The Blues Brothers - Band History - Origins

Origins

The genesis of the Blues Brothers was a January 17, 1976, Saturday Night Live sketch. In it, "Howard Shore and his All-Bee Band" play the Slim Harpo song "I'm a King Bee", with Belushi singing and Aykroyd playing harmonica, dressed in the bee costumes they wore for the "Killer Bees" sketch.

Following tapings of SNL, it was popular among cast members and the weekly hosts to attend Aykroyd's Holland Tunnel Blues bar, which he had rented not long after joining the cast. Dan and John filled a jukebox with songs from many different artists such as Sam and Dave and punk band The Viletones. John bought an amplifier and they kept some musical instruments there for anyone who wanted to jam. It was here that Dan wrote and developed the original story which he then turned into the initial story draft of the Blues Brothers movie, better known as the "tome" because it contained so many pages.

It was also at the bar that Aykroyd introduced Belushi to the blues. An interest soon became a fascination and it was not long before the two began singing with local blues bands. Jokingly, SNL band leader Howard Shore suggested they call themselves "The Blues Brothers". In an April 1988 interview in the Chicago Sun-Times, Aykroyd said the Blues Brothers act borrowed from Sam & Dave and others: "Well, obviously the duo thing and the dancing, but the hats came from John Lee Hooker. The suits came from the concept that when you were a jazz player in the 40's, 50's 60's, to look straight, you had to wear a suit."

The band was also modeled in part on Aykroyd's experience with the Downchild Blues Band, one of the first professional blues bands in Canada, with whom Aykroyd continues to play on occasion. Aykroyd first encountered the band in the early 1970s, at or around the time of his attendance at Carleton University in Ottawa, Canada and where his initial interest in the blues developed through attending and occasionally performing at Ottawa's Le Hibou Coffee House. Aykroyd has said of this time:

So I grew up (in Ottawa), in this capital city. My parents used to work for the government, and I went to elementary school, high school, and the university in the city. And there was a place on Sussex Drive (Sussex Drive is where the Prime Minister’s house is, right below Parliament Hill), and there was a little club there called Le Hibou, which in French means 'the owl.' And it was run by a gentleman named Harvey Glatt, and he brought every, and I mean every blues star that you or I would ever have wanted to have seen through Ottawa in the late 50s, well I guess more late 60s sort of, in around the Newport jazz rediscovery. I was going to Le Hibou and hearing James Cotton, Otis Spann, Pinetop Perkins, and Muddy Waters. I actually jammed behind Muddy Waters. S. P. Leary left the drum kit one night, and Muddy said, 'Anybody out there play drums? I don’t have a drummer.' And I walked on stage and we started, I don’t know, Little Red Rooster, something. He said, 'Keep that beat going, you make Muddy feel good.' And I heard Howlin’ Wolf (Chester Burnett). Many, many times I saw Howlin’ Wolf. And of course Buddy Guy, Buddy Guy and Junior Wells, Sonny Terry and Brownie McGhee. So I was exposed to all of these players, playing there as part of this scene to service the academic community in Ottawa, a very well-educated community. Had I lived in a different town I don’t think that this would have happened, because it was just the confluence of educated government workers, and then also all the colleges in the area, Ottawa University, Carleton, and all the schools—these people were interested in blues culture. —

The Toronto-based Downchild Blues Band, co-founded in 1969 by two brothers, Donnie and Richard "Hock" Walsh, served as an inspiration for the two Blues Brothers characters. Aykroyd initially modeled Elwood Blues in part on Donnie Walsh, a harmonica player and guitarist, while John Belushi's Jake Blues character was modeled in part on Hock Walsh, Downchild's lead singer. In their first album as the Blues Brothers, Briefcase Full of Blues (1978), Aykroyd and Belushi featured three well-known Downchild songs closely associated with Hock Walsh's vocal style: "I've Got Everything I Need (Almost)," written by Donnie Walsh, "Shotgun Blues," co-written by Donnie and Hock Walsh, and "Flip, Flop and Fly," co-written and originally popularized by Big Joe Turner. All three songs were contained in Downchild's second album, Straight Up (1973), with "Flip, Flop and Fly" becoming the band's most successful single, in 1974.

Belushi's budding interest in the blues solidified in October 1977 when he was in Eugene, Oregon, filming National Lampoon's Animal House. He went to a local hotel to hear 25-year-old blues singer/harmonica player Curtis Salgado. After the show, Belushi and Salgado talked about the blues for hours. Belushi found Salgado's enthusiasm infectious. In an interview at the time with the Eugene Register-Guard, he said:

I was growing sick of rock and roll, it was starting to bore me … and I hated disco, so I needed some place to go. I hadn't heard much blues before. It felt good.

Salgado lent him some albums by Floyd Dixon, Charles Brown, Johnny "Guitar" Watson, and others. Belushi was hooked.

Belushi began to appear with Salgado on stage, singing the Floyd Dixon song "Hey, Bartender" on a few occasions, and using Salgado's humorous alternate lyrics to "I Don't Know":

I said Woman, you going to walk a mile for a Camel

Or are you going to make like Mr. Chesterfield and satisfy?
She said that all depends on what you're packing
Regular or king-size
Then she pulled out my Jim Beam, and to her surprise

It was every bit as hard as my Canadian Club

These lyrics were used again for the band's debut performance on SNL. This took place on the episode of April 22, 1978 (hosted by Steve Martin, where, in the cold open, Don Kirshner (played by Paul Shaffer) describes how Marshall Checkers of Checkers Records called him on a hot new blues act, and how with the help of "Neshui Wexler and Jerry Ertegun" (a play on the names of record industry executives Jerry Wexler and Neshui Ertegun), they were no longer regarded as an authentic blues band, but "a viable commercial product." The Blues Brothers then performed "Hey Bartender." Due to Shaffer's involvement in the sketch, keyboards were played for this performance by Cheryl Hardwick.