After the scholarship spotlight of Hour Three’s Robert M.W. Dixon interview, Hour Four of the February 15, 2026 Blues Before Sunrise broadcast kicks the door wide open. This is the hour where the blues plugs in, turns up, and lets the guitar speak in sharp, stinging sentences. The transition feels intentional — from documentation to demonstration. After talking about the history, we hear its voltage.

It begins with Johnny Guitar Watson and “Gangster of Love,” a track that drips with West Coast cool. Watson’s style is slick without losing grit — part showman, part street poet. “Sweet Lovin’ Mama” and “Three Hours Past Midnight” follow, each reinforcing his effortless command of rhythm and tone. Watson’s guitar doesn’t just solo; it converses, taunts, and occasionally smirks.

Then the temperature rises with Ike Turner. “Sad as a Man Can Be,” “No Coming Back,” and “Just One More Time” showcase Turner’s muscular approach to early electric blues. His arrangements feel urgent and driving, anchored by rhythm sections that refuse to sit still. There’s a rawness here — less polish, more propulsion.

From there, the program slides into Texas territory with Lightnin’ Hopkins. “Death Bells,” “Racetrack Blues,” and “Shining Blues” strip things back emotionally even as the electricity remains. Hopkins’ playing is loose but deliberate, his vocals conversational yet heavy with experience. He sounds like a man who’s seen enough to tell you exactly how it’s going to end.

Roscoe Gordon adds Memphis groove with “Let’s Get High,” “New Orleans L.A.,” and “I Don’t Like It.” Gordon’s signature loping rhythm creates tension and release at the same time — slightly off-center in a way that feels hypnotic rather than unstable. It’s dance music for people who understand blues.

Humor and bite arrive courtesy of Willie Mabon on “Say Man” and “I’m Mad.” Mabon’s delivery carries that sly Chicago edge — conversational, a little sarcastic, entirely self-assured. The blues has always had room for personality, and Mabon fills it easily.

The guitar spotlight sharpens with Earl Hooker. “Dust My Broom,” “You Took All My Love,” and “Hot & Heavy” reveal Hooker’s fluid slide work — precise, melodic, and surprisingly modern in feel. Hooker’s tone glides rather than bites, but there’s no mistaking its power.

Finally, the hour closes with the icy precision of Albert Collins. “Koll Aide” and “Tongue Lashing” deliver that signature stinging Telecaster attack. Collins doesn’t waste notes. Each one lands like a clean strike, sharp and unmistakable. It’s a fitting finale — tight, controlled, and electrifying.

Hour Four stands as the high-voltage centerpiece of the broadcast. After the historical deep dive of the Dixon interview, this set reminds listeners why that history matters. These artists didn’t just preserve the blues — they expanded it, amplified it, and sent it roaring into the modern era.

Hour Four Playlist

Gangster of Love – Johnny Guitar Watson

Sweet Lovin’ Mama – Johnny Guitar Watson

Three Hours Past Midnight – Johnny Guitar Watson

Sad as a Man Can Be – Ike Turner

No Coming Back – Ike Turner

Just One More Time – Ike Turner

Death Bells – Lightnin’ Hopkins

Racetrack Blues – Lightnin’ Hopkins

Shining Blues – Lightnin’ Hopkins

Let’s Get High – Roscoe Gordon

New Orleans L.A. – Roscoe Gordon

I Don’t Like It – Roscoe Gordon

Say Man – Willie Mabon

I’m Mad – Willie Mabon

Dust My Broom – Earl Hooker

You Took All My Love – Earl Hooker

Hot & Heavy – Earl Hooker

Koll Aide – Albert Collins

Tongue Lashing – Albert Collins