When was the last time that an instrumental song not classified as contemporary jazz got any airplay on R&B radio? Fortunately, the current music market didn’t deter the Scott Bomar and his band, The Bo-Keys from making the very good Got To Get Back. – a record where the musicians grab the spotlight away from some pretty good vocalists. Seven of the songs on Got To Get Back are instrumentals in which there are little or no vocals. They say that a picture is worth a thousand words. The Bo-Keys use their instruments to construct an image in the mind of listeners. A slow and easy cut, such as “Sundown On Beale,” has a theatrical feel. The Hammond B-3, horns and guitar work together to paint the picture of a street at rest in hours between the time that the workers have gone home and the night crowd prepares to take over. The fingering employed on “Jack and Ginger” may remind some listeners of “Green Onions.” When the band shares space with the singers on, Got To Get Back, the Bo-Keys mine some familiar musical fields. That Mars/Venus thing was always the Memphis sound’s stock and trade, and the Bo-Keys ably uphold the Memphis sound’s tradition of energetic vocals and lyrical content that is gritty, sensual and eloquent. Where else will you hear a line like “If I had a nickel for every time we’ve been apart/I’d be a rich man with a broken heart”? That’s from “Weak Spot,” a gem of a song that manages combine the grit of Memphis soul with some deep, hard-hitting funk.