Editor’s Note: In Sound Advice, veteran BDN entertainment writer Dale McGarrigle, rock columnist Emily Burnham and a revolving stable of BDN writers review new albums from across the musical spectrum.

“Colorblind” (Warner Bros.) – Robert Randolph & The Family Band

For years, Robert Randolph & The Family Band have made their considerable reputation with their live shows. And their past two albums have reflected those dazzling performances.

But now guitarist-vocalist Randolph and his band mates, bassist Danyel Morgan, drummer Marcus Randolph and organist Jason Crosby, have taken a big step out of that comfort zone. And both they and their fans are better off for it.

The band went in to make an actual studio album, not just to recreate its live sound. This meant collaborating with outside songwriters and teaming up with guest musicians, including Eric Clapton (on a cover of the Byrds’ “Jesus is Just Alright”), Leela James (on “Stronger”) and Dave Matthews (on “Love is the Only Way”).

Going in, Randolph drew upon his influences, including Sly Stone, Jimi Hendrix, Led Zeppelin, Stevie Wonder and his church roots. All of those influences show up on “Colorblind” in a brand new setting.

While they will remain a talented live band, “Colorblind” shows Robert Randolph & The Family Band have become recording artists. Unlike too many jam bands, they can make the magic happen in the studio as well.

-DALE McGARRIGLE

“The Black Parade” (Reprise) – My Chemical Romance

Let’s get one thing straight: My Chemical Romance isn’t emo. Sure, Gerard Way and company get lumped in with bands like Fall Out Boy and Taking Back Sunday by fans and non-fans alike. They also have silly haircuts. But if you couldn’t tell already, the new album, “The Black Parade,” makes it clear that MCR is a rock band, plain and simple.

A concept album about a character called “The Patient,” who discovers he has only a few weeks to live, “The Black Parade” is a big, bombastic, tragically romantic rock record. The major touchstones are Queen and “Ziggy Stardust”-era David Bowie, as well as ’90s acts including Smashing Pumpkins and Marilyn Manson – and there’s nary a sad-sack, confessional song about heartbreak on the whole thing.

It starts off with “The End,” full of glittery piano and singer Gerard Way’s campy vocals. That leads right into “Dead,” which wastes no time in launching into the rock ‘n’ roll stratosphere, thanks to lead guitarist Ray Toro’s dead-on imitation of Queen guitarist Brian May’s searing, triumphant riffage.

That momentum hardly wanes throughout the album. The title track and first single, “Welcome to the Black Parade,” features martial drums, a horn section and infectious gang vocals. “Mama” is full of cabaret embellishments, and, strangely enough, a cameo from Liza Minnelli. And the propulsive punk energy supplied by drummer Bob Bryer keeps things contemporary, but never strays too far into pop-punk territory.

Though there are a few duds (the second single, “Famous Last Words,” is the least exciting song on the album), there’s no surprise that “The Black Parade” debuted at No. 2 on the Billboard charts. For my money, MCR has made the most entertaining rock album of the year.

– EMILY BURNHAM

“Continuum” (Aware-Columbia) – John Mayer

Evidently Mayer is as concerned about jinxing himself or heaping on the pressure as he was about the sophomore slump. That’s understandable since “Heavier Things,” his second album, was met with lots of critical and sales success. His anticipated third album is out, and Mayer sets it up by saying, “With any trilogy, the third in the series blows it open.” Well, it’s hard to imagine anyone saying “Continuum” blows even after just one listen, so it’s a safe bet fans will love it just as much as its predecessors.

Mayer obviously feels very strongly about this work, as he told Columbia press agents that this is “the first endeavor in my entire life, music or otherwise, that I did not cop out for a second on. He says his collaboration with John Mayer Trio mates Steve Jordan and Pino Palladino helped him recalibrate his musical priorities and focus on being more raw. This album features more big-themed music tackling such issues as generational attitudes about politics, specifically Mayer’s generation’s inactivity and inaction.

The overall theme here is maturity, both in Mayer and his music, and it seems to come through without him sacrificing his trademark sound. Whatever impression casual listeners and fans come away with from this album, they will be hard-pressed not to find something they like on it.

-ANDREW NEFF

“Live – Midnight on the Water” (North Road Records) – David Mallett

Wisdom is a word one shouldn’t throw around too casually.

But take a listen to David Mallett’s live collection, “Midnight on the Water,” which gathers some of his best songs from the last 30 years, and there’s no getting around it – there’s a lot of wisdom in these songs.

It’s the kind we who live close to the earth here in Maine inherit. We get it from years of watching the seasons change and seeing farmers and loggers do their work in rhythm with the weather. From listening to the creaks in our old houses and the stories of our old-timers. And from absorbing the tragedies and triumphs of our own families.

There’s also some truths about love that Mallett passes along in these tunes. And there’s nothing sappy about it. The kind of love he sings of is hard earned, has its share of scars, but still shines on.

“Midnight on the Water” was recorded at shows in Vinalhaven and Winter Harbor, with Mallett on acoustic guitar and harmonica, backed by the tasteful acoustic bass sound of Michael Burd and the fine fiddling of Susan Crippen.

A native of the Dover-Foxcroft area who now lives in Sebec, Mallett is a Maine treasure. But don’t think for a moment that he gets a pass for being a local. His work stands up against any nationally known contemporary folk singer-songwriter.

Four songs come from his excellent 2003 record, “Artist in Me,” and the other 13 from the breadth of his career. The live record is a perfect introduction to Mallett’s music, or the ideal replacement for those scratchy LPs and worn out cassettes.

“Midnight on the Water” is also a perfect soundtrack for driving around Maine’s back roads, pondering those old stone walls, decaying barns and rusting hay rakes.

-TOM GROENING