Review: Fiery Florida Guitarist Selwyn Birchwood Unleashes Another Torrent of Electric Swamp Funkin’ Blues

Selwyn Birchwood
Exorcist
(Alligator)
3 1/2 out of 5 stars

No need to wonder what kind of music the roots-based Selwyn Birchwood plays. He describes it for us as “Electric Swamp Funkin’ Blues.” That distinctive gumbo continues on this, his fourth album for the celebrated Alligator label, and sixth overall.

The Florida-born and bred guitarist, one of the few in his profession with an MBA, cranks out thirteen more songs, nailing that rugged, eclectic groove. Grammy-winning producer Tom Hambridge returns from Birchwoods’ previous album, keeping the mix tight and organic on the hour-long, 13-track collection.

This time Hambridge and the guitarist invite an expressive, gospel-inspired trio of backing singers. They bring the church on the slow blues “Plenty More to Be Thankful For,” the slinky, bible-inspired “Lazarus” and the slow, grinding funk of the mosquito-infested tale of a criminal that meets a violent end courtesy of some irritable alligators in “Swim at Your Own Risk.” The latter displays Birchwood’s proficiency on lap steel, learned from one of his mentors, legendary bluesman Sonny Rhodes.

The approach shifts to jump blues for the swinging “Call Me What You Want,” a departure that further expands his boundaries. Baritone saxist and longtime band member Regi Oliver (he also overdubs himself on tenor, becoming a mini-horn section) shines on the thumping, somewhat ominous title track. Here Birchwood enters Dr. John’s swamp-heavy “gris-gris” mode singing about using an exorcist to remove the demons that put a hex on him with You ain’t got magic on me no more.

The guitarist gets humorous on the sassy shuffle “ILa View” (a verbal twist on “I love you”) playing bottleneck acoustic as he sings I love you like the church loves money…like a rasta loves pot. For the greasy funk of “Underdog,” Birchwood claims I work twice as hard to get half as far underlying the vibe with a molten solo. The sound gets a little busy, conflicting with his singing until he lets loose for a searing, heart-racing solo. Things get political on “Florida Man,” a scathing look at some residents of his home state. Here Birchwood charges into Southside Johnny’s tough soul territory singing Down where the rebel flag meets Mickey Mouse…Florida Man gets drunk and shoots at hurricanes as his lap steel screams.  

The closing instrumental “Show Tune” takes a stab at Otis Redding-styled stomping Stax soul, complete with cowbell, to finish with a flourish. Considering this is Birchwood’s fourth album, with all originals, in less than a decade, he continues his streak as one of this country’s most prolific and talented players, singers, and songwriters in an inimitable “electric swamp funkin’ blues” genre he pretty much owns.    

Courtesy Alligator Records