A Brief Chat with NRBQ’s Terry Adams

For 60 years, NRBQ has been a band who’s withstood every twist and turn rock ‘n’ roll has thrown their way with unparalleled daring and sense of adventure.

So by 1983, the band who covered both Eddie Cochran and Sun Ra on their eponymous debut in 1969 was sailing through the new wave and synthpop era with the same wit, humor and conviction they always exhibited.

Following a pair of great albums on their own Red Rooster Records with 1979’s Kick Me Hard and 1980’s Tiddlywinks, the Kentucky-born band then found themselves in Woodstock, New York, cutting their first album at the famous Bearsville Studios, Grooves in Orbit, the latest NRBQ LP to enjoy the reissue treatment from Omnivore Recordings.

Originally released on the Bearsville Records imprint, Grooves — an album that writer John DeAngelis calls “one of their strongest and best-sounding records” — features seven bonus tracks including previously unheard songs, the Captain Lou Albano Grooves In Orbit promo spot, and alternate versions of “Hit The Hay” and “12 Bar Blues” plus an instrumental version of live favorite “Smackaroo.”

With liner notes penned by Mr. DeAngelis and peppered with brass from the Whole Wheat Horns, a re-do of their classic cover of Johnny Cash’s “Get Rhythm” and beating Jackyl by a good decade with the use of a chainsaw on acetate, Grooves in Orbit is one of the true highlights of the NRBQ catalog and this new reissue makes it even better.

We sent over some questions for founding member Terry Adams about revisiting Grooves and hanging with the Captain.

 

What guided the NRBQ sound when you entered Bearsville to cut Grooves in Orbit?

We liked that studio. It was nearby to us and our engineer Tom Mark. This is our third or fourth album we did there.

 

I love that photo of you guys with Albert Grossman and Captain Lou. How did you connect with Albano?

I had asked him to pose as our manager back in 1980.

We recorded a song about him (featuring him of course), had him appear on the stage at places like the Ritz, the Bottom Line, and did a live broadcast with him on WLIR.

A TV spot for our previous album Tiddlywinks was made with him. My brother Donn, also a member of the Whole Wheat Horns, produced that video.

That time, we sent a check to the NY TV station to get it aired during Saturday Night Live show and it was rejected. Radio spots, the same thing. They said “We don’t enjoy wrestlers talking about music on our program.”

And then of course, five years later they’re ready for it.

“Go ahead and proceed … What a cool idea.”

Anyway, about this photo … he came over to the Bearsville office and we decided to get some photos shot with Albert when signing the contract (the bonus track of Albano’s promo included in this re-issue was recorded on the same day).

Were you big wrestling fans back then? What territory did you follow? Who were your guys?

Yes and No. It was about Lou & the Q.

 

So you incorporate a chainsaw on “Smackeroo.” What inspired its cameo?

It sounds funny but it was inspired by its sound. I wanted that sound.

Our road manager Phil Collison borrowed a chainsaw for this … I heard that Albert got worried thinking we would tear the studio down.

 

What led you to do another version of Johnny Cash’s “Get Rhythm”? How does this song factor into the DNA of NRBQ?

I re-arranged it for ourselves in rock and roll. I turned it into a real rocker, instead of a two-step tune, which was the B-side of “I Walk The Line.”

We kept on recording it to make it stick.

 

AUDIO: NRBQ “Get Rhythm”

What was it like to record at Bearsville? How did the studio help the sound of Grooves in Orbit?

– It’s a great studio. We could spend all day recording there, without being rushed. The studio let us use it by the day, instead of by the hour. Good deal.

 

Can you tell me about the bonus tracks cut at Bearsville? It must feel good to finally see all the songs from this period on one album.

They are alternate takes and something special.

Our friend John Sebastian dropped by to play with us for a couple of songs. That was cool.

 

What led to the inclusion of “Daddy-“O” on this album despite being cut live in 1980?

One live track brings you even closer to the vibes.

 

Grooves in Orbit came out right in the thick of new wave. Were you fans of that scene?

We were unaware of the scene.

 

Did NRBQ ever make MTV?

We’ve been on top of everything. Being fully aware of what used to be known as “Payola.”

 

We recently lost Uncle Floyd Vivino. Did you ever play his show?

Maybe three or four times including the episode of introducing Lou Albano. We used to get to their NJ studio after a show in NYC, always late at night.

I’ve also seen him play live. We liked him, we liked working with him.