Living Blues - pp.57-59
"[D]aring and original....[With] Creole fiddles, tremolo-damaged guitars, and raw, upright bass-slappin' rhythms..."
Mojo (Publisher) - p.1044 stars out of 5
- "Adcock takes a few unexpected turns, but hang on for the ride: tracks like 'Blaksnak Bite' and 'Slangshotz N'Boom-R-Angs' were worth the wait."
Personnel: C.C. Adcock (vocals, guitar, baritone guitar, bass guitar, bongos); C.C. Adcock; Mike Napolitano (guitar); Tarka Cordell (acoustic guitar, background vocals); D'Jamla Garnier III, Djalma Garnier (fiddle); Pat Breaux (accordion); Mike Elizondo (bass guitar, percussion programming); Chris Hunter, Chriss Hunter (drums); Stanton Moore (percussion programming); Dave Foreman, Lil Queenie, Deanna , King Cotton, Trina Shoemaker (background vocals); Doyle Bramhall II (guitar, slide guitar, background vocals); Lil Pookie (accordion); Dickie Landry (saxophone, baritone saxophone); Jon Cleary (piano); Jason Burns (double bass).
Audio Mixer: Mike Napolitano.
Recording information: 509 Jefferson; American Sector's Egyptian Room, Nola, Italy; Antenna Studio, New York, NY; Bazzell's House; Electric Comoland, Lafayette, LA; La Louisianne; Lil' Doyle's 8-Trak, L.A; Mike Elizondo's, L.A; Nappy Dug-Out, Nola, Italy; Slap Studio, L.A; The Mermaid Lounge; Tony Daigle's Electric Comoland, Lafayette, LA; Your Place Or Mine.
Photographers: Francis Xavier Pavry; Brian Ashley-White; Terri H. Fensel; M. Hardy.
Unknown Contributor Roles: Mike Elizondo; John Friedli, Jr.; Fred Staehle.
It took a decade for swamp rocker C.C. Adcock to follow up his excellent (but frustratingly short) 1994 debut. Although it's impossible to justify that the extended wait was worth it, this is nonetheless a rollicking and eclectic reminder of how much we have missed. According to the press notes that accompany the disc, these songs were recorded at various times and places with different producers (including the legendary late Jack Nitzsche), then overdubbed in 2004 to finalize them. The resulting boogie-folk-rock has a distinctive Louisiana air to it, propelled by Adcock's buzzsaw guitar and lazy, nasal vocals. Lots of echo and even some electronics enhance the sound, but never at the expense of atmosphere and emotion. However there is an uneasy, brittle quality that evokes a lonely alienation, especially on "All 4 the Betta." This music is defined by its stark, propulsive rhythms, so the Latin feel of "Blaksnak Bite" crushes acoustic guitars and timbales-led percussion, creating a unique yet spacey vibe pushed by Adcock's heavily reverbed guitar. The guitarist also includes pure acoustic Cajun on "Runaway Life," further solidifying the Louisiana connection. Lil Pookie's accordion and Dickie Landry's free-form jazz sax are strange but complementary bedfellows on "I Love You," an Eddie Shuler cover and the album's only non-original. An uncredited extra track is tacked on after a few minutes of silence, and closes the disc with three minutes of possibly improvised steamy rocking. The slimy "Love N' Gold" and "Slangshotz N' Boom-R-Angz" creep through the marshes but even the programmed percussion (with organic touches) doesn't slick up these dirty, slow motion rockers made especially moody by Adcock's sexually groaning vocals. Suggesting the voodoo ambiance of early gris-gris/Nightripper-era Dr. John, there just isn't a lot of roots music as dark, spooky and ornery as this being recorded. Which makes Lafayette Marquis such a distinctive, non-commercial yet emotionally charged album from an artist who hopefully will not wait another ten years for his next release. ~ Hal Horowitz