Album Review: Kid Ramos – Strange Things Happening

As a general rule, I steer clear of reviewing gospel or gospel-informed music. I have nothing against the style; it’s simply that the perspective of the core messages don’t resonate with me. Peace, love: sure, of course. Devotion to a high power in the form of what-have-you: not so much.

On one level, that means that on the occasions when I do cover that kind of music – about two dozen time over the past 20 years – it’s because something about it moves me. And it’s definitely the case for the new album from guitarist David “Kid” Ramos. From the title on down, Strange things Happening draws form the best in gospel, old and new.

First, the old: the album title is a reference to the most well-known tune from Sister Rosetta Tharpe, one of the progenitors of rock ‘n’ roll. “Strange Things Happening Every Day” rocks. It rolls. It swings. Kid Ramos plays lean, sinewy notes that sprinkle gold dust on a spare but note-perfect arrangement. Brian Templeton turns in a soul-stirring vocal in the tradition of jump blues singers, but with the gospel commitment intact. Dave Liminas organ work is a delight as well.

Listeners who don’t understand English (or who simply don’t focus on lyrics) may miss out completely on the soft-pedal (yet ardent) religious undertones that underpin the album. But they’ll get the feeling of ecstatic joy that pervade the music. “How I Got Over” underscores just how much electric blues owes a debt to gospel. Same for “I’m Working on a Building.” Its lyrics are unashamedly devotional, but its message – musical and otherwise – is universal. It’s like blues without the sinister, dangerous edge.

And joy isn’t the only emotion explored on Strange Things Happening. A passionate and heartfelt lead vocal from Kid’s kid (Johnny Ramos) is supported by a first-rate minor-key slow-blues arrangement and some soulful backing chorus vocals. The gospel-rockin’ “Jesus Dropped the Charges” is a fun if familiar melody with an uptempo message and some tasty instrumental working.

Singer/blues harpist Brian Templeton’s original “An Answer for Isaac” channels gospel into some wonderfully distorted blues rock. “God Walks the Dark Hills” is the closest thing to traditional gospel on this set, and it’s done well. “Satan’s Jeweled Crown” leans into Mexican musical traditions with solid results. “Nobody But the Lord” is thrillingly uptempo big band blues.

Bob Dylan’s “Every Grain of Sand” dates from his Christian period, but its lyrics transcend religious divisions (hey, even George Harrison covered it live on a radio show). Kid Ramos does a nice job with it as well. “More Love More Power” has the feel of The Band’s Last Waltz: a buncha musicians onstage, leaning into the song with feeling. Ramos wraps things up with a bouncy number, “I’m a Pilgrim.” It’s another song that demonstrates that music genre divisions are, ultimately, constructs of critics and not always meaningful. Sorta, one might lope, like religious differences, right?