Album: Robert Randolph & the Family Band

Unclassified, Warner Bros

Thursday 15 January 2004 20:00 EST
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

Robert Randolph is the most prominent exponent of "sacred steel" music, a form of gospel built around the pedal steel guitar. His credentials were established with 2002's Live at the Wetlands, which revealed him to be a dynamic musician who brings a fiery attack to an instrument usually restricted to whining meekly behind country balladeers: think of rock players like Al Perkins, Buddy Cage and B J Cole, rather than Nashville stalwarts such as Buddy Emmons, Red Rhodes and

Pete Drake. Or even, in places, think of Duane Allman's slide guitar razoring its way through "Statesboro Blues", from the Allman Brothers' Live at the Fillmore East - Randolph can play just as fierce and cutting, with dazzling flurries of notes which suddenly veer off at wild tangents. Sadly, this studio debut suggests that like many a gifted virtuoso, Randolph suffers from a shortfall of strong material, with most songs just perfunctory vehicles to carry his solos. What sets the Family Band 's style apart are the funk elements, such as the popping bass and falsetto vocals on "I Need More Love", and the gospelly chorus vocals on tracks like "Nobody". But ultimately, one suspects it's a more potent live experience than studio exercise.

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in