Lafayette Rhythm Devils, Les Clefs de la Prison (Zaffaire)


When you’re a devil, eventually you’re going to have to do the time. Luckily for these devils, this episode was only for a photo shoot but an ingenious one at that. With the Lafayette Rhythm Devils sporting authentic St. Martin Parish striped woolen prison garb, the cover shot concept ties into the lyrics of “Café Chaud” where the protagonist laments ‘You bring me hot coffee, you bring me hot tea, but you won’t bring me the keys to the prison.’ And even though the Devils had themselves shackled by the warden as part of their “method acting” photo pose, nothing feels manacled here.

Instead, they roar mightily as if they’ve been caged without any earthly sustenance. Former teenage accordion phenom Kristi Guillory replaces the departed Peppy Carmello to cement LRD’s most formidable line-up yet. As an accordionist, she’s among the scene’s most rock solid, a perfect blend of full tonality, expressive playing and impeccable timing. Fiddler Chris Segura continues to amaze with his bluesy, weepy licks, especially given his high string ascendancy on “Blues Du Tact Tac.” There’s a consistent push about their music, nothing ridiculously breath-stealing but aggressive enough to remind you that this is the way Cajun dancehall music is supposed to feel.

As is typical with any recording guitarist/vocalist Randy Vidrine has ever waxed, all-time favorite influences pop up. There are three Adam Hebert tunes, including “J’amerais Connaître” where Vidrine alternates low, growly slurs with sky-scraping high notes before Guillory punches it out for a grand finale. Vidrine’s best performance arrives on a rendition of Shirley Bergeron’s “Quelle étoile” where he practically renders himself unconscious delivering the last line. Several songs were previously recorded in Vidrine’s other aggregations but the younger devils loved them so much, they also wanted to nail them with the vet. Even this version of “Lulu’s Back in Town,” which also appeared on their last effort, smokes its predecessor in nothing flat. With their best album to date, nothing here should ever prevent LRD from being paroled.