OK, here we go with one of those reviews where I'm totally a rookie when it comes to the style of music being discussed. These are always the reviews that I'm the most excited to write, and yet they prove to be some of the most difficult. What do I call certain instruments or subgenres that I'm not totally familiar with? What musical comparisons do I make if I only have superficial familiarity with a artist's influences? if I say, "Hey, I really like this even though this kind of music normally isn't mystyle", does that make it sound like the artist is selling out and doing the pop thing, and therefore hardcore fans of the style I claim it to be should stay away? So many questions, and I can't offer any real answers. All I can say is that Robert Randolph & the Family Band sure came up with an infectious, energetic, and all-around fun CD called Colorblind that seems to apply a "jam band" ethic to funk and soul, with Gospel overtones here and there, and the gritty but joyous sound of a lap steel guitar guiding the whole thing. There. Hopefully that won't sound like nonsense to people who know more about the aforementioned styles of music than I do.

Maybe I should try for a metaphorical description. You should exercise extreme caution when opening up the CD case that contains Colorblind, because an entire freaking block party will come busting out of this thing. There's not much room for moody navel-gazing here - these guys want to get everyone out of their drab little apartments, block off the streets, crank up the bass on some massive speakers, fire up the biggest barbecue you've ever seen in your life, and just dance and laugh and party until well after the sun goes down. We're not talking unruly, drunken Saturday night partying so much as carefree, all-ages, Sunday afternoon partying. Randolph and Co. are definitely a good-natured bunch, but that doesn't mean that the music has to remain reserved and polite at all times. You'll want to play this one loud, and in doing so you'll probably have a crotchety upstairs neighbor or two who yells, "You darn kids better keep that racket down!" But your intent isn't to offend or annoy. It's just that what you're hearing is such a blast that you simply have to share it with the world around you.

Fortunately, there won't be any stuffy religious people from the church on the corner complaining about the volume of your music. See, Robert Randolph learned to play the guitar in church to begin with. The "Sacred Steel" musical tradition was born in the African-American Pentecostal church, and for those of you who tend to associate the steel guitar with country music, you're in for a total 180, as it totally fits in with the more urban stylings of this band's predecessors from the 70's and 80's (Earth, Wind & Fire, Sly & the Family Stone, etc.). Add in some lively drumming, slap-happy bass riffing, and the simultaneously churchy and kitschy sound of the Hammond organ, with a bevy of inspirational lyrics on top, and you can guarantee that most of those church folk will be planning on casting off those suits and ties and flowery hats and joining the party as soon as service lets out.

"Alright", you're probably thinking, "so this is one of those Christian bands". You could view 'em that way if you wanted to - certainly their celebration of love, unity, creativity, and the gift of music is something that I believe would make God smile. But they're rarely very specific about it, so even if you're a person who just sees music as a spiritual thing in and of itself, you'd probably still agree with pretty much everything they have to say. The most specific they get about being down with Jesus Christ is in a cover of a classic rock song that was a mainstream hit for at least a few bands back in the day. And that's not to say that they're watering down their lryics for mass appeal... some bands just exist to have fun and bring people together, and I have no problem with that.

At the same time, I wouldn't go looking to this record for an astute display of lyrical genius. At times, Randolph's lyrics can be downright awkward, with a bit too much emphasis on feelin' good just for the sake of feelin' good, without much in the way of specifics on what has brought about this feeling. It's not an "I wish they were more bluntly spiritual" thing; it's more of an "I wish that the lyrics didn't have to take a backseat to the inspired instrumental jams" thing. Honestly, they've made more of an effort to be song-oriented here than they did on 2003's Unclassified, a record which was more intended to capture the feel of their live shows in studio format, and which was downright embarrassing for me to listen to when the songs actually did have lyrics (when they didn't, the results were better, but still a bit too meandering for my tastes). But this isn't poetry - it's mostly just a simple message that there's nothing inherently sinful about celebrating the good things in life and throwing a big ol' party. I kind of knew that already, but you know, sometimes religious folks act as if God doesn't want people to have fun. So when a few religious folks get together and go, "Screw that, we're gonna throw a party and not apologize for it" because they know that simply bringing people together for that unified purpose is an act of praise in and of itself, I can definitely support that, even if I wish they'd make their case by saying something a little profound. (They didn't even print the lyrics in the booklet and I can't find 'em anywhere online, so obviously transcribing 'em hasn't been of much importance to anyone who listens to the band.) But I don't think the point is to make us think deeply about something that really should be an elementary lesson. So despite my occasional annoyance with the lyrics, I can let it go much more easily than I can with a lot of other bands, who try to speak with conviction about much more serious subjects, but do it with banal lyrics and uninventive music. These guys say more through the way they play than through their words. I'm cool with that.

Two things you definitely won't be hearing on this record are hip-hop beats and rap breaks. Not that I think Randolph has anything against rap, but he has mentioned setting out to prove that not every young, inspiring artist from an urban environment needs to do hip-hop by default. It's about finding your own voice and your own influence. Randolph found his by turning back the clock a bit and marrying his favorite funk and soul influences to those of his guitar heroes, people like Stevie Ray Vaughan and Eric Clapton. (I have no idea whether he plays like those guys, so don't ask. But he sure likes 'em a lot.) The fact that he threw together a bunch of things that I wasn't into before and somehow managed to grab the attention of a kid like myself who was raised on pop, rock, and folk ought to say something about this band's skill. (Or you could just say they're sellouts, in which case, you're mean, and your invitation to the block party is hereby revoked.)

Ain't Nothing Wrong with That
You've heard this song. Trust me. At least, you've heard it if you watch TV. It's the theme song used in ads for NBC's Thursday night comedy lineup, it's in a Verizon ad ("East coast or west coast, it don't matter, down south or up north, it don't matter"), and I'm willing to bet it's been used as a rally song in at least one football game. With all of its stomping and clapping providing a highly addictive beat, it's just of those unavoidable party songs. Fortunately, it's a very good one, so I don't mind the overexposure. I actually get images of a pickup football game in some city park when I listen to this one, with the family members and other spectators improvising some sort of spirited cheer while the testosterone-heavy guys in the group knock each other to the ground and talk smack and laugh a lot while throwing the old pigskin around, because they know it's all in good fun. The message here is simply that a good party is nothing to be ashamed of, and the style of music, the cultural background of the participants, socio-economic, status, etc., shouldn't be a reason to bar anyone from participating. Randolph gets to do a little soloing near the end, but for the most part he lets the percussion and a sweet little organ solo by Jason Crosby run the show while he does the call-and-response vocal thing with some very excited background singers. If the careening chorus of "Ain't nothing wrong with it!!!" and the whispers of "Shake it, shake it, shake it" during the bridge make the song sound uncomfortably close to an Outkast ripoff, don't worry, you'll get over it. I suppose the song can get a tad repetitive towards the end, but that's where the guitar soling starts to liven things up, so "either way, it's all good".

Deliver Me
As much fun as that opening song was, the band was just getting warmed up there. After a strange, distant intro which sounds like the song's bridge being played back through a radio, Randolph gets absolutely down and dirty with a guitar riff that makes it easy to envision the sweat on his brow as his fingers tear furiously up and down those metal strings. If the previous song was a pick-up football game, this one's like, dirt-biking or something. This makes sense, as you've gotta be in touch with how utterly filthy you've gotten to realize your need for deliverance - it's one of the more obviously religious songs on the album due to its excited, Gospel-choir response to Randolph cry of "Deliver me!" in the chorus. (What they're actually saying in that response, I can't quite make out - "Before you die!" or "Before we get down!" or something like that.) Some fairly chunky bass licks and lively piano playing round out the tune, and there's really nothing I can complain about in this highly energetic performance except for the lyrics, which ramble on about a having something-or-other in the trunk and how he's "straight trippin' on the skunk" and things like that. Either it's just a bunch of slang to fill space, or it just has a meaning which is too contextualized for a suburban white boy to understand. If I could actually read the words somewhere, it'd probably help.

Diane
Whee! The steel guitar drags us headlong into a glitzy little tune with little bursts of horns and a slick, street-smart feel that makes me think of the endless traffic lights and neon signs of a bustling downtown area at night. It's one of those "Crank it up in your convertible while you're cruising along with no particular destination in mind" sorts of songs. Danyel Morgan's bass is especially sassy here, slapping and popping and otherwise asserting itself amidst Robert's many guitar runs up and back down. He's singing to a special girl (yeah, he actually calls her special, how cheesy) who has apparently gone away for the summer - he thinks she's something else and he's pleading with her to stay faithful, just as he promises he will for her.

Angels
OK, time to relax the block party atmosphere a bit and give the couples a chance to slow dance with the setting sun in the background. The second love song on the album is more of a ballad, sounding a lot like the sort of thing Lenny Kravitz might come up with if he played the lap steel. By that I mean that it's a bit cliché, but smooth and charming. The melody and the slightly gritty tone of the guitar is what keeps this from being too soft and lightweight of a ballad - the guys pull it off with class, and once again Randolph's fiery soloing keeps things from getting to repetitive near the end. Just about any song involving angels is bound to be a no-brainer for anyone who's heard a decent amount of love songs in their lifetime, but I kind of like the simple sentiment that this girl, who has Robert "believing in angels", has done so not just by being attractive, but by seeing through his façade, his attempts to act all hard, and seeing a vulnerable but real and lovable person underneath. He doesn't have to pretend around her, and that makes the simplicity and transparency of the lyric weren't. (I might not be so lenient on such a song if it were just regular old pop music with the same lyrics, but that's the spell that this band's instrumental prowess often casts on me.)

Jesus Is Just Alright
Here's another one that I'm sure you know - it was made famous by The Byrds and The Doobie Brothers, and if you're into Christian music, then you're probably familiar with the ridiculously cheesy techno-rap version by dc Talk (ah, the fond memories). In any event, you should really acquaint yourself with this version. As I hinted earlier, it's the most explicitly religious song on the album, but that's not likely to bug anyone who is familiar with the song due to it being a part of the classic rock lexicon. It's just a stellar performance with plenty of room for soloing, of both the fast, zippy variety (the chorus) and the slow, wave-your-peace-signs-back-and-forth variety (the bridge in 3/4 time, which you dc Talk fans know as the "Reprise"). Marcus Randolph goes nuts on the drums here, and Randolph shares the guitar solo spotlight with one Eric Clapton. They go at it for five minutes plus, including an awesome "victory lap" just when you think they've wrapped up the song in a big "rock show" finish. All sentimental attachments aside, this is probably the best version of the song that I've heard thus far.

Stronger
This ballad feels a bit like "Angels", but even more relaxed, with a touch of acoustic guitar and guest vocalist Leela James sharing the mic with Robert - she gives it much more of an R&B/soul feel. The tone is more inspirational than romantic this time out - you could see it as the guy and the girl declaring to each other that "with you I could be stronger", or you could see it as them both telling God this, and it works either way. The lyrics are among the album's weakest - "Love can conquer everything" and all of the other avaricious sentiments that you'd expect to accompany such a phrase - but Robert proves himself able to whip up a fitting solo for the mellower vibe, and the vocal performance manages to muster up the true inspiration that the lyrics don't manage to fully provide. I could see a Gospel choir pulling this one off.

Thrill of It
"Hey, let me grab my guitar and get in the car!" shouts Robert excitedly, as this song's jiggly little riff comes breaking in, and then he continues to ramble on about the other band members he's gonna pick up for a day of jamming in the studio, or the garage, or wherever. This is a song that's all about making music just for the joy of the music, and not to look important or act "hardcore" or anything silly like that. "I'm on this ride for the thrill of it - living the dream, that's what life's all about" - the band's philosophy is pretty much summed up right there. It sounds like there might be a "traditional" electric guitar trading riffs with Robert's steel guitar here, but he gets a good array of sounds out of that thing, so I honestly can't tell. This is the last of the go-for-broke up-tempo tracks on the album, so enjoy it for all it's worth.

Blessed
You can probably glean this from the title, but this is the most "churchy" of the tracks on this album. That isn't a bad thing - I enjoy the more relaxed "acoustic soul" feel, which isn't quite reggae, but the rhythm and the style of singing might draw a little bit from that tradition. I definitely get the mental image of swaying palm trees and a bright shining sun here, and of course the women on background vocals give me that "Gospel choir" feeling again. (Imagine one of Kirk Franklin's better ballads, if Kirk Franklin actually sang and played an instrument instead of just talking excitedly over all of his songs.) This song actually references the Job, saying, "Naked we all are born, and soon we're put to the test", and the song overall seems to be focused on admitting that we all have troubled and sinful backgrounds but also realizing that we've all been blessed beyond measure. That's about as deep as this album gets, lyrically speaking.

Love Is the Only Way
So the great thing about having a "jam band" sort of aesthetic is that regardless of your core style, you tend to fit in well with other bands who just like to let a song unfold as the mood dictates, regardless of length. (You don't see as much of that on this album, but definitely in a live setting, Randolph and Co. can stretch a song out for miles.) If the Dave Matthews Band has come to mind at any point earlier when I mentioned the "jam band" thing, then it should be no surprise that the two bands are mutually respected colleagues of each other. Dave shows up here to provide vocals (thankfully a lot less gravelly and grating than most of his recent work with his own band), and he's got horn players Leroi Moore (full-time saxophonist for DMB) and Rashawn Ross (a trumpeter who has recently toured with the DMB, among other things) to blurt their brass all over this relaxed party song. I say "relaxed party song" because they sing about getting everybody together and dancing in the streets and things do get a bit lively near the end of it, but for the most part the mood is more "sitting on your porch with a nice cool glass of iced tea/can of beer while shooting the breeze with your buds" than it is "jumping up and down and getting all sweaty in a packed crowd". It's pleasant, and hearing Dave again reminds me what a fan I used to be, but I have to pretty much ignore the lyrics to enjoy this one.

Thankful 'n Thoughtful
Speaking of ignoring the lyrics... yeesh, I don't know what they were thinking with this one. They didn't want to get so song-oriented that they couldn't just enjoy a good laid-back jam, so they set about delivering some solid instrumental performances against a one-chord electric guitar lead and some more funky bass licks, and the results aren't bad at all. That is, except for the exuberant background singers that keep busting in, crying out "Thankful!" and "Thoughtful!" again and again - seriously, those are the only two words in the entire song, and it's just plain corny. Minus the vocals, this would be a highly enjoyable track, but the vocals turn it into the album's one obvious dud.

Homecoming
A little bit of human beat boxing accompanies this song's loose, swampy intro, which is an interesting change of pace. I'm not sure this shizophrenic little tune works as a closer - it's kind of fun, but the band seems to be kind of repeating themselves at this point when they sing about the joy of playing music and how everywhere they perform feels like home - "Thrill of It" seemed to cover their musical credo with more convincing fire. The bounding chorus of "Homecoming, we 'bout to go home" starts to get on my nerves after a while, and there's this weird shift to a two-step sort of rhythm in the bridge that's inventive, but doesn't quite work as a transition back into the chorus. The sum of the parts is more than the whole on this one. I just think they could have ended on a much more powerful note.

OK, so this album starts to bug me a little bit near the end, but those first five songs and "Thrill of It" are more than formidable enough to make up for that. So despite the sketchy lyrics, there's plenty here to earn Robert Randolph & the Family Band a four-star rating for this record. If you loved Unclassified or Live at the Wetlands for the free-spirited jamming, then I don't know, you might find this one to be a bit too bound to song structure, but for the rest of us, I think it's a perfect way to get into the band - we can explore their back catalogue later on now that we have a reference point to bridge the gap. Colorblind was definitely one of the best surprises of 2006 for me (OK, I got into it a little late), and as odd and out of place as the razzle-dazzle CD design looks when it sits next to so many modern rock and pop albums in my monster CD case, I enjoy it for its ability to spice up a boring commute to or from work, and force the corners of my mouth into a smile when I've found myself in a funk. I mean the other kind of funk. Whatever.

ALBUM WORTH:
Ain't Nothing Wrong with That $2
Deliver Me $1.50
Diane $1.50
Angels $1.50
Jesus Is Just Alright $2
Stronger $1
Thrill of It $1.50
Blessed $1
Love Is the Only Way $1
Thankful 'n Thoughtful $0
Homecoming $.50
TOTAL: $14.50

Band Members:
Robert Randolph: Steel guitar, vocals
Danyel Morgan: Bass, vocals
Marcus Randolph: Drums
Jason Crosby: Hammond organ, piano

Website: http://www.robertrandolph.net/

Recommended: Yes

Great Music to Play While: Driving