Valdy And The Hometown Band

Son of famed vibist Terry Gibbs, drummer Gerry teams up to record this debut of the second incarnation of The Gerry Gibbs Thrasher Band with 5 multi-talented instrumentalist from all over the state of Texas to create the Gerry Gibbs Thrasher Band 2 ,which played and toured together for 5 years.The 6 musicians of the”Thrasher Band” play 27 instruments between them on this date. Instruments include, Soprano, Alto, Tenor & Baritone Saxophones,Piccolo, Flute, Alto Flute, Bass Flute, Clarinet, Bass Clarinet, Acoustic & Electric Guitars, Vibraphone, Glockenspiel, Acoustic Piano, Mini Moog, Melodica, Harmonica, Trumpet, Acoustic Bass, Drums, Balifone, Kalimba, Recorder, Wood Flute, Gongs, Vocals, & Misc. Percussion.After 5 years the band separated with each member to go on to tour and join the bands of people like Christian McBride, Poncho Sanchez, Billy Childs, Strunz & Farrar and others!

Those who became aware of Robert Randolph's considerable musical gifts on either the awesome Live at the Wetlands or on the underrated Unclassified are in for a surprise. Colorblind expands the Robert Randolph & the Family Band's palette – on tape anyway, they've been doing stuff like this on the stage for years – stretching out from the blues ledge into gospelized, gritty funk and soul, and expanding those genres in the process. Using a group of producers from cut to cut, the Family Band takes no prisoners in this wildly crazy and utterly joyous mix of musical forms and flavors. Sure, it's a bit slicker than Live at the Wetlands, but not in any detrimental way. This is what these cats have been laying down for awhile now. It's been their vision and they've finally brought it into the studio. The opening joint is a stomping wail called "Ain't Nothing Wrong with That" that features the Family Band chanting a refrain, handclaps, and killer female backing vocals as well as Jason Crosby's B-3, as Randolph's pedal steel hovers above before coming in for the killing groove.

The second full-length from sacred steel genius Robert Randolph & the Family Band delivers, from the studio, the same promise, grit, grease, and sweat that Live at the Wetlands did. Randolph pulls out the stops in the studio, using his own band, without any of the hotshot guest stars who he's appeared with in the last two years. Unclassified features a road-tested, studio-savvy band using all of its collected gifts with producer Jim Scott to make a record that is as much about soul, funk, hard rock, folk, and jam band intensity as it is about the gospel music that first inspired the unit.

Robert Randolph is one of the rare artists who's been able to convince a sizable audience that the pedal steel guitar has a place outside country music. This is partly due to his over-the-top skills on the instrument, but just as importantly, Randolph and his Family Band have consistently shown their ability to launch a soul shakedown party of major proportions whenever they take the stage or set up in the studio. 2017's Got Soul, Randolph's fifth studio album, seems designed to capture the energy and power of Randolph and his band in full flight, and producer Matt Pierson has gone out of his way to give this material a big, rollicking sound that makes the most of the muscle and sweat of this music. While the tough, funky report of the rhythm section and the call of the organ provide the backbone of these songs, it's Randolph's pedal steel that gives Got Soul its unique sound, as the wailing peals of his instrument tear through the mix and lend this as much of a vocal presence as any instrumentalist can provide. While vintage soul and funk figures play a big role in these arrangements, Randolph's background in gospel is never entirely out of the picture, and there's a churchy passion at the heart of this music that adds plenty to the emotional resonance, especially on tracks like "Be the Change" and "Heaven's Calling".

Faded old-world flowers adorn both sides of the cover with a big strip of black grease disturbing the lovely imagery on the back. Beginning with Arthur Crudup's "My Baby Left Me," like that other band of famous backup players, the Section, how can this be anything but very musical? Guitarist/vocalist Henry McCullough's "Mistake No Doubt" has eerie backing vocals and is suitably well done, as is his "Let It Be Gone," and though this is far from commercial, it is important to have this document of the guys who made magic behind Joe Cocker in 1969 and Marianne Faithfull in the mid-'70s. This came right in the middle, and the Grease Band's collaborative effort, "Jesse James," could be mistaken for Doug Yule singing Lou Reed's "Train Comin' Round the Bend." It's got that chug-a-lug subdued rock sound. With Henry McCullough's Wings connection, The Grease Band gets a touch of the Beatles' guilt-by-association mystique. As intriguing and wonderful as this album is, had Joe Cocker guested on bassist Alan Spenner's "Down Home Mama" or had Marianne Faithfull taken on the traditional "To the Lord," there would have been that something extra, that intangible that makes records so very special.

Robert Randolph, the virtuoso pedal steel guitarist whose distinctive mix of rock, funk and rhythm & blues has built a fervent, international audience releases his highly anticipated new studio album, Lickety Split, on Blue Note Records. His first studio album since 2010 s We Walk This Road, Lickety Split is produced by Randolph and showcases his Family Band, the powerhouse ensemble that has backed him throughout his career. The Family Band is comprised of actual family members Marcus Randolph, Danyel Morgan, Lenesha Randolph together with guitarist Brett Haas. This album features special guest appearances from Trombone Shorty and Carlos Santana and signifies a return to the joyful, high energy music that has become Randolph's trademark. The album was engineered by the legendary Eddie Kramer (Jimi Hendrix, Led Zeppelin) and mixed by Jim Scott (Tedeschi,Trucks).