Though Travis Matte and the Zydeco Kingpins were simmering on the Southwest Louisiana scene when their sophomore effort Zydeco Train hit the streets in September 2005, things didn’t start boiling until four months later. That’s when the racy “Booty Call” and “Vibrator” tunes caught on and skyrocketed, resulting in the region’s best selling disc for most of 2006.

So, if the formula works, why change it? Leveraging upon Zydeco Train’s blueprint of success, Matte turns in an overly ambitious 21-track effort that’s almost two albums’ worth of material for anyone else. It may be a little long for some and it may take longer for any potential radio hits to surface, yet to Matte’s credit, this is his best-sounding disc yet. Matte’s accordion sounds crisp and clear, the bass and drums are low rider thumpy and “Turtle” Cormier adds a ferocious presence on guitar.

As a result, the gap is narrowed between Matte’s previous studio outings and the Zydeco Kingpins’ highly combustible live show. Many songs, like “Big Daddy Pimpin’,” “Hangover” and the romping “Cheech and Chong” (which follows the familiar “Scott Playboy Special” melody line) are downright hysterical, especially given the constant background chatter, special effects and cartoonish voices. With its marching band percussive intro and the simulated student body chants of “fight, fight, fight,” “Tiger Tailgate Party” became an instant crowd pleaser in late fall when LSU was in BCS contention.

Though there are a few romantic songs, most of them center around life in the club. There are sagas about the drama queen and narcissistic hottie, characters that every club barfly can relate to. But the core of the disc’s popularity will likely come through Matte’s trademark sexual content. Songs such as “Slap That Ass,” can be funny since it’s become a friendly thing between babes to do while out on the dance floor. “Wam Bam Thank You Mam” contains line after line of innuendoes that are somewhat more creative than the over-the-top braggadocio of “I’d Tap That,” which is almost too graphic. Yet, this all pales in comparison to what the rappers are spewing these days. No doubt Matte has figured out what works in contemporary society when targeting college-age crowds, and that’s what he taps best.