We’ve known about these problems for a long time. “But really, this has been a problem we’ve had for over 70 years. “It sounds like we were prophesying what was to come,” said Benoit. By the time the film was released in 2006, the title was changed to “Hurricane on the Bayou.” The film was no longer a warning, but rather about a warning that had not been heeded. In early 2005, he was narrator and guide in an IMAX film that was tentatively titled “Hurricane Warning” because of its central premise: The mismanagement of the Mississippi River delta was causing the erosion of the vast coastal wetlands that served as buffer against hurricane flooding, especially for New Orleans. In fact, eight months before Katrina hit, Benoit and an all-star cast of Louisiana musicians went into the studio and recorded a Voice of the Wetlands album that began with the song “Bayou Breeze.” The chorus pleaded, “Don’t let the water/wash us away.” Benoit founded the non-profit Voice of the Wetlands back in 2003 to try to get the world’s attention to what was happening and save his homelands before they disappeared beneath the Gulf of Mexico. He saw Hurricane Katrina well before it happened, and he knew Louisiana was selling its soul to oil companies long before the BP oil spill. The Old Testament never sounded so good.īut Benoit’s voice has been crying out both for and from the wilderness every bit as resoundingly as any mad-as-hell prophet’s ever did. Then there’s that voice, which sounds like George Jones seeped in cognac to the point it where comes out sounding like a Cajun Otis Redding. Tab Benoit isn’t exactly cut from the cloth of your typical Old Testament prophet.įirst of all, he’s a blues guitar player, an occupation that tends to be better versed in sin than salvation. I think it’s the song that typifies a genuinely cool guitar melody that isn’t overly “guitary”, but is genuinely an impressive riff to play.Tab Benoit and the Voice of the Wetlands All-Stars play Saint Rocke Feb. I would love to sit with Johnny Marr and rip through ‘This Charming Man’ by The Smiths.
If you could jam with any guitarist, dead or alive. The headstock should also be rosewood in a Fender style, without the round head at the end of it. I think it should have a rosewood neck with white dot inlays on the frets. I would like a blue/green finish on a double cutaway body with a white pickguard, a P-90 pickup in the front and a Strat-style single coil in the back – maybe with a humbucker style silver guard over it, though – next to a long tremolo arm à la a Fender Jag. What would your signature model look like? I mean, I’ve never played one, but I just think they look divine. Especially if it has a tremolo arm and dot inlays on the frets. One day, I think I would love to have a non-reverse Gibson Firebird in a blue finish with a white pickguard.
It’s here that a passion for songwriting was forged and I would attach that to my biggest love for the guitar today.
It was only after school, when I seemed to find more time with myself, that my ears really started to understand how my playing could more naturally fit in with songs and performing with others. With two great guitar teachers, I kept at it, and I found that I loved being onstage.
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It felt like I had no natural knack for understanding how to make music with the guitar – to be honest, I was just addicted to the rote learning element and being rewarded with positive reinforcement, so I didn’t seem to stop practising. My mum enrolled me in guitar lessons at school when I was around 10/11. How did you initially fall in love with the instrument? I love how it feels like a smaller guitar, and I’m such a fan of the fact you can switch between single coils and humbucker pickups! It grabbed me as soon as I saw it on the wall, and after having a quick play, I knew it had to be mine. A Maton Mastersound that I found in the Music Swop Shop.
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