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Rolling Stones unreleased: Stewed and Keefed
Also known as: Brian’s Blues Written by: Nanker/Phelge Recorded: Chess Studios, Chicago, USA, June 10-11; Feb. 4 1964
From Martin Elliott’s book THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962-2012: The first Chicago session was to produce a number of unreleased tracks, of which this was one. This was not necessarily because the product was below standard, but perhaps due to the prolific output of a group who were on their first blues pilgrimage. It’s an instrumental which features two duelling instrumentalists, bar room shuffling Ian Stewart and the lazy blues guitar of Keith Richards. Like the Mississippi, the track meanders inexorably to the blues delta. Stewed and Keefed is undoubtedly a worthy jam track, typical of the laid-back ambience achieved at Chess. Brian Jones was unwell and missed the session, hence his ‘blues’ in the alternative title.
Back in early 1964, the Rolling Stones were on a full-on blues pilgrimage in Chicago, hitting Chess Studios to record a slew of tracks, some of which never saw the light of day. One standout from these sessions is Stewed and Keefed, also known as Brian’s Blues, penned by the band’s collective pseudonym Nanker/Phelge. Unlike polished hits meant for radio, this track thrives on spontaneity and raw energy, capturing the band in their element. It’s a pure instrumental jam, featuring the barroom shuffle of pianist Ian Stewart dueling with the lazy, expressive blues guitar of Keith Richards.
The music meanders like the Mississippi, effortlessly drifting toward the blues delta, showing the Stones’ deep immersion in American roots music. Interestingly, Brian Jones missed the session due to illness, which is reflected in the alternate title. This little-known piece perfectly showcases the relaxed yet masterful vibe of Chess Studios, where improvisation and chemistry trumped perfection.
A Jam Session Worth Discovering
Stewed and Keefed is emblematic of the Stones’ early sound—raw, exploratory, and endlessly playful. The interplay between Stewart and Richards creates a hypnotic groove, a conversation in blues rather than words. Far from a mere rehearsal, the track stands as a testament to the band’s ability to translate their live energy into the studio, even when one of their key members was absent. Its charm lies in its unpolished authenticity, the kind of track that makes listeners feel like they’re in the room, swaying along to the lazy blues rhythm. For fans of early Stones or vintage blues, this unreleased gem is an essential listen, a snapshot of a band finding its voice and paying homage to the roots that inspired them.
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