Hour Two of this week’s Blues Before Sunrise creates a fascinating bridge between postwar rhythm & blues, sophisticated vocal jazz, and gospel quartet traditions. The hour moves naturally from urban blues and dance rhythms into spiritually rooted harmony singing, while also spotlighting the final chapter of the program’s long-running Ethel Waters series.

Charles Brown opens with “Seven Long Days,” immediately establishing a relaxed but emotionally heavy atmosphere through his smooth piano playing and understated vocal style. Wynonie Harris quickly changes the mood with “All She Wants to Do Is Rock,” bringing jump blues energy and humor into the mix. Harris’ performance reflects the growing excitement and dance-oriented direction rhythm & blues was taking during the late 1940s.

Percy Mayfield’s “Lost Love” slows the pace again, offering one of the hour’s most emotionally sophisticated performances. His songwriting always carried a reflective, almost poetic quality, contrasting beautifully with Amos Milburn’s rowdy “Chickenshack Boogie.” Together, these artists demonstrate the incredible stylistic range within early rhythm & blues.

Ruth Brown’s “Can’t Hear a Word You Say” and Richard Berry’s “Sweet Sugar You” continue the urban R&B feel, while Gatemouth Moore and Professor Longhair bring strong regional identities into the hour. Moore’s “Teasin’ Brown” carries deep Southern blues roots, while Longhair’s “Hey Now Baby” injects unmistakable New Orleans rhythm and piano energy.

Mickey & Sylvia’s “No Good Lover” introduces smooth vocal harmony and early soul influences before the program shifts focus toward Ethel Waters. Her performances on “Taking a Chance on Love,” “Honey in the Honeycomb,” “Cabin in the Sky,” and “Love Turned Out the Light” remind listeners why the 60-week Ethel Waters series has been such a rewarding journey. Waters could move effortlessly between jazz, blues, popular song, and theatrical performance while maintaining emotional clarity and warmth in every recording.

As the hour progresses, the secular themes gradually give way to gospel music. The Seven Stars Quartet’s “We’ll All Rise Together” introduces rich vocal harmony rooted in church tradition. Rev. J.M. Gates follows with the powerful sermon recording “Are You Bound for Heaven or Hell,” one of the hour’s most historically significant moments. Gates’ dramatic preaching style influenced both gospel performance and later rhythm & blues vocal delivery.

The closing stretch belongs to classic gospel quartet singing through the Harmonizing Four, Wings Over Jordan, and Swan Silvertones. “I Shall Not Be Moved,” “Plenty Good Room,” “Pass Me Not,” and “Careless Soul” bring the hour to a deeply spiritual conclusion, preparing listeners for the more historically rooted prewar blues selections featured in Hour Three.

Hour Two succeeds because it highlights how closely connected these musical traditions truly were. Blues, jazz, rhythm & blues, and gospel constantly borrowed from one another, sharing vocal styles, emotional themes, and performance techniques. The result is an hour that feels unified despite spanning multiple genres and generations.

Playlist – Hour Two

Seven Long Days – Charles Brown
All She Wants to Do Is Rock – Wynonie Harris
Lost Love – Percy Mayfield
Chickenshack Boogie – Amos Milburn
Can’t Hear a Word You Say – Ruth Brown
Sweet Sugar You – Richard Berry
Teasin’ Brown – Gatemouth Moore
Hey Now Baby – Professor Longhair
No Good Lover – Mickey & Sylvia
Taking a Chance on Love – Ethel Waters
Honey in the Honeycomb – Ethel Waters
Cabin in the Sky – Ethel Waters
Love Turned Out the Light – Ethel Waters
We’ll All Rise Together – Seven Stars Quartet
Are You Bound for Heaven or Hell – Rev J.M. Gates
I Shall Not Be Moved – Harmonizing Four
Plenty Good Room – Wings Over Jordan
Pass Me Not – Harmonizing Four
Careless Soul – Swan Silvertones