Hour Five of this week’s Blues Before Sunrise eases into the early morning hours with a carefully balanced blend of jazz sophistication, rhythm & blues emotion, and classic blues storytelling. Following a program that traveled from swing-era orchestras to prewar country blues and postwar Chicago electric blues, the final hour provides a smooth and reflective conclusion.

The Ink Spots open the set with “The Sweetest Dream,” immediately establishing the warm, intimate mood that defines much of the hour. Their unmistakable vocal blend remains one of the most influential sounds in popular music, combining harmony singing with gentle storytelling that still feels timeless.

Cannonball Adderley follows with “Never Been in Love Before,” bringing modern jazz sophistication to the broadcast. His lyrical phrasing and melodic imagination create a relaxed atmosphere that flows naturally into Dinah Washington’s “I Wanna Be Around.” Washington’s ability to communicate both strength and vulnerability makes even the simplest lyric feel deeply personal.

Arthur Prysock’s “Willow Weep for Me” continues the romantic mood with rich baritone vocals and elegant orchestral backing, while Groove Holmes contributes “Speak Low,” adding the warm textures of jazz organ that became one of his signatures. Together, these recordings create a sophisticated late-night setting, perfect for listeners settling into the final hour of the program.

Ruth Brown shifts the mood slightly with “Someday” and “It’s All in Your Mind.” Known as one of the defining voices of early rhythm & blues, Brown combines emotional honesty with effortless vocal power. Her performances bridge the gap between jazz balladry and the bluesier material that follows.

Sonny Boy Williamson II takes center stage next with “Cool Cool Blues” and “I Cross My Heart.” His relaxed vocal delivery and expressive harmonica work provide a masterclass in understated blues performance. Unlike more aggressive electric blues players, Sonny Boy often allowed space and subtlety to do the heavy lifting, creating performances that feel conversational and deeply human.

Jr. Parker’s “Sweet Home Chicago” offers a fresh interpretation of a blues standard before Freddy King brings sharp guitar-driven energy with “Side Tracked.” King’s powerful playing injects momentum into the latter part of the hour without disrupting its overall after-hours atmosphere.

Tiny Kennedy contributes “Early in the Morning” and “Don’t Lay This Jive on Me,” both showcasing the energetic rhythm-and-blues style that flourished during the 1950s. L.J. Thomas’ “Sam’s Drag” keeps the groove moving before Little Milton’s “So Mean to Me” adds a dose of soul-blues heartbreak.

Bobby Bland closes the vocal portion of the hour with “I Don’t Believe,” demonstrating why he remains one of the greatest interpreters of blues and soul. His ability to convey disappointment, longing, and resilience in a single performance remains unmatched.

As always, Fleetwood Mac’s “Albatross” provides the final word. Its gentle instrumental beauty offers a peaceful farewell, allowing listeners to drift away after another five-hour journey through the history of Black American music.

Playlist – Hour Five

The Sweetest Dream – Ink Spots
Never Been in Love Before – Cannonball Adderley
I Wanna Be Around – Dinah Washington
Willow Weep for Me – Arthur Prysock
Speak Low – Groove Holmes
Someday – Ruth Brown
It’s All in Your Mind – Ruth Brown
Cool Cool Blues – Sonny Boy Williamson II
I Cross My Heart – Sonny Boy Williamson II
Sweet Home Chicago – Jr. Parker
Side Tracked – Freddy King
Early in the Morning – Tiny Kennedy
Don’t Lay This Jive on Me – Tiny Kennedy
Sam’s Drag – L.J. Thomas
So Mean to Me – Little Milton
I Don’t Believe – Bobby Bland
Albatross – Fleetwood Mac