Hour Five of this week’s Blues Before Sunrise provides a relaxed, late-night descent after the piano-driven intensity of the previous two hours. While the spotlight shifts away from the keyboard masters, the spirit of postwar blues remains, carried through smooth jazz phrasing, understated vocals, and a steady return to electric blues roots. It’s an hour built for winding down—but not checking out.

The Ravens open with “Someday,” their rich vocal harmonies immediately setting a calm, reflective tone. That feeling carries into Wes Montgomery’s “Gone With the Wind,” where his guitar work glides effortlessly, offering a warm and melodic transition into the hour. Joe Williams’ “I’ll Follow You” continues the smooth vocal approach, grounded in jazz but never far from the blues.

Betty Carter’s “Remember” adds a more nuanced and expressive vocal layer, her phrasing stretching the emotional space of the song. Shirley Scott follows with “Cute,” bringing the organ back into focus—subtle, grooving, and perfectly suited to the late-night mood.

Ted Taylor’s “If I Don’t See You Again” and “Hold Me Tight” deepen the emotional tone, leaning into themes of love and longing with a restrained but powerful delivery. From there, Jimmy Reed shifts the sound back toward stripped-down blues with “Ain’t That Lovin’ You” and “I Wanna Be Loved.” Reed’s laid-back style and hypnotic rhythm provide a grounding effect, pulling the hour closer to the core of the blues.

Jimmy Rogers continues that Chicago blues thread with “Left Me With a Broken Heart,” a track that carries both emotional weight and a steady groove. Howling Wolf follows with “Backdoor Man” and “I’m Leavin’ You,” bringing a raw, commanding presence that cuts through the smoother textures earlier in the hour. His voice adds grit and intensity, reminding listeners of the blues’ deeper, more primal edge.

Magic Sam’s “Magic Rocker” injects a bit of forward momentum, blending traditional blues with a more modern electric feel. A.C. Reed’s “That Ain’t Right” keeps things moving, while James “T-Bird” Davis’ “Your Turn to Cry” adds a soulful, expressive vocal performance that bridges blues and early soul.

Lillian Offitt’s “Shine On” provides one last vocal highlight—strong, direct, and emotionally grounded—before Chuck Berry’s “Wee Wee Hours” closes the main set. Berry’s slower, blues-based side often gets overshadowed by his rock and roll hits, but here he delivers a fitting late-night performance that ties the hour back to its roots.

And then, as always, the journey ends with “Albatross.” After five hours of music, it serves as a quiet, reflective closing statement—letting everything settle before the silence returns.

Hour Five doesn’t demand attention—it earns it through feel, tone, and restraint. It’s the kind of hour that stays with you long after it ends.

Playlist – Hour Five

Someday – Ravens
Gone With the Wind – Wes Montgomery
I’ll Follow You – Joe Williams
Remember – Betty Carter
Cute – Shirley Scott
If I Don’t See You Again – Ted Taylor
Hold Me Tight – Ted Taylor
Ain’t That Lovin’ You – Jimmy Reed
I Wanna Be Loved – Jimmy Reed
Left Me With a Broken Heart – Jimmy Rogers
Backdoor Man – Howling Wolf
I’m Leavin’ You – Howling Wolf
Magic Rocker – Magic Sam
That Ain’t Right – A.C. Reed
Your Turn to Cry – James “T-Bird” Davis
Shine On – Lillian Offitt
Wee Wee Hours – Chuck Berry
Albatross – Fleetwood Mac