1 	Introduction 	
2 	Crazy Like A Fox 	
3 	Here Comes Terry 	
4 	Every Boy, Every Girl 	
5 	In The Mood 	
6 	Sitting In The Park 	
7 	She Got The House 	
8 	Down At The Zoo 	
9 	Me And The Boys 	
10 	Mouthwaterin' 	
11 	Success 	
12 	12 Bar Blues 	
13 	God Bless Us All 	
14 	Get Rhythm 	
15 	They Loved It 	
16 	Shake, Rattle & Roll 	
17 	I Gotta Go, Baby

Terry Adams – Keyboards, Vocals
Al Anderson – Guitar, Vocals
Tom Ardolino – Drums
Joey Spampinato – Bass, Vocals
Donn Adams -Trombone
Jim Hochanadel – Saxophone (Baritone + Tenor)

If NRBQ had been given a dollar every time someone called them "the World's Greatest Bar Band" in the '70s and '80s, they probably could have bought a jet to fly from gig to gig, but despite their potent reputation as a live act, it wasn't until 1987 that they finally got around to releasing a live album. God Bless Us All wasn't the sort of live album designed to make an NRBQ show sound like an event (it doesn't even feature any of the group's "hits" beyond "Me and the Boys"), but it's an admirably accurate document of what the band sounded like on a good night. God Bless Us All was recorded (with no overdubs) during a gig in Rhode Island with the Whole Wheat Horns in tow, and stylistically it jumps all over the place, beginning with the rollicking "Crazy Like a Fox" weaving through a respectfully soulful cover of Billy Stewart's "Sitting in the Park," giving the players plenty of room to stretch out on "Here Comes Terry" and "She Got the House," getting as goofy as they wanna be on "Down at the Zoo" and "Mouthwaterin'," and rocking the club to the foundations with "Shake, Rattle and Roll." NRBQ are clearly having a great time on this particular evening, but you don't have to listen too hard to hear four great musicians cooking with gas; Al Anderson's guitar work is razor sharp, Terry Adams is a joyously inventive keyboard man, and Joey Spampinato and Tom Ardolino groove hard on every tune. Someone once described God Bless Us All as preserving "one night in the life of NRBQ," and after listening to it, it's hard not to envy the folks in the audience -- or the four guys on-stage. ---Mark Deming, allmusic.com

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A1 	C'mon Everybody 	
A2 	Rocket Number 9 	
A3 	Kentucky Slop Song 	
A4 	Ida 	
A5 	C'mon If You're Comin' 	
A6 	You Can't Hide 	
A7 	I Didn't Know Myself 	
B1 	Stomp 	
B2 	Fergie's Prayer 	
B3 	Mama Get Down Those Rock And Roll Shoes 	
B4 	Hymn Number 5 	
B5 	Hey! Baby 	
B6 	Liza Jane 	
B7 	Stay With Me

Bass, Vocals – Jody St. Nicholas
Guitar, Vocals – Steve Ferguson
Keyboards, Harmonica, Recorder, Vocals – Terry Adams
Percussion – G. T. Staley
Trombone – Don Adams (tracks: A2, A3, A6)
Vocals, Percussion [Auxiliary] – Frank Gadler 

NRBQ have evolved considerably over the course of a career that's lasted over 50 years and isn't done just yet. But the band's self-titled debut album, originally released in 1969, is joyous evidence that their originality and spark were there right from the very start. Cut several years before NRBQ settled into their "classic" lineup, here founders Terry Adams (keyboards and vocals) and Joey Spampinato (bass and vocals) are joined by lead singer Frank Gadler, guitarist Steve Ferguson, and drummer Tom Staley. Gadler and Ferguson's musical personalities put a different spin on this music than NRBQ would generate a few years down the line, when Al Anderson's guitar work and songwriting would become a key part of their recipe. Here, they sound more like a boogie band than they did when they hit their stride, albeit one with a very individual approach. But the group's trademark eclecticism and sense of fun are very much in evidence. The album's opening one-two punch of Q-approved reworkings of Eddie Cochran's "C'mon Everybody" and Sun Ra's "Rocket #9" demonstrate both their musical reach and the depth of their influences, Adams' crazy-quilt melodic ideas and inspired keyboard work are featured on "Kentucky Slop Song" and "Stay with We," Spampinato contributes a first-class rocker in "You Can't Hide" (NRBQ would revisit the song on 1980's Tiddlywinks), and Steve Ferguson's estimable guitar work and songwriting bona fides ("I Didn't Know Myself," "Stomp," and "Fergie's Prayer") are a reminder of what a potent force he was in the band's early days. NRBQ is the work of a band that sometimes sounds like it's still finding its way in the recording studio, and Eddie Kramer's production sometimes lacks the punch the musicians needed. But even though NRBQ would make better albums in the future, their debut is the work of a group that already had a sound all its own and a love of music that was wildly infectious, and this is an often overlooked gem in the Q's catalog. ---Mark Deming, AllMusic Review

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