The third hour of this week’s Blues Before Sunrise dips deep into the well of classic blues recordings, spotlighting the powerful voices and singular artistry that shaped the tradition from the 1920s onward. This set is less about slick production and more about capturing the emotional and cultural heartbeat of the blues.
The hour opens with Georgia White, whose recordings helped define the Chicago blues piano tradition during the 1930s. With tracks like “Territory Blues,” “Fire in the Mountain,” and “When the Red Sun Turns to Gray,” White balances wit, grit, and sly sophistication. Her versatile singing allowed her to cover bawdy themes, torch songs, and rolling boogies, making her one of the most recorded female blues artists of her time.
Clara Smith, often called the “Queen of the Moaners,” follows with “Livin’ Humble.” Smith was a Columbia Records star in the 1920s, known for her heartfelt delivery and commanding stage presence. Her voice carried the weight of gospel influence and a rawness that gave her songs an edge even when the arrangements leaned toward vaudeville.
From there, the show highlights Elzadie Robinson with “One Hour Behind the Sun.” Robinson, a somewhat mysterious figure with little known about her biography, recorded a handful of memorable sides for Paramount in the late 1920s. Her style blends classic female blues with rural sensibility, bridging two important currents in early blues history.
The guitar takes the spotlight with Casey Bill Weldon, the “Hawaiian Guitar Wizard.” His tracks “As the Clock Struck Four” and “Your Wagon’s Worn Out Now” showcase his pioneering use of the slide guitar in blues, bringing a sweet yet biting edge that influenced countless later players. His witty lyrics often revolved around relationships, trouble, and resilience, hallmarks of the genre.
The set also features Bill Gaither, whose “Done Ranked Yourself with Me” is a fine example of his smooth but direct vocal style. Known both for blues and gospel recordings, Gaither’s work illustrates the porous boundaries between sacred and secular traditions.
That same spiritual thread carries through with Rev. Lonnie Farris, who brings a sanctified guitar sound to “I’m So Happy & So Free” and “A Night in the House O Prayer.” His use of lap steel guitar in gospel music created an ecstatic, soaring sound that resonated with congregations while influencing secular musicians, especially in blues and soul.
The piano blues return with Leroy Carr, one of the most influential figures of the prewar era. His songs “Low Down Dog” and “Fore Day Rider” epitomize his cool, almost conversational delivery, matched with the delicate piano accompaniments of Scrapper Blackwell on guitar. Carr’s style pointed toward the urban sophistication that would characterize much of the Chicago scene.
Johnny Temple adds to the mix with “Sun Goes Down in Blood.” Temple was a Mississippi-born guitarist and singer who brought a moody, introspective quality to his recordings. His ability to blend folk-blues with more urbane elements made him a popular artist in the 1930s.
Sonny Boy Williamson I is represented with “Low Down Ways.” As one of the most important harmonica players in blues history, his recordings for Bluebird helped set the template for postwar harmonica styles. His sound is both sharp and earthy, carrying the weight of southern roots.
The set also pulls in rarities and overlooked gems: Hersal Thomas’ “Suitcase Blues,” a piano classic from a prodigy whose career was tragically cut short; Bukka White’s “Fixin’ to Die,” a haunting Delta anthem of mortality and defiance; and Calvin Frazier’s “Highway 51 Blues,” a road song that resonates with both migration and escape.
Brownie McGhee makes an appearance with “I’m a Black Man’s Woman,” offering a slice of the Piedmont blues tradition he popularized, often in partnership with Sonny Terry. Jimmy Yancey, another Chicago piano great, closes the set with “State Street Special,” a tune that embodies the rollicking yet intimate feeling of Chicago rent-party blues.
Hour 3 reminds us that the blues is not one sound but a mosaic — from the moaning classic female singers to the sanctified guitar preachers, from the urbane piano men to the harmonica pioneers. It’s an hour of discovery and reverence, tying together the many strands of blues heritage.
Hour 3 Playlist
- Territory Blues – Georgia White
- Fire in the Mountain – Georgia White
- When the Red Sun Turns to Gray – Georgia White
- Livin’ Humble – Clara Smith
- One Hour Behind the Sun – Elzadie Robinson
- As the Clock Struck Four – Casey Bill Weldon
- Your Wagon’s Worn Out Now – Casey Bill Weldon
- Done Ranked Yourself with Me – Bill Gaither
- I’m So Happy & So Free – Rev. Lonnie Farris
- A Night in the House O Prayer – Rev. Lonnie Farris
- Low Down Dog – Leroy Carr
- Fore Day Rider – Leroy Carr
- Sun Goes Down in Blood – Johnny Temple
- Low Down Ways – Sonny Boy Williamson I
- Suitcase Blues – Hersal Thomas
- Fixin’ to Die – Bukka White
- Highway 51 Blues – Calvin Frazier
- I’m a Black Man’s Woman – Brownie McGhee
- State Street Special – Jimmy Yancey