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The Reverend Shawn Amos & the Brotherhood—Get in the
Dansbana (Live in Sweden)—Immediate Family
(www.shawnamos.com)

Originally on the Reverend’s 2016 album “The Reverend Shawn

Amos Loves You”, the opener, an on-stage version of ‘You‘re Gonna
Miss Me’ makes for a strong introduction to this five track live EP,
based around a heavy riff and with the Reverend’s strong,
passionate vocal and fiery harp playing right to the forefront. It’s
a great start, and the quality continues with the slinky strut of
‘Boogie’ (also originally on the same album), the pointed pleading
of ‘2017’, and the impressively taut and restrained power of his
cover of Little Walter’s ‘I Can’t Hold Out Much Longer’, with some lovely, swooping and drawn
out harmonica playing.

‘Good Morning, Schoolgirl’ (as it is titled here) is extensively re-worked by the good Reverend.
His band, The Brotherhood, provide excellent, subtle, and totally appropriate support throughout,
and the last title includes some soaring but tightly controlled blues-rock guitar playing – Chris
“Doctor” Roberts, I presume. The Reverend’s laugh at the end of this recording says it all – fun,
fine and full of enjoyment.

Norman Darwen

Deuce ‘N a Quarter—Keep Movin’ On—Independent
(www.deucenaquarter.com)

Have a listen to the opener, ‘All She Wrote’ – it’s a romping blues,
with strong brass, harp that draws a little on Sonny Boy William-
son II, and good lyrics delivered in an appropriately resigned
voice by leader Brian Peters. The icing on the cake is that this

whole album was recorded and produced by blues ace Kenny
Neal down in Baton Rouge, Louisiana. Brian actually won the
“Best harmonica player” award at the International Blues Chal-
lenge in Memphis this year. Based in Columbus, Ohio, here he
uses his harp well, never over-playing but he is impressive in his restraint.

There is a lovely swing to ‘Blues Mobile’, a funk tinge to the cool ‘I’m Not Alone’, a subtle Bob
Marley sound to ‘Moment With You’ and a blues-rock/ jazz fusion approach (!) to ‘Same Old
Blues’ - an original composition, by the way. The title track is a moody, mid- to slow-tempo
number, with a hint of a 70s soul tinge, in contrast to the rural-sounding harp and guitar
accompaniment of ‘Sun Kissed Wheat’.

The remainder of the band are all impressive players – try, for example, the keyboards solo on
the title track. A quality release all round, and I look forward to hearing more from this outfit.

Norman Darwen