NRBQ is more than just a band — it’s an institution. Formed in the late 1960s, and making records since 1969, the New Rhythm and Blues Quartet has become beloved by not following a format of any kind. They play virtually ANY kind of music — jazz, bebop, country, pop, rock, classical, etc., and make it work, both onstage and in the studio. For 40 years, this band hit the road and played one-nighters in just about any club that would have them, spawning legions of “Q-Heads,” such as myself, to follow them around and see as many shows as we could, each one unique.
The band would always perform without a setlist or soundcheck. Sometimes they would tour with a horn section, or let others, such as Bonnie Raitt or John Sebastian of the Lovin’ Spoonful, sit in. Sometimes, they would “bring out the magic box,” an old wooden box that would contain audience members’ handwritten requests, which were always performed whether the band knew the song or not. That was the beauty — you never knew what would happen. One thing for sure, an NRBQ show was one that made you leave as a fan.
Over the years there have been a few lineup changes. Original guitarist Steve Ferguson, drummer Tom Staley and singer Frank Gadler left in the early 70s, and were replaced by guitarist and singer Al Anderson and drummer Tom Ardolino. That lineup stayed together until 1994. This is when the band had its biggest success, recording classic material that I can only say to anyone unfamiliar with them: “Go look it up, buy the CDs and DVDs. You will NOT be disappointed.”
Anderson left the band to become a very successful songwriter in Nashville, and was replaced by bassist Joey Spampinato’s brother Johnny on guitar. This version performed up until the last few years or so, when the Spampinatos decided to devote their time to their other project, Baby Macoroni, and Ardolino retired from the road. This left keyboardist extraordinaire and NRBQ co-founder Terry Adams as the sole member of the band.
Due to health issues, Adams has only performed sporadically the last few years with his other band, the Terry Adams Rock & Roll Quartet, Featuring Scott Ligon on guitar and vocals, Pete Donnelly on bass and vocals, and Conrad Choucroun on drums. Adams, whose piano/clavinet style can be described as what happens when you mix Thelonious Monk with Jerry Lee Lewis and Chico Marx, announced in early 2011 that this band would return to the NRBQ name. Needless to say, longtime fans of the band were skeptical.
I can proudly say, and excitedly so, that after listening to their 2011 release, Keep This Love Goin’, that the band does just that — and I am no longer skeptical in any way. This record is wonderful. It combines so much of the sheer joy of songs that I have always loved with the band’s pop side, which they really haven’t really done on the last few albums.
Opening with “Boozo and Leona.” a song about the relationship between zydeco artist Boozo Chavis (whose albums Adams has produced and performed on) and his wife. It’s a bouncy Cajun style toe-tapper that starts the CD off on the right foot — or toe, for that matter. The title track is one longtime “Q-Heads” could picture being sung by former bassist/singer Spampinato. It’s such a brilliant melody, and immediately put a smile on my face. “Here I Am” has an early Beatles feel to it. “Let Go” incorporates background vocal arrangements reminiscent of Brian Wilson’s Beach Boys. My favorite track is “Gone with The Wind,” a lovely pop tune with Adams signature clavinet sound driving it, as well as his jazzy piano riffs as support. Combined with the “oohs” and “ahhhs” background vocals, it’s like eating your favorite meal made by a new cook — just as tasty and familiar, but with a few new spices.
Adams adds to this jambalaya of sound with “In Every Dream,” which is, to quote the press release, “an adaption of Tchaikovsky’s Piano Concerto No. 1 in B-flat minor done as a country tune.” The CD’s final track, “Reds Piano,” is classic NRBQ style. Rock, jazz, country, and rockbilly are mashed into one, and featurinf Adams’ spicy piano licks in a tune written by Piano Red himself, and recorded in one take, an NRBQ tradition.
“Sweet and Petite” shows the more fun and profound part of NRBQ. It could have been included on a 1950s doo-wop record or gospel hand-clapper. Another favorite is “The Animal Life,” with a chorus you can’t get out of your head. Isn’t that what a brilliant pop song is supposed to do?
I can’t say enough about how surprised and pleased I am with Keep This Love Goin’. I highly recommend it to longtime NRBQ fans and “newbies,” alike. It’s just a brilliant pop record, and one that makes you feel good all over after a listen to all 12 tracks. Hail to the great Terry Adams and company for delivering what truly is a wonderful surprise to these ears. I cannot wait to see this band play live — there has been such a huge emptiness on that front for too long. And, to the skeptics, may I just paraphrase the old Alka-Seltzer commercial of the 1970s — “Try it, you’ll LIKE it.” Bravo NRBQ!
~ Junkman
