Hour Three of this week’s Blues Before Sunrise reaches back into the prewar era, delivering a powerful stretch of country blues, early urban recordings, and spiritual material that reflects the foundation of the entire program. This is where the blues feels closest to its source—intimate, unfiltered, and deeply human.

The hour opens with a strong presence from Blind Willie McTell, whose recordings—“Your Time to Worry,” “Southern Can Mama,” and “Hillbilly Willie”—showcase his intricate guitar work and relaxed, storytelling vocal style. McTell’s playing is fluid and precise, carrying both rhythm and melody in a way that defines the East Coast blues tradition. His music sets the tone: thoughtful, detailed, and grounded in lived experience.

Blind Boy Fuller follows with “What’s That Smells Like Fish,” bringing a lighter, more playful edge while still rooted in strong guitar rhythms. From there, Skip James’ “Cypress Grove” shifts the mood dramatically. His haunting falsetto and unconventional guitar tuning create a sense of tension and isolation, offering one of the hour’s most emotionally striking moments.

Henry Townsend’s “Long Ago Blues” and Blind Lemon Jefferson’s “Matchbox Blues (#4)” continue the exploration of early blues styles, each artist bringing a distinct regional voice. Jefferson’s influence is especially notable—his phrasing and guitar work helped shape generations of blues musicians.

Jaybird Coleman’s “No More Good Water” adds a rare sound with harmonica at the forefront, while Ma Rainey’s “Don’t Fish in My Sea” reminds listeners of the commanding presence of classic female blues singers. Her voice carries authority and attitude, balancing the more introspective performances that surround it.

The hour continues to build with Mattie Hite’s “Texas Twist” and Mazel Meyers’ “Graveyard Blues,” both contributing to the rich variety of early blues expression. Coot Grant & Sox Wilson bring a touch of humor and theatricality, while Georgia White’s “Rattlesnakin’ Daddy” and “Get ‘Em From the Peanut Man” inject personality and rhythm into the set.

As the hour progresses, the focus gradually shifts toward spiritual material. Rev. Lonnie Farris’ “Golden Street” and “I’m So Happy & So Free” introduce a more uplifting tone, blending gospel themes with blues feeling. The transition feels natural—less a shift than a continuation of the same emotional thread.

The Hall-Johnson Choir closes the hour with “Great Camp Meeting” and “A City Called Heaven,” delivering full, powerful vocal arrangements that elevate the mood while maintaining the depth established throughout the set. Their performances bring a sense of resolution, offering a spiritual counterbalance to the struggles expressed earlier in the hour.

Hour Three stands as one of the most historically rich segments of the program. It captures the blues in its earlier forms—acoustic, direct, and deeply connected to both personal and communal experience. By the time it ends, the listener has traveled through a wide emotional landscape, from humor and hardship to hope and redemption.

Playlist – Hour Three

Your Time to Worry – Blind Willie McTell
Southern Can Mama – Blind Willie McTell
Hillbilly Willie – Blind Willie McTell
What’s That Smells Like Fish – Blind Boy Fuller
Cypress Grove – Skip James
Long Ago Blues – Henry Townsend
Matchbox Blues (#4) – Blind Lemon Jefferson
No More Good Water – Jaybird Coleman
Don’t Fish in My Sea – Ma Rainey
Texas Twist – Mattie Hite
Graveyard Blues – Mazel Meyers
Mama Didn’t Do It – Coot Grant & Sox Wilson
Rattlesnakin’ Daddy – Georgia White
Get ‘Em From the Peanut Man – Georgia White
Golden Street – Rev. Lonnie Farris
I’m So Happy & So Free – Rev. Lonnie Farris
Great Camp Meeting – Hall-Johnson Choir
A City Called Heaven – Hall-Johnson Choir