Three years ago Cajun accordionist Kevin Naquin and the Ossun Playboys debuted with a cassette-only release on the tiny Acadiana Sounds label. While they appeared to be another teenage band learning their way around the studio, there were also signs of promise. The ’97 disc echoed that sentiment but at the same time, the surrounding band personnel didn’t exactly fit like a glove.

This time it does. Naquin’s third release shows the former Don Montoucet pupil turning the corner with a band that’s truly his. Most of the members are close to Naquin’s youthful age; those that aren’t like steel guitarist Randall Foreman or bassist Jody Viator match their frontman’s exuberance. Admittedly, there is somewhat of a Steve Riley influence—Naquin did study with Riley after Montoucet—but overall, there’s more to Naquin than being a Riley knock-off. For starters, there are a few Naquin written or co-written originals with Barry Ancelet. Their opening number, the infectious title song, is unusual as openers go in that it’s a waltz, not a peppy two-step, which also says they’re not afraid to innovate. Naquin’s own “Ossun Playboy Special” is a beat-pushing romper; another Naquin-Ancelet waltz has the beauty of an age-old standard. The combining of Adam Hebert’s “Pointe Aux Pain” and Lawrence Walker’s “Ossun Two-Step” shows further inventiveness by staring with a percolating old-school riff, then jumping to a blazing foray for the second half.

Even better is the nuclear-powered finale of “Zydeco Sont Pas Salé,” perhaps the end-all rendition to the Clifton Chenier classic. After Naquin gets it stoked up with his “Ah, let’s get it boys” challenge, it’s hard to tell who has the most fire, especially with Louis Dronet’s Nero-like fiddling and Foreman’s scorching playing. It’s a relentless unleashing of energy as the band’s dancehall drive rivals anything from their more established counterparts. Additionally, engineer Tony Daigle adds the perfect touch with some psychedelic flourishes. Great Cajun music often has that effect.