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Trivia

John Belushi disappeared while filming one of the night scenes. Dan Aykroyd looked around and saw a single house with its lights on. He went to the house and was prepared to identify himself, the movie, and that they were looking for Belushi. Before he could, the homeowner looked at him, smiled and said, "You're here for John Belushi, aren't you?" The homeowner told them Belushi had entered their house, asked if he could have a glass of milk and a sandwich, and then crashed on their couch. Situations like that prompted Aykroyd to affectionately dub Belushi "America's Guest".

Carrie Fisher became engaged to Dan Aykroyd during this shoot shortly after he saved her from choking, by applying the Heimlich maneuver.

Some performers were not used to lip-syncing to pre-recorded songs, standard procedure for movie musicals. James Brown ended up singing his number live with a recorded backing (the rest of his choir was lip-syncing). John Lee Hooker's performance of "Boom Boom" was recorded live at Chicago's Maxwell Street Market. Aretha Franklin's performance is cut together from many, many takes, using the parts where her lip-syncing was actually in sync.

John Belushi was nicknamed "The Black Hole" because he went through hundreds of pairs of sunglasses during production. He would do a scene, and then lose the pair before filming the next one.

A world record 103 cars were wrecked during filming. "Старьевщик (1982)" broke the record 2 years later, wrecking 150 cars and a plane. That record held for 2 decades, until over 300 cars were wrecked during the filming of "Матрица: Перезагрузка (2003)."

Cameo

Frank Oz: Just before the Bluesmobile crashes through the Toys"R"Us, a man asks if they have a "Miss Piggy", while holding up a a stuffed Grover toy. This is a nod to Oz, the man who provides both Muppets' voices (a toy version of two more Muppets Oz also performed are visible in the same shot: Animal is sitting next to the counter and Cookie Monster is visible on a shelf in the background). The man with the toy is Gary McLarty, the Stunt Coordinator of this film, and of "Зверинец (1978)."

Director Cameo

John Landis: The state trooper driving the second car, the one that shows up after the first car calls for backup, that chases the Bluesmobile through the shopping mall.

Songs Cut from "The Blues Brothers" Movie and Soundtrack

These are the three known "lost" Blues Brothers audio recordings that were meant to be used in their 1980 movie, but were either trimmed down or cut out entirely. These recordings have been hard to find, and part of the reason is that they were only ever heard in a Dr. Demento Show broadcast in 1980, and Dr. Demento is very protective of his shows - the only other way to hear these recordings prior to this Archive upload was to subscribe to Dr. Demento's streaming service. With the gracious help of Bill Hunt (without whom this wouldn't be possible), I have made these available to all that wish to hear them.

These files are the highest-quality ones available of these specific sound recordings to date. Should higher-quality versions be found, we will find a way to feature them.

Here are three "lost" tracks from the John Landis film THE BLUES BROTHERS, presented in the best quality available!

This Johnny Horton number was originally preformed by the band at Bob's Country Bunker (right after Stand by Your Man) in the test screening version of the film, but was subsequently cut for the film's theatrical release.

Only a portion of this Tony Renis number (as preformed by Murph and the Magic Tones) appears in the final version of the film.

Only an instrumental version of this Billy Joel number appears (very briefly) in the final version of the film.

All three tracks are the versions that WOULD have appeared on The Blues Brothers: Original Soundtrack Recording album. They were taken from an August 10th, 1980 radio recording of The Dr. Demento Show, which was co-hosted by John Landis as part of the promotional effort for the film's original theatrical release. During the broadcast, Landis presented these three songs as "saved from the cutting room floor."

To my knowledge, Sink the Bismarck has only EVER been heard twice on The Dr. Demento Show over the years, and the two Murph and The Magic Tones tracks only once. The vast majority of Blues Brothers fans have NEVER heard these rare, classic gems - a situation I'm very pleased to help rectify. Close your eyes and you can almost see the flying beer bottles, the chicken wire and the red shag carpeting on Murph's keyboard. Enjoy!

Special thanks to Wayne Ross of www.TheMadMusicArchive.com for the source files. All rights belong to the original copyrights holders. The tracks are presented for educational purposes only. No infringement is implied or intended.

Addeddate 2020-03-11 21:57:55 Identifier thebluesbrotherslosttracks Scanner Internet Archive HTML5 Uploader 1.6.4

True Blue: The Band Behind the Blues Brothers

John Belushi didn’t have the best singing voice, but he had a spellbinding charisma that couldn't be faked. Dan Aykroyd wasn’t a world-class musician, but his love for the blues was beyond genuine. Yet the biggest reason the Blues Brothers weren’t (only) a joke was due to the amount of musical talent that backed the Saturday Night Live comedians. Today we are shining a spotlight on the band behind the Blues Brothers.

Belushi and Aykroyd’s act as “Joliet” Jake and Elwood Blues was always split between comedy and music. On the one (tattooed) hand, the origin of the brothers was based in a 1976 SNL performance in which the two comedians dressed up in bee costumes to perform Slim Harpo’s “I’m a King Bee.” On the other hand, Aykroyd’s long-running interest in blues and R&B was fanatical, bordering on obsessive – not to mention contagious. His passion rubbed off on his buddy, who began buying blues LPs by the armload.

SNL music director Howard Shore suggested that Belushi and Aykroyd call themselves the Blues Brothers, who made their formal debut on the sketch show on April 22, 1978, backed by the program’s band. But when the fellas planned to take the show on the road that summer, they wanted to play with a band that was even more grounded in blues and soul.

It was SNL band keyboardist Paul Shaffer who suggested keeping some members of the late-night show’s band while bringing in players who had undeniable credentials as blues, jazz and R&B musicians. Shaffer came up with the names (Steve Cropper, Matt Murphy, Donald “Duck” Dunn…) and Belushi called them on the phone, turning on the charm to lure them into the band.

So, in the summer of ’78, the fully formed Blues Brothers band didn’t just bring the house down when opening for Steve Martin at the Universal Amphitheatre in California, they recorded an album, Briefcase Full of Blues, that topped the charts and featured hit singles upon release in November. Belushi, Aykroyd and the band (which had some personnel shifts) filmed the iconic Blues Brothers movie the next year, followed by more performances and recordings.

The band outlived Belushi, who died as a result of his drug habit in 1982, and have continued to reunite, perform and record (in various incarnations) during the decades since his death – most notably, perhaps, for the Blues Brothers 2000 sequel released in 1998. Although the band has replaced and added members over the years, this list focuses on the core musicians who were in the group when Belushi was around. In fact, more than a few of them have John to thank for their nicknames – a hallmark of any Blues Brother.

Blues Brothers Band Members’ Acting Ability: A Ranking

So many people seem to be ranking things lately–pop culture ephemera, the like–and why not me? The world needs my numinations. I shall tell you which discrete item is better than other discrete items, and by how much. My topic, Blues Brothers Band Musicians Ranked By Acting Ability, is in honor of Donald ‘Duck’ Dunn, whose birthday it is today, and I am an important American literary voice.

ONE: Alan “Mr. Fabulous” Rubin

Look at that marvelous bag of sleaze; his hair steals the scene by itself, but then the script gives him a good line–No, sir, Mr. Daley no longer dines here–and he knocks it out of the park. The rest of the scene is similarly his, and the role he occupies is a trickier one than it might seem: the Margaret Dumont. The viewer must empathize with the Dumont (Yes, it is absurd what these small Jewish men are babbling about), but not root for the Dumont. No one wants the Dumont to win, obviously, but no one wants anything bad to happen to them. All Dumonts have ever been guilty of is being fancy. They’re not bad people.

Rubin plays the Dumont perfect. He’s not a monster. He just wants to work his steady gig and make his steady tips and not deal with the Blues Brothers. His position is defensible! Look how swell his hair looks! Did we not know that God Himself had ordained that he rejoin the band, we might side with Mr. Fabulous over Jake and Elwood.

O, that thick-lipped insouciance.

(SIDE NOTE: In at least one alternate universe, there exists a cut of The Blues Brothers wherein Mr, Fabulous successfully resists the Blues Brothers’ offers, and then the rest of the film shifts to a lyrical Cassavetes-like character study of a maitre d’ in 1980’s Chicago.)

TWO: Murphy Dunne DISQUALIFIED

Murph, erstwhile of Murph & the Magic Tones, is a scratch. No action will be accepted on Murphy Dunne.

(It should’ve been Paul Shaffer. I would lead a crowdfunding effort to digitally insert Paul Shaffer into the Blues Brothers pasted over Murph. You’d also have to de-age Paul, I guess, so this is gonna cost a lot of money. Paul put the Blues Brothers Band together, wrote all the charts, led the rehearsals, and Belushi pitched a bitch about him working with Gilda Radner too much and tossed him from the movie. John Belushi has an entire wing in the Problem Attic.)

THREE: Willie “Too Big” Hall

Incredibly sexual name here. You got “Willie,” which means a penis, and “Too Big,” which refers to the penis we were just discussing, and then “Hall,” which is–one would assume–the size a vagina would need to be to enswallow the member on the table. This man’s name is a microaggression; I did not consent to this.

FOUR: Steve Cropper/Donald “Duck” Dunn (TIE)

Each man delivers his few lines with ease, but these guys just looked cool.

Check out the Duck:

These are hip, hip men.

FIVE: Tom “Bones” Malone

What’s the difference between a trombonist in a car and a frog in a car?

Frog might be going to a gig.

SIX: “Blue” Lou Marini

Blue Lou is more wooden than a forest that came to life and taught Bill Walton lessons about basketball and being a man. Blue Lou is stiffer than a man universally known for his spectacular boners having an especially notable erection.

On the other hand:

I always thought that was a sweet shot.

SEVEN: Matt “Guitar” Murphy

While virtually every other decision from the production of Blues Brothers can be explained away with “because cocaine,” the allocation of so damn many lines to Matt “Guitar” Murphy cannot. Are you jamming out in a Mississippi-style blues style? Call Matt. Maybe getting jazzy with it? Matt’s your guy. Go toe-to-toe in a sass-off with Aretha Franklin? Call Cleavon Little or Franklin Ajaye. This is not an arena in which Matt “Guitar Murphy will shine.

And yet the man was called upon to emote. To emote!

But, hey: his performance is charmingly terrible, and you can see how much practice he put into it. Matt “Guitar” Murphy tried his hardest, and that’s what matters. I don’t like this ranking nonsense. Everyone’s number one in my book. I will not be doing this anymore, but I hope you leaned something here.

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The Hidden Dangers of Baby Magic: Exploring Potential Health Risks