Urgent, celebratory, and kinetic, this trax—the second most sampled in history—is trans-temporal, extending backwards and forwards. Most known as the vessel or container for the “Amen Break,” it’s also a participant in citation as well, incorporating musical figures from previous songs. This “groove robbing,” as Kodwo Eshun deems it, runs in a deeper, more sustained way than we’re led to expect, too. It goes back to “Amen!,” the gospel tune, which can possibly be traced back to The Presbyterian Hymnal. After that, things get murky. The key is whether we dutifully follow the tendency to work against the secularization of the song. After all, it is testimony. The Winstons’ addition, however, of “brother” in the title issues a challenge: must a profession of faith be directed infinitely outward or can it be shared, agreed upon, enjoyed while avoiding a consolidation into an aspirational grouping? Yes, but only if such an agreement eschews the power to confirm or elect.