Geno Delafose became one of the most beloved zydeco icons by noticing what works with his dance crowds. “If it ain’t broke, don’t fix it” was obviously his strategy to follow when laying down tracks for an overdue recording, and few selections will come as a surprise to those who’ve been dancing to the Delafose beat over the years. Nonetheless, they’re so well-executed that they remain as vibrant as the day the Creole Cowboy first slipped them into his sets.

But what’s even more apparent is how Delafose thoughtfully diversifies his music, blending dancehall Cajun, swamp pop, classic rock and country into a neatly wrapped zydeco package to offer something for everyone. While it’s likely he’ll attract new fans with several non-Louisiana covers (“Domino,” “There’s No Getting Over Me”), his reverence for Louisiana French roots music will always be his strong suit. The best example of this is the three cuts featuring Balfa Toujours’ fiddler Courtney Granger that recall the times when Creoles and Cajuns shared tunes freely together. The stomping rendition of Canray Fontenot’s “Bee de la Manche,” a tale about a sheep-steeling protagonist, is a great example of Creole folklore and shows how closely tied Delafose is to his roots. Granted, he puts his own stamp on things, like the unexpected tail-end surge on D.L. Menard’s “The Back Door” that was already in warp drive.

Le Creole Cowboy isn’t simply a studio recreation of a Delafose dance; there are a few surprises. In recent years, the live shows have featured three-part background vocal harmonies that, heard here, are much more refined, full and eloquent, thanks to the guidance of guest Scott Ardoin. On “When Will I Be Loved?,” Delafose alternates between singing verses in English and French, a novel move for an American rock ’n’ roll classic. Two new songs, “Somebody Show Me” and Delafose’s “Tout l’Jour et Tou l’Soir” make their debut and come off nicely despite the lack of rigorous road testing.