Hour Two of this week’s Blues Before Sunrise moves with purpose, blending jump blues energy, mid-tempo rhythm and blues, and a closing stretch rooted in gospel conviction. It’s an hour that reflects the everyday push and pull of life—joy and trouble, rhythm and reflection—all carried through voices that defined the late 1940s and early 1950s sound.

Wynonie Harris sets the tone with “Quiet Whiskey,” delivering his signature mix of swagger and rhythm. His performance is loose, confident, and built for movement, immediately establishing a groove that carries into Jimmy Liggins’ “Trouble Good-Bye.” Liggins keeps the momentum going, his band-driven sound emphasizing rhythm and danceability while still grounded in blues structure.

Terry Timmons’ “Your Key Won’t Fit My Door” adds a touch of humor and storytelling, a reminder that blues has always had room for wit alongside its heavier themes. Charlie Singleton’s “Jiving With Dr. Jive” follows with a playful edge, reinforcing that upbeat, personality-driven feel.

Tiny Bradshaw’s “Take the Hands Off the Clock” pushes the rhythm forward with a tighter, more urgent arrangement, while Jimmy T-99 Nelson’s “Little Miss Teasin’ Brown” and “Meet Me With Your Black Dress On” bring a rougher, more direct vocal approach. These tracks lean into the working-class realities often reflected in the blues, delivered with a rawness that feels immediate and unpolished.

Todd Rhodes’ “Dance of the Redskins” shifts the focus toward instrumental rhythm, allowing the band to take center stage. It’s a brief but effective change of pace before Percy Mayfield steps in with “Never Say Naw” and “Ha-Ha in the Day Time.” Mayfield’s style contrasts sharply with the earlier performers—his delivery is smoother, more introspective, and lyrically nuanced, offering a quieter kind of intensity.

Pinetop Smith’s “Jump Steady Blues” reconnects the hour to its piano-driven roots, while Frankie “Half-Pint” Jaxon’s “Take It Easy” brings a relaxed, almost conversational feel. Jimmy Wade’s “Gates Blues” keeps the foundation intact, maintaining that balance between rhythm and storytelling.

Ethel Waters provides a turning point in the hour with “You’re a Sweetheart,” “How Can I Face This Weary World,” and “I’ll Get Along Somehow.” Her performances bridge blues and early popular song, carrying both emotional weight and vocal elegance. She softens the transition into the final segment, where the focus shifts toward gospel.

The closing stretch moves fully into spiritual territory. The Mid-South Singers’ “I’ll Meet You in the Morning” introduces a reflective tone, followed by Rev. A.W. Nix’s “Robbing God,” which delivers a sermon-like intensity rooted in conviction and urgency. The Harmony Kings of Orangeburg’s “Gospel Train” and the Gospel Vocalaires’ “Call Him Anytime” bring the hour to a powerful conclusion, lifting the mood while reinforcing the deep connection between blues and gospel traditions.

Hour Two stands as a bridge within the show. It connects the upbeat swing of the opening hour to the deeper blues focus that follows, all while highlighting the shared emotional ground between secular and sacred music. It’s an hour built on rhythm, feeling, and voice—each track adding another layer to the story.

Playlist – Hour Two

Quiet Whiskey – Wynonie Harris

Trouble Good-Bye – Jimmy Liggins

Your Key Won’t Fit My Door – Terry Timmons

Jiving With Dr. Jive – Charlie Singleton

Take the Hands Off the Clock – Tiny Bradshaw

Little Miss Teasin’ Brown – Jimmy T-99 Nelson

Meet Me With Your Black Dress On – Jimmy T-99 Nelson

Dance of the Redskins – Todd Rhodes

Never Say Naw – Percy Mayfield

Ha-Ha in the Day Time – Percy Mayfield

Jump Steady Blues – Pinetop Smith

Take It Easy – Frankie “Half-Pint” Jaxon

Gates Blues – Jimmy Wade

You’re a Sweetheart – Ethel Waters

How Can I Face This Weary World – Ethel Waters

I’ll Get Along Somehow – Ethel Waters

I’ll Meet You in the Morning – Mid-South Singers

Robbing God – Rev. A.W. Nix

Gospel Train – Harmony Kings of Orangeburg

Call Him Anytime – Gospel Vocalaires