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Since he released his debut album back in 1992, Tab Benoit has been working furiously in both the studio and out on the road, churning out the dark-hued, thick-as-gravy blues licks at a rate rarely seen from anybody, let alone one of his generation. At 44 years old, Benoit is just entering his peak as a musician, as evidenced by Medicine, his first album in nearly four years.

Tab Benoit's Medicine

The many fine musicians Benoit has worked with throughout his career have lovingly showcased his fantastic guitar chops and songwriting skills, but the band assembled for Medicine takes the cake.

Adding a second guitarist and co-writer with the talent of Anders Osborne was a cool enough move for this project. The rest of the line-up is a who’s who of Louisiana roots music: bassist Corey Duplechin plays with Chubby Carrier and the Bayou Swamp Band; Hammond B-3 player Ivan Neville is the son of the great Aaron Neville, the leader of his own inventive conglomeration Dumstaphunk, and has played as a side-man with everyone from Paula Abdul to the Rolling Stones; drummer Brady Blade has worked with Emmylou Harris, Buddy & Julie Miller, and the Dave Matthews Band; and fiddler Michael Doucet is the leader of the premiere Cajun revivalists Beausoleil.

Benoit and Osborne co-wrote seven of the album’s eleven songs, including the album opener and title cut, “Medicine.” There is no easing into this record. Instead, Benoit kicks right into a primal swamp blues riff, and practically burns his throat growling, “It’s so good when medicine hits my vein /just one time and I ain’t never been the same.” Benoit and Osborne each tear up the fretboard on this tough, harsh look at the world of an addict.

The lyrics capture the suffering, yet the music captures the rush of the drugs. It’s not an easy pro or anti-drug song, but a powerful and compelling one, to be sure.

Louisiana Wetlands

“Sunrise” is a perfect song to follow “Medicine,” as it starts off with a slow and gentle guitar intro somewhat reminiscent of Jimi Hendrix’s “Little Wing.” Benoit controls himself beautifully here, keeping the tone soft and sweet as he begs the sun to let his lost love know that he is aware of his mistakes. The guitar solo tenderly captures the yearning and regret of the vocals.

Benoit has been an outspoken activist for the wetlands of his native Louisiana, and the song “A Whole Lotta Soul” bemoans what has been lost in recent years. Either Benoit or Osborne came up with a particularly tough guitar riff to fuel this one, too. “Come and Get It” follows with a fast early-1960s R&B dance number, albeit one delivered with Benoit’s gruff vocals and thick guitar tone.

Long Lonely Bayou

“Long Lonely Bayou” is one of three cuts featuring the enormously talented Doucet on fiddle. With just Benoit’s acoustic guitar finger picking and Doucet’s fiddle to accompany the vocals, the song has the vibe of a 1930s roadhouse song. The musical dialogue between these terrific players is gorgeous and rich, and Benoit gives Doucet plenty of room to soar into delicious counter-melodies throughout the song. Doucet is also featured on “Mudboat Melissa,” a song with a terrific zydeco feel which is exhilarating enough to leave the listener wanting it to go on a lot longer than it does; Doucet romps throughout, and Benoit sounds like he’s having a blast.

Doucet and Benoit tackle Augie Meyers’ “Can’t You See,” a song originally written for Doug Sahm but one which Beausoleil has recorded before. It’s nice to hear Benoit burn some Texas-fueled guitar, and the rhythm section falls nicely along an axis intersecting Tex-Mex and Cajun music. “Broke and Lonely” is a Johnny Otis number also done by Johnny “Guitar” Watson, and the band has a ball giving it some second-line strutting, New Orleans style. Benoit digs deep into his catalogue of vocal nuance for a beautiful cover of Toussaint McCall’s deep soul classic, “Nothing Takes The Place Of You.” And he does a fine job on “Next To Me,” a mid-tempo soul song originally done by the Subdudes.

Steve's Bottom Line

The bottom line is that Tab Benoit can tell stories with his guitar and his voice. They may not be brand new stories, but he puts a personal spin on them, and he always sounds warm and inviting. There aren’t many blues guitarists of his generation who remain this tasteful all the time. Medicine shows that his taste is actually improving, and it’s as solid and enjoyable a blues record as you’ll find on the market right now. (Telarc Records, released April 26, 2011)

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