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Los Fabulocos featuring Kid Ramos - Los Fabulocos featuring Kid Ramos

Los Fabulocos
featuring Kid Ramos

Los Fabulocos featuring Kid Ramos

Delta Groove Music - DGPCD125

Available from CD Baby.

A review written for the Folk and Acoustic Music Exchange
by Bob Gottlieb
(taoboy@cox.net)

This is a disc that is going to get you up and moving to the music if not actually dancing, whether you want to or not, it is that compelling. It is that wonderful blend of Tex-Mex and Rockabilly that is at once raw and at the same time a smooth fusion. Kid Ramos' is synonymous raucous up tempo blues and Rockabilly; for years he played in James Harman's Blues Band and then made a couple of discs with Lynwood Slim until he joined the Fabulous Thunderbirds when Kim Wilson asked. He and vocalist/accordionist Jesus Cuevas, bassist James Barrios, and Drummer Mike Molina teamed up to form Los Fabulocos. The band is fronted by Cuevas who spent a decade lending his skill on accordion to the East L.A. rocking band, The Blazers. They were one of the foremost dance bands coming out of that East L.A. scene along with Los Lobos, who blended traditional Mexican music along with Surf and Rockabilly to become what might have been known as Cali or Ameri/Mex music. This is music with just the right amount of Chipotle powder added to it to make it an infectiously incendiary blend, which both burns but feels so good. Ramos' work on both guitar and bajo sexto (a 12 string guitar associated with Norteno music) is the jet fuel that this group and gives it a fiery finish. This is one of the most infectiously happy discs that has been on my turntable in ages, and it is a powerhouse.

Track List:

  • Educated Fool
  • If You Know
  • Crazy Baby
  • Lonesome Tears In My Eyes
  • Un Mojado Sin Licencia
  • Day After Day
  • Como Un Perro
  • You Ain't Nothin' But Fine
  • You Keep Drinkin'
  • Just Because
  • All Night Long
  • Burnin' The Chicken
  • Mexico Americano

Edited by: David N. Pyles
(dnpyles@acousticmusic.com)

Copyright 2008, Peterborough Folk Music Society.
This review may be reprinted with prior permission and attribution.

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