The debut studio album by Robert Randolph and the Family Band had a lot to live up to. The band's official debut, "Live at the Wetlands," was a stomping good time with its extended funk/gospel jams and unquenchable spirit. Randolph's pedal steel coupled with an earth shattering rhythm section and B-3 made for such an infectious mix it's no surprise that the jam community, with its sensibility toward all things groovy and unexpected, catapulted the Family Band to a prominent spot in today's music.

"Unclassified" is the perfect studio companion to "Wetlands". Not only does the power and rhythm remain intact from the Family Band's experience on the road, but it showcases a delicate dynamic that doesn't come through in their lay-it-all-out performance ethic. "Soul Refreshing," in particular, couples a refreshing acoustic groove with Randolph's clear vocals and heartfelt lyrics. Even though laying down a more subdued groove, drummer Marcus Randolph, bassist Danyel Morgan and keyboardist John Ginty provide a razor-sharp backdrop worthy of the best in Motown. "Smile" makes a crafty shift to a long distance love song wrapped in R & B melodies, a dash of bluegrass instrumentality and performances by Lenesha Randolph and Ricky Fowler.

But it's the uptempo groove that is this band's bread and butter. "Squeeze" gallops and bobs the head. "Going in the Right Direction" enforces the drive of high-octane gospel groove that this banded was founded upon and its redemptive lyrics recall the joy and exuberance that come with the sunshine after the dark night of the soul. Not that you need to catch onto any of this to enjoy this album. Whether it's the occasional disco feel, the slap and pop bass or the rattling double-time hoedown snare, this band will do whatever it takes to trigger the boogey gene. The pulse of "Calypso" slides right in for a slinky groove for those with more exotic tastes.

One point of contention: Ginty's keyboard work often takes a backseat to the rest of the rhythm section. Granted, his organ swells are the perfect complement to Randolph's frantic fretwork, but this guy can solo, too. Just a small gripe cultivated by long hours of wishing Page McConnell would get turned up at Phish shows.

Still, this is the funkiest album that's come out of anywhere in a long time. Rejuvenation for those tired of MMW's heady tendencies and salvation for those out for a Saturday-night stomp, this album better move you.