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or not(?) of mobile phones.

On ‘Doom Loop’ the Latin groove of horns and harmonica merge so well. The slowburning,
doo-wop influenced ‘Wine Is My Friend’, features splendid harmonica. Highly relaxing
instrumental, ‘Maceosity’ possesses a lively bubbling keyboard and expansive harmonica
funk-filled, seventies feel.
‘Awkward Me’ delivers, a delightful walking paced thirties harmony singalong, trombone,
harmonica and piano merging so well.

‘What The Missus Misses’, is a very enjoyable “fifties sitcom” swing number, done in a “music
hall” style. The relaxed and inviting instrumental ‘June’s Tune’, allows BHG’s intimate harmonica
to eloquently shine.
‘DIY Mama’, is a spicy, rhumba fuelled tale of a very, very independent woman. ‘Paradise Is
Burning’, is a very bleak, harmonica blues, concerning the environment.

The harmonica led, swinging ‘The Older We Get’, is a reminder, of how wonderful hindsight is
or, how we might have been.
The instrumental, ‘When I First Held Valerie’, is quite simply, a splendid heartfelt harmonica led
ballad.

Recommended!
Brian Harman.

The Reverend Shawn Amos—Soul Brother No.1—
Immediate Family Records
Over the last couple of years the Reverend, has reconsidered
and re-evaluated his position, opinions, values and desires in
his life and this album is the result. It is a cornucopia of soul,
funk, blues and frustration, which fuels the music. Music that
ranges from the grindingly ballistic, guitar, bass and pounding
percussion backed with the striking harmonica funk of,
‘Revelation’, to the subtle hope-filled soulfulness of the Gospel
infused ‘Back to The Beginning’, featuring the dulcet gospel
tones of The McCrary Sisters.

Helping the Reverend who is on harmonica and vocals, are Dr.
Roberts, guitar, Jerry ”Wyzard” Seay, bass, Steve Ferrone, drums, and Dapo Torimiro, keyboards.
Throughout the album, backing vocals are supplied by The McCrary Sisters.
‘Soul Brother No.1’, is a horn rising, funky, soul-fuelled, fun filled, floor duster. The infectiously
grooving ‘Stone Cold Love’ is about endlessly searching for what isn’t there! The slow, gospel
infused ballad ‘What It Is To Be Black’ bemoans the simple lack of equality, courtesy and lack of
respect in this world today. ‘It’s All Going To Change’, possesses an enticing mix of bubbling
keyboards and fuzz guitar, wrapped up in a soulful, rolling groove.

The slowburning, blues guitar, keyboards and percussion on ‘Circles’ emphasises the endless
sadness of loneliness. The bluesy rocking of ‘Hammer’ is about an emotionally cruel woman,
who keeps you hanging on—in hope.
On Sly Stone’s ‘Don’t Call Me Nigger, Whitey’, Amos shares vocals on a live duet with Denise

Carite. It is a blasting, short, but sweet-building, fuzz-guitar filled retort, with massed vocals, to
justly emphasise the point.