Publisher: Sister Morphine
Reference :MORPH 20
Made In :
Quality :Ex Stereo
The Rolling Stones - The Chess Sessions 1964-65
1. It's All Over Now Chicago, Chess Studios 10.6 1964
2. I Can't Be Satisfied
3. Stewed And Keefed
4. Time Is On My Side (v1)
5. Good Times, Bad Times Chicago, Chess Studios
6 1964 6. Don't Lie To Me
7. Around And Around
8. 2120 South Michigan Avenue (v1)
9. Empty Heart
10. Down In The Bottom
11. Reelin' And Rockin' Chicago, Chess Studios 11.6 1964
12. Down The Road Apiece
13. High Heeled Sneakers
14. Look What You've Done
15. Confessin' The Blues
16. 2120 South Michigan Avenue (v2)
17. If You Need Me
18. Tell Me, Baby (How Many Times)
19. Time Is On My Side (v2) Chicago, Chess Studios 8.11 9164
20. Little Red Rooster
21. What A Shame
22. Fanny Mae
23. Mercy Mercy Chicago, Chess Studios 10.5 1965
24. That's How Strong My Love Is
25. The Under-Assistant West Coast Promotion Man
26. (I Can't Get No) Satisfaction Bonus track
"When Chess Records was founded (as Aristocrat in 1947), the company did not have a recording studio, and over the following decade it recorded most of its artists at Universal Recording Studio (at various locales in Chicago). In 1954, Chess moved one block north from its location on Chicago’s 49th Street to 48th and Cottage Grove, and there built its first rehearsal studio, but its poor quality forced the company to continue to rely on Universal for most of its recording production. Finally, the company established a first-rate in-house studio – called Chess Studios – in1957, when it relocated to 2120 S. Michigan Avenue, and it rented the second floor to Sheldon Recording Studios, operated as a Chess subsidiary by engineer Jack Wiener. The studio featured a set of matched echo chambers.
Under Wiener, Sheldon took in considerable outside work, recording sessions for Atlantic and Mercury, for instance. In 1958, Chess took over the studio directly and hired Malcolm Chisholm, who had been the engineer for a considerable number of recordings for Chess when the company was recording at Universal, as sound engineer. When he left, he was replaced in 1960 by Ron Malo, who stayed with the studio until its demise in 1975. Malo upgraded the studio and ran the sound into dual echo chambers in the basement. Almost all the Chess artists were recorded with echo, sometimes to excess. Among the legendary blues and rock ’n’ roll artists recorded in this studio were Muddy Waters, Sonny Boy Williamson II, Howlin’ Wolf, Chuck Berry and Bo Diddley. The company also built an impressive jazz series, and recorded such artists as the Ramsey Lewis Trio, Ahmad Jamal and Sonny Stitt.
Malo supervised the engineering at recording sessions for most of the company’s artists, which by the 1960s meant primarily soul artists: Etta James, the Dells and Billy Stewart, for example. Malo was also the engineer for many sessions with outside artists. In June 1964, for example, the Rolling Stones, seeking to emulate the sound of their legendary blues heroes, came to Chicago to record at the Chess studio; the studio produced half of the tracks on their LP, 12X5, one of the songs on which was titled in tribute ‘2120 South Michigan Avenue.’ The Rolling Stones subsequently recorded about 20 more tracks at Chess during 1964-65, and in 1965 the Yardbirds record ‘I’m a Man’ there. By 1965, the studio had changed its name to Ter-Mar Recording Studio.
In September 1966, Chess moved all its operations around the corner to 320 E. 21st Street, relocated the Ter-Mar studio there and added a small rehearsal studio. After Leonard Chess died in late 1969, the company went into decline. Malcolm Chisholm rejoined the operation in 1970, but, within two years, the Chess studio was almost inoperative. As a result of its failure to introduce new equipment and to keep up with new trends, the studio had developed a second-rate reputation. When Chess closed its doors in 1975, the studio was dismantled and its equipment sold.
In 1990, the building at 2120 S. Michigan Avenue was dedicated as a Chicago landmark, and hailed as the studio that recorded Chuck Berry, Muddy Waters and other legendary artists. A few years later, the widow of Willie Dixon, Marie Dixon, purchased the building and began a restoration project. In 1997, the building was reopened as a dual-purpose complex: an educational foundation for black artists and a museum of Chess Records and its famous studio."
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