Lafayette Marquis

Test Ticker

Please support Mother Jones with a year-end donation. The truth is, we're a long way from our $600,000 goal, and we have to get as close as we can by Tuesday so we don't have to make hard decisions come January. If you value our reporting, please consider pitching in today.

$600,000

We still need to raise 400,000: Whether you can give $5 or $500, it all matters.

Please support Mother Jones with a year-end donation. We need to raise $600,000, or get as close as we can, by Tuesday so we don't need to make hard decisions come January. Whether you can give $5 or $500, it all makes a difference.

Let our journalists help you make sense of the noise: Subscribe to the Mother Jones Daily newsletter and get a recap of news that matters.

Cajun rocker C.C. Adcock has the instincts of a mad scientist. A graduate of Buckwheat Zydeco, the guitarist starts with sultry swamp-pop and tosses in a gaggle of weird, exhilarating sounds that somehow meld into a delicious musical stew. The ghostly “Y’all’d Think She’d Be Good 2 Me” blends jumpy dance rhythms, bluesy guitar, and Adcock’s purring yet ominous voice; “Blaksnak Bite” finds him grafting bright Caribbean beats onto chunky ’70s funk textures, with twangy surf guitar riffs adding extra spice. Even on his more conventional tracks—the Stonesy “I L*ve You,” or the power-chord orgy “All 4 the Betta”—Adcock is clearly having a ball. Lafayette Marquis is music for breaking furniture—or at least rattling windows.