Hour Three of this week’s Blues Before Sunrise turns the clock back, digging deep into the prewar era where the blues existed in its most direct and unvarnished form. This is the foundation—the raw material from which everything heard later in the program is built. Stripped of amplification and studio polish, these recordings rely on voice, guitar, and feeling, capturing a world where the blues was both personal expression and lived experience.

Lonnie Johnson opens with “Swing Out Rhythm,” bringing a level of musical sophistication that hints at the blues’ crossover into jazz. His guitar work is fluid and precise, offering a refined entry point into the hour. But that polish quickly gives way to the rougher textures of artists like Black Ace, whose “Whiskey & Women” and “Four Day Creep” lean into a droning, hypnotic style rooted in Texas blues tradition.

Funny Papa Smith and Cryin’ Sam Collins continue the shift toward rural, emotionally direct performances. Their recordings feel immediate and unfiltered, emphasizing rhythm and repetition over structure. Then comes Bessie Smith with “Midnight Blues,” a reminder of the commanding presence of the classic blues queens. Her voice carries weight and authority, bridging the gap between vaudeville stages and the deeper blues tradition.

Rosa Henderson and Bessie Brown follow with recordings that highlight the diversity within early blues vocal styles—playful, assertive, and often tinged with humor or defiance. But the emotional center of the hour arrives with Robert Johnson. “Stop Breaking Down” and “Traveling Riverside Blues” stand as pivotal recordings, not just for their musical quality but for their influence. His guitar work and vocal phrasing would echo through generations, shaping the sound of modern blues and rock alike.

The hour continues with lesser-known but equally compelling voices. Bessie Tucker’s recordings carry a stark, haunting quality, while Jesse Thomas and Blind Teddy Darby contribute regional variations that expand the sonic landscape. Yank Rachell’s “.38 Pistol Blues” adds a mandolin-driven texture, a reminder that blues instrumentation was never limited to guitar alone.

Closing out the hour, Cow Cow Davenport’s “Alabama Mistreater” brings the piano back into focus, tying this segment subtly to the show’s broader appreciation for blues pianists heard in other episodes. His rhythmic, rolling style offers a different kind of drive—less about melody, more about groove.

Hour Three isn’t just a collection of old recordings—it’s a living archive. These tracks document the blues before it was standardized, before it was electrified, and before it reached mass audiences. It’s music shaped by region, circumstance, and individual voice. Everything that comes later in the show—Chicago blues, R&B, rock ’n’ roll—can be traced back to moments like these.

Playlist – Hour Three

Swing Out Rhythm – Lonnie Johnson
Whiskey & Women – Black Ace
Four Day Creep – Black Ace
Before Long – Funny Papa Smith
Slow Mama Slow – Cryin’ Sam Collins
Midnight Blues – Bessie Smith
Can’t Be Bothered with No Sheiks – Rosa Henderson
I’m Saving It All for You – Rosa Henderson
Nobody But My Baby – Bessie Brown
Stop Breaking Down – Robert Johnson
Traveling Riverside Blues – Robert Johnson
Got Cut All to Pieces – Bessie Tucker
Black Name Moan – Bessie Tucker
Mountain Key Blues – Jesse Thomas
My Laona Blues – Blind Teddy Darby
.38 Pistol Blues – Yank Rachell
Alabama Mistreater – Cow Cow Davenport