This is week 4 of Charlie Musselwhite and Shaun's pulled something special from the Blues With A Feeling library.

 

The feature album this week is Charlie's 2006 Real World Records release “Delta Hardware”.

 It came out in a post Hurricane Katrina world and contains some of Charlies finest songwriting, his singing and playing is, as always incredible and the band is beyond sensational.

 

Plus new releases from Kenny Neal, Diunna Greenleaf, Ray Beadle, Robben Ford, Trudy Lynn and Son House.

This is week 4 of Charlie Musselwhite and Shaun's pulled something special from the Blues With A Feeling library.
&nbsp;
The feature album this week is Charlie's 2006 Real World Records release &ldquo;Delta Hardware&rdquo;.
 It came out in a post Hurricane Katrina world and contains some of Charlies finest songwriting, his singing and playing is, as always incredible and the band is beyond sensational.
&nbsp;
Plus new releases from Kenny Neal, Diunna Greenleaf, Ray Beadle, Robben Ford, Trudy Lynn and Son House.

Shaun Bindley’s Blues with a Feeling has been playing the latest and greatest blues releases, album features and interviews from Australia and across the world for almost 30 years.

With a dedicated following both locally and internationally as a radio show of 27 years, Shaun is now working on producing Blues with a Feeling as a Podcast.

Shaun Bindley&rsquo;s Blues with a Feeling has been playing the latest and greatest blues releases, album features and interviews from Australia and across the world for almost 30 years.
With a dedicated following both locally and internationally as a radio show of 27 years, Shaun is now working on producing Blues with a Feeling as a Podcast.

Blues with a Feeling - The Official Podcast

Shaun Bindley’s Blues with a Feeling has been playing the latest and greatest blues releases, album features and interviews from across the world for almost 30 years.

Shaun Bindley&rsquo;s Blues with a Feeling has been playing the latest and greatest blues releases, album features and interviews from across the world for almost 30 years.

Shaun Bindley's Blues With A Feeling

Ep 17 Se 2 Charlie Musselwhite Month Week 4 - Delta Hardware Feature

There are albums that entertain, albums that impress, and then there are albums that feel like they open a door into a whole other world. Marcia Ball’s Let Me Play With Your Poodle is one of those rare records — a joyous, rolling, deeply human celebration of Gulf Coast blues delivered by an artist at the height of her powers. Released in 1997, at a time when the blues landscape was dominated by guitar‑slinging men, this album was a revelation. It reminded listeners everywhere that the piano has always been one of the genre’s beating hearts, and that Marcia Ball was one of its most electrifying storytellers.

From the moment her left hand starts that unmistakable rolling groove, you’re transported straight into the humid, neon‑lit world she grew up in — a place where Texas roadhouse grit meets Louisiana soul, where New Orleans R&B shakes hands with swamp pop, and where every song feels like it was born at 2am in a crowded bar with the windows open to the street.

The title track sets the tone: playful, confident, full of swagger. But the album’s magic lies in its range. Marcia moves effortlessly from strutting boogie‑woogie to tender balladry, from sly humour to emotional depth. Her band — a who’s‑who of Texas and Louisiana players — matches her stride for stride, creating a sound that’s rich, warm, and unmistakably alive.

And then there’s the closer, “Louisiana 1927,” a song that resonates deeply with anyone who’s lived through rising waters and the quiet heartbreak that follows. In Marcia’s hands, it becomes a hymn of resilience.

Let Me Play With Your Poodle isn’t just a great blues record — it’s a reminder of the joy, grit, and humanity that make this music timeless.

 

I’m so excited about bringing you this spectacular record this week. And for some extra special sauce, I’ve added new releases from Eric Bibb, Lil Ed & the Blues Imperials, Kim Wilson, Tinsley Ellis, Robert Randolph & The Family Band, Laura Chavez, Studebaker John & The Maxwell Street Kings,  Mike Finnigan, Christone “Kingfish” Ingram, Selwyn Birchwood and Bernard Allison.

There are albums that entertain, albums that impress, and then there are albums that feel like they open a door into a whole other world. Marcia Ball&rsquo;s Let Me Play With Your Poodle is one of those rare records &mdash; a joyous, rolling, deeply human celebration of Gulf Coast blues delivered by an artist at the height of her powers. Released in 1997, at a time when the blues landscape was dominated by guitar‑slinging men, this album was a revelation. It reminded listeners everywhere that the piano has always been one of the genre&rsquo;s beating hearts, and that Marcia Ball was one of its most electrifying storytellers.
From the moment her left hand starts that unmistakable rolling groove, you&rsquo;re transported straight into the humid, neon‑lit world she grew up in &mdash; a place where Texas roadhouse grit meets Louisiana soul, where New Orleans R&amp;B shakes hands with swamp pop, and where every song feels like it was born at 2am in a crowded bar with the windows open to the street.
The title track sets the tone: playful, confident, full of swagger. But the album&rsquo;s magic lies in its range. Marcia moves effortlessly from strutting boogie‑woogie to tender balladry, from sly humour to emotional depth. Her band &mdash; a who&rsquo;s‑who of Texas and Louisiana players &mdash; matches her stride for stride, creating a sound that&rsquo;s rich, warm, and unmistakably alive.
And then there&rsquo;s the closer, &ldquo;Louisiana 1927,&rdquo; a song that resonates deeply with anyone who&rsquo;s lived through rising waters and the quiet heartbreak that follows. In Marcia&rsquo;s hands, it becomes a hymn of resilience.
Let Me Play With Your Poodle isn&rsquo;t just a great blues record &mdash; it&rsquo;s a reminder of the joy, grit, and humanity that make this music timeless.
&nbsp;
I&rsquo;m so excited about bringing you this spectacular record this week. And for some extra special sauce, I&rsquo;ve added new releases from Eric Bibb, Lil Ed &amp; the Blues Imperials, Kim Wilson, Tinsley Ellis, Robert Randolph &amp; The Family Band, Laura Chavez, Studebaker John &amp; The Maxwell Street Kings, &nbsp;Mike Finnigan, Christone &ldquo;Kingfish&rdquo; Ingram, Selwyn Birchwood and Bernard Allison.

SE 6 Ep 10 - Marcia Ball - Let Me Play With Your Poodle - Classic Album Feature

 

 

“Black Magic is a marvellously atmospheric and easy record to listen to - with Sam's resonant and flexible vocals a perfect match for his clean virtuoso guitar playing. Moving on from the scorching Chicago blues captured so unforgettably on West Side Soul - here the accent is on a smooth sound with a potential wider appeal. Hit songs like I Just Want a Little Bit, You Belong to Me and Easy Baby stand at the borderline between blues and soul.

 

Like legends ranging from Eric Dolphy and Booker Little to Otis Redding and Minnie Ripperton, Magic Sam died too young. The Chicago blues singer/guitarist's final studio recording, Black Magic was recorded only a year before he died at the age of 32. Sam had acquired a small but loyal following, and Black Magic's excellence indicates that had he lived, he'd have become as celebrated as Buddy Guy. The passionate testifyin' of What Have I Done Wrong, It's All Your Fault and Stop! You're Hurting Me demonstrates that Sam not only sang and felt blues; he lived them. --Alex Henderson, L.A. Jazz Scene

 

I’m thrilled to share this groundbreaking album for you this week.

 

Plus new releases from Robert Randolph & The Family Band,  Christone Kingfish Ingram, Eric Bibb, Lil Ed & The Blues Imperials, Billy Branch & The Sons of Blues, Selwyn Birchwood, Kim Wilson,  Studebaker John & the Maxwell Street Kings, Tinsley Ellis, Mike Finnigan, Laura Chavez and Parlour Greens.  

 

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&ldquo;Black Magic&nbsp;is a marvellously atmospheric and easy record to listen to - with Sam's resonant and flexible vocals a perfect match for his clean virtuoso guitar playing. Moving on from the scorching Chicago blues captured so unforgettably on&nbsp;West Side Soul&nbsp;- here the accent is on a smooth sound with a potential wider appeal. Hit songs like&nbsp;I Just Want a Little Bit,&nbsp;You Belong to Me&nbsp;and&nbsp;Easy Baby&nbsp;stand at the borderline between blues and soul.
&nbsp;
Like legends ranging from Eric Dolphy and Booker Little to Otis Redding and Minnie Ripperton, Magic Sam died too young. The Chicago blues singer/guitarist's final studio recording,&nbsp;Black Magic&nbsp;was recorded only a year before he died at the age of 32. Sam had acquired a small but loyal following, and&nbsp;Black Magic's excellence indicates that had he lived, he'd have become as celebrated as Buddy Guy. The passionate testifyin' of&nbsp;What Have I Done Wrong,&nbsp;It's All Your Fault&nbsp;and&nbsp;Stop! You're Hurting Me&nbsp;demonstrates that Sam not only sang and felt blues; he lived them. --Alex Henderson, L.A. Jazz Scene
&nbsp;
I&rsquo;m thrilled to share this groundbreaking album for you this week.
&nbsp;
Plus new releases from Robert Randolph &amp; The Family Band, &nbsp;Christone Kingfish Ingram, Eric Bibb, Lil Ed &amp; The Blues Imperials, Billy Branch &amp; The Sons of Blues, Selwyn Birchwood, Kim Wilson,&nbsp; Studebaker John &amp; the Maxwell Street Kings, Tinsley Ellis, Mike Finnigan, Laura Chavez and Parlour Greens. &nbsp;
&nbsp;

SE 6 Ep 9 Classic Album Feature – Black Magic – Magic Sam

On his fourth album in four years, Earl proves that he's robust enough to muscle through a set of swinging jazz (Jimmy Smith's "Blues for J"), sizzling gospel ("Walking on the Sea" with the Silver Leaf Gospel Singers), and explosive blues (everything else) with strapping aplomb. As opposed to his previous almost entirely instrumental disc, vocals are featured on about half of these tracks. Kim Wilson sings and plays electrifying harp on four songs, of which a blistering 10-minute version of Otis Rush's "Double Trouble" is a career highlight for both musicians. Earl's burning leads show both an emotional drive and a restraint that make these live-in-the-studio tracks so riveting.

It was Ronnie Earls birthday recently and I’m thrilled to feature for you this week, his wonderful release with The Broadcasters “Now My Soul”.

Plus new releases from Eric Bibb, Robert Randolph & the Family Band, Tinsley Ellis, Lil Ed & The Blues Imperials, Laura Chavez, Christone “Kingfish” Ingram, Studebaker John And The Maxwell Street Kings and Selwyn Birchwood.

 

 

 

On his fourth album in four years, Earl proves that he's robust enough to muscle through a set of swinging jazz (Jimmy Smith's "Blues for J"), sizzling gospel ("Walking on the Sea" with the Silver Leaf Gospel Singers), and explosive blues (everything else) with strapping aplomb. As opposed to his previous almost entirely instrumental disc, vocals are featured on about half of these tracks. Kim Wilson sings and plays electrifying harp on four songs, of which a blistering 10-minute version of Otis Rush's "Double Trouble" is a career highlight for both musicians. Earl's burning leads show both an emotional drive and a restraint that make these live-in-the-studio tracks so riveting. It was Ronnie Earls birthday recently and I&rsquo;m thrilled to feature for you this week, his wonderful release with The Broadcasters &ldquo;Now My Soul&rdquo;. Plus new releases from Eric Bibb, Robert Randolph &amp; the Family Band, Tinsley Ellis, Lil Ed &amp; The Blues Imperials, Laura Chavez, Christone &ldquo;Kingfish&rdquo; Ingram, Studebaker John And The Maxwell Street Kings and Selwyn Birchwood.
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Ep 17 Se 2 Charlie Musselwhite Month Week 4 - Delta Hardware Feature

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