The opening hour of Blues Before Sunrise, introduced under the heading “Catch ’Em Young,” brings together recordings that place early-career energy, vocal-group precision, piano rhythm, and blues voices in a single lively sequence. Wild Bill Davis begins with “Etymology,” setting the hour in motion before the King Cole Trio takes over for a four-song run. “Little Girl,” “Put ’Em in a Box,” and “Love Nest” follow, giving the trio a substantial opening presence and establishing one of the hour’s central ideas: artists heard before the larger careers suggested by the program’s title.

The King Cole Trio sequence is followed by an equally significant set from the Delta Rhythm Boys. Their five recordings — “I Dreamt I Dwelt in Harlem,” “Georgia on My Mind,” “Blues My Naughty Sweetie Gave to Me,” “Gimme Some Skin,” and “It’s So Peaceful in the Country” — make vocal harmony a defining feature of the first hour. The length of the set gives the group space to shape the musical atmosphere, and the range of song titles keeps the sequence from feeling repetitive. Together with the King Cole Trio material, the Delta Rhythm Boys establish a polished, ensemble-centered opening.

The Charioteers continue the hour’s attention to group singing with “I Miss You So.” Their placement directly after the Delta Rhythm Boys makes the vocal connection especially clear. Rather than moving abruptly away from the ensemble sound, the program gives listeners another vocal-group perspective before introducing Pete Johnson’s “Boogie Woogie Jump.” That selection changes the hour’s emphasis toward piano-driven momentum and gives the playlist a sharper rhythmic turn.

Bert Williams’ “You Can’t Get Away from It” follows, then Martha Copeland appears with “Nobody Rocks Me Like My Baby Do.” Clara Burston’s “CP Woman,” Katherine McDavid’s “Sweet Woman Blues,” and Earl Bostic’s “Love Letters in the Sand” complete the hour. These final selections keep the program moving through individual vocalists and distinct song titles after the larger group and trio stretches heard earlier. The closing sequence is concise, but it gives each artist a separate place in the hour’s progression.

The phrase “Catch ’Em Young” provides a useful frame for the program without requiring the hour to become a chronological account. Blues Before Sunrise instead uses the idea as an invitation to hear familiar and less familiar names in a different light. The King Cole Trio and Delta Rhythm Boys receive the most extended attention, while Wild Bill Davis, the Charioteers, Pete Johnson, Bert Williams, Martha Copeland, Clara Burston, Katherine McDavid, and Earl Bostic contribute to a wider picture of musical possibility.

The program’s transitions are particularly effective because the hour alternates between focused sets and shorter individual appearances. Wild Bill Davis offers a brief opening statement; the King Cole Trio then creates a four-recording block; the Delta Rhythm Boys expand that approach into five titles; the Charioteers maintain the vocal-group thread; and Pete Johnson redirects the rhythm. The remaining artists give the final section a changing series of voices rather than another long spotlight.

This structure also prevents the hour from settling into one predictable mood. Vocal harmony is prominent, but it shares space with the King Cole Trio, Pete Johnson’s boogie-woogie, and the blues-oriented titles from Martha Copeland, Clara Burston, and Katherine McDavid. Earl Bostic’s closing appearance adds one final shift before the program moves to Hour 2. The variety is not random; it is organized around the broader idea of artists heard young, with musical connections developed through the sequencing.

Hour 1 therefore offers more than an opening collection of songs. It introduces the five-hour broadcast with a sense of curiosity and abundance. The extended trio and vocal-group passages establish a rich foundation, while the later individual performances add contrast and momentum. From “Etymology” through “Love Letters in the Sand,” the hour presents an animated combination of ensemble singing, piano rhythm, blues material, and performers whose recordings make the “Catch ’Em Young” theme compelling.

Hour 1 Playlist

Etymology — Wild Bill Davis

Little Girl — King Cole Trio

Put ’Em in a Box — King Cole Trio

Love Nest — King Cole Trio

I Dreamt I Dwelt in Harlem — Delta Rhythm Boys

Georgia on My Mind — Delta Rhythm Boys

Blues My Naughty Sweetie Gave to Me — Delta Rhythm Boys

Gimme Some Skin — Delta Rhythm Boys

It’s So Peaceful in the Country — Delta Rhythm Boys

I Miss You So — Charioteers

Boogie Woogie Jump — Pete Johnson

You Can’t Get Away from It — Bert Williams

Nobody Rocks Me Like My Baby Do — Martha Copeland

CP Woman — Clara Burston

Sweet Woman Blues — Katherine McDavid

Love Letters in the Sand — Earl Bostic