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Lafayette Marquis

Rate It! Avg: 4.5 (47 ratings)
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Lafayette Marquis album cover
01
Y'All'd Think She'd Be Good 2 Me
3:45
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02
Stealin' All Day
4:14
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03
All 4 The Betta
4:23
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04
Blaksnak Bite
4:54
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05
Runaway Life
2:55
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06
Loaded Gun
2:49
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07
Love N' Gold
4:33
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08
Slangshotz N' Boom-R-Angz
5:10
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09
I Love You
2:57
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10
Between The Lies
14:21  
Album Information
EDITOR'S PICK

Total Tracks: 10   Total Length: 50:01

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Wondering Sound

Review 0

John Morthland

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John Morthland has been writing about music since the days of electronically rechanneled stereo and duophonic sound. His name has darkened the mastheads of Roll...more »

04.22.11
CC Adcock, Lafayette Marquis
Label: Yep Roc Records / Redeye

The swamp-rocker has usually had poor rhythm sections, and has careened haplessly all over the Louisiana musical map, but benefits greatly here from some firm production.

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Great juke joint blues

LiberalGrace

Bo Diddley, Stevie Ray Vaughan and George Thorogood fell into a swamp... out crawled CC Adcock. Adcock seems like a guy who's honed his sound in a lot of juke joints so he knows how to get a bunch of horny drunks to take notice. He's old school enough to let out some great guitar breaks but he's modern enough to use drum loops. (But don't think sticky techno or tiresome hip hop ... think earthy and dirty.) He certainly has his own sound, worthy of BB King or Dr John but he's not a slave to it. His guitar work makes me miss Stevie Ray Vaughn but unlike most good guitarists, Adcock doesn't think every song has to be guitar-driven. I've listened Lafayette Marquis at least a thirty times and I'm sure I'll listen to it many more. Ten years from now I'll probably dig it out and listen again. It's not often I find a CD like that.

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Flawed Gem...But A Gem Nonetheless.

Whistlecod

CC Adcock is one of those musicians who went out, took in the world and then took it all home with him to see what he could make of it. In CC's case, 'home' is rural Louisiana and he's sitting out there somewhere slowly becoming one of the great 'reimaginers' in American music. Give him some tremolo, a whammy bar, a whole lot of rhythm and he'll take it from there. Try to picture Lazy Lester, T-Rex and The Wild Magnolias getting together to record a song. That's about what you get on the first track of Lafayette Marquis....a whole bunch of influences merging into a completely ass-shakin' song. And most of the rest of the CD keeps pace with the great opening track. However, if you're conserving your downloads, you might pass on the final track.

They Say All Music Guide

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

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