The Blues Brothers
Briefcase Full Of Blues
Atlantic
SD-19217
From The Original Vinyl LP
Side One:
1. Opening: I Can't Turn You Loose (1:17)
(Otis Redding)
East / Memphis Music / Time Music Co., Inc. BMI
2. Hey Bartender (2:46)
(Floyd Dickson)
El Camino Music, BMI
3. Messin' With The Kid (2:46)
(Mel London)
Melva Music, BMI
4. (I Got Everything I Need) Almost (2:36)
(Don Walsh)
Downchild Music, CAPAC
5. Rubber Biscuit (2:41)
(C. Johnson)
Adam R. Levy & Father Enterprises, Inc., BMI
6. Shot Gun Blues (5:13)
(Don Walsh - Rick Walsh)
Downchild Music, CAPAC
Side Two:
1. Groove Me (3:32)
(King Floyd)
Malaco Music / Roffignac Music, BMI
2. I Don't Know (4:07)
(Willie Mabon)
Republic Music Corp., BMI
3. Soul Man (2:54)
(David Porter - Issac Hayes)
Walden Music Inc. / Birdees Music ASCAP
4. "B" Movie Box Car Blues (3:57)
(Delbert McClinton)
Walden Music, Inc., / RSO Publishing, Inc., / Amnesty Music / Solid Bottom Music ASCAP
5. Flip, Flop & Fly (3:35)
(Charles Calhoun - Lou Willie Turner)
Belinda Music, BMI
6. Closing: I Can't Turn You Loose (0:28)
(Otis Redding)
East Memphis Music / Time Music Inc., BMI
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Produced by Bob Tischler
Musical Director: Paul Shaffer
Joliet Jake Blues - Lead Vocals
Elwood Blues - Harmonica and Lead Vocals on "Rubber Biscuit"
Paul "The Shiv" Shaffer - Hammond Organ, Wurlitzer Electric Piano and Acoustic Piano
Steve "The Colonel" Cropper - Guitar
Matt ""Guitar" Murphy - Guitar
Donald "Duck" Dunn - Bass Guitar
Steve "Getdwa" Jordan - Drums
Lou "Big Lou" Marini - Tenor Sax
Alan "Mr. Fabulous" Rubin - Trumpet
Tom "Triple Scale" Scott - Tenor Sax
Tom "Bones" Malone - Tenor Sax, Baritone Sax, Trombone & Trumpet
Horns arranged by Tom Malone
Background Vocal: Elwood Blues, Steve Jordan, Lou Marini, Tom Malone, Al Rubin, Tom Scott and Paul Shaffer
Production Coordinator: Laila Nabulsi
Assistant to the Producer: Belinda Tischler
Road Crew: Frank Sheibeck, Bruce Spillman
Recording Engineer: Warren Dewey
Mix Engineer: Bob Tischler
Assistant Engineer: Jay Krugman
Recorded live at the Universal Amphitheater, L.A.
Remote Recording: Record Plant, L.A.
Mixed at Record Plant, L.A.
Special thanks to Michael Klenfner, Bob Defrin, Susan Malone, Doc Pomus, Ron Gwynne
Very special thanks to Dan Ackroyd and John Belushi
Tom Scott appears courtesy of Columbia Records
Album photography by David Alexander
Design and photo coloring by Judith Jacklin
Atlantic Recording Corporation
75 Rockefeller Plaza, New York, New York 10019
(P) (C) 1978 Atlantic Recording Corporation
(R) A Warner Communications Company
________________________________________________________________________________________
Jake had a vision. It was his, the only real one he'd ever had, and he clung to it. There had been too many messy gas station holdups with only some green stamps and a case of Valvoline to show for the risk. Joliet Jake had always been full of schemes. But this was different; it played across his tiled cell wall 24 hours a day. And the ending was always the same – Jake and his younger brother Elwood cruising out of Calumet City, Ill., with the sun in their shades and a full tank of gas. He absentmindedly rubbed his Buddha belly; even on a diet of jail food and Chesterfields, Jake had gained weight. Someday they’d have a penthouse on Lake Shore Drive … float around with bourbons and blonds. It was out there for the taking and Jake could smell it like ozone in damp air.
It had always been the blues. Even back in the Rock Island City orphanage (that sweaty kid factory with the black windows) Jake and Elwood were saved by the music. actually, saved by a gray-haired janitor everybody called Curtis. He wore these sinister midnight shades, a narrow black tie and a porkpie hat that he kept pushed back on his head. Curtis wrapped his waxy brown hands around his guitar neck and played the most dangerous blues this side of Robert Johnson. The nuns scorched their days with holy threats and Curtis rescued them by night. Down in the coolness of his basement he taught the brothers the blues.
Silent Elwood never did put more than two sentences together, but all those lost words burned from his Special 20 blues harp. And Joliet tore that voice from some hidden darkness, twisting his chubby body, snarling at the heavens, a born sinner. They used the basement because it was secret and because the echo gave them a nice dirty sound: Howlin’ Wolf and Little Walker, slapping like a bad dream around the chilly room. and then one night, Jake brought in a gleaming E string he said came from Elmore James’ guitar. He held it tight and as it glowed in the bulb light, Jake sliced Elwood’s middle finger and then his own. Now the solo boys with soul in their blood were brothers. Jake and Elwood Blues … the Blues Brothers.
When Jake could keep himself out of jail, Elwood took off from the Taser factory and the brothers rode the state bare. They played everywhere: after-hours clubs, black-light bars. Word spread quietly across the steel belt about the two men in the porkpie hats who still played the blues. And soon other musicians crawled out of the night. The Colonel showed up in Decatur with his Telecaster and Duck. The Shiv, Mr. Fabulous, Blue Lou, Bones, Triple Scale, and crazy Getdwa strutted in one Saturday night. Finally, Guitar Murphy, bigger than life, joined up and they were set. One scary soul band as mean and righteous as a fist.
Miami Mitch Glazer
Dedicated to Curtis Salgado.
