NRBQ Albums (20)
What The Critics Say
NRBQ makes its studio debut on its own record label with a set of infectious, at times giddy, originals and covers. Sue Thompson's "Norman" gets transgendered treatment as "Norma" with a raved-up Dixieland polka feel. "Kingston Town" retains its commercial calypso groove, but drummer Tom Ardolino overlays some square dancing calls for the lyrics. And the bubblegum trifle "Beautiful Sunday" (originally by Daniel Boone) is treated lovingly without being either overblown or pricked by satire. "Wand'rin Star," by those riders from the Upper West Side, Lerner and Loewe, gets a clip-clop cowboy ballad setting. Keyboardist and musical wit Terry Adams contributes some off-beat drollery -- the faux cop-show theme "21-50 to Headquarters" and "Terry Got a Muffin," which sounds like it would fit on NRBQ's album for kids. Still, this track -- as well as the cover of "Rip It Up" and Joey Spampinato's "You Are the One" -- rocks, thanks, in large part, to Ardolino's relentless beat. Spampinato also provides a couple first class rock ballads: "Come Softly to Me," with jangling Beatlesque overtones, and "Goodbye." On these and the closer "See You Soon," the band really wears its collective heart on its sleeve, fitting for a musical Valentine to tuneful and loopy pop. ~ David Dupont, All Music Guide
'Live from Mountain Stage'
Release Date 4/23/2002
Tracks 13
Label Blue Plate
See Album Tracklist and Review
What The Critics Say
The 27th disc in the Best of Mountain Stage series is the first to be devoted to a single artist. Although dates aren't specified in the notes, it is compiled from two shows. Yet at just over 42 minutes, it's on the short side. Longtime guitarist Al Anderson covers the first nine tracks and his replacement Johnny Spaminato contributes to the final four, but their sound remains the same. NRBQ's off-the-wall diversity is well represented, as the band covers both the '60s chestnut "Our Day Will Come" (a barely in-tune, tossed-off lounge version), Jad Fair's experimental "Mule in the Corn" (featuring pianist Terry Adam's most idiosyncratic piano playing), Carl Perkins' pickin' and grinnin' "Tennessee," and even Vince Guaraldi's "Christmas Time Is Here." This is their sixth live album, and even though a handful of songs have not appeared on other live discs and the performances (especially a hopped-up "Crazy Like a Fox" and a cooking five-minute "I Got a Rocket in My Pocket") are solid, this is recommended for those who have already jumped on the Q bandwagon. Like many of their club shows, they forgo their hits and best-known songs for offbeat covers. That illustrates the veteran group's range, but the album ultimately doesn't portray a well-rounded example of its strengths. It's good, especially for fans, but far from essential. ~ Hal Horowitz, All Music Guide
'You Gotta Be Loose: Recorded Live in U.S.A.'
Release Date 7/14/1998
Tracks 15
Label Rounder
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What The Critics Say
True believers have always maintained that NRBQ's best records reveal only a faint glimmer of the genius they exhibit when you experience them live. With Al Anderson long out of the picture, that genius falls more and more onto the shoulders of Terry Adams, and most of the tunes on this live date are his, musical quirks and all. As for the rest of the crew, the Spampinato brothers do their thing, Tom Ardolino holds the beat down with consummate ease and flair, and the horns blow in tune. Six of the 15 tunes aboard are obscure covers that come from the bowels of NRBQ's own personal record collections -- songs that fit them like a glove, whether it's their take on Jimmie Logsdon's "I Got a Rocket in My Pocket" or putting lyrics to the Rockin' Rebels' instrumental classic "Wild Weekend." With this live effort, NRBQ continue on in their unique musical space, miles from the musical mainstream, preaching to the converted and having a ball every note of the way. ~ Cub Koda, All Music Guide
'You're Nice People You Are'
Release Date 7/8/1997
Tracks 13
Label Rounder
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What The Critics Say
NRBQ's 12th album for the Rounder imprint finds the band employing their usual eclectic approach on a dozen quirky originals and coming up with their first album for children. The kickoff title track -- a goofy sing along with more than a smattering of slightly dissonant Dixieland horns in the background -- is also reprised in the next to last slot on this 13-song collection. As usual, Terry Adams contributes the widest -- and weirdest -- breadth of tunes here with "Encyclopedia," "We're Walking" and the atmospheric instrumental "Next Stop Brattleboro" all bearing his unique stamp. But the majority of tunes emanate from the pens of the brothers Spampinato, Joey and Johnny, and it's the sheer oddball fun they invest in tracks like "Always Safety First," "There's a Girl, There's a Boy," "Keep Lookin' For Tumbleweeds Danny," the festive "It's St. Patrick's Day" and "The Music Lesson" (with a guest appearance from drummer Tom Ardolino as Professor Fleishaker) that keeps the NRBQ flag still flying high on this release. ~ Cub Koda, All Music Guide
'Tokyo: Recorded Live at on Air West Tokyo'
Release Date 2/11/1997
Tracks 17
Label Rounder
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What The Critics Say
Despite its rather pristine production, NRBQ's Tokyo is a welcome reminder of the group's technical prowess and freewheeling eclecticism. As the first live album to feature guitarist Johnny Spampinato, Tokyo isn't all that different from Honest Dollar, or any of their other live albums. The Q runs through such staples as "Me and the Boys," throwing in latter-day classics like "Little Floater" for good measure. As always, the band is precise and frequently funny. Tokyo isn't the kind of record that will win NRBQ new fans, but for longtime followers, it's a bit of a treat, even if the sound could have been punchier. ~ Thom Owens, All Music Guide
'Message for the Mess Age'
Release Date 1/1/1994
Tracks 13
Label Forward/Rhino
See Album Tracklist and Review
What The Critics Say
This title became the final studio effort from NRBQ to include Al Anderson (guitar/vocals), marking the conclusion of their 23-year association. The split was ultimately amicable, with Anderson effectively retiring from both the band as well as touring, preferring to mine his considerable songwriting talents in Nashville, TN. Message for the Mess Age includes a baker's dozen of originals -- many of which quickly became performance standards -- all epitomizing NRBQ's uncanny brand of omni-pop. It is fitting that both the Whole Wheat Horns -- featuring Donn Adams (trombone) and Gary Windo (tenor sax) -- as well as Johnny Spampinato, Anderson's replacement and brother of co-founding member Joey Spampinato, are included in the proceedings. However, his contributions to this release are decidedly un-stringed, as he fleshes out the horn section performing on trumpet during the Terry Adams- (keyboards/vocals) penned bit of dadaism titled "Spampinato." Each of the highly individualistic writing styles that have become synonymous with the band are explored. Terry Adams' straight-ahead, driving rock, which is often enhanced with interesting key changes and a somewhat quirky chorus, is heard on tracks such as "Over Your Head," "Girl Scout Cookies," and the atonal jazz fusion-influenced "Everybody's Smokin'." Joey Spampinato's beautifully constructed melodies -- which are at times reminiscent of Paul McCartney or Brian Wilson -- can be found on "Don't Bite the Head" and the mid-tempo ballad "Ramona." The latter track even pays homage to the Fab Four with the lyric "Just love me do/Don't love me not." Equally strong -- if not arguably stronger -- are the compositions by Anderson. His upbeat love songs, "A Little Bit of Bad" and "Nothin' Wrong With Me," definitely lean into the cosmopolitan country music that would consume his post-NRBQ activities. ~ Lindsay Planer, All Music Guide
What The Critics Say
If legendary American rockers NRBQ would issue an album of songs as wistful and infectious as Honest Dollar's opener "Ridin' in My Car," they would be huge stars. But then they wouldn't be NRBQ, the band for which repetition and predictability equals death. Honest Dollar features 17 wildly diverse live tracks spanning the last decade's-worth of NRBQ life on the road, 11 of which have never previously been set to disc by the group. The collection serves as a perfect introduction to NRBQ's rootsy, off-center pop fused with blues, jazz, country, and rockabilly. NRBQ are obviously too spontaneous and diverse for their own commercial good, but offer a heady experience for anyone willing to ride this musical roller-coaster with an open mind. ~ Roch Parisien, All Music Guide
What The Critics Say
NRBQ bring a sense of goofy fun to this eight-song mini-album, covering standards in their wacky style and contributing a few originals -- Terry Adams's "Electric Train," and Joey Spampinato's "Christmas Wish." The cover photo of NRBQ decked out in their winter pajamas is a real hoot. ~ Dennis MacDonald, All Music Guide
What The Critics Say
Silliness abounds on this wacky meeting of the "Q" with pro-wrestling manager Lou Albano. ~ Jeff Tamarkin, All Music Guide
What The Critics Say
After a dozen or so years on Rounder Records, NRBQ signed on with Virgin for the Andy Paley co-produced Wild Weekend (1989). The quartet retains its eclectic range of pop and rock mayhem, adapting several well-worn concert favorites for this studio platter. Nowhere is that more evident than the opening title track, which Terry Adams, Joey Spampinato, and Al Anderson have adapted from the Rockin' Rebels instrumental that was originally called simply "Wild Weekend." (The Q's remake was also prominently featured in The Simpsons' tenth-season episode, Sunday Cruddy Sunday.) Adams gives Crescent City props to zydeco pioneer Boozoo Chavis on "Boozoo, That's Who!" (recalling the band's "Captain Lou" Albano homage), with both Boozoo (accordion) and Charles Chavis (rub board) as well as longtime friend John Sebastian (autoharp) all putting their respective two cents in. Equaling Anderson's lead guitar are his incomparable skills as a composer. The automobile anthem "Little Floater" and the brisk-tempo "Boy's Life" are two of the best entries on the album. The same can be said of Spampinato's closer, the driving rockabilly-tinged "Like a Locomotive." It incorporates and complements the bassist's timeless melodic sense with the combo's simple yet effective no-nonsense performance. ~ Lindsay Planer, All Music Guide
