Hour Five of this week’s Blues Before Sunrise closes the broadcast with a smooth and deeply atmospheric blend of jazz ballads, soul-infused blues, and late-night rhythm & blues. After three hours devoted to the rough-edged sounds of Aristocrat Records and an opening tribute to Little Richard, the final hour eases listeners into a calmer emotional space filled with warmth, elegance, and reflection.

The Delta Rhythm Boys open the set with “Georgia on My Mind,” delivering rich vocal harmony and understated emotion. Their polished style immediately establishes the hour’s relaxed after-hours mood. Johnny Hodges follows with the dreamy “Day Dream,” his alto saxophone floating effortlessly through Duke Ellington-inspired jazz phrasing and sophisticated melodic lines.

Al Hibbler’s performance of “It Shouldn’t Happen to a Dream” deepens the emotional tone with dramatic vocal interpretation, while Ella Fitzgerald’s “Spring Can Really Hang You Up the Most” adds sophistication and vulnerability. Fitzgerald’s phrasing is subtle and conversational, transforming the song into one of the hour’s most intimate moments.

Melvin Rhyne’s “Blues for Wes” introduces warm organ jazz textures, creating a smoky nightclub atmosphere perfectly suited for late-night listening. The hour then transitions naturally into soul and blues through a remarkable trio of Sam Cooke recordings: “Love Will Find a Way,” “Somebody Have Mercy,” and “Sad Mood.” These performances highlight Cooke’s extraordinary ability to blend gospel emotion, pop accessibility, and blues feeling into something timeless and deeply human.

T-Bone Walker changes the pace with “Sail On Boogie” and “You Don’t Love Me,” reminding listeners of his enormous influence on electric blues guitar. His smooth vocal delivery and elegant guitar phrasing provide a bridge between jazz sophistication and postwar blues.

Grant Jones contributes “Hello Stranger” along with “Hospitality Blues” Parts I & II, bringing a more grounded rhythm & blues energy into the closing stretch. His performances feel looser and more direct, preparing the transition toward the darker emotional mood of Charles Brown.

Brown’s “Black Night” remains one of the defining late-night blues recordings ever made. Its slow tempo, weary vocal delivery, and haunting piano perfectly capture loneliness and heartbreak after midnight. “Without the One You Love” continues that reflective atmosphere, bringing emotional closure to the hour.

As always, Fleetwood Mac’s “Albatross” concludes the program with gentle instrumental calm. After an evening filled with explosive rock and roll tributes, obscure Aristocrat recordings, electric blues pioneers, gospel quartets, and jazz ballads, the final notes of “Albatross” feel like the quiet lights going out at the end of a long night.

Hour Five succeeds because it never rushes. The pacing allows each performance room to breathe, emphasizing mood and emotional depth over intensity. It’s a graceful conclusion to one of the most historically rich broadcasts in recent weeks.

Playlist – Hour Five

Georgia on My Mind – Delta Rhythm Boys
Day Dream – Johnny Hodges
It Shouldn’t Happen to a Dream – Al Hibbler / Duke Ellington
Spring Can Really Hang You Up the Most – Ella Fitzgerald
Blues for Wes – Melvin Rhyne
Love Will Find a Way – Sam Cooke
Somebody Have Mercy – Sam Cooke
Sad Mood – Sam Cooke
Sail On Boogie – T-Bone Walker
You Don’t Love Me – T-Bone Walker
Hello Stranger – Grant Jones
Hospitality Blues Parts I & II – Grant Jones
Black Night – Charles Brown
Without the One You Love – Charles Brown
Albatross – Fleetwood Mac