Hour three of this week’s Blues Before Sunrise was the heart of the broadcast, as Steve unveiled his Top 15 Classic Blues Singers. This special feature celebrated the women who shaped the blues in the 1920s, the trailblazers who took the music from back rooms and tent shows to the recording studio. Their voices carried stories of resilience, joy, heartbreak, and survival — and they laid the foundation for everything that followed in jazz, gospel, and R&B.
The hour opened with Bessie Smith, the “Empress of the Blues,” performing “He’s Got Me Goin’.” Bessie’s commanding voice and dramatic phrasing defined the classic blues era, selling more records than any other female blues singer of her time. She set the standard for emotional intensity and vocal strength.
Next came Ma Rainey, often called the “Mother of the Blues,” with “Don’t Fish in My Sea.” Ma’s earthy delivery and stage presence were legendary, and she served as a mentor to younger singers like Bessie Smith. Her music reflected the lived experience of Southern Black communities, with a directness that still feels raw today.
Ethel Waters, another giant of the era, appeared with “Take Your Black Bottom Outside.” Waters straddled blues, jazz, and pop, eventually becoming a Broadway and Hollywood star. Her versatility showed how the blues could move seamlessly into mainstream culture.
With “I Want a Two-Fisted Double-Jointed Man,” Clara Smith offered a bold, humorous take on relationships. Clara, no relation to Bessie, was known for her witty lyrics and assertive style, which brought a playful energy to the classic blues canon.
Ida Cox followed with “So Soon This Morning.” Nicknamed the “Uncrowned Queen of the Blues,” Cox was both a singer and a songwriter, penning many of her own lyrics. Her songs often addressed female independence and resilience, themes that made her a pioneering voice for women in the genre.
Alberta Hunter’s “He’s a Darn Good Man” highlighted her supple, expressive voice. Hunter had a long career, recording in the 1920s and then making a celebrated comeback in the 1970s. Her work balanced sophistication with earthy blues storytelling.
Sippie Wallace contributed “Morning Dove Blues.” Known as the “Texas Nightingale,” Wallace wrote and sang with a distinctive clarity, and her songs were later revived by Bonnie Raitt, demonstrating her lasting influence.
With “Can’t Be Bothered with No Sheik,” Rosa Henderson added humor and sass. Henderson was a prolific recording artist in the 1920s, though she never achieved the same fame as Bessie or Ma. Her playful lyrics and strong delivery deserve greater recognition.
Viola McCoy followed with “Michigan Water Blues,” showcasing her light, lyrical phrasing. McCoy’s voice stood out for its sweetness, even when tackling weighty themes.
The first woman ever to record the blues, Mamie Smith, was featured with “The Lure of the South.” Her 1920 hit “Crazy Blues” opened the door for an entire generation of Black women singers to record, launching the classic blues era itself.
Trixie Smith’s “My Man Rocks Me” brought more humor and innuendo, reminding listeners that classic blues singers often combined entertainment with social commentary.
Sara Martin, with “Sugar Blues,” added her rich contralto voice to the mix. Martin, sometimes called the “Greatest of Them All,” was known for her powerful presence and successful stage career.
Maggie Jones sang “Early Every Morning,” bringing theatricality and a wide vocal range. She often incorporated vaudeville elements into her performances, which helped her reach broad audiences.
Lucille Hegamin contributed “Arkansas Blues.” As one of the earliest women to record the blues after Mamie Smith, Hegamin brought a jazz-inflected style that blended smoothly with the burgeoning dance-band sound.
The hour closed with Monette Moore’s “Going Down to the Levee.” Moore was versatile, singing blues, jazz, and popular tunes, and her recordings remain a testament to the breadth of talent in the classic blues era.
This extraordinary lineup represented not just fifteen singers, but the very foundation of recorded blues. These women turned personal stories into enduring art, and their recordings remain vital documents of American history. By placing them together, Steve reminded listeners of their collective power, influence, and legacy. Hour three was both a history lesson and a celebration — proof that the voices of a century ago still ring strong and true today.
Hour 3 Playlist
- He’s Got Me Goin’ – Bessie Smith
- Don’t Fish in My Sea – Ma Rainey
- Take Your Black Bottom Outside – Ethel Waters
- I Want a Two-Fisted Double-Jointed Man – Clara Smith
- So Soon This Morning – Ida Cox
- He’s a Darn Good Man – Alberta Hunter
- Morning Dove Blues – Sippie Wallace
- Can’t Be Bothered with No Sheik – Rosa Henderson
- Michigan Water Blues – Viola McCoy
- The Lure of the South – Mamie Smith
- My Man Rocks Me – Trixie Smith
- Sugar Blues – Sara Martin
- Early Every Morning – Maggie Jones
- Arkansas Blues – Lucille Hegamin
- Going Down to the Levee – Monette Moore