The masterwork of Delta Hardware is the shadowy "Black Water." This track is an example of the power that is generated when music and lyric blend perfectly. The amplified effects on Musselwhite's mournful harp make it sound like it was recorded underwater. The murky sound of Chris 'Kid' Andersen's skillful touch adds another layer to the haunting, mysterious atmosphere. Musselwhite's laid back vocal allows his harp duel with Andersen's guitar to provide the emotional center to these words of apocalyptic warning. 

The ferocious swagger of "Just a Feeling" breathes fire and gives the album momentum through its final tracks. Delta Hardware is a lean, muscular record without filler — ten songs, 40 minutes. The song lengths are varied as are the tempos and the sounds. 

This is a basic harmonica, guitar, bass, drum configuration but producer Chris Goldsmith assists the players in finding great tones and effects for the instruments. In addition to the sonic variety in the instrumental texture, Musselwhite's vocal attack is also varied, running the gamut between gritty and detached. The performances and production achieve a level of excellence rarely heard these days. 

I don't know exactly what I was expecting when I first listened to Delta Hardware. I think I was suspicious this might be another case of one of those wily veterans who had stuck around past his prime and was getting nominations based on past glories. Musselwhite has been a fixture on the blues scene since the release of his 1966 album, Stand Back! Here Comes Charley Musselwhite's Southside Band (the misspelling of his name is the fault of his label). My skepticism seems silly when you consider I had never heard a lick of Musselwhite's music prior to Delta Hardware. I have still never heard anything from his so-called prime, so I can't tell you whether or not he used to be better. What I can tell you is no matter how good he might have been 40 years ago, he is not embarrassing himself now.The five BMA nominations he received are well deserved. 

This series has been a variation on the Pandora's Box theme for me. I have yet to be disappointed by any of the nominated albums I have received. In the case of Musselwhite, Watermelon Slim, and Nick Moss (you will be hearing about Nick Moss soon), I have become a fan. So, what's the catch?  Each time I receive another nominated album, my job as a voter gets just a little more difficult. It is a rewarding problem to have.