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Rating: 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!!
Tracklist Lyrics and Videos
01 She Caught the Katy (04:12)
She caught the Katy
And left me a mule to ride
She caught the Katy
And left me a mule to ride
Now my baby caught the Katy
Left me a mule to ride
The train pulled out
I swung on behind
Crazy 'bout her
That hard headed woman of mine
Man, my baby's long
Great gosh almighty my baby's tall
You know my baby's long
Great gosh almighty my baby's tall
Yeah my baby she's long
My baby she's tall
She's sleepin' with her head in the kitchen
And her feet's out in the hall
Crazy 'bout her
That hard headed woman of mine
Well I love my baby
She's so fine
But I wish she'd come and see me some time
She don't believe in our love, ah
Look whatta hole I'm in
She don't believe what I'm sayin'
Kid look whatta shape I'm in
Huh-huh
She caught the Katy
And left me a mule to ride
She caught the Katy
And left me a mule to ride
Well my baby caught the Katy
Left me a mule to ride
The train pulled out
I swung on behind
Crazy 'bout that hard headed woman
Hard headed woman of mine
Huh-huh, huh-huh
07 Think (03:16)
Think (think) think (think) think (think) think (think)
You think (think) think (think) think about it
You better think (think) think about what you're trying to do to me
Yeah, think (think, think), let your mind go, let yourself be free
Let's go back, let's go back, let's go way on back when
I didn't even know you, you couldn't have been too much more than ten
I ain't no psychiatrist, I ain't no doctor with a degree
It don't take too much high IQ's to see what you're doing to me
You better think (think) think about what you're trying to do to me
Yeah, think (think, think), let your mind go, let yourself be free
Oh freedom (freedom), freedom (freedom), freedom, yeah freedom
Freedom (freedom), freedom (freedom), freedom, oh freedom
Hey, think about it
You, think about it
There ain't nothing you could ask I could answer you but I won't (I won't)
I was gonna change, but I'm not, to keep doing things I don't
Hey think about what you're trying to do to me
Baby, think, let your mind go, let yourself be free
People walking around everyday, playing games that they can score
Trying to make other people lose their minds, be careful you don't lose yours
Yeah think (think) think about what you're trying to do to me
Yeah, yeah, yeah, yeah (think, think), let your mind go, let yourself be free
You need me (need me) and I need you (don't you know)
Without eachother there ain't nothing people can do
Yeah yeah, think about me (what you're trying to do to me)
'Till the fall of the night, think about it right now
Oh freedom (freedom), freedom (freedom), freedom, yeah freedom
Freedom (freedom), freedom (freedom), freedom, freedom
Hey, you, think about it
There ain't nothing you could ask I could answer you but I won't (I won't)
I was gonna change, but I'm not, if you keep doing things I don't
Yeah (think) think about what you're trying to do to me
Baby, think (think, think), let your mind go, let yourself be free
You need me (need me) and I need you (don't you know)
Without eachother there ain't nothing people can do
Yeah yeah, think about me (what you're trying to do to me)
'Till the fall of the night, think about it baby
(Think about - ah me, think about - ah me, think about - ah me, think about it)
(Think about - ah me, think about - ah me, think about - ah me, think about it)
(Think about - ah me, think about - ah me, think about - ah me, think about it)
(Think about - ah me, think about - ah me, think about - ah me, think about it)
You had better stop and think before you think
Think!
09 Minnie the Moocher (03:26)
Hey folks here's the story 'bout Minnie the Moocher
She was a red-hot hoocie coocher
She was the roughest toughest frail
But Minnie had a heart as big as a whale
Hidehidehidehi (Hidehidehidehi)
Hodehodehodeho (Hodehodehodeho)
Hedehedehedehe (Hedehedehedehe)
Hidehidehideho (Hidehidehideho)
She messed around with a bloke named Smokie
She loved him though he was cokey
He took her down to Chinatown
and showed her how to kick the gong around
Hidehidehidehi (Hidehidehidehi)
Whoah (Whoah)
Hedehedehedehe (Hedehedehedehe)
A hidehidehideho (Hidehidehideho)
She had a dream about the king of Sweden
He gave her things that she was needin'
He gave her a home built of gold and steel
A diamond car with platinum wheels
A hidehidehidehidehidehidehi (Hidehidehidehidehidehidehi)
Hodehodehodehodehodehodeho (Hodehodehodehodehodehodeho)
... (...)
... (...)
He gave her his townhouse and his racing horses
Each meal she ate was a dozen courses
Had a million dollars worth of nickels and dimes
She sat around and counted them all a million times
Hidehidehidehi (Hidehidehidehi)
Hodehodehodeho (Hodehodehodeho)
Hedehedehedehe (Hedehedehedehe)
Hidehidehideho (Hidehidehideho)
Poor Min, poor Min, poor Minnie
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