Lafayette Marquis – C.C. Adcock
Yep Roc Records 2040
Maybe for an extra Louisiana music scene-motivated sales boost, or just to show his friends off, C.C. Adcock got Galactic's Stanton Moore to loop a simple drum pattern, a pattern anyone could pull off really, for track one ("Y'all'd Think She'd be Good 2 Me") on his new Lafayette Marquis. Although Moore’s name may be the only reason you’ll give Adcock a thought, maybe he’s the only reason you’ve even read this far, he isn’t on any of the other boggy rock that follows, but C.C. Adcock is, with rotating musicians, and that’s plenty.
"Stealin' all Day" is psychedelic surf rock, "All 4 the Betta" sounds like Monster Magnet (on the down side) meets Beck. Santana and War are apparent influences on "Blacksnake Bite." On "Runaway Life" (about a runaway slave), Adcock's acoustic guitar, alongside D'Jalma Garnier's fiddle, flips a real gem. The lyrics speak from the ghosts of slavery still churning in Louisiana's steamy lap, about the hopelessness of a life totally owned: "I'm a man who's been through hell — I know it well. I'm ready for my final day with the devil, yeah." But, the finger doesn't stop pointing and everyone gets recognition, "That black king that sold me on the coast to slavery, I'm going to kill that king… that's the price he'll have to pay for selling me." The beauty of this song and its underlying pain are evidence of Adcock's ability to examine the human condition and sympathize.
"Loaded Gun"'s strutting rock is lofted over waves of Adcock's teeth-grinding riffs and Love 'n' Gold"'s swampy groove could very well be a Galactic hit if covered ('nuff said). The "I Heard It Through the Grapevine" (that's right, California Raisin-style) melody to "Slangshotz N' Boom-R-Angz" matched with Adcock's out-of-nowhere Trent Reznor vocals somehow fits. "Between the Lies" is pop (Train maybe?) meets acoustic Sublime, which again somehow fits. Adcock stands on his own and delivers, which is probably why Moore really guested.