Up next, we’re rolling back the clock to the raw, rootsy sounds of pre-war country blues — 78s, field recordings, and deep cuts from the 1920s and ’30s. You’ll hear legends like Big Bill Broonzy, Sleepy John Estes, and Blind Boy Fuller alongside lesser-known voices like Julia Moody and Richard Trice — all telling stories of heartbreak, travel, temptation, and faith. It’s scratchy, it’s soulful, and it’s the real foundation of American music. Settle in — this is Blues Before Sunrise.
My Old Lizzie – Big Bill Broonzy
Recorded in 1937, this song features Broonzy’s mellow yet authoritative acoustic guitar and warm baritone. It’s an example of his early recording era just before he fully embraced Chicago blues .
Eagle Ridin’ Papa – Georgia Tom Dorsey
A rare secular cut from Thomas A. “Georgia Tom” Dorsey — the man later called the “father of gospel music.” This recording showcases his blues piano prowess before he devoted himself entirely to gospel .
Pile Drivin’ Blues – Kansas Joe McCoy
McCoy’s driving syncopated guitar and gritty vocals reflect the rural-to-urban 1930s blues evolution. A field-inspired performance reminiscent of itinerant train riders and drifters.
Shake That Thing – Kokomo Arnold
A 1936 tune penned by Papa Charlie Jackson and popularized by Arnold’s barnstorming, slide‑heavy interpretation. Expect bold vocals and playful, rhythmic intensity .
Come on Mama, Do That Dance – Tampa Red
From his collaboration with Georgia Tom, this 1930s hokum blues tune blends seductive lyrics with Tampa Red’s sparkling slide guitar and melodic sensibility .
Stop That Thing – Sleepy John Estes
Essence of country blues from the late 1930s. Estes’s plaintive vocals and loose, emotive guitar create a raw, intimate vibe — ideal for firelit front-porch listening.
Before Long – Funny Paper Smith
An obscure 78-era cut featuring playful lyrics and smooth fingerpicking — a hidden gem that highlights the creativity bubbling under the mainstream.
She Walks Like a Maltese Cat – Lee Green
A sultry blues-lullaby from the late 1930s, blending feline grace in its lyrics with breathy vocals and delicate guitar framing.
Last Night Blues – Julia Moody
A rare female blues voice from the 1930s. Moody’s expressive vocal delivery brings a poignant, lament-filled story to this classic country-blues heartbreak track.
The Lover & the Beggar – Sam Theard
Showcases Theard’s theatrical storytelling, mixing humor and pathos over a stripped-down blues trio setup — evocative of vaudeville-inflected blues.
Good Ole By‑Gone Days – Charles & Effie Tyus
A sentimental duet with nostalgic harmonies, blending early country and blues elements — possibly self-penned to evoke lost-time yearning.
Texas Bound Blues – Margaret Thornton
A train-centered country blues with Thornton’s stirring vocals layered over repetitive guitar riffing — suits travel-themed broadcasts.
Talking with Jesus – Bull City Red
Early gospel-blues hybrid featuring resonant call-and-response vocals alongside a slide guitar, bridging secular and spiritual traditions.
Can’t You Wait Til You Get Home – Frankie Half‑Pint Jaxon
A lively, theatrical urban blues performance with humorous lyrics and charismatic vocals. Jaxon’s style reflects his reputation as a famed entertainer.
Come Back Baby – Walter Davis
A lush, jazzy piano blues from the late 1930s. Davis’s smooth vocals and refined piano reflect the crossover between blues and early jazz scenes.
Trembling Bedsprings Blues – Richard Trice
A haunting late‑’30s country blues, minimalist and evocative. Trice’s lyrics paint late-night loneliness with tremors and shudders in the music.
Touch It Up a Little – James DeBerry
A playful track with flirtatious lyrics and upbeat guitar — DeBerry’s style captures the light-heartedness sometimes found in hokum blues.
Weeping Willow – Blind Boy Fuller
Fuller’s influential Piedmont-style fingerpicking leads this mournful yet technically sophisticated blues ballad. A touchstone of 1930s acoustic blues.
Didn’t It Rain – Norfolk Jubilee Quartet
A classic spiritual from a jubilee-style quartet. Rich vocal harmonies and joyful expression rooted in African-American church tradition.