Zydeco Three Way takes a fresh approach to the increasing number of forgettable tribute records. Instead of focusing on a single luminary, the sophomore disc from Lil Malcolm and the House Rockers honors both Clifton Chenier, zydeco’s founding father, and Rockin’ Sidney, the hit-maker who outsold everyone with his million-selling “My Toot Toot.”  By presenting both artists side-by-side, it’s interesting to note the differences. Chenier’s music produced the genre’s most enduring staples that were driven with a peppery gumbo of R&B, blues and rock influences. Rockin’ Sidney’s songs had more of a R&B tinge wrapped with a pop lyrical sensibility that was unlike anything else in zydeco.

Yet, if there was ever a band to pull the two together, Lil Malcolm and the House Rockers are well armed for the task. The Lake Charles band is one of the few z-bands fronted by a piano-note accordionist, that being Lil Malcolm, which syncs up well with their musical benefactors who were also heavy piano-note accordionists. Like their namesake, the sound is a full-impact one from top to bottom, hard-hitting and well placed. Not once do they sound like they’re merely echoing their idols. Instead, it’s all wonderfully done in the House Rocker style – hence, the ‘three way’ reference in the title.

Yet the implementation of the duo tribute concept is a bit confusing. Of the 11 tracks, only four are Chenier songs, including the disc’s best track in “Morning Train.” The remaining seven are Rockin’ Sidney’s which is hardly an equitable split for a duo tribute affair. Add the fact that the project was recorded at Lake Charles’ ZBC Recording Studio, a.k.a. “the world-famous Rockin’ Sidney’s studio” and it becomes clear the Chenier portion was either an afterthought or is just misleading all together. If the intent is a duo tribute—after all Chenier’s name is listed first—the ratio of Chenier to Sidney material should be closer to 50-50.

Other than this marketing beef, the House Rockers do a fine job with Sidney’s instrumental “Joy to the South,” “My Toot Toot” and even a second version of toots (“Texas Style Toot Toot”) toasted in a double-clutching groove. “Color Me Zydeco” and “I’m Your Man” not only rock but point out Sidney’s strength as a lyricist. With this project aside, Lil Malcolm finally has a new disc after a three-year hiatus. Hopefully, the next one will pick up where the auspicious 1996 disc left off. Because by then, it will be time to showcase all of Lil Malcolm’s talents including original material.