The newest release on Alligator Records from the Tampa-based artist Selwyn Birchwood is a confident blast of modern blues. Electric Swamp Funkin’ Blues is rich with ripping riffs, emotionally honest lyricism and strong vocals as Birchwood has delivered a studio record on par with his top-notch live shows, GRAMMY voters take note.
One key to this assured offering is that it is Birchwood’s first self-produced album, truly capturing how he and his band want to sound on record. The group is, Selwyn Birchwood: Guitar, Vocals, Lap Steel Guitar, Regi Oliver: Baritone, Tenor, Alto and Bass Saxophones, Flutes, Donald “Huff” Wright: Bass Guitar, Henley Connor III: Drums, Percussion John Hetherington: Hammond B3 Organ, Keyboards, Piano, Eli Bishop: Violin, Viola, Cello, Briana Lutzi & Taylor Opie: Background Vocals. This band brings a layered sound to Birchwood’s songs as gospel, soul, folk, blues, and rock mix and mesh throughout.
Things kick off in Jimi Hendrix-like fashion as Birchwood goes for overloaded histrionics during the brief opener “The Eagle Has Landed”; the instrumental perks up ears, burning intensely. Birchwood’s credo and universal theme arrive next with the jubilant offering, “The Church of Electric Swamp Funkin’ Blues”. Everyone is welcome inside. Birchwood sings “We don’t throw rocks, but we get stoned” as the non-judgmental gathering heats up with funky organs, horns, screaming guitars, gospel get-down, and vocals reminiscent of George Clinton.
Things aren’t a party all the time, though, as acoustic and lap steel mix on the slide guitar-focused “Should’ve Never Gotten Out Of Bed,” which deals with a host of modern-day problems. Birchwood’s blues protest number “All Hail The Algorithm” is a standout that features very astute lyrics about our current ‘digital hell’ set against strong musical backing and dial-up static, clashing in nightmare fashion. “Talking Heads” uses the album’s best groove to funk up the sound as Birchwood rails against the current media landscape, with great organ support.
Taking a page from his heroes, “What I’ve Been Accused Of” plays like a throwback to the electric blues heyday with strong slide playing and ‘woe is me’ lyrics. There are a few touches of Robert Cray’s slicker 80’s blues style with the self-examining love song “Damaged Goods” (featuring soothing backing vocals) and the honest parenting lament “Labor Of Love,” which contains a gorgeous sax solo. Overall, Birchwood’s production is impeccable, with rich sounds from top to bottom.
The strong album ends on a high note with the slow dripping “Soulmate” displaying Birchwood’s best vocal performance before a massive six-string climax, while the emotional finale “The Struggle Is Real” is polished in almost gospel/folk fashion, lyrically describing Birchwood’s struggles from literal birth to dealing with ongoing racial hatred in this world.
Top to bottom, Selwyn Birchwood’s Electric Swamp Funkin’ Blues feels like a coming-out party for the supremely talented artist, as his songs, production, and playing fuse into an engaging, thought-provoking full-length listen.
