SHAWN AMOS
In Between
(Unbreakable)
On his last album Harlem, singer/songwriter Shawn Amos used the Harlem Renaissance as inspiration, indeed, almost as a filter, for the contemporary African-American experience. With graceful metaphors and subtle social commentary, he painted as accurate a picture of the ambiguity in the life of a modern black man as can be imagined. That he did it using music that drew more from so-called "white" culture, specifically country and folk music, than from "black" culture—no hip-hop beats or exaggerated blues licks here—made it an even more brilliant examination of cultural identity and the need to balance one's own individuality with one's cultural heritage. It's the kind of album most songwriters would kill to have written and that most manage only once in a career.
Amos, however, does it again with his fourth album In Between. Interestingly, though there are more electric instruments here, it's actually a more subdued and less overtly-rootsy affair than Harlem. Jangle rules more than grunge in the guitars, and his gritty voice carries a conversational tone; the music would rather insinuate than preach. Amos aims for an atmosphere of intimacy here, giving the listener a sense of eavesdropping on someone's confessions. While previous works may have politely demanded attention, In Between doesn't even ask; it just matter-of-factly lays out its charms, confident that the listener will fall for them. And rightly so, as this album is every bit as strong as its predecessor.
"7 Year Itch" opens the record as almost a thematic bridge from Harlem; over a melodic folk-rock groove tastefully enhanced with horns, Amos sings "I'm never gonna see what you want me to be." It's unclear whether he's singing to a lover or a society that can't accept a black man who won't fit into a prescribed niche. In "Sick of Me," over a sweet mix of acoustic guitar, sitar and drum loops, Amos softly croons "What do you want/What do you need?"—a heartfelt plea for tolerance in the face of indifference. Again, it's left to the listener's judgment if the object is romantic forbearance or social acceptance. "Blood of Moses" revels in its lyrical mystery—what to make of the poetic lines "No chance, no savior, not a spot in hell/Kind hands fill a hole in a heart that fell," other than a general air of positive reinforcement?—but the insistent rhythm and glowing Rhodes piano fills make it a pleasure to ponder. The rough-edged rocker "Bastard Wind" pledges perseverance even though "We've been buried here/In shallow graves/Turn colder every year"—Amos and Patrick Milligan's crunchy guitars keep surrender from even being an option.
Amos also covers more familiar territory, especially that criss-crossed by paths to the heart. "Punish You" examines a crumbling relationship over a mid-tempo pop groove and polite tremelo guitar, while "Santa Fe" does the same with a lilting country waltz, highlighted by Ben Peeler's sensitive lap steel. Shepherded along by an irresistible mix of jangly guitar and banjo, "Sugarsweet" plants a big wet kiss-off on a former friend as Amos croons the lines "One day I'll get rid of all the assholes/Like you in my life" over one of his prettiest, most insidiously catchy melodies. The soulful and memorably melodic "Right On Time" finds the protagonist trying to understand why his relationship is disintegrating, but pledging "I'll be right there for you" regardless.
As downbeat or philosophical as the mood of the album is, Amos still knows when to kick up his heels, as he does with a bluegrass cover of Led Zeppelin's "Hot Dog," the source of which would never be recognized if not for the lyric "I took her love at 17." But the album ends with the guarded optimism of "Torrance," as the singer softly, as he didn't want to wake the parents sleeping in the next room, vows to leave the stifling small town in which he resides. It's a universal message for anyone feeling trapped in a situation, and it illustrates Amos' remarkable ability to evoke empathy with his songwriting. While his music sounds at first pass as navel-gazing as any typical singer/songwriter, closer attention reveals that Amos is less interested in the attention it brings him than in stimulating some introspection on the part of his audience. Armed with his most consistently memorable tunes to date, he does just that with In Between. Michael Toland [In Between is available in a limited edition at CD Baby and Miles of Music.]
For fans of: John Hiatt, Pete Droge, Peter Case
Copyright © 2001 High Bias