Hour Four of this week’s Blues Before Sunrise shifts the spotlight onto electric blues and the transitional sounds that helped shape modern rhythm and blues. It’s an hour built on groove, amplification, and personality—where the music moves from raw, small-label recordings into more refined, urban blues styles without losing its edge.

The set opens with a run of lesser-heard sides from artists like Goldrush, Black Diamond, and Johnny Beck—records that feel pulled straight from the margins of blues history. There’s a rough, unpolished quality here that defines the early part of the hour. These are working musicians, recording for local audiences, and the sound reflects that immediacy: direct, unfiltered, and rooted in rhythm.

That early grit begins to take shape as the hour moves into more structured performances. R. Green & Turner and Beverly Scott contribute sides that bridge that raw energy with a slightly more refined delivery, while Soldier Boy Houston’s “Old Hen” keeps things grounded in traditional blues themes with a steady, no-frills approach.

The center of the hour belongs to T-Bone Walker, whose trio of tracks—“Strollin’ With Bones,” “The Sun Went Down,” and “The Hustle Is On”—marks a clear evolution in blues guitar. Walker’s style is smoother, more melodic, and deeply influential. His electric guitar work doesn’t just support the rhythm—it leads it, shaping the direction of modern blues. His presence here feels like a pivot point, moving the hour from its rough beginnings into a more polished, forward-looking sound.

Lloyd Glenn follows with “Levee Blues” and “Chica Boo,” bringing piano back into focus while maintaining that postwar groove. His playing is rhythmic and accessible, reinforcing the danceable side of blues that would continue to evolve in the years ahead.

Curtis Jones’ “The Glamour & The Glory” slows things down slightly, offering a more reflective moment before Peppermint Harris returns the energy with “Fat Girl Boogie” and “Texarkana Bound.” Harris injects humor and movement, reminding us that blues has always made room for personality and storytelling.

Katie Webster’s “Sea of Love” introduces a softer, more melodic feel, while Jack Johnson’s “Catfish Blues” brings things back to a more traditional blues structure. Calvin Newborn’s “Afterhours” closes the main portion of the set with a smooth, late-night instrumental tone—bridging blues and jazz in a way that feels effortless.

Taken together, Hour Four is about transition. It captures the blues as it moves from rural roots into amplified, urban spaces. The rough edges remain, but they’re joined by new textures—electric guitars, stronger backbeats, and a growing sense of individuality in both playing and performance.

It’s not just a collection of songs—it’s a snapshot of a turning point, where the blues begins to stretch, adapt, and prepare for everything that comes next.

Playlist – Hour Four

All My Money’s Gone – Goldrush
T.P. Railor – Black Diamond
Lonesome Blues – Black Diamond
You Gotta Lay Down Mama – Johnny Beck
Central Avenue Blues – R. Green & Turner
Brownskin Woman – Beverly Scott
Old Hen – Soldier Boy Houston
Strollin’ With Bones – T-Bone Walker
The Sun Went Down – T-Bone Walker
The Hustle Is On – T-Bone Walker
Levee Blues – Lloyd Glenn
Chica Boo – Lloyd Glenn
The Glamour & The Glory – Curtis Jones
Fat Girl Boogie – Peppermint Harris
Texarkana Bound – Peppermint Harris
Sea of Love – Katie Webster
Catfish Blues – Jack Johnson
Afterhours – Calvin Newborn