1 	Deal With It 	4:39
2 	Down In The Swamp 	5:18
3 	Bop 'Til I Drop 	4:14
4 	So Cold 	4:02
5 	I Put A Spell On You 	4:49
6 	Money 	4:44
7 	Luberta 	4:53
8 	I Can't Afford Myself 	5:43
9 	I've Been Mistreated 	3:24
10 	Night Life 	3:58
11 	Still Called The Blues 	4:34
12 	Homesick For The Road 	3:41

Tab Benoit - Composer, Guitars, Vocals
Rod Carey - Bass
Debbie Davies - Composer, Guitars, Vocals
Per Hanson - Drums
Kenny Neal - Guitar, Harmonica, Vocals
Raful Neal - Harmonica, Vocals

Homesick for the Road provides a showcase for three fine blues singer/guitarists. The recording is clean and crisp, as is typical of the Telarc label, and the music cooks from start to finish. This disc provides an excellent introduction to each performer, with ample opportunities for each to shine. Debbie Davies brings to mind Bonnie Raitt, with her appealing vocal timbre and bluesy delivery. The youthful Benoit sings with an authority beyond his 31 years, making Screamin' Jay Hawkins' classic "I Put a Spell on You" his own. Kenny Neal has the scruffy, soulful delivery of a man who knows what the blues are all about. His "I've Been Mistreated" sounds like a late '60s slice of Muscle Shoals soul. All three of the co-leaders are excellent guitarists, and the band is solid and tight. Homesick for the Road rolls down the car window for an enticing look at three relatively young performers carrying the blues torch into the future. – Jim Newsom, Rovi

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1. Night Train
2. Little Girl Blues
3. I Smell A Rat
4. Fever For The Bayou
5. Lost In Your Lovin'
6. Golden Crown
7. I Can't Hold Out
8. The Blues Is Here To Stay
9. Got Love If You Want It
10. Blues So Bad
11. My Bucket's Got A Hole In It

Tab Benoit-Guitar, Vocals
Carl Dufrene-Bass
Daryl White-Drums
Cyril Neville-Percussion, Vocals
Big Chief Monk Boudreaux-Percussion, Vocals
Jimmy Carpenter-Tenor Saxophone

Looking at the cover photo of Tab Benoit's new recording, Fever for the Bayou, one would fear that the big label creep might have cleaned up Mr. Benoit a bit too much. The guitarist/singer is sporting a crisp purple (mauve, as my wife would say) shirt, a stylish gelled haircut, and perfectly cultivated five-o'clock shadow. Is this the same artist who delivered the staggering Nice and Warm in 1992, representing the greatest hope for the blues since Stevie Ray Vaughan?

Well, yes. Telarc is revered as a label dedicated to the accurate sonic capture of music, be it classical, blues, jazz, or crossover. Aside from a few minor quibbles, Fever of the Bayou is a great blues recording—2005 style.

Holding my breath, I queue up the first track in my car. "Night Train" begins with a teeth-gritting blues rock vamp and never veers from that message. Benoit's power trio is perfectly captured as if live. There are no guitar overdubs behind him as he solos. Just bass and drums, the rhythm section of bassist Carl Dufrene and drummer Daryl White insistently propelling the beat of the song: two chords and a hundred years of music.

"Little Girl Blues" illustrates Benoit's lo-fi approach to guitar playing. He plays his hollow-bodied Telecaster like an acoustic guitar—no frills, no technical wizardry. Benoit stays faithful to this philosophy throughout the recording. "I Smell a Rat" is a minor-key blues where the guitarist shows both his strengths and weaknesses, making the song that much more real. "I Smell a Rat" is the fulcrum of the recording, demonstrating why Tab Benoit is the most original blues guitarist since Stevie Ray Vaughan. Benoit betrays no influence of Vaughan, as scores of other guitarists (including Johnny Lang and Kenny Wayne Shepherd) do. But Benoit does not claim a unique designation until...

...he stokes up that coon-ass-crayfish two-step beat on "Fever for the Bayou." This is the most comfortable music on the disc. However, it does leave the innocent listener wondering when the real shit will break loose. That occurs when the backbeat of "Golden Crown" kicks in and a zydeco transfusion takes place. All that is missing is Clifton's accordion. While things are still hot, Benoit opens Elmore James' "I Can't Hold Out" with those familiar triplets, turning the classic into a convincing juggernaut.

The disc closes with an acoustic "My Bucket's Got a Hole in It." Benoit strips the novelty piece down to its bare bones and issues it in an authentic manner, both musically and vocally. Fever for the Bayou is a superior blues release from a most promising artist. ---C. Michael Bailey, allaboutjazz.com

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01. Medicine
02. Sunrise
03. A Whole Lotta Soul
04. Come And Get It
05. Broke And Lonely
06. Long Lonely Bayou
07. In It To Win It
08. Can't You See
09. Nothing Takes The Place Of You
10. Next To Me
11. Mudboat Melissa

Musicians:
Tab Benoit (vocals, guitar)
Michael Doucet (vocals, fiddle)
Anders Osborne (guitar, background vocals)
Ivan Neville (Hammond b-3 organ)
Brady Blade (drums).

This is the usually prolific Louisiana guitarist Tab Benoit's first studio album in nearly four years, and although all his releases are top shelf, this one is slightly better. He teams up with New Orleans transplant Anders Osborne, who not only plays second guitar (press notes say B.B. King's famous "Lucille" was used for these sessions) but also co-writes seven of the eleven songs. Other high-profile bandmembers include Ivan Neville, Beausoleil's Michael Doucet, and drummer Brady Blade. In addition, noted roots producer David Z. recorded the project, bringing even more high wattage talent to the proceedings. Since 2003, Benoit has been an active spokesman and president for the Voice of the Wetlands environmental organization so, not surprisingly, the subject matter of some of the material leans toward the state of the bayou. That's especially true in &"A Whole Lotta Soul," where Benoit sings "what you gonna tell the spirit/when the heart of the bayou bleeds" and &"In It to Win It" that leads off with the line "I was born inside this Delta." Musically, Benoit sticks to his patented blend of soul, rock, blues, and Cajun, often mixed in the same song. His voice has attained a lived-in grit, always present but now somewhat accentuated by production that is spacious yet full. The electric set includes one unplugged tune; &"Long Lonely Bayou" features just Benoit on acoustic and Doucet on fiddle. It's a highlight that finds the singer sounding as torn and frayed as the bluesmen who have been such a large part of his influences. He goes pure soul-blues on Toussaint McCall's slow dance classic &"Nothing Takes the Place of You," this disc's Otis Redding-styled '60s entry, and rips into the lyric with tearful regret nearly equal to the original. The lovely and passionately sung Osborne-Benoit tune &"Sunrise" treads similar territory. The closing zydeco rhythm of &"Mudboat Melissa" allows both Doucet and Benoit to open up and solo against a festive, driving Louisiana backbeat. But the album's most riveting moment is arguably its opening title track, where Benoit and band tear into a tough, grinding, stomping blues-rocker that builds tension as it progresses and finds both guitarists unleashing slashing riffs on a song that might be Benoit's most powerful recorded performance. While nothing after quite tops it, lots comes close, making this one of the guitarist's finest overall efforts and well worth the extended wait. ---Hal Horowitz, Rovi

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01. Don't Make No Sense (4:23)
02. Good To Ya, Baby (4:43)
03. Shelter Me (5:07)
04. Power Of The Pontchartrain (6:07)
05. For What It's Worth (5:19)
06. Midnight And Lonesome (5:06)
07. Sac-Au-Lait Fishing (3:56)
08. Somebody's Got To Go (4:20)
09. I'm Guiltyy Of Lovin' You (4:18)
10. Addicted (5:00)
11. One Foot In The Bayou (4:21)

Personnel: 
Tab Benoit (vocals, guitar); 
Jim Odom (guitar); 
Nelson Blanchard (piano, keyboards, background vocals); 
David Peters (drums).
+
Tony Haselden (banjo); 
Leon Medica (bass guitar); 
Mark Duthu (percussion); 
Jim Odom, Louisiana's Leroux, Nelson Blanchard, David Peters.

Southern Louisiana native and guitarist/vocalist Tab Benoit has been a significant proponent of raising awareness and funds for Louisiana’s vanishing wetlands. And on his latest outing, the bluesman conveys a sense of oneness with the folklore and mysticism of New Orleans and tales of the land.

A capable guitarist who chooses his notes wisely and effectively, Benoit’s cross genre permutations of blues, rock, gumbo-funk and swamp-rock shine glowingly here. Nonetheless, the artist’s methodology is radio friendly via his upfront vocals and penchant for generating tunes with catchy melody lines. With his band, the leader performs within solid rhythmic underpinnings while laying down a few raspy-toned riffs, drenched with a bit of distortion and ringing upper register phrasings. And with a slight Cajun-edge to his singing style, Benoit instills a folksy disposition.

His gritty, swamp-blues rendition of Crosby, Stills, Nash and Young’s classic "For What It’s Worth, serves as one of the album’s genial highlights. Then he takes the listener to a Louisiana bayou during the Zydeco-tinged piece titled "Sac-au-lait-Fishing." On "Somebody’s Got You," keyboardist Nelson Blanchard’s rollicking acoustic piano soloing adds to the funky rhythms and spunky groove amid Benoit’s soulful lyricism. But they temper the flow during the Van Morrison-like ballad titled "I’m Guilty Of Loving You." To that end, it’s an irrefutably appealing musical statement and one that should more than satisfy the guitarist’s legion of admirers. In addition, Benoit sings with conviction and an unwavering sense of purpose. It’s mighty persuasive, indeed. --- Glenn Astarita, jazzreview.com

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1 Let Love Take Control Benoit 5:24
2 Ain't Gonna Do It Benoit 5:14
3 Moon Coming Over the Hill Benoit 2:59
4 Too Many Dirty Dishes Benoit, Newton 7:53
5 Keep on Moving Benoit 3:52
6 Heart of Stone Benoit 7:44
7 Gone Too Long Benoit 4:35
8 Garbage Man Benoit 5:01
9 Crawling King Snake Benoit, Bessman ... 4:41
10 Louisiana Stule Benoit 4:37
11 It Takes a Long Time Benoit, Thomas 5:07
12 Hot Tamale Baby Benoit, Chenier 6:07

Personnel: 
Tab Benoit, Tabby Thomas (guitar, vocals); 
Raful Neal (harmonica); 
Jumpin' Johnny Sansone (accordian, harmonica); 
Chubby Carrier (accordian); 
Henry Gray (piano); 
Doug Therrien (bass); 
Allyn Robinson (drums).

Recorded live at House Of Blues, New Orleans, Louisiana, February 22, 1997; 
Grant Street Dance Hall, Lafayette Louisiana, March 8, 1997.

This is by far the best album this Louisiana blues/swamp-rocker has come up with to date. Benoit is playing with basically a three-piece, with Doug Therrien on bass and Allyn Robinson on drums. The rest of the sound is filled in by various guests, some exceedingly strong Louisiana players. Therein lives both the problem and the strength of this disc -- the sound is a bit thin when there's no guest taking up some space. Only on the slow burner "Heart of Stone" and "Gone Too Long" does the basic band fill up the airwaves. The music is good, but without that fourth player, it doesn't have enough density. When there is another player, the sound is as gritty and raw as they come -- Cajun-based blues with a swampy sensuality. Benoit's singing and guitar playing have taken giant steps forward and are up there with the best. ---Bob Gottlieb, Rovi

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Set One: (~70:00) 

01 I Got Loaded 
02 Traveling South 
03 The Blues Is Here To Stay 
04 Shelter Me 
05 Solid Simple Things 
06 Night Train 
07 Banter 
08 One Foot In The Bayou 
09 New Orleans Ladies 
10 Pack It Up 
11 Sac-au-Lait Fishing 

Set Two:(~87:00) 

01 My Bucket's Got A Hole In It# > 
02 I Heard That Lonesome Whistle# 
03 Stackolina# 
04 Drums > Drums / Bass > 
05 Baby Blue 
06 We Make A Good Gumbo 
07 Darkness 
08 Fever For The Bayou 
09 Banter 
10 Her Mind Is Gone 
11 Crowd / Banter 
12 Bayou Boogie 

# Tab Solo

Tab Benoit
2009-04-16
Knuckleheads Saloon
Kansas City, Missouri

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1. Fast and Free
2. Stackolina
3. I Got Loaded
4. Muddy Bottom Blues
5. When a Cajun Man Gets the Blues
6. Too Sweet For Me
7. Down in the Swamp
8. These Arms of Mine
9. Dog Hill
10. Her Mind Is Gone
11. Loves Lips
12. Let Love Take Control
13. Georgia

Personnel: 
Brian Stoltz - guitar
Tab Benoit - vocals, guitar
Anders Osborne
Carl Dufrene - bass
Darryl White – drums

Recorded during a month in Louisiana and sounding it, Tab Benoit's sixth album is a swampy example of the best of that state's music. Rocking, bluesy, and filled with soul, guitarist/vocalist Benoit keeps his sound stripped down to just a three-piece, giving his voice and greasy guitar plenty of room to maneuver. From obscure Professor Longhair second-line tunes ("Her Mind Is Gone") to a cover from zydeco king Boozoo Chavis ("Dog Hill") to a version of Otis Redding's "These Arms of Mine" that makes it seem like a lost New Orleans classic, Benoit traverses a lot of territory over this hour of music. Like his influences, Benoit never overdoes his approach, preferring to keep the focus on his gritty voice, lean guitar, and stark accompaniment of his backing duo. This is music caught between rootsy rock, funk, R&B, and blues, but far from sounding schizoid, it revels in its multiple inspirations. Benoit is in wonderful voice and spirits throughout, sounding loose yet in control regardless of what style he's playing. His guitar solos are taut and succinct, capturing the essence of the atmosphere without reverting to needless showboating. This is music from the heart, played with class, subtlety, and a reverence for its past squeezed into every spirited groove. Thirteen songs and not a misstep, Wetlands is not only Tab Benoit's best album, it's the one most representative of his upbringing and style. Like the autobiographical "Down in the Swamp," those who have never made it to Louisiana need only play this to understand how the area -- and Benoit -- oozes with the ambience of the muggy air, rich food, and spirits of musicians who have passed. --- Hal Horowitz, Rovi

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1. I'm Tired
2. Crosscut Saw
3. These Blues Are All Mine
4. Light's On, Nobody's Home
5. They Raided That Joint
6. Crawfishin'
7. Mother Earth
8. Don't Lose Your Cool
9. Jambalaya
10. 29 Ways
11. Keep Yourself From Cryin' Too
12. Travelin' South
13. Bayou Boogie

Personnel: 
Tab Benoit - vocals, acoustic & electric guitars
David Lee Watson - bass
Allyn Robinson - drums
MarcAdams - piano, Hammond B-3 organ

This is a strong statement by Tab Benoit announcing his true arrival; although he only wrote five of the 13 songs on this disc, he stakes a legitimate claim to all of them with some of his most inspired playing and singing ever. His backing group sounds great and keeps up with him over the entire disc. He is one of a handful of performers -- Tabby Thomas and Johnny Jenkins also manage this -- with that rare ability to combine aggressive blues with the rhythms and sounds of the dark standing waters and Spanish moss-draped trees of the Louisiana swamps. Listen to the spin he puts on the Hank Williams classic "Jambalaya." He injects just a tad more blues and zydeco seasoning to take the song to a different level without messing with the basic ingredients that made it a standard. He does some equally good and interesting things with songs from Albert Collins and Willie Dixon, among others. However, when he plays his own songs, he rips apart the room and leaves it all out there for us to see. Feel the anguish and pain that run rampant in the title cut, "These Blues Are All Mine." Neither his voice nor his guitar leave room for any doubt about how he is feeling. As tormented as he is in "These Blues," feel the joy of a life lived in the swamp that percolates through "Crawfishin'." Listen to him rave in "Bayou Boogie" -- this is one happy and satisfied man. This is definitely one hell of a keeper. --- Bob Gottlieb, Rovi

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1 Voodoo on the Bayou Benoit 3:21
2 Drownin' on Dry Land Jackson 6:42
3 Somehow Benoit 3:28
4 Jambalaya Williams 3:41
5 Nice and Warm Benoit 7:18
6 Rainy Day Blues Nelson 3:48
7 Gone Too Long Benoit 4:29
8 What I Live For Benoit 4:27
9 Mother Earth Chatman, Simpkins 3:49
10 Crawfishin' Benoit 4:22
11 Standing on the Bank Benoit 5:32
12 The Seventh Son Dixon 3:21
13 You Got What I Want Benoit 4:08
14 Cherry Tree Blues Benoit 6:49
15 Hot Tamale Baby Chenier 5:32
16 These Blues Are All Mine Benoit 7:01

Personnel: 
Tab Benoit (vocals, guitar, acoustic guitar, electric guitar, harmonica); 
Willie Nelson (vocals, guitar); 
Doug Therrien (vocals); 
Chubby Carrier (accordion); 
Marc Adams, Reese Wynans, Paul English (piano); 
Allyn Robinson, Kenny Arnoff, Gregg Bissonette, Ray Allison (drums).

Tab Benoit's funky, ragged blend of Louisiana swamp blues and East Texas guitar, with hints of funk, soul, and country thrown in to give the gumbo just the right spice, has served him well since he burst on the scene in the early '90s. Since Benoit hasn't essentially changed his sound since, this collection of sides made up largely from his early releases for Houston-based Justice Records (all of Benoit's Justice albums have been reissued by Vanguard Records in recent years) makes an ideal introduction to what this guy is all about, and although Best of the Bayou Blues covers a five-year span from 1992 to 1997, the tracks all fall together in a completely coherent sequence. Opening with the Benoit original "Voodoo on the Bayou" from 1992's Nice & Warm and running through several originals and some interesting covers (including country-funk takes on Hank Williams' "Jambalaya" and Willie Nelson's "Rainy Day Blues"), this set spotlights Benoit's southern Louisiana take on contemporary blues. He also delivers a stomping version of Willie Dixon's classic "The Seventh Son" and turns zydeco for a fiery live take of Clifton Chenier's "Hot Tamale Baby." Initially one is drawn to Benoit's laser-guided guitar tone, but he is also a fine and soulful singer, and there is more than a little country in his approach as well. What makes him stand out in the crowded field of contemporary blues guitar wizards is the fact that he is fully grounded in the Louisiana bayou region, and he embraces local musical traditions while also bringing a distinctly modern vision to what he does. Benoit knows what he wants to do, he knows where to draw inspiration, and with his strong guitar playing and warm, flexible vocals, he knows how to make it happen. ---Steve Leggett, Rovi

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