Review - Mercredi Soir Passé
By Dan Willging
many 26-year-olds can boast a seven-album discography and a mantle-sagging
14 CFMA awards like Kevin Naquin. His latest is another strong
outing in the blood-pumping Cajun dancehall tradition and ranks
favorably with his last three releases. But what distinguishes
this one is that this is the first time, Naquin has paid homage
to a forebearer, great-grandfather/ballad singer Edius Naquin,
by lovingly covering the title song. Although Naquin doesn’t attempt
a similar, quirky-timing a cappella delivery, the tune still has
a haunting tone about it.
when it comes to that relentless, pile-driving dancehall groove,
Naquin and the Ossun Playboys are still hard to beat. Newest member/steel
guitar ace Murnel Babineaux helps solidify the attack while Louis
Dronet stacks his fiddle rides for a lush twin fiddle effect.
The song selection is excellent, ranging from the choppy square
rhythms of the Touchet Brothers’ “Old Fashioned Two Step” to Camey
Doucet’s “Hold My False Teeth” with its memorable catchphrase
‘Clipity Clip, Clipity Clop, Hipity Hip, Hipity Hop.’ Even the
overly familiar (“Bayou Pon Pon,” “Back Door”) work one more time
in fine brake-burning style. Also among the booty is “Opelousas
Sostan,” the Rufus Jagneaux swamp pop classic, that’s cast here
as a ‘hell, yeah!’ honky tonk raveup. Come to think of it, this
is one of those ‘hell, yeah!’ kind of records.