Dan Aykroyd

I played harp mostly and sang. Yeah, the drumming was sporadic, but, you know, I filled in. for bands now and again when I was growing up.

I played harp mostly and sang. Yeah, the drumming was sporadic, but, you know, I filled in. for bands now and again when I was growing up.

In 1973, John came up to Canada to recruit for the National Lampoon Radio Hour. And I was in Second City with Gilda Radner and with John Candy. And John came in to Toronto, and he joined us on the set of the Second City stage, and we did an improv set.

In 1973, John came up to Canada to recruit for the National Lampoon Radio Hour. And I was in Second City with Gilda Radner and with John Candy. And John came in to Toronto, and he joined us on the set of the Second City stage, and we did an improv set.

In 1973, John came up to Canada to recruit for the National Lampoon Radio Hour. And I was in Second City with Gilda Radner and with John Candy. And John came in to Toronto, and he joined us on the set of the Second City stage, and we did an improv set.

And then we went back to my very famous speakeasy called the 505, which opened after 1 o'clock after the Liquor Control Board of Ontario closed most of the bars in the province. We had a bar at the corner of Queen and River at 505 Queen Street, and all the streetcar drivers and cops from, like, outlying regions and waiters and waitresses and dancers would come to drink.

And then we went back to my very famous speakeasy called the 505, which opened after 1 o'clock after the Liquor Control Board of Ontario closed most of the bars in the province. We had a bar at the corner of Queen and River at 505 Queen Street, and all the streetcar drivers and cops from, like, outlying regions and waiters and waitresses and dancers would come to drink.

And then we went back to my very famous speakeasy called the 505, which opened after 1 o'clock after the Liquor Control Board of Ontario closed most of the bars in the province. We had a bar at the corner of Queen and River at 505 Queen Street, and all the streetcar drivers and cops from, like, outlying regions and waiters and waitresses and dancers would come to drink.

And I had a record on by the Downchild Blues Band out of Toronto, Donnie Walsh, an incredible seminal artist out of Canada. And John and I were listening to it, and John said, what is this? It's a great record. I said, oh, it's just a local blues band. Blues, huh? I'm from Chicago. I hear the blues now and again, but I'm into heavy metal, he says.

And I had a record on by the Downchild Blues Band out of Toronto, Donnie Walsh, an incredible seminal artist out of Canada. And John and I were listening to it, and John said, what is this? It's a great record. I said, oh, it's just a local blues band. Blues, huh? I'm from Chicago. I hear the blues now and again, but I'm into heavy metal, he says.

And I had a record on by the Downchild Blues Band out of Toronto, Donnie Walsh, an incredible seminal artist out of Canada. And John and I were listening to it, and John said, what is this? It's a great record. I said, oh, it's just a local blues band. Blues, huh? I'm from Chicago. I hear the blues now and again, but I'm into heavy metal, he says.

I said, well, John, you show me heavy metal, and I'll show you the blues. So we started to kind of talk about it and listen, and Howard Shore was there that night. He's, of course, the great Oscar-winning composer of the Lord of the Rings trilogy music. He was the original musical director on Saturday Night Live, and he was in Toronto.

I said, well, John, you show me heavy metal, and I'll show you the blues. So we started to kind of talk about it and listen, and Howard Shore was there that night. He's, of course, the great Oscar-winning composer of the Lord of the Rings trilogy music. He was the original musical director on Saturday Night Live, and he was in Toronto.

I said, well, John, you show me heavy metal, and I'll show you the blues. So we started to kind of talk about it and listen, and Howard Shore was there that night. He's, of course, the great Oscar-winning composer of the Lord of the Rings trilogy music. He was the original musical director on Saturday Night Live, and he was in Toronto.

at that time and had dropped by the bar and he said, yeah, you guys should start a band and you could call it the Blues Brothers. And we just went, bink, bink. And we started to correspond. I didn't go back to New York with John.

at that time and had dropped by the bar and he said, yeah, you guys should start a band and you could call it the Blues Brothers. And we just went, bink, bink. And we started to correspond. I didn't go back to New York with John.

at that time and had dropped by the bar and he said, yeah, you guys should start a band and you could call it the Blues Brothers. And we just went, bink, bink. And we started to correspond. I didn't go back to New York with John.

He'd managed to get Gilda to go back with him, but we kept in touch on the phone and we started to look at material and develop material and we did our first gig in New York in the Lone Star Cafe and our backup band It was Willie Nelson with Mickey Raphael, one of the greatest harmonica players ever. And Willie understood what we were trying to do, like so many that came along and joined us.

He'd managed to get Gilda to go back with him, but we kept in touch on the phone and we started to look at material and develop material and we did our first gig in New York in the Lone Star Cafe and our backup band It was Willie Nelson with Mickey Raphael, one of the greatest harmonica players ever. And Willie understood what we were trying to do, like so many that came along and joined us.

He'd managed to get Gilda to go back with him, but we kept in touch on the phone and we started to look at material and develop material and we did our first gig in New York in the Lone Star Cafe and our backup band It was Willie Nelson with Mickey Raphael, one of the greatest harmonica players ever. And Willie understood what we were trying to do, like so many that came along and joined us.