Hour Two of this week’s Blues Before Sunrise explores the rich territory where postwar rhythm and blues meets traditional gospel music. The first half of the hour delivers hard-driving jump blues, early rock-and-roll influences, and heartfelt rhythm-and-blues performances, while the latter portion turns toward sacred music, highlighting the spiritual traditions that remained deeply connected to Black musical culture throughout the twentieth century.

Joe Liggins opens the hour with “I’ve Got a Right to Cry,” bringing his trademark blend of blues feeling and smooth West Coast rhythm. Liggins was one of the most successful rhythm-and-blues artists of the 1940s, and his recordings helped establish the sophisticated sound that would later influence soul music.

Big Joe Turner follows with the powerful “Low Down Dog.” Few singers possessed Turner’s commanding presence, and his booming voice could transform even the simplest lyric into an unforgettable performance. Tiny Bradshaw’s “Well Oh Well” continues the momentum, showcasing one of the key architects of jump blues and early rock-and-roll.

Big Maybelle slows things down with the emotional “Don’t Leave Poor Me,” demonstrating the remarkable vocal strength that made her one of the era’s most distinctive singers. Wild Bill Moore then shifts the mood with “South Parkway” and the appropriately titled “Rock & Roll,” a recording that reminds listeners how the phrase was already appearing in rhythm-and-blues music before the rock era fully emerged.

Cousin Joe’s “Sadie Brown” brings humor and personality to the proceedings, while Wee Willie Wayne contributes both “Junco Partner” and “Cryin’ in Vain.” These recordings draw from the rich musical traditions of New Orleans and the Gulf Coast, blending blues storytelling with infectious rhythms.

The hour continues with Ernie K-Doe’s “A Certain Girl,” years before he would become famous for “Mother-in-Law.” Martha Carter’s “U Can If U Think U Can” and “I’m Through Crying” round out the rhythm-and-blues portion with confidence, determination, and strong vocal performances.

The second half of the hour turns toward gospel music, beginning with the uplifting “Deep River” by Randolph’s Kentucky Jubilee Choir and “Angels Watching Over Me” by the Utica Institute Jubilee Singers. These performances reflect the rich harmony traditions that flourished in churches, schools, and communities throughout the South.

Rev. T.E. Weems contributes the memorable “Devil Is a Fisherman,” while the Fairfield Four deliver the powerful “Jesus Met the Woman at the Well.” The Davis Sisters’ “In the Morning” showcases the emotional intensity and vocal brilliance that made them one of gospel music’s most beloved groups.

The Four Interns offer “Count Your Many Blessings,” and Sallie Martin closes the hour with the stirring “Didn’t It Rain.” Together, these recordings provide a reminder that gospel music was not only a source of spiritual inspiration but also a major influence on blues, rhythm and blues, soul, and eventually rock and roll.

Hour Two demonstrates how closely connected these musical traditions remained. Whether performed in churches, clubs, theaters, or on records, the emotional power of the music transcended boundaries and continues to resonate generations later.

Playlist – Hour Two

I’ve Got a Right to Cry – Joe Liggins
Low Down Dog – Big Joe Turner
Well Oh Well – Tiny Bradshaw
Don’t Leave Poor Me – Big Maybelle
South Parkway – Wild Bill Moore
Rock & Roll – Wild Bill Moore
Sadie Brown – Cousin Joe
Junco Partner – Wee Willie Wayne
Cryin’ in Vain – Wee Willie Wayne
A Certain Girl – Ernie K-Doe
U Can If U Think U Can – Martha Carter
I’m Through Crying – Martha Carter
Deep River – Randolph’s Kentucky Jubilee Choir
Angels Watching Over Me – Utica Institute Jubilee Singers
Devil Is a Fisherman – Rev. T.E. Weems
Jesus Met the Woman at the Well – Fairfield Four
In the Morning – Davis Sisters
Count Your Many Blessings – Four Interns
Didn’t It Rain – Sallie Martin