1 00:00:01,160 --> 00:00:04,320 Speaker 1: The Michael Barry Show, Steve Cropper's our guest. He co 2 00:00:04,400 --> 00:00:06,920 Speaker 1: wrote that song with Otis Redding. Eighteen days after the 3 00:00:06,960 --> 00:00:11,360 Speaker 1: recording session. Of course, Otis Redding died at the young 4 00:00:11,440 --> 00:00:14,200 Speaker 1: age of twenty six years old. He went back into 5 00:00:14,240 --> 00:00:17,160 Speaker 1: the studio. Now it's not clear, and I'm scared to 6 00:00:17,160 --> 00:00:19,720 Speaker 1: say anything. Now you're going to contradict me. But the 7 00:00:19,760 --> 00:00:24,680 Speaker 1: Wall Street Journal articles suggests that the whistle bit there 8 00:00:24,720 --> 00:00:26,800 Speaker 1: at the end. It says that you left in about 9 00:00:26,800 --> 00:00:32,159 Speaker 1: ten measures because Otis liked to add lib impromptu in 10 00:00:32,200 --> 00:00:34,760 Speaker 1: the song, and that the whistle was a placekeeper. Is 11 00:00:34,760 --> 00:00:35,280 Speaker 1: that correct? 12 00:00:35,440 --> 00:00:37,520 Speaker 2: That is kind of correct. He couldn't think of anything 13 00:00:37,560 --> 00:00:37,880 Speaker 2: to say. 14 00:00:38,680 --> 00:00:40,720 Speaker 1: Do you think later he would have said something, you 15 00:00:40,720 --> 00:00:41,360 Speaker 1: think the whistle? 16 00:00:41,720 --> 00:00:44,519 Speaker 3: Sure? The funny thing that happened. And there are some 17 00:00:44,600 --> 00:00:47,559 Speaker 3: outtakes and people can actually purchase them that they want to. 18 00:00:49,080 --> 00:00:51,600 Speaker 3: Fantasy Records put out some out the three outtakes I 19 00:00:51,640 --> 00:00:55,560 Speaker 3: think or two outtakes, and right before the master cut 20 00:00:55,560 --> 00:00:59,080 Speaker 3: that we all know, Ronnie upon the engineer gets on 21 00:00:59,120 --> 00:01:01,440 Speaker 3: the talkback and he's and I was playing acoustic guitar. 22 00:01:01,560 --> 00:01:03,880 Speaker 2: I wasn't playing electric. I was playing acoustics. 23 00:01:04,120 --> 00:01:07,200 Speaker 3: There's two guitars on the record, and he said, Steve, 24 00:01:07,280 --> 00:01:10,120 Speaker 3: move in a little bit. And the other thing he 25 00:01:10,200 --> 00:01:12,480 Speaker 3: says to otis he says, otis one thing for sure, 26 00:01:12,520 --> 00:01:13,680 Speaker 3: you'll never be a whistler. 27 00:01:14,400 --> 00:01:18,080 Speaker 1: Well, probably the most famous whistle in. 28 00:01:18,080 --> 00:01:22,800 Speaker 2: History, in history. So I just think that's funny. 29 00:01:26,120 --> 00:01:27,720 Speaker 1: Let's fast forward if we could. I want to go 30 00:01:27,720 --> 00:01:31,080 Speaker 1: back to the Stacks period in a minute. But you 31 00:01:31,160 --> 00:01:34,160 Speaker 1: hooked up with two white guys that loved jazz named 32 00:01:34,240 --> 00:01:37,800 Speaker 1: dan Aykroyd and John Belushi And I've posted to our 33 00:01:37,840 --> 00:01:40,880 Speaker 1: site the article after this interview, folks, I encourage you 34 00:01:40,880 --> 00:01:43,400 Speaker 1: to go back and read it. Vanity Fair did a 35 00:01:43,440 --> 00:01:46,400 Speaker 1: piece entitled soul Men The Making of the Blues Brothers, 36 00:01:46,880 --> 00:01:49,280 Speaker 1: and they go through the history of dan Aykroyd and 37 00:01:49,400 --> 00:01:52,840 Speaker 1: John Belushian and the movie and the music. And you 38 00:01:52,880 --> 00:01:54,240 Speaker 1: still tour with the Blues Brothers. 39 00:01:54,240 --> 00:01:56,000 Speaker 2: I mean, you're going to be in europe Cosion Blues 40 00:01:56,000 --> 00:01:56,600 Speaker 2: Brothers band. 41 00:01:56,680 --> 00:01:59,960 Speaker 1: Twenty five years two of us still left you. Donald 42 00:02:00,280 --> 00:02:04,080 Speaker 1: done not with us anymore, the trumpet player, your best 43 00:02:04,120 --> 00:02:05,320 Speaker 1: friend from sixth grade. 44 00:02:05,560 --> 00:02:07,400 Speaker 2: Absolutely, Donald Duck done. 45 00:02:07,440 --> 00:02:10,600 Speaker 1: That is uh tell us. I think the article's fascinating, 46 00:02:10,600 --> 00:02:12,080 Speaker 1: but I'd like to hear it in your own words, 47 00:02:12,120 --> 00:02:15,240 Speaker 1: Steve Cropper, how that came to be that you joined 48 00:02:15,400 --> 00:02:18,480 Speaker 1: John Belushi and dan Aykroyd for the Blues Brothers. 49 00:02:18,240 --> 00:02:21,919 Speaker 3: Well, I don't know who suggested me. I really don't 50 00:02:22,600 --> 00:02:27,880 Speaker 3: the thing that probably spurred the John Belushi to pick 51 00:02:27,960 --> 00:02:28,919 Speaker 3: this particular band. 52 00:02:29,800 --> 00:02:30,080 Speaker 2: Uh. 53 00:02:30,200 --> 00:02:34,399 Speaker 3: We that band, including the Saturday Night Live Horns, had 54 00:02:34,440 --> 00:02:38,120 Speaker 3: recorded and done two world tours with Levon Helm and 55 00:02:38,200 --> 00:02:41,280 Speaker 3: the band called the r CEO All Stars. We went 56 00:02:41,360 --> 00:02:44,520 Speaker 3: up and recorded up in Woodstock and then we recorded 57 00:02:44,560 --> 00:02:48,800 Speaker 3: another record out in Malibu, their studio out there in California, 58 00:02:49,040 --> 00:02:52,200 Speaker 3: did two world tours. We were playing New Year's Eve 59 00:02:52,240 --> 00:02:56,040 Speaker 3: at the Palladium and John Belushi happened to be there 60 00:02:56,639 --> 00:02:59,000 Speaker 3: and whatever was sparked in his head, as best I 61 00:02:59,040 --> 00:03:01,360 Speaker 3: can tell, as he said, if I go on the road, 62 00:03:01,400 --> 00:03:04,519 Speaker 3: that's the band I want, which did include the Saturday 63 00:03:04,600 --> 00:03:08,040 Speaker 3: Night Life Horns. So, as it turned out, Steve Martin 64 00:03:08,160 --> 00:03:11,240 Speaker 3: later he had a big record called King tut number 65 00:03:11,280 --> 00:03:14,560 Speaker 3: one record the Nation had been asked to do I 66 00:03:14,600 --> 00:03:18,440 Speaker 3: think nine shows at the Universal Amphitheater in California, and 67 00:03:18,520 --> 00:03:21,480 Speaker 3: they needed an opening act and they said, get whoever 68 00:03:21,520 --> 00:03:24,760 Speaker 3: you want. So being a writer and connected with Blushi 69 00:03:24,840 --> 00:03:27,959 Speaker 3: and Akroyd. He called them and said, Hey, I'm doing 70 00:03:28,000 --> 00:03:30,480 Speaker 3: these shows in California. I need you guys to open 71 00:03:30,520 --> 00:03:33,240 Speaker 3: for me. And Belushi said, well, we don't really do 72 00:03:33,320 --> 00:03:35,120 Speaker 3: stand up coming and he said, well, I don't care 73 00:03:35,160 --> 00:03:36,800 Speaker 3: what you do. He said, can we do music? 74 00:03:36,840 --> 00:03:37,440 Speaker 2: And he said sure. 75 00:03:38,320 --> 00:03:40,880 Speaker 3: So he put together the band and he started calling 76 00:03:40,920 --> 00:03:43,680 Speaker 3: these guys he sought to play in the past Christmas 77 00:03:43,720 --> 00:03:44,720 Speaker 3: for New Years. 78 00:03:45,040 --> 00:03:49,240 Speaker 1: And apparently I did not realize the commercial success that 79 00:03:49,280 --> 00:03:52,680 Speaker 1: the Blues Brothers had had in album sales record sales 80 00:03:52,720 --> 00:03:54,960 Speaker 1: at that time until the Vanity Fair article. I was 81 00:03:55,400 --> 00:03:58,400 Speaker 1: blown away. I mean, this wasn't just this wasn't just 82 00:03:58,440 --> 00:03:58,760 Speaker 1: a band. 83 00:03:58,800 --> 00:04:02,080 Speaker 3: In the initial record sold two and a half three 84 00:04:02,080 --> 00:04:05,240 Speaker 3: million copies. Wow, Briefcase full of Blues. And it was 85 00:04:05,280 --> 00:04:07,600 Speaker 3: a live album, but it doesn't really sound live. It 86 00:04:07,680 --> 00:04:10,880 Speaker 3: sounds very professional and out of the I think nine 87 00:04:10,960 --> 00:04:13,640 Speaker 3: days they recorded four and out of those four dates 88 00:04:13,640 --> 00:04:15,000 Speaker 3: they pieced together that album. 89 00:04:15,280 --> 00:04:17,680 Speaker 1: Now soul Man my favorite out of that. You had 90 00:04:17,680 --> 00:04:20,320 Speaker 1: played on the original with Sam and Dave, who say 91 00:04:20,800 --> 00:04:23,479 Speaker 1: play at Steve, Sam and Dave were with stacks with 92 00:04:23,560 --> 00:04:27,840 Speaker 1: you and then doing that with John Belushi and dan Aykroyd, 93 00:04:28,800 --> 00:04:30,520 Speaker 1: who chose to put that song in there. 94 00:04:31,640 --> 00:04:34,120 Speaker 3: Well, I did, but I don't want it to appear 95 00:04:34,200 --> 00:04:38,680 Speaker 3: that I'm credited with any of it. But Douck and 96 00:04:38,720 --> 00:04:42,680 Speaker 3: I had a little bit of concern because we are 97 00:04:42,920 --> 00:04:49,160 Speaker 3: commercial what you call commercial studio musicians, all about chart records, 98 00:04:49,520 --> 00:04:50,960 Speaker 3: you know, and it takes a. 99 00:04:50,920 --> 00:04:51,920 Speaker 2: Certain type of record. 100 00:04:52,080 --> 00:04:53,440 Speaker 1: Is that a bad thing to get? 101 00:04:53,640 --> 00:04:54,400 Speaker 2: I wouldn't think. So. 102 00:04:54,440 --> 00:04:57,160 Speaker 1: It keeps your bank account. 103 00:04:57,400 --> 00:05:01,320 Speaker 3: So we just have a commercial mind. And so what 104 00:05:01,360 --> 00:05:04,719 Speaker 3: I mean by that is that we have a different 105 00:05:04,760 --> 00:05:08,240 Speaker 3: direction than just playing music. We have to play music 106 00:05:08,320 --> 00:05:10,919 Speaker 3: for a purpose, and that purpose is to make people 107 00:05:10,960 --> 00:05:15,480 Speaker 3: want it. So they were more concerned about a lot 108 00:05:15,520 --> 00:05:18,920 Speaker 3: of blues direction and stuff that Duck and I really 109 00:05:19,000 --> 00:05:22,320 Speaker 3: didn't feel was very commercial. And in the rehearsals in 110 00:05:22,400 --> 00:05:24,560 Speaker 3: New York, I came in late, I came in about 111 00:05:24,600 --> 00:05:26,960 Speaker 3: two days later or whatever, and Duck grabbed me and said, 112 00:05:27,120 --> 00:05:29,320 Speaker 3: you know, we're cutting a lot of good stuff here, 113 00:05:29,560 --> 00:05:31,560 Speaker 3: rehearsing a lot of good stuff, but it's all kind 114 00:05:31,600 --> 00:05:33,839 Speaker 3: of blue stuff. I said, nothing commercially. He said, you 115 00:05:33,880 --> 00:05:35,480 Speaker 3: need to go in there and talk to these guys. 116 00:05:35,800 --> 00:05:37,839 Speaker 3: I said, okay, give me a chance to see what's 117 00:05:37,839 --> 00:05:39,280 Speaker 3: going on. So we're going there and we're playing. We're 118 00:05:39,320 --> 00:05:42,240 Speaker 3: having a big time. And so I looked at John 119 00:05:42,320 --> 00:05:45,520 Speaker 3: and I said, John, I said, if you guys ever 120 00:05:45,520 --> 00:05:50,400 Speaker 3: thought about doing something that you could like dance to and. 121 00:05:49,440 --> 00:05:50,839 Speaker 2: Something like that? And he said like what? 122 00:05:51,000 --> 00:05:52,599 Speaker 3: And I said, well, like Sam and Dave, you know, 123 00:05:52,640 --> 00:05:54,720 Speaker 3: I mean, they had great records, but they always they 124 00:05:54,720 --> 00:05:56,760 Speaker 3: were dancers. They were known as dancers. They really get 125 00:05:56,760 --> 00:06:00,279 Speaker 3: the house going, all that kind of stuff. And he said, well, okay, 126 00:06:00,320 --> 00:06:02,240 Speaker 3: he said you got a suggestion. And I looked at 127 00:06:02,240 --> 00:06:04,279 Speaker 3: Paul Shaeffer and I said, you know so men, don't you? 128 00:06:04,400 --> 00:06:07,000 Speaker 3: And he said sure. So I hit so men and 129 00:06:07,080 --> 00:06:09,360 Speaker 3: they start dancing and clowning around and all that sort 130 00:06:09,360 --> 00:06:12,800 Speaker 3: of stuff, and everybody was laughing and having a big time. 131 00:06:12,839 --> 00:06:15,640 Speaker 3: And John turned around and he said, man, that song's great, 132 00:06:15,640 --> 00:06:17,960 Speaker 3: but he said it's too high for it. I said, okay, 133 00:06:18,000 --> 00:06:19,520 Speaker 3: so I just brought it down a fourth and we've 134 00:06:19,520 --> 00:06:20,680 Speaker 3: been playing it there ever since. 135 00:06:21,240 --> 00:06:23,320 Speaker 1: Can you I know you're irritated you don't have your 136 00:06:23,360 --> 00:06:25,120 Speaker 1: right amp, you're right guitar. You got your guitar, but 137 00:06:25,160 --> 00:06:27,240 Speaker 1: not your right amp. So we'll make allowances. Could you 138 00:06:27,240 --> 00:06:28,039 Speaker 1: show us the difference. 139 00:06:28,360 --> 00:06:30,159 Speaker 3: Well, and I do a thing, and I'll probably do 140 00:06:30,160 --> 00:06:33,240 Speaker 3: it tonight. I'll bring up an old show that used 141 00:06:33,240 --> 00:06:35,719 Speaker 3: to be on TV called Name that Tune and the 142 00:06:35,760 --> 00:06:39,160 Speaker 3: contestant simple contest. The contestants name the song, and the 143 00:06:39,240 --> 00:06:42,080 Speaker 3: least notes would win the prize of the day. So usually, 144 00:06:42,160 --> 00:06:44,120 Speaker 3: if I have a full house, I guarantee you ninety 145 00:06:44,120 --> 00:06:46,320 Speaker 3: percent of the people can name this song and two notes, 146 00:06:47,040 --> 00:06:48,760 Speaker 3: they already know what I'm gonna play, So it goes 147 00:06:48,800 --> 00:06:49,200 Speaker 3: like there. 148 00:06:55,520 --> 00:06:58,080 Speaker 1: Let's talk about the Blues Brothers. Vanity Fair did a 149 00:06:58,120 --> 00:07:01,359 Speaker 1: story that's a very you would read you are a 150 00:07:01,360 --> 00:07:03,159 Speaker 1: big part of, and they talk about the making of 151 00:07:03,200 --> 00:07:08,760 Speaker 1: the movie and John Belushi's cocaine problems and keeping this 152 00:07:09,360 --> 00:07:12,920 Speaker 1: group together and the incredible costs that went with it 153 00:07:13,360 --> 00:07:15,920 Speaker 1: and the choice of artists. You know, one of the interests. 154 00:07:15,920 --> 00:07:17,240 Speaker 1: I don't know how much of an influence you had 155 00:07:17,240 --> 00:07:19,680 Speaker 1: over this, but one of the things they talked about 156 00:07:19,800 --> 00:07:23,800 Speaker 1: was bringing in Aretha Franklin, and the makers the studio said, 157 00:07:23,800 --> 00:07:26,960 Speaker 1: Aretha Franklin, you know she had been she hadn't had 158 00:07:26,960 --> 00:07:29,600 Speaker 1: a hit in twelve years. Well, you had produced Aretha 159 00:07:29,680 --> 00:07:33,440 Speaker 1: in the sixties, and obviously her scene turned out to 160 00:07:33,440 --> 00:07:36,320 Speaker 1: be one of the biggest, and James Brown, who arguably 161 00:07:36,360 --> 00:07:37,760 Speaker 1: wasn't at the peak of his career, and then of 162 00:07:37,800 --> 00:07:41,520 Speaker 1: course Cab Calloway, whom most people's grandparents remembered. And yet 163 00:07:41,560 --> 00:07:44,040 Speaker 1: that kind of gives us a charm to the music 164 00:07:44,520 --> 00:07:46,720 Speaker 1: is that it went back into history and brought these 165 00:07:46,720 --> 00:07:47,280 Speaker 1: people back. 166 00:07:47,400 --> 00:07:47,600 Speaker 2: Well. 167 00:07:47,640 --> 00:07:50,640 Speaker 3: I think the thing about the Blues Brothers movie is 168 00:07:50,640 --> 00:07:55,040 Speaker 3: that Dan Aykroyd who wrote that and wrote it with 169 00:07:55,120 --> 00:07:58,760 Speaker 3: John Landers, of course, but he really researched everything. And 170 00:07:58,840 --> 00:08:01,640 Speaker 3: having Cab Calloway, I think that was the third time, 171 00:08:01,800 --> 00:08:05,280 Speaker 3: third major motion picture that Kevi Callaway had performed a 172 00:08:05,400 --> 00:08:05,720 Speaker 3: song in. 173 00:08:06,720 --> 00:08:09,400 Speaker 1: And uh, you know, to bring back you talk about 174 00:08:09,400 --> 00:08:12,160 Speaker 1: Manny the moocher, and and to be. 175 00:08:12,200 --> 00:08:16,560 Speaker 3: Smart enough to bring back Aretha and Ray and James. 176 00:08:16,600 --> 00:08:17,800 Speaker 2: I mean you just picked from. 177 00:08:17,680 --> 00:08:19,760 Speaker 3: The top of the crop basically what he did, and 178 00:08:20,360 --> 00:08:22,200 Speaker 3: it all seemed to work out. And they had so 179 00:08:22,280 --> 00:08:26,240 Speaker 3: much fun making that movie. Uh that's probably a thrill. 180 00:08:26,360 --> 00:08:28,040 Speaker 3: They say, what's the most fun you ever had? We're 181 00:08:28,040 --> 00:08:30,240 Speaker 3: making a movie. I mean we left there going we 182 00:08:30,280 --> 00:08:31,200 Speaker 3: could do this every day. 183 00:08:31,280 --> 00:08:34,439 Speaker 1: This was really cool, but the studio would have none 184 00:08:34,480 --> 00:08:37,440 Speaker 1: of it. Steve Cropper is our guest. According to Vanity Fair, 185 00:08:37,800 --> 00:08:40,360 Speaker 1: the studio was ready to shut this thing down pretty much. 186 00:08:40,679 --> 00:08:43,080 Speaker 1: It was costume. Have you seen the movie Tropic Thunder? 187 00:08:43,600 --> 00:08:44,520 Speaker 2: I have all of it. 188 00:08:44,800 --> 00:08:48,160 Speaker 1: Well that you know, it's running the costs overruns. They're 189 00:08:48,160 --> 00:08:50,520 Speaker 1: about ready to shut this thing down. Tom Cruise plays 190 00:08:50,559 --> 00:08:53,400 Speaker 1: a great role as this, you know, crazy guy that's 191 00:08:53,440 --> 00:08:54,880 Speaker 1: making this movie, and I kind of get the sense 192 00:08:54,920 --> 00:08:57,800 Speaker 1: that's what's going on there. They're getting notices that you 193 00:08:57,840 --> 00:09:00,000 Speaker 1: guys are supposed to be filming and you're not. In blue. 194 00:09:00,160 --> 00:09:02,280 Speaker 1: She's knocked up and then I guess, I guess he 195 00:09:02,960 --> 00:09:06,000 Speaker 1: sprained his wrist and he still hadn't done the flipping 196 00:09:06,040 --> 00:09:08,520 Speaker 1: scene that they do in the church with James Brown. 197 00:09:08,600 --> 00:09:11,800 Speaker 1: I mean, I can't imagine what that period was. 198 00:09:11,800 --> 00:09:14,840 Speaker 3: Well, well, there's so many things about that movie that's really funny. 199 00:09:14,880 --> 00:09:18,160 Speaker 3: But you know, they talked in there about going over 200 00:09:18,200 --> 00:09:21,480 Speaker 3: budget and all that, and I remember, I think it's 201 00:09:21,559 --> 00:09:24,320 Speaker 3: long enough now I can say this, but I flew 202 00:09:24,400 --> 00:09:27,040 Speaker 3: with Bob Wish, who was a producer from LA back 203 00:09:27,160 --> 00:09:30,680 Speaker 3: to the set in Chicago, and we're sitting together back 204 00:09:30,679 --> 00:09:32,360 Speaker 3: in the plane and I said, I've got to ask 205 00:09:32,400 --> 00:09:34,240 Speaker 3: you a question. I know, if you can't answer, you 206 00:09:34,320 --> 00:09:36,880 Speaker 3: can't answer. But I said, I'm curious, what is the 207 00:09:36,920 --> 00:09:39,240 Speaker 3: budget on this film? And he looked at me and 208 00:09:39,280 --> 00:09:40,520 Speaker 3: he said, well, Steve. 209 00:09:40,360 --> 00:09:43,520 Speaker 2: There's not one. So what does that mean? 210 00:09:44,679 --> 00:09:47,760 Speaker 3: Well, now they talk about they were going over budget. Well, 211 00:09:47,800 --> 00:09:50,120 Speaker 3: if there wasn't a budget, there wasn't anything to go over. 212 00:09:50,240 --> 00:09:53,880 Speaker 1: I don't know the articles suggests Steve Croppers. I guess 213 00:09:53,880 --> 00:09:58,079 Speaker 1: the article suggests that John Linda's had absolutely no control 214 00:09:58,120 --> 00:09:59,800 Speaker 1: over the set and particularly the stars. 215 00:10:01,120 --> 00:10:07,160 Speaker 3: I don't know about that true, but but the the 216 00:10:07,160 --> 00:10:11,439 Speaker 3: the gossip running around the set was when if we're 217 00:10:11,440 --> 00:10:14,120 Speaker 3: still talking about budget, was that John Landis wanted to 218 00:10:14,120 --> 00:10:18,440 Speaker 3: spend one more dollar than Steven Spielberg. It's kind of 219 00:10:18,480 --> 00:10:20,800 Speaker 3: a not a rival, but you know, there were good buddies. 220 00:10:20,960 --> 00:10:22,280 Speaker 3: Steven had come by the set. 221 00:10:22,320 --> 00:10:25,720 Speaker 1: And when you when you look back at the tracks 222 00:10:26,120 --> 00:10:28,360 Speaker 1: from that how did Hay Bartender get put in there? 223 00:10:28,400 --> 00:10:30,120 Speaker 1: It just seems like an odd choice for that movie. 224 00:10:30,160 --> 00:10:33,800 Speaker 3: Well John Belushi came up with that one. I'm not sure. 225 00:10:33,840 --> 00:10:37,480 Speaker 3: I don't remember having heard that song before we started 226 00:10:37,480 --> 00:10:40,440 Speaker 3: rehearsing songs for the movie. You know, I learned a 227 00:10:40,440 --> 00:10:44,960 Speaker 3: lot in that movie. I was very educated because, like 228 00:10:45,040 --> 00:10:49,880 Speaker 3: I said earlier, that we were so tuned into and 229 00:10:49,960 --> 00:10:54,080 Speaker 3: train with the commercial ear that everything we touched just 230 00:10:54,120 --> 00:10:58,480 Speaker 3: sort of had to be commercial. So we as growing 231 00:10:58,559 --> 00:11:00,640 Speaker 3: up and playing in the studio and and so forth, 232 00:11:01,679 --> 00:11:04,320 Speaker 3: we missed out on a lot of great music because 233 00:11:04,679 --> 00:11:09,040 Speaker 3: it was all focused towards the commercial end of it. 234 00:11:09,040 --> 00:11:11,400 Speaker 1: It was almost twenty years later, y'all made Blues Brothers 235 00:11:11,440 --> 00:11:15,240 Speaker 1: two thousand, actually in nineteen ninety nine. Was that tough 236 00:11:15,240 --> 00:11:17,160 Speaker 1: to do because there's a lot of pressure when you know, 237 00:11:17,600 --> 00:11:18,080 Speaker 1: and what. 238 00:11:17,960 --> 00:11:19,959 Speaker 3: We both said, my good buddy Donald duck Dunn and 239 00:11:20,000 --> 00:11:21,880 Speaker 3: I both said we had more fun making that movie 240 00:11:21,920 --> 00:11:24,120 Speaker 3: than we did the first one. Now, maybe we had 241 00:11:24,320 --> 00:11:27,920 Speaker 3: preminis or you know, pre empstius about what we thought 242 00:11:27,960 --> 00:11:30,040 Speaker 3: making a movie would be, what our role would be. 243 00:11:30,120 --> 00:11:33,880 Speaker 3: Maybe we were nervous about being in the movie. That 244 00:11:34,040 --> 00:11:37,520 Speaker 3: was one thing that the first movie accomplished that was 245 00:11:38,080 --> 00:11:43,480 Speaker 3: almost taboo. The powers that be in Hollywood told Dan 246 00:11:43,679 --> 00:11:48,120 Speaker 3: and John without question, your band will not be in 247 00:11:48,160 --> 00:11:51,240 Speaker 3: this movie period. You know, we're not going to try 248 00:11:51,280 --> 00:11:53,680 Speaker 3: to teach a bunch of musicians how to act. We 249 00:11:53,679 --> 00:11:56,760 Speaker 3: will use actors. Well, they turned out to be wrong. 250 00:11:56,880 --> 00:11:58,840 Speaker 3: I mean, I guess John and Danny called their bluff 251 00:11:58,880 --> 00:12:00,560 Speaker 3: on it and said, well, there'll be no movie if 252 00:12:00,600 --> 00:12:02,680 Speaker 3: our band's not in it. So that was one of 253 00:12:02,679 --> 00:12:04,760 Speaker 3: the big front end coups. I guess that worked out 254 00:12:04,760 --> 00:12:06,360 Speaker 3: pretty good. And Landis went along with. 255 00:12:06,679 --> 00:12:08,840 Speaker 1: A lot of people knew your music, that had been 256 00:12:08,880 --> 00:12:12,560 Speaker 1: singing your music, songs you had written, and of course 257 00:12:12,600 --> 00:12:15,120 Speaker 1: songs you had played. You had toured the world already 258 00:12:15,360 --> 00:12:19,240 Speaker 1: by the late seventies early eighties, but now all of 259 00:12:19,280 --> 00:12:22,360 Speaker 1: a sudden, wherever you go, people know who you are 260 00:12:22,440 --> 00:12:25,679 Speaker 1: because you're Steve the Colonel Cropper. And there are scenes, 261 00:12:25,720 --> 00:12:28,040 Speaker 1: I mean, my favorite going back and looking at these 262 00:12:28,480 --> 00:12:32,559 Speaker 1: preparing to do this interview was one, you know, when 263 00:12:32,600 --> 00:12:34,960 Speaker 1: Dan Aykroyd gives that great speech about you know, we're 264 00:12:34,960 --> 00:12:36,680 Speaker 1: all here to have a good time, and even the 265 00:12:36,720 --> 00:12:39,120 Speaker 1: cops are okay, and John Kenny's up there. It's just 266 00:12:39,160 --> 00:12:42,640 Speaker 1: such a great scene and then they start playing and 267 00:12:42,679 --> 00:12:45,839 Speaker 1: they keep bringing you forward. Was that scripted or did 268 00:12:45,880 --> 00:12:47,800 Speaker 1: you just step to the front of it? 269 00:12:47,880 --> 00:12:52,880 Speaker 3: Was Dan's intention, very definitely his intention, and also Landis 270 00:12:52,920 --> 00:12:55,320 Speaker 3: went along with it that he wanted to bring us 271 00:12:55,360 --> 00:12:58,640 Speaker 3: to the forefront and in the second movie that you 272 00:12:58,720 --> 00:13:01,400 Speaker 3: brought up. In the first movie, Donald duck dun'scene was 273 00:13:01,400 --> 00:13:03,640 Speaker 3: cut out of the movie and never never, not cut out, 274 00:13:03,760 --> 00:13:06,880 Speaker 3: cut out of the script, never film. I had a 275 00:13:07,000 --> 00:13:10,280 Speaker 3: whole scene that was cut out of the script that 276 00:13:10,360 --> 00:13:14,040 Speaker 3: was never you know filmed. So that went along, I 277 00:13:14,040 --> 00:13:18,960 Speaker 3: guess with budget saving one of those deals, because in 278 00:13:19,000 --> 00:13:22,240 Speaker 3: its entirety, I was told by John Landers that they 279 00:13:22,320 --> 00:13:26,440 Speaker 3: filmed over six hundred miles of film, which would have 280 00:13:26,480 --> 00:13:29,800 Speaker 3: made that movie about a four hours saga, and they 281 00:13:29,840 --> 00:13:31,560 Speaker 3: really had to edit a lot of it down, and 282 00:13:31,559 --> 00:13:33,800 Speaker 3: they were going to save about a half an hour 283 00:13:33,840 --> 00:13:35,880 Speaker 3: to forty minutes of it for a TV special that 284 00:13:35,920 --> 00:13:38,840 Speaker 3: would run in those three part series you know and 285 00:13:38,920 --> 00:13:40,040 Speaker 3: get the whole time in. 286 00:13:41,040 --> 00:13:42,040 Speaker 2: But that never happened. 287 00:13:42,600 --> 00:13:46,160 Speaker 1: Had John Belushi not died when he did, which wasn't 288 00:13:46,200 --> 00:13:48,520 Speaker 1: long after that, do you think there would have been 289 00:13:48,520 --> 00:13:48,960 Speaker 1: a sequel? 290 00:13:49,000 --> 00:13:53,240 Speaker 3: Center absolutely had already signed contract for Really, if you. 291 00:13:53,320 --> 00:13:57,360 Speaker 1: Lift the Michael Berry's Show in podcast, please tell one friend, 292 00:13:58,040 --> 00:14:01,400 Speaker 1: and if you're so inclined, write a nice review of 293 00:14:01,440 --> 00:14:06,240 Speaker 1: our podcast. 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