By: David Schultz

Anyone who has been to see Robert Randolph & The Family Band in person knows that the young pedal steel guitarist has it within his power to be the savior of rock n' roll. A typical show features numerous rollicking instrumental jams featuring Randolph's awe inspiring pedal steel guitar riffs, multiple audience participatory dance parties, crowd members coming on stage to perform guitar solos and unending doses of Randolph's youthful ebullience. While they have been known to incorporate traditional blues and gospel into their music as well as cover the occassional Jimi Hendrix or Michael Jackson tune, without question, Randolph & The Family Band have shown that they can achieve so much more than simple rehashes of time-tested riffs. Unclassified, their 2003 studio debut, captured the energy of Randolph & The Family Band's frenetic live performance so well documented on Live At Wetlands; Colorblind, their latest, reigns in that enthusiasm, gaining in finesse where they lose their zeal.

With far less experience than the others on the list, Randolph's pedal steel guitar work earned him a spot on Rolling Stone's 2003 ranking of the 100 Greatest Guitarists of All Time. Puzzlingly, Randolph's pedal steel seems to be relegated to the background of the majority of Colorblind's tracks, featured most prominently on the freewheeling closing track "Homecoming." The omission of Randolph's signature instrument shows that they are trying to stretch in new directions: the horn section on "Diane" nicely compliments Danyel Morgan's funky bass and euphorically high-pitched backing howls and on the disc's opening "Ain't Nothing Wrong With That," they blend the stomp of a collegiate step-dance with a little OutKast bridge resulting in a roaring joyous romp of an anthem that will surely become a staple of any reputable SWAC marching band.

In part Colorblind creates the same kind of raucous funky community rhythms of another Family band, Sly & The Family Stone. It also contains excursions into the band's softer side which oftentimes turns unnecessarily syrupy. As on Unclassified, Colorblind has a couple moribund tracks where Randolph explores his schmaltzy Stevie Wonder "I Just Called To Say I Love You" feelings. On "Stronger," which features soul singer Leela James, Randolph strikes a nice balance but on "Blessed," he brings the album to an unnecessary halt. These tracks don't terribly weaken the album, but they do considerably slow down the pacing.

Randolph & The Family Band have received a good deal of exposure as an eagerly anticipated opening act for Eric Clapton and the Dave Matthews Band, with Randolph usually returning to help close out the main set. On Colorblind, Clapton, Matthews and saxophonist Leroi Moore return the favor, making high-profile guest appearances on the album. Matthews and Moore join in on the deliciously sizzling "Love Is The Only Way." Sounding more like a Matthews tune than a Randolph romp, the song, which Matthews gives a suave assured sense of confidence, may possess Colorblind's most crossover appeal. Clapton lends his estimable guitar to a cover of The Doobie Brothers' "Jesus Is Just Alright," a song that has been a Randolph concert staple for some time, usually augmented by the ubiquitous Warren Haynes. Clapton not only goads inspirational performances from Randolph, who matches Slow Hand's skills with his own on the pedal steel, and his cousin Marcus Randolph on drums, he absolutely nails the song's bridge, coming the closest to his "God" persona since performing "Eyesight To The Blind" in Tommy.

Remaining true to their gospel roots, much of Colorblind remains grounded in pseudo-religious themes. "Thankful N' Thoughtful," whose lyrics don't expand much beyond the title, and "Angels" focus on bring grateful for the gifts that life brings and "Blessed" is simply self-explanatory. Best exemplified by the fact that Randolph's adrenalin fueled rhythms have already attracted the attention of the NCAA, which featured "Thrill Of It" prominently as part of their opening weekend games, Colorblind moves Randolph & The Family Band a little closer to the mainstream and a little farther away from the rock icon persona they could easily assume. At the present time, they are softly treading the line between the two worlds (which don't always have to be mutually exclusive), keeping one foot placed firmly in each camp. Fortunately, they are young and they have time; the fun will be in watching their career mature and develop.

Labels: Robert Randolph, The Family Band