I learned long ago not to write a review after listening to an album only once. I have penned plenty of reviews panning an album I later came to love. There are also plenty of reviews bearing my moniker where I professed my undying love for a record only to see it later lose some of its luster.

I have been curious about Robert Randolph for some time and was eager to take this assignment to listen to his new record. Upon first listen, I was regretting that decision. It was not that I did not like Colorblind, I just did not feel qualified to review it. I didn't get it. I could tell there was something there, but I did not know what to make of it. A few days passed. I realized I was not going to be able to put off the assignment forever, so I listened to it again.

This time, something clicked.

There are no fancy words to describe what Robert Randolph & The Family Band does. It's not rock and roll. It's not the blues. I am not well-versed in soul, funk, or gospel but I have a feeling this isn't exactly that, either. Randolph's approach to music reminds me of Beck and Prince. All three share an unapologetic refusal to be shoehorned into one particular genre or style. The analogy well has run dry for me and the only thing I can liken Colorblind to is one hell of a tasty musical stew. Actually, the album is a collection of stews because each track is a different grab bag of ingredients.

The album opens with the explosion that is "Ain't Nothing Wrong With That." Tolerance, diversity, and acceptance have never sounded this cool. I am a huge U2 fan, but Bono's anthems of peace, love, and understanding are usually filled with a serious earnestness. They are still great mostly great songs - they just are not always a hell of a lot of fun. "Ain't Nothing Wrong With That" is an absolute blast. It is energetic. It rocks. It grooves. The stomps, handclaps, and chants make it nearly impossible to listen to in stationary mode. Randolph picks and chooses his places, but when he strikes his sacred steel those lines sting! The female backing vocals and cool organ fills – and how many times has the phrase "cool organ fills" ever been used – add some depth and color to a song already filled with it.

"Desire" is anchored by some basswork that sounds very Marcus Miller-like to me. I am not well-versed at all in the school of jazz but I did listen to some Miller records in the '90s. When I hear  Danyel Morgan's bass on "Desire," it evokes Miller and that is not a bad to thing to these ears.