On the chaotic opening seconds of “Automatic”—Automatic Harvester’s standout leadoff track—it sounds as if Ernest James Zydeco (EJZ) is trying to summon up the ghost of Clifton Chenier. But when the Kansas City quintet quickly launches into its own smack-down, infectious groove with Tony LaCroix’s scraping guitar rhythms, it becomes apparent that EJZ would rather do things its way than be a note-for-note copycat stylist. Since James plays the piano note accordion, the same variety Chenier did, it’s only natural that some first generation-type riffs are reminiscent of the King of Zydeco.

But EJZ knows it’d be impossible to be a Chenier knockoff—hence the cultivation of its own personality on this all-original affair. “Cry Baby” features bursting island beats, squelchy reggae keys, Sacred Steel-ish notes and gospel harmonies. “Eh Catin,” a traditional waltz, finds the group sinking its teeth into the first syllable “Eh-h-h-h-h” and then chomping off “Catin” for a resounding affect. “Bulldog” deviates from the accordion-centric fare; it’s a slide guitar–driven, banjo-propelled blues rocker with funky fat bottom end. “Yj’s,” a raucous live cut, blends zydeco, Meters riffs, blaring horns and a struttin’ second line that’s Mardi Gras worthy anywhere in the world.

Compared to its previous effort, 3 Steps From La La, EJZ has made strides in songwriting and vocals, not to mention a tighter band chemistry. Only now does it seem like EJZ has found its niche between the “Paris of the Plains” and the southwest prairies of Louisiana.