Chords for Dan Aykroyd - Remembering John Belushi 30 Years Later | From The Official Blues Brothers Revue Show
Tempo:
80 bpm
Chords used:
B
F#
E
G#
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Well, good evening to one and all.
I'm sitting here in our Blues Palace at Sunset and Olive in West Hollywood, California.
And when I walk into any one of our 13 venues, [B] which essentially represent the [N] bricks and mortar legacy,
which John and our [A#] work together has left behind, [N] a spiritual and emotional legacy from all the experiences
inside the building that audiences and our International House of Blues Foundation students and pupils have had
as they visited in school buses in various cities across the nation for our Blues program, which we put on.
[B] I just miss John the most [N] when I walk in to these places.
And I remember now as I look back and I'm compelled to contemplate the last 30 years of my life,
I do go back and think to that first day in 1973 it would [E] have been, that John [B] walked through the back door
of the Second City House Theater [G] on Lombard Street in Toronto.
[E] And it was a snowy, blustery, wintry night [B] and the green room door [C#] gave right out onto the parking lot.
So if you went out of the green room, you could have a cigarette [G#] or come back and then go on stage.
So we were backstage in the dressing room, green room, the pit if you could call it that I guess,
and the door swung open and [B] there was this figure in a Lee J.
Cobb [E] style driving cap, hexagonal driving cap,
[A#] with a white scarf and [B] a big thick cable bit sweater [E] cardigan and jeans and sneakers and pack of [G] cigarettes
and a cap, completely underdressed for the Canadian winter that swirled around him as my first image hit me [F#] of John Belushi
silhouetted against a Toronto evening sky at around midnight with a blizzard around him.
Well, we fell in love of course as you know [B] and that night in fact formed the Blues Brothers because we were listening to
Down Child Blues Band [D#] and John said, I like heavy metal.
[E] And I said, well, [G#m] you're from Chicago, you surely [F#] know about these blues artists.
He said, oh yes I do, but [E] I'm a grand funk devotee and zep [B] devotee.
So I said, well, we can teach each other.
I'll teach you about some Canadian blues and the roots of [F#] great blues as depicted by Donnie and the Down Child Band.
And he said, well, you know, I love guitar.
Whatever we do, it's got to have great guitar in there.
[N] So I think from that was the inception of the Blues Brothers.
And [F#] eventually we went on prior to our Saturday Night Live appearances to play with Willie [G] Nelson as our backup band.
He volunteered.
[G#m] He said, I understand you're paying [G] tribute and veneration to these great [B] artists that have gone ahead.
[G#] We will help you [B] out by letting you and John [G#m] join us [G] on stage at the Lone Star Cafe with the suits, the briefcase, [B] the harmonica.
And we sang five songs with Willie Nelson backing us up.
As we went on, [F#] of course, to form the band, it was Paul [N] Schaefer and Tom Bones Malone and Lou Marini who really pointed us the way to Cropper and Dunn.
And without all of those gentlemen, there would be [C#] no Blues Brothers.
They were the true [F#] Blues Brothers.
Schaefer, Malone, Marini, Cropper, Dunn, professional musicians, [B] actual musicians.
John and [N] I were actors.
We had to learn, pretend to be musicians, [G#] singers, vocalists, dancers, and in my case, amplified electric [B] harmonic player.
So it was with the tutelage [F#] and the devotion and the understanding of Cropper, Dunn, Marini, Malone, Rubin, Schaefer, and indeed Howard [A] Shore,
that the Blues Brothers band [B] coalesced and became the multimillion selling record making band that it did become.
I have to think about [G#] the first time we went on [G] stage at Universal and John put up his own money from his animal house salary to finance the record Briefcase Full [B] of Blues.
And I think what was on our mind was the incredible performance of Steve Martin that we were opening for.
We were excited to see him do his comedy act.
And we're so grateful that he joined us as a Blues Brother by allowing the Blues Brothers to open for him at Universal [F#] and to [G#] cut our first record.
So Steve Martin, truly [G] instrumental in the Blues Brothers [G#] origination.
[B] John and I just understood each other.
We both loved music.
We both loved to dance.
We were alpha men.
Me from Canada, he from Illinois.
He relaxed me.
He made me into less of a robot.
And I [F#] benefit from that today.
And left me with a musical legacy and [G#m] the important work that we're doing [F#] at the International House of Blues [Bm] Foundation.
So have a great time tonight.
That's what he would have wanted.
And that's what he was all [B] about.
Great times, great music, good friends.
And the loyalty [F#] of all in a most, most worthwhile and contributive profession.
[E] The greatest export we can send to the world.
The Blues Brothers in any form, in any way.
[Am] And to my [G#] band mates, I can't be with you tonight.
I have obligations here in Los Angeles.
In fact, at the [D#] House of Blues this [C#] very night that you perform.
Making sure that the technical [G#] interface and the feed is good in our parish room here for everybody who's coming.
[F#]
So I [B] toast you and [N] thanks for what you're doing.
For John's legacy and memory.
And to commemorate the good times.
And more to come.
More to come, gentlemen.
[E] And ladies.
[F#] I speak with the [E] band primarily there.
Have a great time.
[B]
I'm sitting here in our Blues Palace at Sunset and Olive in West Hollywood, California.
And when I walk into any one of our 13 venues, [B] which essentially represent the [N] bricks and mortar legacy,
which John and our [A#] work together has left behind, [N] a spiritual and emotional legacy from all the experiences
inside the building that audiences and our International House of Blues Foundation students and pupils have had
as they visited in school buses in various cities across the nation for our Blues program, which we put on.
[B] I just miss John the most [N] when I walk in to these places.
And I remember now as I look back and I'm compelled to contemplate the last 30 years of my life,
I do go back and think to that first day in 1973 it would [E] have been, that John [B] walked through the back door
of the Second City House Theater [G] on Lombard Street in Toronto.
[E] And it was a snowy, blustery, wintry night [B] and the green room door [C#] gave right out onto the parking lot.
So if you went out of the green room, you could have a cigarette [G#] or come back and then go on stage.
So we were backstage in the dressing room, green room, the pit if you could call it that I guess,
and the door swung open and [B] there was this figure in a Lee J.
Cobb [E] style driving cap, hexagonal driving cap,
[A#] with a white scarf and [B] a big thick cable bit sweater [E] cardigan and jeans and sneakers and pack of [G] cigarettes
and a cap, completely underdressed for the Canadian winter that swirled around him as my first image hit me [F#] of John Belushi
silhouetted against a Toronto evening sky at around midnight with a blizzard around him.
Well, we fell in love of course as you know [B] and that night in fact formed the Blues Brothers because we were listening to
Down Child Blues Band [D#] and John said, I like heavy metal.
[E] And I said, well, [G#m] you're from Chicago, you surely [F#] know about these blues artists.
He said, oh yes I do, but [E] I'm a grand funk devotee and zep [B] devotee.
So I said, well, we can teach each other.
I'll teach you about some Canadian blues and the roots of [F#] great blues as depicted by Donnie and the Down Child Band.
And he said, well, you know, I love guitar.
Whatever we do, it's got to have great guitar in there.
[N] So I think from that was the inception of the Blues Brothers.
And [F#] eventually we went on prior to our Saturday Night Live appearances to play with Willie [G] Nelson as our backup band.
He volunteered.
[G#m] He said, I understand you're paying [G] tribute and veneration to these great [B] artists that have gone ahead.
[G#] We will help you [B] out by letting you and John [G#m] join us [G] on stage at the Lone Star Cafe with the suits, the briefcase, [B] the harmonica.
And we sang five songs with Willie Nelson backing us up.
As we went on, [F#] of course, to form the band, it was Paul [N] Schaefer and Tom Bones Malone and Lou Marini who really pointed us the way to Cropper and Dunn.
And without all of those gentlemen, there would be [C#] no Blues Brothers.
They were the true [F#] Blues Brothers.
Schaefer, Malone, Marini, Cropper, Dunn, professional musicians, [B] actual musicians.
John and [N] I were actors.
We had to learn, pretend to be musicians, [G#] singers, vocalists, dancers, and in my case, amplified electric [B] harmonic player.
So it was with the tutelage [F#] and the devotion and the understanding of Cropper, Dunn, Marini, Malone, Rubin, Schaefer, and indeed Howard [A] Shore,
that the Blues Brothers band [B] coalesced and became the multimillion selling record making band that it did become.
I have to think about [G#] the first time we went on [G] stage at Universal and John put up his own money from his animal house salary to finance the record Briefcase Full [B] of Blues.
And I think what was on our mind was the incredible performance of Steve Martin that we were opening for.
We were excited to see him do his comedy act.
And we're so grateful that he joined us as a Blues Brother by allowing the Blues Brothers to open for him at Universal [F#] and to [G#] cut our first record.
So Steve Martin, truly [G] instrumental in the Blues Brothers [G#] origination.
[B] John and I just understood each other.
We both loved music.
We both loved to dance.
We were alpha men.
Me from Canada, he from Illinois.
He relaxed me.
He made me into less of a robot.
And I [F#] benefit from that today.
And left me with a musical legacy and [G#m] the important work that we're doing [F#] at the International House of Blues [Bm] Foundation.
So have a great time tonight.
That's what he would have wanted.
And that's what he was all [B] about.
Great times, great music, good friends.
And the loyalty [F#] of all in a most, most worthwhile and contributive profession.
[E] The greatest export we can send to the world.
The Blues Brothers in any form, in any way.
[Am] And to my [G#] band mates, I can't be with you tonight.
I have obligations here in Los Angeles.
In fact, at the [D#] House of Blues this [C#] very night that you perform.
Making sure that the technical [G#] interface and the feed is good in our parish room here for everybody who's coming.
[F#]
So I [B] toast you and [N] thanks for what you're doing.
For John's legacy and memory.
And to commemorate the good times.
And more to come.
More to come, gentlemen.
[E] And ladies.
[F#] I speak with the [E] band primarily there.
Have a great time.
[B]
Key:
B
F#
E
G#
G
B
F#
E
Well, good evening to one and all.
I'm sitting here in our Blues Palace at Sunset and Olive in West Hollywood, California.
_ And when I walk into any one of our 13 venues, [B] which essentially represent the [N] bricks and mortar legacy,
which John and our [A#] work together has left behind, [N] a spiritual and emotional legacy from all the experiences
inside the building that audiences and our International House of Blues Foundation students and pupils have had
as they visited in school buses in various cities across the nation for our Blues program, which we put on.
[B] I just miss John the most [N] when I walk in to these places.
And I remember now as I look back and I'm compelled to contemplate the last 30 years of my life,
I do go back and think to that first day in _ 1973 it would [E] have been, that John [B] walked through the back door
of the Second City House Theater [G] on Lombard Street in Toronto.
[E] And it was a snowy, blustery, wintry night [B] and the green room door [C#] gave right out onto the parking lot.
So if you went out of the green room, you could have a cigarette [G#] or come back and then go on stage.
So we were backstage in the dressing room, green room, the pit if you could call it that I guess,
and the door swung open and [B] there was this figure in a Lee J.
Cobb [E] style driving cap, hexagonal driving cap,
[A#] with a white scarf and [B] a big thick cable bit sweater [E] cardigan and jeans and sneakers and pack of [G] cigarettes
and a cap, completely underdressed for the Canadian winter that swirled around him as my first image hit me [F#] of John Belushi
silhouetted against a Toronto evening sky at around midnight with a blizzard around him.
Well, we fell in love of course as you know [B] and that night in fact formed the Blues Brothers because we were listening to
Down Child Blues Band [D#] and John said, I like heavy metal.
[E] And I said, well, [G#m] you're from Chicago, you surely [F#] know about these blues artists.
He said, oh yes I do, but [E] I'm a grand funk devotee and zep [B] devotee.
So I said, well, we can teach each other.
I'll teach you about some Canadian blues and the roots of [F#] great blues as depicted by Donnie and the Down Child Band.
And he said, well, you know, I love guitar.
Whatever we do, it's got to have great guitar in there.
_ [N] So I think from that was the inception of the Blues Brothers.
_ And [F#] eventually we went on prior to our Saturday Night Live appearances to play with Willie [G] Nelson as our backup band.
He volunteered.
[G#m] He said, I understand you're paying [G] tribute and veneration to these great [B] artists that have gone ahead.
_ [G#] We will help you [B] out by letting you and John [G#m] join us [G] on stage at the Lone Star Cafe with the suits, the briefcase, [B] the harmonica.
And we sang five songs with Willie Nelson backing us up.
As we went on, [F#] of course, to form the band, it was Paul [N] Schaefer and Tom Bones Malone and Lou Marini who really pointed us the way to Cropper and Dunn.
And without all of those gentlemen, there would be [C#] no Blues Brothers.
They were the true [F#] Blues Brothers.
Schaefer, Malone, Marini, Cropper, Dunn, professional musicians, [B] actual musicians.
John and [N] I were actors.
We had to learn, _ pretend to be musicians, [G#] singers, vocalists, dancers, and in my case, amplified electric [B] harmonic player.
So it was with the tutelage [F#] and the devotion and the understanding of Cropper, Dunn, Marini, Malone, Rubin, Schaefer, and indeed Howard [A] Shore,
that the Blues Brothers band [B] coalesced and became the multimillion selling record making band that it did become.
I have to think about [G#] the first time we went on [G] stage at Universal and John put up his own money from his animal house salary to finance the record Briefcase Full [B] of Blues.
And I think what was on our mind was the incredible performance of Steve Martin that we were opening for.
We were excited to see him do his comedy act. _
And we're so grateful that he joined us as a Blues Brother by allowing the Blues Brothers to open for him at Universal [F#] and to [G#] cut our first record.
So Steve Martin, truly [G] instrumental in the Blues Brothers [G#] origination.
[B] John and I just understood each other.
We both loved music.
We both loved to dance.
We were alpha men.
Me from Canada, he from Illinois.
He relaxed me.
He made me into less of a robot.
And I [F#] benefit from that today.
And left me with a musical legacy and [G#m] the important work that we're doing [F#] at the International House of Blues [Bm] Foundation.
So have a great time tonight.
That's what he would have wanted.
And that's what he was all [B] about.
Great times, great music, good friends.
And the loyalty [F#] of all in a most, most worthwhile and contributive profession.
[E] The greatest export we can send to the world.
The Blues Brothers in any form, in any way.
[Am] And to my [G#] band mates, I can't be with you tonight.
I have obligations here in Los Angeles.
In fact, at the [D#] House of Blues this [C#] very night that you perform.
Making sure that the technical [G#] interface and the feed is good in our parish room here for everybody who's coming.
[F#]
So I [B] toast you and [N] thanks for what you're doing.
For John's legacy and memory.
And to commemorate the good times.
And more to come.
More to come, gentlemen. _
[E] And ladies.
[F#] I speak with the [E] band primarily there.
Have a great time.
[B] _ _ _ _ _ _ _ _
I'm sitting here in our Blues Palace at Sunset and Olive in West Hollywood, California.
_ And when I walk into any one of our 13 venues, [B] which essentially represent the [N] bricks and mortar legacy,
which John and our [A#] work together has left behind, [N] a spiritual and emotional legacy from all the experiences
inside the building that audiences and our International House of Blues Foundation students and pupils have had
as they visited in school buses in various cities across the nation for our Blues program, which we put on.
[B] I just miss John the most [N] when I walk in to these places.
And I remember now as I look back and I'm compelled to contemplate the last 30 years of my life,
I do go back and think to that first day in _ 1973 it would [E] have been, that John [B] walked through the back door
of the Second City House Theater [G] on Lombard Street in Toronto.
[E] And it was a snowy, blustery, wintry night [B] and the green room door [C#] gave right out onto the parking lot.
So if you went out of the green room, you could have a cigarette [G#] or come back and then go on stage.
So we were backstage in the dressing room, green room, the pit if you could call it that I guess,
and the door swung open and [B] there was this figure in a Lee J.
Cobb [E] style driving cap, hexagonal driving cap,
[A#] with a white scarf and [B] a big thick cable bit sweater [E] cardigan and jeans and sneakers and pack of [G] cigarettes
and a cap, completely underdressed for the Canadian winter that swirled around him as my first image hit me [F#] of John Belushi
silhouetted against a Toronto evening sky at around midnight with a blizzard around him.
Well, we fell in love of course as you know [B] and that night in fact formed the Blues Brothers because we were listening to
Down Child Blues Band [D#] and John said, I like heavy metal.
[E] And I said, well, [G#m] you're from Chicago, you surely [F#] know about these blues artists.
He said, oh yes I do, but [E] I'm a grand funk devotee and zep [B] devotee.
So I said, well, we can teach each other.
I'll teach you about some Canadian blues and the roots of [F#] great blues as depicted by Donnie and the Down Child Band.
And he said, well, you know, I love guitar.
Whatever we do, it's got to have great guitar in there.
_ [N] So I think from that was the inception of the Blues Brothers.
_ And [F#] eventually we went on prior to our Saturday Night Live appearances to play with Willie [G] Nelson as our backup band.
He volunteered.
[G#m] He said, I understand you're paying [G] tribute and veneration to these great [B] artists that have gone ahead.
_ [G#] We will help you [B] out by letting you and John [G#m] join us [G] on stage at the Lone Star Cafe with the suits, the briefcase, [B] the harmonica.
And we sang five songs with Willie Nelson backing us up.
As we went on, [F#] of course, to form the band, it was Paul [N] Schaefer and Tom Bones Malone and Lou Marini who really pointed us the way to Cropper and Dunn.
And without all of those gentlemen, there would be [C#] no Blues Brothers.
They were the true [F#] Blues Brothers.
Schaefer, Malone, Marini, Cropper, Dunn, professional musicians, [B] actual musicians.
John and [N] I were actors.
We had to learn, _ pretend to be musicians, [G#] singers, vocalists, dancers, and in my case, amplified electric [B] harmonic player.
So it was with the tutelage [F#] and the devotion and the understanding of Cropper, Dunn, Marini, Malone, Rubin, Schaefer, and indeed Howard [A] Shore,
that the Blues Brothers band [B] coalesced and became the multimillion selling record making band that it did become.
I have to think about [G#] the first time we went on [G] stage at Universal and John put up his own money from his animal house salary to finance the record Briefcase Full [B] of Blues.
And I think what was on our mind was the incredible performance of Steve Martin that we were opening for.
We were excited to see him do his comedy act. _
And we're so grateful that he joined us as a Blues Brother by allowing the Blues Brothers to open for him at Universal [F#] and to [G#] cut our first record.
So Steve Martin, truly [G] instrumental in the Blues Brothers [G#] origination.
[B] John and I just understood each other.
We both loved music.
We both loved to dance.
We were alpha men.
Me from Canada, he from Illinois.
He relaxed me.
He made me into less of a robot.
And I [F#] benefit from that today.
And left me with a musical legacy and [G#m] the important work that we're doing [F#] at the International House of Blues [Bm] Foundation.
So have a great time tonight.
That's what he would have wanted.
And that's what he was all [B] about.
Great times, great music, good friends.
And the loyalty [F#] of all in a most, most worthwhile and contributive profession.
[E] The greatest export we can send to the world.
The Blues Brothers in any form, in any way.
[Am] And to my [G#] band mates, I can't be with you tonight.
I have obligations here in Los Angeles.
In fact, at the [D#] House of Blues this [C#] very night that you perform.
Making sure that the technical [G#] interface and the feed is good in our parish room here for everybody who's coming.
[F#]
So I [B] toast you and [N] thanks for what you're doing.
For John's legacy and memory.
And to commemorate the good times.
And more to come.
More to come, gentlemen. _
[E] And ladies.
[F#] I speak with the [E] band primarily there.
Have a great time.
[B] _ _ _ _ _ _ _ _