We don't normally go back a full year on a new release of an album, but this one surprised us and we absolutely needed to get it out to our readers.

I've made no secret of being a big, big fan of the music of Selwyn Birchwood, loving all four of his Alligator albums. I've gone to see him all four times he's come through Phoenix, most recently earlier this month. As I glanced at his merchandise table set up in the Rhythm Room, this album caught my eye. I had never heard or seen this self-released collection, Old School. I asked Selwyn when it came out and he said that it was last year. It was his side project to get a purer blues sound out, and he played a few of the songs during his 90 minute show.

If you're concerned that the release of Old School means that he won't be releasing anything soon on Alligator, then fear not. He announced from the stage that he's got a new one coming on Alligator later this year. That news was music to my ears.

For now, let's talk about Old School. It's a fantastic album, with each of 11 cuts a keeper. It was produced by Tom Hambridge, who has been at the helm of many recent Alligator recordings. Like on his other albums, every song is a Birchwood original. Backing Birchwood are his usual band mates and other friends --- Regi Oliver (saxophone), Taylor Galbraith (drums), Andrew Gohman (bass), Ed Krout (electric organ, electric piano), Jim McKabe (piano), and Josh Miller (rhythm guitar), plus Jon Buck subs in on drums on one number.

The album kicks off with the title cut, a mid-tempo downhome Delta/Chicago blues kind of thing, with Bobby Rush making a guest appearance.. Rush also starts the song with the announcement, "Lets do it old school," before playing his usually fine harmonica and then singing the blues. Birchwood also steps to the mic for part of the song, with the two veteran blues voices complementing each other very well, and we also hear a strong slide solo on the lap steel.

"California Sober" was one of the highlights of his recent live show, a snaky blues with plenty of tongue-in-cheek humor, all while Birchwood plays wonderful lap steel guitar. I think he's telling the truth about himself when he sings about quitting drinking and instead trusting what comes from the ground, singing, "... I can't get much lower, might as well get high ...."  and "... Nature is the supplier, and I'm the buyer ..."

"Trouble Is Her Name" is the tale of that woman who's nothing but trouble, with plenty of examples given during the length of this slow, late night blues. Birchwood treats us to still another killer electric guitar solo, and there's nice tasteful piano from McKabe. We also hear plenty of piano wizardry on the New Orleans sounding "Moving Furniture," meaning that there's plenty of shaking and moving around the bedroom. Still another hot blues guitar solo from Birchwood turns up later in the song.

The mid-tempo blues shuffle "My Baby Got Baby Fever" may be an autobiographical song, but we'll know for sure if Birchwood starts talking and singing about a small child in his life. McKabe's playful piano work is again another highlight. The slow blues "Scorched Earth" starts with Muddy Waters style guitar chords as Birchwood sings about that woman scorned and the inevitable after effects, given a spooky vibe when he uses the slide on his lap steel.

Birchwood continues to demonstrate his creative songwriting skills on another slow blues, "The One That Got Away," as he tells about that woman he once lost, but now she's back and he's wishing that she'd only stay away. He adds, "... She was a blessing and a curse, I got the best of the worst ..." Of course, there's a really good guitar solo in the midst of all of these creative verses. This song demonstrates Birchwood at his best as a songwriter --- creativity, self-reflection, and emotional, sincere vocals.

He goes old school again on "Wild Child Drive," starting the song with high octane Hound Dog Taylor style guitar before singing about all of the wild things he's going to do on that particular night. He's giving up his keys and letting his wild child drive. There's also a nice piano break from McKabe. Birchwood then takes us to a tropical island on the mid-tempo shuffle "That's Where I Want To be," evoking images of beaches, palm trees swaying, the ocean calling, waves crashing and falling, and the sun melting right into the sea.

"Famous in My Phone" is Birchwood's commentary on cell phone obsession, as he sings about the ways that real life can be ignored and escaped from. He closes the show with a head bopping blues, "Just Like A Fine Wine," as he tells about a that special older woman who is just getting better with age, while also giving us still another tasty guitar solo.

I don't know the reason that Old School became a side project and not a well-publicized and well-promoted release, because this is a superb set of creative blues songs performed well. Is it Birchwood's best release so far? That's a tough bar to exceed, but it's right up there with his previous four albums.

If, like me, you are a year late in knowing about Old School, don't hesitate to add it to your Selwyn Birchwood library. Do it right now. You won't regret it.

--- Bill Mitchell