The Blues Brothers
The Blues Brothers

THE REVIEW

No matter how much one tries to capture that effervescent and pulsating essence that animates it, the most spontaneous question that arises is: what makes blues such a magical and exciting musical genre? Many believe it to be music from a bygone era: nothing could be further from the truth!

To understand, one just needs to be enveloped by the atmosphere of a film and a soundtrack that have become authentic cult classics: "The Blues Brothers". Considered a pillar of American musical cinema, directed by John Landis and released in 1980, "The Blues Brothers" inherited the rhythm 'n' blues of metropolitan ghettos and the soul of disadvantaged suburbs, becoming a musical comedy that celebrates the great artists and icons from the ‘40s to the ‘70s who made these predominantly “black” musical genres popular and famous.

But what do the legendary African American blues musicians have in common with two disheveled, white brothers dressed as undertakers? Absolutely nothing, just a great passion for music. In fact, the Blues Brothers are John Belushi (Joliet Jake) and Dan Aykroyd (Elwood), opposites both physically and in character, and precisely because of this, a complementary, explosive, and madcap duo, already tried and tested on Saturday Night Live. The cast is formed by famous musicians still considered (and in part lamented) as authentic sacred monsters: Cab Calloway, Ray Charles, James Brown, and Aretha Franklin, who, besides acting, reinterpret their successes with the “Blues Brothers Band,” capable of giving them new life and energy. The soundtrack does not exactly follow the chronological order of the film, varying depending on the re-releases, and spans from blues to rock to soul, also passing through country & western.

“She caught the Katy” showcases Belushi’s vocal talent, whose slightly hoarse voice perfectly fits the crystalline sound of the brass, supported by excellent rhythmic work from the two guitars and piano, alternating with Aykroyd's sly harmonica that gives the song a metropolitan touch. The "Peter Gunn’s theme" is the only instrumental piece, with a pressing rhythm, where the excellent solo qualities of the band emerge; in this case, the real protagonists are again the brass, with Lou Marini on sax taking the lead. "Gimme some lovin’", a classic of the Spencer Davis Group, here in a version leaning more towards blues-rock, is sung by John and Dan together at some points, resulting in a pleasant, well-paced piece very suited for live performances (but not in country venues…!). And if the orchestra works, it’s also thanks to the instruments: and who better to take a “test” than the legendary and unbeatable Ray Charles with “Shake a tailfeather”! Impossible to stay still while listening: Ray transmits tons of energy here, making the entire neighborhood dance to the rhythm of the twist. But the heart of the soundtrack is a piece that more than any other presents itself as an anthem to universal and disinterested love: “Everybody needs somebody to love," whose riveting and pyrotechnic interpretation by the Brothers (Jake's incredible somersaults and the dance with Elwood are amazing) fires up the audience and even the Police; a splendid chorus to sing at the top of your lungs!

Now blues has no boundaries: and it’s proven by the “reverend” James Brown, who transforms a simple Sunday service into a wild dance, in which all the faithful participate: “The Old Landmark.” In diners, soul prevails instead, in fact in one of them Aretha Franklin works, covering her own “Think”, making it more aggressive and rhythmic; the queen of soul puts all her grit into it, and the track holds its own compared to the original. There’s also room for Dan Aykroyd as lead singer in “Theme from Rawhide,” accompanied by Murphy’s guitar and Belushi’s whip, parodying the soundtrack of the famous American western TV show: pleasant, ironic, and relaxing. Directly from the Cotton Club, “Minnie Moocher” by the mythical and legendary Cab Calloway gifts us one of his most famous swing gems; the “call and response” with the audience is amusing, and upon hearing it, old Cab (over seventy) seems back in his golden days. “Sweet Home Chicago” is presented as a festival of solos: each band member personalizes and varies the main theme, all performed live with a good dose of improvisation that makes the piece natural and spontaneous.

And after a thousand adventures on the verge of absurdity and reality, the Blues Brothers end up in jail, but this doesn’t prevent one last, grand performance in front of the (prison) audience. The “Jailhouse Rock” by Elvis Presley, the jail rock, couldn’t be more suitable, obviously reinterpreted in a blues-rock vein, a triumphant celebration and conclusion of a lively and colorful odyssey that enthroned the Aykroyd-Belushi duo as versatile and synchronized singer-actors. This soundtrack is the soul of a film that has managed to mix comedy with the blues, celebrated and polished this musical genre that still today is more alive and appreciated than ever worldwide.

A soundtrack that makes the film unforgettable, perfectly adapting to the plot and events depicted, in an interweaving of images and music that complement each other in an irresistibly spectacular way!!