Gary Pig Gold
One thing that never gets old in pop music is funny, mainly because there’s so little of it, Ween, Tenacious D, and Flight of the Conchords notwithstanding. Of course the comedy doesn’t work if you don’t have appealing hooks or great chops. When the latter includes pumping rhythms, popping syncopation, voices that can step out or blend, and enough smarts to put it all in a blender and still be identifiable as you and only you___ or them, as was the case of the New Rhythm and Blues Quartet (NRBQ), then you deserve the (nearly) forty year run you had.
Keyboardist Terry Adams’ loony hats and karate chops to the clavinet, the nightly draws from the Magic Box, exploding Cabbage Patch Dolls, otherworldly appearances by faux manager/wrestling goon Captain Lou Albano, all the while playing an everything-but-the- kitchen-sink brand of post-modern American music comprise some of the goo that made NRBQ stick so hard.