The Blues Brothers 'Everybody Needs Somebody To Love'

Article Preview :: Classic Tracks

Published in SOS May 2014
Bookmark and Share

Technique : Classic Tracks


His role as producer of The Blues Brothers soundtrack left Bob Tischler in charge of recording some of the best musicians of the 20th century, while managing conflicting shooting schedules and coping with the day-to-day effects of John Belushi's prodigious cocaine habit.

Richard Buskin

A comedy, a musical, a buddy movie; The Blues Brothers is all of these things, while also providing audiences with the opportunity to see James Brown, Aretha Franklin, Ray Charles, John Lee Hooker, Steve Cropper and assorted other soul, blues and R&B legends not only perform, but also act opposite the likes of John Candy, Carrie Fisher and the two main stars, John Belushi and Dan Aykroyd. More than three decades after its release, it is regarded as a cult classic, while the soundtrack album captures some memorable performances. Among them are Aretha's dynamite rendition of 'Think', James Brown's equally dynamic 'The Old Landmark', Ray Charles's 'Shake A Tail Feather', Cab Calloway's 'Minnie The Moocher' and timeless covers of Taj Mahal's 'She Caught The Katy', the Spencer Davis Group's 'Gimme Some Lovin'' and Solomon Burke's 'Everybody Needs Somebody To Love' by Messrs Belushi and Aykroyd alongside their own all-star band.

Birth Of The Blues

After they met in 1973, Ottawa-raised Aykroyd turned Chicago-raised, hard-rock-oriented Belushi onto R&B, soul and, more specifically, the blues music associated with Memphis and Belushi's native Windy City. Aykroyd was in love with the blues and, by the time he and Belushi joined the original cast of Saturday Night Live in 1975, the two men shared this obsession, jamming and listening to blues records at Aykroyd's Holland Tunnel Blues bar, where he also wrote the storyJake and Elwood Blues, also known as John Belushi and Dan Aykroyd.Photo: Corbis that later would evolve into the Blues Brothers movie. In the meantime, it led to the pair developing their alter egos: the laid-back, harmonica-playing Elwood (Aykroyd) and in-your-face, singing ex-con 'Joliet' Jake (Belushi), attired in their black hep-cat suits and skinny ties along with John Lee Hooker-type fedora hats and wrap-around Ray-Ban Wayfarer sunglasses — a couple of wide boys performing their music while routinely breaking the law.

"John Belushi was so good to me, not only in terms of my career, but also as a close friend,” says Bob Tischler, who produced and engineered all four Blues Brothers albums that were released prior to Belushi's death from an overdose in 1982. "Although he was a maniac to a lot of people, I have nothing but great memories of him.”

"We're On A Mission From God”

Starting out as an assistant engineer at the Floyd Peterson New York studio during the early 1970s, Tischler learned the ropes working on radio spots, TV ads and trailers for the major movie companies. Recording a radio spot for the Joe Cocker concert tour film, Mad Dogs & Englishmen, he hired then-unknown actor/writer/director/composer/musician Christopher Guest to provide one of the voices. The two subsequently became friends and began recording

...

That's the end of the trailer folks!

To Continue reading...

Option 1:   Login to read this article if you have a Web subscription.WS
  • To read the full article online in HTML format LOG IN at the top right of this page.
  • Note: Your Web subscription does not entitle you to download articles in PDF format.

Option 2:  Buy this SOS article in Adobe PDF format
  • Buy this article now and immediately download the PDF file to your computer
  • PDF pages look identical to the printed magazine layouts but exclude advertisements

I AM a Subscriber - How do I access Web content?

  • Depending on your Subscription type, you may or may not have Web access included in your subscription bundle.
  • If you have a Print Only or Tablet Only subscription and wish to upgrade send an email including your full name and postal address to: subs-upgrade@soundonsound.com
  • All other Subscription bundles do include access to Web content but you may not have activated it by logging in. See this page for Help.

I am NOT a Subscriber

  • SOS locks most recent magazine web articles for 5 months after they go online.
  • Only articles older than 6 months are free to access.
  • Buy a subscription now for instant access to all articles. Click here for prices.


Classic Tracks: Billy Swan 'I Can Help'

Producers: Chip Young, Billy Swan; Engineer: Chip Young

In 1974 Billy Swan walked into Chip Young's Young'un Sound studio and, in two takes, recorded a million-selling single that had taken him 20 minutes to write. This is how it was done...

CLASSIC TRACKS: Ian Dury & The Blockheads

Track: 'Hit Me With Your Rhythm Stick'

The story of how a characteristically chaotic and unorthodox 1978 recording session took Ian Dury & The Blockheads to the top of the UK charts.

CLASSIC TRACKS: Madonna 'Like A Virgin'

Producers: Nile Rodgers, Madonna, Stephen Bray • Engineer: Jason Corsaro

In mid-1984 Madonna arrived at New York City's Power Station studios with Nile Rodgers to record the album that would make her an international superstar - using cutting-edge 12-bit technology.

CLASSIC TRACKS: Fleetwood Mac 'Go Your Own Way'

Producers: Richard Dashut, Ken Caillat, Fleetwood Mac

In 1976, in the face of deteriorating personal relationships and massive record company pressure, Fleetwood Mac managed to create a record that would go on to sell 30 million copies.

CLASSIC TRACKS: The Only Ones: 'Another Girl, Another Planet'

Producer: Alan Mair • Engineers: John Burns, Robert Ash

Although never a commercial success, the Only One's 'Another Girl, Another Planet' has proved to be massively influential; and nearly 30 years after its original release, it's finally getting the recognition it deserves.

CLASSIC TRACKS: Tricky 'Black Steel'

Producers: Tricky • Mark Saunders

Thumbnail for article: CLASSIC TRACKS: Tricky 'Black Steel'Tricky's highly unorthodox approach to recording and making music led to the creation of one of the most unique and critically lauded records of the '90s.

CLASSIC TRACKS: Charlie Rich 'The Most Beautiful Girl In The World'

Producer: Billy Sherrill • Engineer: Lou Bradley

1973's 'The Most Beautiful Girl In The World' was one of the defining moments of the Nashville sound, and was the product of a finely-honed studio recording process.

CLASSIC TRACKS: The Ronettes 'Be My Baby'

Producer: Phil Spector • Engineer: Larry Levine

Phil Spector was one of the first producers to realise that a recording studio could be an instrument in itself - and the sound he created over 40 years ago has influenced popular music ever since.

CLASSIC TRACKS: The Jam 'The Eton Rifles'

Producers: The Jam, Vic Coppersmith-Heaven • Engineers: Alan Douglas, Vic Coppersmith-Heaven

'The Eton Rifles' captured both Paul Weller's growing talent as a songwriter and the raw power of his band the Jam, and gave the group their first top 10 hit.

CLASSIC TRACKS: Depeche Mode's 'People Are People'

Producers: Depeche Mode, Daniel Miller, Gareth Jones • Engineer: Gareth Jones

Released in 1984, 'People Are People' perfectly combined Depeche Mode's love of pop music and experimentalism, and gave them their first US hit single.

CLASSIC TRACKS: Les Paul & Mary Ford 'How High The Moon'

Producer & Engineer: Les Paul

Les Paul made some of the most innovative records of the 20th Century, but he had to invent multitrack tape recording first...

CLASSIC TRACKS: The Cure 'A Forest'

Producers: Robert Smith, Mike Hedges

Mike Hedges made his 1980 debut as a producer with one of The Cure's most enduring singles. 'A Forest' and the accompanying Seventeen Seconds album used his and the band's creativity in the studio to the full.

CLASSIC TRACKS: Sade's 'The Sweetest Taboo'

Producers: Robin Millar, Sade Adu, Mike Pela, Ben Rogan

Sade's ice-cool vocals and sophisticated, jazz-tinged instrumentation defined a new kind of soul music for the '80s. Engineer and producer Mike Pela describes the organic recording process that produced one of the singer's most memorable hits from 1985.

CLASSIC TRACKS: Heroes

Artist: David Bowie; Producers: David Bowie, Tony Visconti; Studio: Hansa Ton, Berlin

With 'Heroes', David Bowie pulled off the rare feat of having a major hit with a highly experimental piece of art-rock, which featured among other highlights live synth treatments from Brian Eno, pitched feedback from guitarist Robert Fripp, and a lead vocal with level-triggered ambience.

CLASSIC TRACKS: 'Anarchy In The UK'

Artist: The Sex Pistols; Producer: Chris Thomas; Engineer: Bill Price

When punk rock broke in 1976, the Sex Pistols caused panic in establishment Britain — and more than a few raised eyebrows in Wessex Studios, where Chris Thomas and Bill Price recorded the band's milestone EMI debut album.

MICHAEL JACKSON 'Black Or White' | Classic Tracks

Producers: Michael Jackson, Bill Bottrell • Engineer: Bill Bottrell

The 18-month gestation period behind Michael Jackson's Dangerous album and its lead single 'Black Or White' saw '80s studio perfectionism taken to extremes — and despite their success, the experience helped to convince co-writer, engineer and co-producer Bill Bottrell that there had to be another way to make records!

CLASSIC TRACKS: 'The Reflex'

Producers: Duran Duran, Alex Sadkin, Ian Little; Engineers: Phil Thornalley, Pete Schwier

When Duran Duran began work on their third album in 1983, they were already one of the biggest bands in the world — and with eight months of studio time and half a million pounds spent, huge expectations surrounded Seven And The Ragged Tiger...

CLASSIC TRACKS: 'Wuthering Heights'

Artist: Kate Bush; Producer: Andrew Powell; Engineer: Jon Kelly

Kate Bush's 1978 smash hit debut single was also the first major project Jon Kelly had recorded. It proved to be a dream start for both artist and engineer, and a perfect illustration of the benefits of working with talented session musicians.

CLASSIC TRACKS: 'What's Love Got To Do With It?'

Artist: Tina Turner; Producer: Terry Britten; Engineer: John Hudson

In 1984, a dose of British soul resurrected Tina Turner's flagging career in spectacular style. For engineer John Hudson, the recording of 'What's Love Got To Do With It?' also provided a memorable example of the 'less is more' principle in action...

CLASSIC TRACKS: 'Start Me Up'

Artist: The Rolling Stones; Engineer: Chris Kimsey

In 1981, 'Start Me Up' became one of the Rolling Stones' biggest hit singles. Yet it was actually a reject from a previous session, and only saw the light of day because its infamous co-writers had fallen out...

Classic Tracks: The Police's 'Every Breath You Take'

Producers: The Police, Hugh Padgham • Engineer: Hugh Padgham.

The Police's final studio album was both a technical and artistic tour de force, and yielded one of their most memorable hit singles. Yet the three members were unable to play in the same room without a fight breaking out, so the recording sessions proved tough going for engineer and co-producer Hugh Padgham...

CLASSIC TRACKS: 'Unforgettable'

Artists: Natalie Cole & Nat 'King' Cole; Producer: David Foster; Engineer: Al Schmitt

Half a century in the business has seen recording engineer Al Schmitt reach the very top of his profession, but even a man of his experience can find himself faced with new challenges. So it was in 1991, when he was called upon to turn a classic Nat 'King' Cole recording into a duet with Cole's daughter Natalie...

DAW Tips from SOS

 

Home | Search | News | Current Issue | Tablet Mag | Articles | Forum | Subscribe | Shop | Readers Ads

Advertise | Information | Privacy Policy | Support | Login Help

 

Email: Contact SOS

Telephone: +44 (0)1954 789888

Fax: +44 (0)1954 789895

Registered Office: Media House, Trafalgar Way, Bar Hill, Cambridge, CB23 8SQ, United Kingdom.

Sound On Sound Ltd is registered in England and Wales.

Company number: 3015516 VAT number: GB 638 5307 26

         

All contents copyright © SOS Publications Group and/or its licensors, 1985-2014. All rights reserved.
The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers.

Web site designed & maintained by PB Associates | SOS | Relative Media