Hour Three of this week’s Blues Before Sunrise strips everything back to the roots, diving deep into the raw, unfiltered world of prewar blues. This is the sound of the music before amplification, before polish—voices and instruments captured with immediacy, carrying stories that feel lived-in and unvarnished. It’s a powerful, grounding hour that reminds listeners where it all began.

The set opens with Barbecue Bob, whose “Mississippi Heavy Water” and “Goin’ Up the Country” bring a driving, rhythmic guitar style that feels both urgent and hypnotic. His playing sets the tone for what follows—direct, expressive, and rooted in experience.

Tony Hollins’ “Crosscut Saw” continues that momentum, offering a sharp, rhythmic approach that would later influence generations of blues players. Bukka White’s “Panama Limited” adds a sense of motion and storytelling, his slide guitar work evoking the sound of trains and long journeys, a recurring theme in the blues tradition.

Big Joe Williams’ “Killing Floor Blues” introduces a rough, insistent edge, while Stump Johnson’s “Sail On Black Sue” and “Heart Is Right Blues” bring a slightly more urban feel without losing that raw foundation. These tracks highlight the range within early blues—different regional styles, but a shared emotional core.

Sonny Boy Williamson I steps in with “Dealin’ With the Devil” and “Jivin’ the Blues,” adding harmonica-driven energy and a sharper, more rhythmic attack. His presence bridges the gap between country blues and the more structured Chicago sound that would come later.

The mood deepens with Sippie Wallace’s “Devil Dance Blues,” her powerful voice cutting through with authority and emotion. Lizzie Miles follows with “Cottonbelt Blues” and “Grievin’ Mama Blues,” bringing a classic vocal blues style that blends storytelling with a strong sense of melody.

Elzadie Robinson’s “Hour Behind the Sun” and Margaret Johnson’s “Death House Blues” push the hour into darker territory, their performances reflecting hardship and resilience in equal measure. These are songs that don’t shy away from reality—they confront it head-on.

Lightnin’ Hopkins brings the hour closer to the modern era with “Glory Be Blues” and “Whiskey Blues.” His loose, conversational style feels spontaneous, almost as if the songs are being created in the moment. He serves as a bridge between the earliest blues traditions and what would come next.

The hour closes with “Old Alabama” by the Alabama Chain Gang, a recording that carries a haunting, collective weight. It’s a reminder of the social and historical context that shaped so much of this music, grounding the entire hour in something deeper than sound alone.

Hour Three is the foundation of the show. It’s where the blues is at its most direct—no excess, no distraction, just voice, rhythm, and truth. It’s not always easy listening, but it’s essential.

Playlist – Hour Three

Mississippi Heavy Water – Barbecue Bob

Goin’ Up the Country – Barbecue Bob

Crosscut Saw – Tony Hollins

Panama Limited – Bukka White

Killing Floor Blues – Big Joe Williams

Sail On Black Sue – Stump Johnson

Heart Is Right Blues – Stump Johnson

Dealin’ With the Devil – Sonny Boy Williamson I

Jivin’ the Blues – Sonny Boy Williamson I

Devil Dance Blues – Sippie Wallace

Cottonbelt Blues – Lizzie Miles

Grievin’ Mama Blues – Lizzie Miles

Hour Behind the Sun – Elzadie Robinson

Death House Blues – Margaret Johnson

Glory Be Blues – Lightnin’ Hopkins

Whiskey Blues – Lightnin’ Hopkins

Old Alabama – Alabama Chain Gang