The iconic line from the 1980 film The Blues Brothers — “We had a band powerful enough to turn goat piss into gasoline” — perfectly encapsulates the impact of Donald ‘Duck’ Dunn, the legendary bassist who left an indelible mark on music before his passing on May 13, 2012.
Born in 1941, Dunn was instrumental in putting Memphis on the musical map. His journey began as a member of the Mar-Keys, but his influence skyrocketed when he became the backbone of Stax Records’ house band, Booker T. & the M.G.’s.
The group, comprising Dunn, keyboardist Booker T. Jones, guitarist Steve Cropper, and drummer Al Jackson Jr., was a cornerstone of the soul music revolution. They backed luminaries like Otis Redding, Sam & Dave, and Wilson Pickett, while also producing hits under their own name.
Dunn’s bass lines on tracks like Hip Hug-Her, Soul Man, and Try a Little Tenderness showcased his tight grooves and gritty tone, giving Stax recordings their unmistakable earthy texture. While his style wasn’t flashy, it was consistently funky and foundational.
Two essential video documents capture Dunn at his best. The first, Stax/Volt Revue: Live In Norway 1967, shows Booker T. & the M.G.’s at the height of their powers, backing legends such as Otis Redding and Sam & Dave. The second is The Blues Brothers, where Dunn and Cropper formed part of an extraordinary band supporting Jake and Elwood Blues (John Belushi and Dan Aykroyd).
The musical performances in The Blues Brothers remain timeless, despite the film’s dated elements. One standout is the band’s rendition of She Caught the Katy (And Left Me a Mule to Ride), written by Taj Mahal and James Rachell.
The song opens with a two-bar guitar intro before Dunn and the band enter at the pickup to bar three, setting the tone with a series of hits. From there, Dunn locks into a signature I-V-I subhook, embellished with slick slides and sharp staccato articulation.
His bassline is full of nuanced moments:
- At 00:44, Dunn employs a disco-tinged octave walkup to the IV chord, creating a rhythmic bounce by leveraging the open D string.
- At 00:47, under the Em7,5 chord, he crafts a melodic lick that touches on the chord’s essential notes — E, G, Bb, and D.
- In the bridge at 01:41, Dunn opts for a syncopated yet straightforward line, building momentum for the third verse.
Dunn’s less-is-more philosophy shines throughout the track. At 02:42, his laid-back feel complements the groove perfectly, while his subtle variations at 03:17 and ear-catching licks at 03:52 add depth without overwhelming the arrangement.
No single tune can encapsulate all the brilliance Dunn brought to the bass guitar, but She Caught the Katy serves as a strong starting point for appreciating his artistry. His body of work is a treasure trove of grooves that continue to inspire musicians and listeners alike.
And as Dunn humorously advised in The Blues Brothers: “If the shit fits, wear it!”
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