Hour Three of this week’s Blues Before Sunrise reaches back to the earliest decades of recorded blues, exploring performances that helped define the music long before electric guitars and postwar rhythm and blues transformed the genre. Spanning the late 1920s and 1930s, this remarkable collection showcases the diversity of early blues, from piano-driven performances and string-band traditions to classic female blues and hokum music.

The hour opens with two recordings by Roosevelt Sykes, one of the most influential blues pianists of the prewar era. “Sugar Hill Blues” and “She Left Me Cold in Hand” demonstrate Sykes’ distinctive piano style, witty songwriting, and relaxed vocal delivery. His recordings helped bridge the gap between rural blues traditions and the urban piano blues that flourished in cities such as St. Louis and Chicago.

Lonnie Johnson follows with “Beautiful But Dumb” and “I’m Nuts About That Gal.” Johnson’s elegant guitar playing and smooth vocals made him one of the most versatile musicians of his generation. His sophisticated approach influenced countless blues, jazz, and rhythm-and-blues guitarists who followed.

The Famous Hokum Boys bring humor and storytelling to the program with “The Folks Downstairs,” while the Memphis Jug Band delivers the lively “Evergreen Money Blues.” These recordings capture the playful side of early blues, blending memorable lyrics with infectious rhythms that entertained audiences throughout the South during the Depression era.

One of the hour’s historical highlights is “Blind Arthur’s Breakdown” by Funny Papa Smith, who was born in 1890. His performance offers a fascinating glimpse into an earlier generation of blues musicians whose careers reached back into the nineteenth century.

Mamie Smith, whose groundbreaking recordings helped launch the commercial success of recorded blues, appears with “You Got to See Mama Every Night.” Sara Martin contributes the classic “Joe Turner Blues,” while Josie Miles performs the expressive “Pipe Dream Blues.” Together, these recordings represent the important role female blues singers played in establishing the genre during its earliest commercial years.

Christina Gray follows with “Just Like You Walked In,” and Lillian Glinn contributes the spirited “Shake It Down,” adding further examples of the remarkable variety found among the classic blues women of the era.

Peetie Wheatstraw, the self-proclaimed “Devil’s Son-in-Law,” appears with “King of Spades” and “Sorrow-Hearted Blues.” His distinctive vocal style and imaginative songwriting made him one of the most successful blues artists of the 1930s.

Carl Martin offers the entertaining “That New Kinda Studd,” while Washboard Sam brings his trademark rhythmic style to “Laid My Cards on the Table.” The hour concludes with Jazz Gillum’s “Maybe You’ll Love Me Too,” showcasing the expressive harmonica playing and understated vocals that made Gillum a respected figure in Chicago’s prewar blues scene.

Together, these recordings offer a remarkable survey of the music’s formative years. From piano blues and hokum to jug bands and classic female blues, Hour Three reminds listeners that the roots of modern blues run deep, shaped by extraordinary artists whose influence continues to be heard throughout American music today.

Playlist – Hour Three

Sugar Hill Blues – Roosevelt Sykes
She Left Me Cold in Hand – Roosevelt Sykes
Beautiful But Dumb – Lonnie Johnson
I’m Nuts About That Gal – Lonnie Johnson
The Folks Downstairs – The Famous Hokum Boys
Evergreen Money Blues – Memphis Jug Band
Blind Arthur’s Breakdown – Funny Papa Smith
You Got to See Mama Every Night – Mamie Smith
Joe Turner Blues – Sara Martin
Pipe Dream Blues – Josie Miles
Just Like You Walked In – Christina Gray
Shake It Down – Lillian Glinn
King of Spades – Peetie Wheatstraw
Sorrow-Hearted Blues – Peetie Wheatstraw
That New Kinda Studd – Carl Martin
Laid My Cards on the Table – Washboard Sam
Maybe You’ll Love Me Too – Jazz Gillum