telling the story. That's something Mick Jagger would become remarkably good at over the years, knowing when not to oversing. Track 9, Empty Heart. Then, almost without warning, the mood changes. Empty Heart is pure Rolling Stones, one of the earliest Jagger Richards originals. It shows just how quickly their confidence as songwriters was growing. What's interesting isn't that they're writing original songs. It's that they are writing original songs that sound perfectly at home alongside Willie Dixon and Muddy Waters, and that's no small accomplishment. Ryan Jones deserves special recognition here. His harmonica work doesn't simply decorate the song, it drives it. Sometimes we forget just how versatile Brian was. Slide guitar, check. Bottleneck, check, harmonica, check. Dulcimer? Maramba? Sitar? Recorder? Check, check, check, check. By the end of the 60s, Brian Jones had become one of Rock's great multi-instrumentalists. And here, he reminds us that he was also an exceptional blues musician. Alright, track 10. Look what you've done. Every great album has a moment of introspection. For our album, This Is That Moment. Originally written and recorded by Muddy Waters in 1956.
SPEAKER_11You left me here, the lonely one. And all I can say is look what you've done.
SPEAKER_15Look what you've done is understated. It relies on atmosphere, patience, and emotion. The Rolling Stones understand this perfectly. And that's one of Brian's greatest strengths, knowing how much to play and how much not to play. Keith Richards quietly supports the arrangement with an understated rhythm guitar, while Charlie Watts and Bill Wyman settle into a groove that's almost disappears beneath the song. Great rhythm sections don't always demand attention, they create space for everything else. Listening today, it's remarkable how confident the stones were at such a young age.
SPEAKER_02As warm as a sun. But now it is gone.
SPEAKER_15Mick Jagger once reflected on those early American blues records by saying, Those records taught us everything. Listening to this performance, it's hard to argue with that. Alright, on to track 11, high heel sneakers.
SPEAKER_09Don't be going out tonight.
SPEAKER_15High-heeled sneakers became an RB standard almost overnight. The Stones recorded their version at chess in June of 1964, but it remained unreleased for years, making it one of the true treasures of these sessions. What I love about this performance is how relaxed it feels. Keith Richards and Brian Jones settle into an easy bluesy groove while Charlie Watts and Bill Wyman keep everything locked in without ever overplaying. Brian's tasty hop licks adds just the right touch to the Chicago flavor. It's not one of the best known recordings from these sessions, but that's exactly why it belongs in our Lost Stones album. Track 12, The Underassistant West Coast Promo Man. Here's a curveball. If most of the albums celebrated the Stones' love of American blues, this track reminds us they had a wicked sense of humor as well. The Underassistent West Coast Promo Man is one of the quirkiest recordings from this period, perhaps in their entire career.
SPEAKER_08Well, I'm sitting here thinking just how sharp I am. I'm an underassistant West Coast Promo Man.
SPEAKER_15Written by Mick Jagger and Keith Richards, it's a tongue-in-cheek look at the music business. The title pokes fun at a Record company promotion man responsible for hyping artists and convincing everyone of the next big thing. The Stones, still new to their international success, observe the music industry with amusement and skepticism. Musically, it's pure early stones. Driving rhythm guitars, punchy harmonica, and a loose, almost live feel. The band relaxes and has fun.
SPEAKER_08I'm really, really sharp. I'm sure I do all my pay. Sitting on the beach every day. Yeah.
SPEAKER_15Every great album needs a surprise that changes the mood before the final stretch. Placed here, it works as a relief before the emotional weight of the closing tracks. Okay, on to our lucky track 13. Bright Lights Big City. If there was any doubt about the Rolling Stones musical heart, Bright Lights Big City Removes It, written by Jimmy Reed in 1961. A highly influential blues musician, the song is simple, no elaborate arrangements, fleshy solos, or overplaying. Keith Richards confidently locks into the rhythm, Brian Jones adds tasteful blues flourishes, and Charlie Watts drumming remains economical. These chess recordings reveal the band's discipline, despite their reputation for excess, swagger, and chaos. Alright, track 14, Little Red Rooster. Now we reach one of the most significant recordings of the Stone's early career. Little Red Rooster.
SPEAKER_08I am the Little Red Rooster.
SPEAKER_15It's almost impossible to overstate how remarkable this record was in 1964, written by Willie Dixon and made famous by Howland Wolfe in 1961. The Stones cover reached number one on the UK singles chart. It's almost impossible to believe today. A traditional blues song topping the pop charts is unheard of. And the Rolling Stones didn't water down the song. Instead, they leaned even further into the blues. Brian Jones's slide work is not just an accompaniment, but the heart and soul of the record. Many critics, including Keith Richard, consider it one of Brian's greatest recorded performances. Originally written by Bobby and Shirley Womack and recorded by the Valentinos in 1964. Just a few months before the Stones recorded their version, It's All Over Now became the Rolling Stones' first UK number one single. It's a rock history gem. Stone's confident performance features Charlie Watt's effortless groove, Bill Weiman's anchoring bass, Brian's steady rhythm, and Mick Jack is sounding like a frontman who's beginning to realize just how good this band can become. The song brings our album to a close with confidence and joy. They entered chess studios as devoted blues fans and walked out one step closer to becoming the greatest rock and roll band in the world, and the entire band sounds like they're enjoying every second. If you'd like to help keep albums under the radar digging up forgotten classics, you can buy me a coffee over on Kofi. The link is on the show notes. Every donation helps cover the cost of producing the show and keeps the needle dropping on more albums that deserve another listen. Thanks for keeping Independent Podcasts alive. Now back to our show. Let's talk about the chess sound being revived. The effluence of the sessions reached far beyond the Rolling Stones. When the Stones returned home to England, they carried Chicago blues with them. Millions of young listeners who had never heard of Muddy Waters, Howling Wolf, Wooly Dixon, Jimmy Reed, or Chuck Berry suddenly wanted to know where this music came from. In many ways, the British Blues explosion didn't simply imitate American blues, it helped preserve it. The impact of these chess recordings can be felt throughout rock history. The most obvious example is the entire British blues movement, and artists like the Yardbirds of the sex animals.
SPEAKER_07The animals you knock me out Right off of my feet and them with Van Morrison.
SPEAKER_15But the influence goes even further. You can hear this DNA carried forward in bands like Led Zeppelin. The black crows. Muddy Waters himself later acknowledged how much British musicians helped introduce the music to a new generation of fans. It's one of the wonderful ironies of rock and roll. Sometimes it took musicians from England to remind America what a treasure it already had. Okay, so why is it under the radar? Because officially, it doesn't exist. These recordings have always been hiding in plain sight. But few fans have ever listened to them together as a complete musical statement. And I think that's a shame. Because when you do, something unexpected happens. The songs begin talking to one another. The performances reveal a common purpose. Instead of hearing scattered recordings, you hear a band making the journey of a lifetime. Okay, my final thoughts. One of the things I love most about hosting albums under the radar is discovering albums hiding inside of dusty bins and small cramped record stores. But sometimes music history isn't about uncovering something forgotten. Sometimes it's about looking at something you already have from a different angle to discover something new. The Lost Stones album, The Legendary Chess Sessions, may never have been officially released, but it most definitely should have. Before I go, don't let the music stop here. I've already assembled the Lost Stones album, The Legendary Chess Sessions, and the running order we explored today as part of the Albums Under the Radar Spotify playlist. You'll find the link in today's episode notes. Or just search Spotify on the albums under the Radar Spotify playlist. I have a feeling after you listen to it, you'll come away asking yourself the same question I did. How did this never become an official Stones album? And get ready for some exciting upcoming episodes. We'll be diving into albums under the radar from artists, including Pink Floyd.
SPEAKER_21It's so flea considerate of you to think of me here. And I'm first obliged to you for making it clear that I'm not here.
SPEAKER_15Neil Young. Fiona Apple.
SPEAKER_00I still only travel by foot and by foot, it's a slow climb, but I'm good at being uncomfortable, so I can't stop changing all the time.
SPEAKER_15John Lennon and the Plastic Ono Band.
SPEAKER_22This is calm is gonna get you. Gonna duck you by the head.
SPEAKER_04You better get yourself together.
SPEAKER_15Joni Mitchell.
SPEAKER_04It's a long way from Canada, a long way from Snow James. Don't even decide simple Canada.
SPEAKER_15And Jay Dilla. And don't forget to drop us a note on our website or at our email address or on our social media accounts to let us know what your favorite album under the radar is. We would really love to hear from you. Thanks for listening, and remember, some of the greatest albums ever made never were, and are still hiding.