Hour Three of this week’s Blues Before Sunrise journeys back to the formative years of recorded blues, exploring a fascinating collection of performances from artists whose music helped establish the foundation of the genre. From country blues and classic female blues to barrelhouse piano and early urban recordings, this hour offers a rich portrait of the blues during its most creative and influential period.

The program opens with Barbecue Bob’s “Chocolate to the Bone” and the two-part “Darktown Gamblers.” One of Atlanta’s most important blues musicians, Barbecue Bob developed a distinctive guitar style that blended ragtime influences with the emerging sounds of country blues. His recordings remain among the most engaging examples of early Southern blues.

George Carter’s “Ghostwoman Blues” follows with a haunting performance that captures the storytelling traditions at the heart of the blues. Champion Jack Dupree then contributes “Black Woman Swing” and “Morning Tea,” offering an early glimpse of the piano style that would later make him one of the most beloved blues performers of the postwar era.

Bessie Smith takes center stage with three outstanding selections: “On Revival Day,” “Baby Have Pity on Me,” and “New Orleans Hop Scop Blues.” Known as the Empress of the Blues, Smith possessed one of the most commanding voices in American music. Her recordings combined technical brilliance with emotional honesty, helping establish the blues as a major force in the recording industry.

Tommy Johnson’s “Big Fat Mama” demonstrates the haunting vocal delivery and innovative guitar work that made him one of the most influential Delta blues artists. William Harris follows with the memorable “Keep Your Man Out of Birmingham,” while Freddie Spruell contributes “4A Highway,” a recording that reflects the mobility and changing landscapes that often shaped blues narratives.

Willie Lofton appears with “Poor Boy Blues” and “Dirty Mistreater,” both performances rich with the themes of heartbreak and perseverance that run throughout blues history. Though less widely known than some of his contemporaries, Lofton’s recordings reveal a talented artist whose work deserves greater recognition.

The final portion of the hour belongs to Lizzie Miles, whose warm and expressive voice shines on “Georgia Gigalo,” “Don’t Tell Me Nothin’ Bout My Man,” and “He’s Red Hot to Me.” Miles successfully bridged the worlds of blues and jazz, bringing sophistication and personality to every recording she made.

Together, these performances create a vivid snapshot of blues music during the late 1920s and early 1930s. The artists featured here helped define the language, themes, and musical approaches that would shape generations of musicians. Their recordings continue to serve as essential documents of American cultural history and remain every bit as compelling today as when they were first recorded.

Playlist – Hour Three

Chocolate to the Bone – Barbecue Bob
Darktown Gamblers, Parts I & II – Barbecue Bob & Laughing Charlie
Ghostwoman Blues – George Carter
Black Woman Swing – Champion Jack Dupree
Morning Tea – Champion Jack Dupree
On Revival Day – Bessie Smith
Baby Have Pity on Me – Bessie Smith
New Orleans Hop Scop Blues – Bessie Smith
Big Fat Mama – Tommy Johnson
Keep Your Man Out of Birmingham – William Harris
4A Highway – Freddie Spruell
Poor Boy Blues – Willie Lofton
Dirty Mistreater – Willie Lofton
Georgia Gigalo – Lizzie Miles
Don’t Tell Me Nothin’ Bout My Man – Lizzie Miles
He’s Red Hot to Me – Lizzie Miles