The hour begins modestly enough with “Rice, Red Beans & Turnip Greens” by the Tempo Toppers before immediately launching into Little Richard’s legendary run of hits. “Tutti Frutti,” “Long Tall Sally,” “Slippin’ & A Slidin’,” “Rip It Up,” and “Ready Teddy” still sound thrilling decades after their release. Richard’s pounding piano, ecstatic screams, rapid-fire vocals, and unstoppable rhythm changed the sound of popular music almost overnight. These weren’t simply songs—they were controlled explosions.

“Heebie Jeebies” and “The Girl Can’t Help It” continue the celebration of Richard’s theatrical style and larger-than-life personality. His recordings carried elements of gospel shouting, jump blues, boogie-woogie piano, and Southern rhythm & blues, all fused together with an intensity nobody else could match at the time.

The inclusion of Billy Wright’s “After Awhile,” “Four Cold, Cold Walls,” and “Live the Life” provides important historical context. Wright’s makeup, vocal delivery, and flamboyant stage persona heavily influenced the young Little Richard before fame arrived. Hearing Wright alongside Richard reveals how musical influence and performance style traveled between artists during the early rhythm & blues era.

The second half of the hour continues with more Little Richard classics including “Lucille,” “Jenny Jenny Jenny,” “Keep-A-Knockin’,” and “Good Golly Miss Molly.” These recordings helped establish the blueprint for rock and roll performance itself. Future generations of musicians—from soul singers to hard rock performers—borrowed directly from Richard’s energy, piano attack, and fearless stage presence.

The final stretch of the hour explores the spiritual side of Richard’s life through “In Times Like These” and “It Takes Everything to Serve the Lord.” Throughout his career, Richard repeatedly moved between secular rock and gospel music, wrestling openly with faith, fame, and personal identity. Including these gospel recordings reminds listeners that his musical roots were always deeply connected to the church.

The hour closes triumphantly with “Hey-Hey-Hey-Hey” and “Oh My Soul,” ending the tribute exactly where it belongs: with joy, chaos, rhythm, and pure musical electricity.

Hour One succeeds because it treats Little Richard not merely as a rock star, but as a transformational cultural figure. His recordings broke musical boundaries, challenged social norms, and permanently altered the sound and spirit of American popular music.

Playlist – Hour One

Rice, Red Beans & Turnip Greens – Tempo Toppers
Tutti Frutti – Little Richard
I’m Just a Lonely Guy – Little Richard
Long Tall Sally – Little Richard
Slippin’ & A Slidin’ – Little Richard
Rip It Up – Little Richard
Ready Teddy – Little Richard
Heebie Jeebies – Little Richard
The Girl Can’t Help It – Little Richard
After Awhile – Billy Wright
Four Cold, Cold Walls – Billy Wright
Live the Life – Billy Wright
Lucille – Little Richard
Jenny Jenny Jenny – Little Richard
Keep-A-Knockin’ – Little Richard
Good Golly Miss Molly – Little Richard
In Times Like These – Little Richard
It Takes Everything to Serve the Lord – Little Richard
Hey-Hey-Hey-Hey – Little Richard
Oh My Soul – Little Richard

Jimmy Bell opens with “Stranger in Your Town,” a moody performance that immediately establishes the urban atmosphere running throughout the hour. The Five Blazers follow with “All My Geets Are Gone,” “Dedicated to You,” and “Every Little Dream,” bringing polished vocal harmony and smooth rhythm-and-blues arrangements into the spotlight. Their recordings reflect the growing popularity of sophisticated vocal groups during the late 1940s, balancing blues feeling with pop accessibility.

Prince Cooper’s “It’s a Hit Baby” and “Night Fall” continue the sleek postwar R&B mood, while Sax Mallard’s “The Mojo” introduces a harder instrumental edge built around saxophone-driven dance rhythms. Mallard was one of the central figures in Chicago’s early rhythm & blues scene, and his recordings capture the excitement of clubs where jazz improvisation and blues grooves increasingly overlapped.

Jo Jo Adams’ “Cabbagehead” Parts I & II shifts the energy toward comic storytelling and novelty blues, demonstrating the playful side of the Aristocrat catalog. Gene Ammons’ “The Last Mile” follows with warm tenor saxophone phrasing that adds jazz sophistication to the hour before Tom Archia contributes “McKie’s Jam for Boppers” and “Slimber,” two performances steeped in bebop influence and late-night jam-session atmosphere.

Andrew Tibbs delivers “He’s Got It & Gone” and “In a Traveling Mood,” showcasing the emotionally direct vocal style that helped bridge traditional blues and modern soul singing. Tibbs’ smooth phrasing and dramatic delivery made him one of the strongest vocalists associated with the label during its early years.

Sheba Gibson’s “Mean & Evil Baby” adds sharp blues intensity before Forrest C. Sykes closes the hour with “Tonky Boogie” and “Forrest Has the Blues.” These recordings bring the music back toward rougher blues traditions, full of rolling piano rhythms and earthy emotional realism.

What makes Hour Two especially fascinating is how varied the Aristocrat catalog already sounds during these early years. The label had not yet settled into the classic Chess Records identity listeners later came to recognize. Instead, Aristocrat documented nearly every corner of Black urban music in postwar Chicago—vocal groups, bebop instrumentals, blues shouters, boogie pianists, and dance records all existing side by side.

The hour functions almost like a guided tour through Chicago nightlife in 1947 and 1948. Every recording reflects a different room, a different crowd, and a different side of the city’s rapidly evolving musical culture.

Playlist – Hour Two

Stranger in Your Town – Jimmy Bell
All My Geets Are Gone – Five Blazers
Dedicated to You – Five Blazers
Every Little Dream – Five Blazers
It’s a Hit Baby – Prince Cooper
Night Fall – Prince Cooper
The Mojo – Sax Mallard
Cabbagehead Parts I & II – Jo Jo Adams
The Last Mile – Gene Ammons
McKie’s Jam for Boppers – Tom Archia
Slimber – Tom Archia
He’s Got It & Gone – Andrew Tibbs
In a Traveling Mood – Andrew Tibbs
Mean & Evil Baby – Sheba Gibson
Tonky Boogie – Forrest C. Sykes
Forrest Has the Blues – Forrest C. Sykes

Jump Jackson opens with “Hey Pretty Mama” and “The Greatest Mistake,” bringing strong jump-blues rhythms and lively vocal delivery into the program. His performances carry the dance-oriented spirit that defined much of postwar urban rhythm & blues, balancing humor, heartbreak, and infectious energy.

Horace Palmer’s “Lilacs in the Rain” slows the mood briefly with smooth vocal phrasing and a sophisticated arrangement that leans closer to pop ballad territory. From there, the program shifts decisively into gospel through Rev. Gatemouth Moore’s “The Bible’s Being Fulfilled Everyday” and “Glory Glory Hallelujah.” These recordings are especially significant because Moore had previously been known as a secular blues singer before experiencing a religious conversion. His powerful voice carries the emotional intensity of blues directly into sacred music, blurring the line between the two traditions.

The Dozier Boys then contribute “Big Time Baby,” “All I Need Is You,” and “She’s Gone,” mixing vocal harmony with rhythm-and-blues sensibilities. Their recordings reflect the close relationship between gospel quartet singing and emerging soul vocal groups during the postwar period.

The Seven Melody Men continue the sacred atmosphere with “Rockin’ Lord” and “Nobody Knows – Nobody Cares,” demonstrating how gospel quartets could generate enormous rhythmic momentum using little more than layered voices and hand-driven energy. Even without full instrumental backing, these performances feel vibrant and deeply alive.

Duke Jordan’s instrumental “Bercuese” introduces a jazz interlude before Calvin Bostick delivers a trio of stylish rhythm & blues performances: “I’m in Love with You,” “Fleetwood Blues,” and “People Will Talk.” Bostick’s recordings combine smooth vocals with urban blues arrangements that fit perfectly within the evolving Chicago sound of the era.

Floyd Smith’s “Saturday Night Boogie” injects instrumental energy and dance-floor momentum into the latter part of the hour, while Clarence Samuels’ “I Don’t Love You Mamie” adds rougher blues feeling and direct emotional storytelling.

The hour closes with “Bronzeville Swing” by Skeetz Van, a fitting finale that evokes Chicago’s South Side nightlife and cultural energy. The title itself references Bronzeville, one of the most important centers of Black music and culture in mid-century Chicago, where many of these Aristocrat artists lived, worked, and performed.

Hour Three succeeds because it highlights the diversity often overlooked in discussions of early independent blues labels. Aristocrat Records was never limited to one sound. The label documented sacred music, jazz, jump blues, vocal harmony groups, dance records, and electric blues all at once, capturing a complete cross-section of Black musical life in postwar Chicago.

Playlist – Hour Three

Hey Pretty Mama – Jump Jackson
The Greatest Mistake – Jump Jackson
Lilacs in the Rain – Horace Palmer
The Bible’s Being Fulfilled Everyday – Rev Gatemouth Moore
Glory Glory Hallelujah – Rev Gatemouth Moore
Big Time Baby – Dozier Boys
All I Need Is You – Dozier Boys
She’s Gone – Dozier Boys
Rockin’ Lord – Seven Melody Men
Nobody Knows – Nobody Cares – Seven Melody Men
Bercuese – Duke Jordan
I’m in Love with You – Calvin Bostick
Fleetwood Blues – Calvin Bostick
People Will Talk – Calvin Bostick
Saturday Night Boogie – Floyd Smith
I Don’t Love You Mamie – Clarence Samuels
Bronzeville Swing – Skeetz Van

Sunnyland Slim opens the hour with “Johnson Machine Gun” and “Fly Right Little Girl,” immediately establishing the heavy piano grooves and relaxed but commanding vocal style that made him one of Chicago’s defining blues figures. His performances feel grounded in older Southern traditions while fully embracing the urban electric sound developing in the city’s clubs and taverns.

Muddy Waters follows with “Gypsy Woman” and “Little Anna Mae,” two recordings that reveal his growing transformation into the dominant voice of Chicago blues. Even in these early Aristocrat sides, Muddy’s vocal authority and rhythmic guitar style already sound unmistakable. The stripped-down arrangements leave plenty of room for atmosphere and emotional tension, qualities that would later define the classic Chess Records era.

St. Louis Jimmy contributes “Florida Hurricane” and “So Nice & Kind,” bringing a slightly older blues sensibility into the program. His recordings bridge the gap between prewar blues storytelling and the amplified postwar style emerging around him. There’s still a conversational looseness in his delivery that contrasts beautifully with the harder-edged electric performances surrounding it.

Babyface Leroy raises the energy with “Locked Out Boogie” and “Shady Grove.” His rough vocals and pounding piano rhythms capture the dancehall side of Chicago blues, where boogie rhythms and crowd-moving energy mattered just as much as emotional depth. These recordings sound alive, spontaneous, and deeply tied to working-class nightlife.

Ethel Mae’s “Down the Line” and “Handsome Lover” add strong female vocal presence to the hour, while Robert Nighthawk delivers two of the set’s standout performances with “Sweet Lovin’ Woman” and “Sweet Black Angel.” Nighthawk’s fluid slide guitar work remains one of the most sophisticated sounds in postwar blues. His playing feels smooth and effortless, yet emotionally piercing.

Forest City Joe’s “Special Delivery Man” and “Shady Lane Woman” continue the gritty atmosphere with direct, unpolished performances that reflect the local club scene Aristocrat documented so well. These are not carefully polished studio productions—they sound immediate and deeply human.

The hour closes with Little Johnny Jones performing “Big Town Playboy” and “Shelby County Blues.” Jones’ piano style carries traces of both barrelhouse blues and modern rhythm & blues, helping tie together the hour’s many musical threads. His performances feel celebratory while still carrying the loneliness and resilience at the center of Chicago blues.

What makes Hour Four so compelling is its documentary quality. These Aristocrat recordings preserve a transitional moment before Chess Records became internationally famous. The music still sounds rough around the edges, but that rawness is precisely what gives the hour its power. Listeners hear artists shaping modern electric blues in real time, often without realizing just how influential their recordings would eventually become.

Playlist – Hour Four

Johnson Machine Gun – Sunnyland Slim
Fly Right Little Girl – Sunnyland Slim
Gypsy Woman – Muddy Waters
Little Anna Mae – Muddy Waters
Florida Hurricane – St Louis Jimmy
So Nice & Kind – St Louis Jimmy
Locked Out Boogie – Babyface Leroy
Shady Grove – Babyface Leroy
Down the Line – Ethel Mae
Handsome Lover – Ethel Mae
Sweet Lovin’ Woman – Robert Nighthawk
Sweet Black Angel – Robert Nighthawk
Special Delivery Man – Forest City Joe
Shady Lane Woman – Forest City Joe
Big Town Playboy – Little Johnny Jones
Shelby County Blues – Little Johnny Jones

The Delta Rhythm Boys open the set with “Georgia on My Mind,” delivering rich vocal harmony and understated emotion. Their polished style immediately establishes the hour’s relaxed after-hours mood. Johnny Hodges follows with the dreamy “Day Dream,” his alto saxophone floating effortlessly through Duke Ellington-inspired jazz phrasing and sophisticated melodic lines.

Al Hibbler’s performance of “It Shouldn’t Happen to a Dream” deepens the emotional tone with dramatic vocal interpretation, while Ella Fitzgerald’s “Spring Can Really Hang You Up the Most” adds sophistication and vulnerability. Fitzgerald’s phrasing is subtle and conversational, transforming the song into one of the hour’s most intimate moments.

Melvin Rhyne’s “Blues for Wes” introduces warm organ jazz textures, creating a smoky nightclub atmosphere perfectly suited for late-night listening. The hour then transitions naturally into soul and blues through a remarkable trio of Sam Cooke recordings: “Love Will Find a Way,” “Somebody Have Mercy,” and “Sad Mood.” These performances highlight Cooke’s extraordinary ability to blend gospel emotion, pop accessibility, and blues feeling into something timeless and deeply human.

T-Bone Walker changes the pace with “Sail On Boogie” and “You Don’t Love Me,” reminding listeners of his enormous influence on electric blues guitar. His smooth vocal delivery and elegant guitar phrasing provide a bridge between jazz sophistication and postwar blues.

Grant Jones contributes “Hello Stranger” along with “Hospitality Blues” Parts I & II, bringing a more grounded rhythm & blues energy into the closing stretch. His performances feel looser and more direct, preparing the transition toward the darker emotional mood of Charles Brown.

Brown’s “Black Night” remains one of the defining late-night blues recordings ever made. Its slow tempo, weary vocal delivery, and haunting piano perfectly capture loneliness and heartbreak after midnight. “Without the One You Love” continues that reflective atmosphere, bringing emotional closure to the hour.

As always, Fleetwood Mac’s “Albatross” concludes the program with gentle instrumental calm. After an evening filled with explosive rock and roll tributes, obscure Aristocrat recordings, electric blues pioneers, gospel quartets, and jazz ballads, the final notes of “Albatross” feel like the quiet lights going out at the end of a long night.

Hour Five succeeds because it never rushes. The pacing allows each performance room to breathe, emphasizing mood and emotional depth over intensity. It’s a graceful conclusion to one of the most historically rich broadcasts in recent weeks.

Playlist – Hour Five

Georgia on My Mind – Delta Rhythm Boys
Day Dream – Johnny Hodges
It Shouldn’t Happen to a Dream – Al Hibbler / Duke Ellington
Spring Can Really Hang You Up the Most – Ella Fitzgerald
Blues for Wes – Melvin Rhyne
Love Will Find a Way – Sam Cooke
Somebody Have Mercy – Sam Cooke
Sad Mood – Sam Cooke
Sail On Boogie – T-Bone Walker
You Don’t Love Me – T-Bone Walker
Hello Stranger – Grant Jones
Hospitality Blues Parts I & II – Grant Jones
Black Night – Charles Brown
Without the One You Love – Charles Brown
Albatross – Fleetwood Mac

Cab Calloway dominates the opening portion of the hour with “Geechy Joe,” “Cab Calloway’s Hi-De-Ho,” and “Cab Calloway’s Jitterbug Party.” These recordings showcase the theatrical side of swing music at its peak. Calloway’s voice, humor, and larger-than-life personality helped turn jazz performance into full entertainment spectacle, and the movie soundtrack selections especially reflect the visual excitement associated with the big-band era.

Blanche Calloway follows with a run of elegant and emotionally expressive recordings including “It Looks Like Susie,” “Without That Gal,” “When I Can’t Be With You,” and “Make Me Know It.” While often overshadowed historically by her brother Cab, Blanche brought sophistication and warmth to her recordings, balancing jazz phrasing with blues feeling.

Lil Armstrong’s set shifts the mood toward piano blues and urban nightlife atmosphere. “Safely Locked Up in My Heart,” “Everything’s Wrong,” “Harlem on a Saturday Night,” and “Knock-Kneed Sal” highlight her strong piano style and sharp vocal delivery. Armstrong’s recordings carry both toughness and humor, offering vivid snapshots of city life and late-night entertainment culture.

Eddie Johnson contributes instrumental momentum with “Tip-Toe,” “Twin Rock,” and “Walk Softly.” His recordings provide a dance-oriented rhythmic foundation that keeps the hour moving while adding strong swing-era horn arrangements into the mix.

The final stretch of the hour broadens stylistically. The Four Vagabonds’ “P.S. I Love You” introduces smooth vocal harmony, while Meade Lux Lewis’ “Glendale Glide” delivers classic boogie-woogie piano with rolling left-hand rhythms and energetic improvisation. Josephine Baker’s “La Conga Blicoti” adds an international flavor and cabaret sophistication before Doc Bagby closes the hour with the charming “You’re So Delightful.”

What makes Hour One especially effective is its sense of movement and atmosphere. The performances evoke crowded dance halls, Harlem nightlife, theater stages, and after-hours clubs where jazz, blues, and swing music blended together naturally. Even with the variety of styles represented, the hour maintains a unified spirit built around rhythm, personality, and performance energy.

It’s an opening hour full of confidence and motion—music designed not only to be heard, but experienced.

Playlist – Hour One

Geechy Joe – Cab Calloway
Cab Calloway’s Hi-De-Ho – Cab Calloway
Cab Calloway’s Jitterbug Party – Cab Calloway
It Looks Like Susie – Blanche Calloway
Without That Gal – Blanche Calloway
When I Can’t Be With You – Blanche Calloway
Make Me Know It – Blanche Calloway
Safely Locked Up in My Heart – Lil Armstrong
Everything’s Wrong – Lil Armstrong
Harlem on a Saturday Night – Lil Armstrong
Knock-Kneed Sal – Lil Armstrong
Tip-Toe – Eddie Johnson
Twin Rock – Eddie Johnson
Walk Softly – Eddie Johnson
P.S. I Love You – Four Vagabonds
Glendale Glide – Meade Lux Lewis
La Conga Blicoti – Josephine Baker
You’re So Delightful – Doc Bagby

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

Son House opens the hour with the towering “Preachin’ the Blues” Parts I & II, immediately setting an intense emotional tone. His voice sounds urgent and almost overwhelming, while his guitar playing carries a relentless rhythmic drive. Few recordings capture the spiritual and emotional power of Delta blues more completely than these performances.

Calvin Frazier’s “Highway 51” follows with a looser rural groove, while Rev. Gary Davis’ “I’m Throwing Up My Hands” blends sacred feeling with intricate fingerpicked guitar work. Davis always existed in the space between gospel and blues traditions, and his performance adds a reflective quality to the hour.

Blind Blake’s “Seaboard Stomp” introduces dazzling ragtime guitar technique, full of speed, syncopation, and playful complexity. Jimmy Yancy’s “White Sox Stomp” continues the rhythmic momentum through rolling barrelhouse piano, grounding the music in Chicago’s early blues scene.

The middle section of the hour highlights classic female blues voices and jazz-inflected recordings. Ida Cox’s “Chicago Monkey Man,” Viola McCoy’s “Buzzin’ ‘Round,” Virginia Liston’s “Early in the Morning,” and Ruth Coleman’s “Original Charleston Strut” all reflect the crossover between blues, vaudeville, and dance music during the interwar period. These performances feel theatrical, lively, and deeply connected to urban nightlife culture.

Madelyn Davis’ “Land Lady’s Footstep” injects humor and storytelling into the program before Leroy Carr changes the mood with the haunting “Gone Mother Blues” and “Midnight Hour Blues.” Carr’s smooth piano playing and understated vocal delivery create one of the hour’s most emotionally affecting moments. His style would go on to influence generations of blues and rhythm & blues performers.

Jazz Gillum’s harmonica-centered recordings, “You Are Doing Me Wrong” and “It’s All Over Now,” add another layer of texture. His performances feel intimate and conversational, reflecting the street-level realism that defined so much of early blues music.

The hour closes with “Hammer Ring” by Chain Gang, a recording rooted in labor songs and work rhythms. It serves as a powerful reminder that much of the blues tradition emerged directly from lived hardship, physical labor, and survival. The repetitive rhythm and communal feeling connect the music back to older African American oral traditions while pointing forward toward modern blues and gospel forms.

Hour Three works as both entertainment and historical document. These recordings preserve a musical world built long before commercial radio standardized popular music. Every performance carries regional character, personal style, and emotional immediacy, reminding listeners just how broad and inventive early blues truly was.

Playlist – Hour Three

Preachin’ the Blues Parts I & II – Son House
Highway 51 – Calvin Frazier
I’m Throwing Up My Hands – Rev Gary Davis
Seaboard Stomp – Blind Blake
White Sox Stomp – Jimmy Yancy
Chicago Monkey Man – Ida Cox
Buzzin’ ‘Round – Viola McCoy
Early in the Morning – Virginia Liston
Original Charleston Strut – Ruth Coleman
Land Lady’s Footstep – Madelyn Davis
Gone Mother Blues – Leroy Carr
Midnight Hour Blues – Leroy Carr
You Are Doing Me Wrong – Jazz Gillum
It’s All Over Now – Jazz Gillum
Hammer Ring – Chain Gang

Little Walter opens the hour with a commanding trio of recordings: “Shake Dancer,” “Crazy Mixed-Up World,” and “Blue & Lonesome.” His amplified harmonica style completely changed the instrument’s role in blues music, turning it into something fierce, expressive, and almost horn-like in power. These recordings capture Walter at his best—restless, inventive, and emotionally direct.

Sunnyland Slim follows with “Going Back to Memphis,” “That Woman,” and “Sad & Lonesome.” His piano playing and relaxed vocal style create a slower, heavier groove that balances the intensity of the opening set. Sunnyland Slim always sounded deeply rooted in older Delta traditions even while performing within the electric Chicago scene, and that contrast gives his recordings lasting depth.

Elmore James then raises the temperature dramatically with “Can’t Stop Lovin’,” “Hawaiian Boogie,” and “Quarter Past Nine.” His slide guitar tone cuts through the hour like a siren—loud, emotional, and instantly recognizable. James brought raw urgency to everything he recorded, and these tracks demonstrate why his influence stretches across blues, rock, and soul music alike.

Gabriel Brown provides an interesting shift in texture with “I Get Evil,” “Bad Love,” and “Hold That Train.” His recordings carry traces of earlier acoustic blues traditions while still fitting comfortably within the electric atmosphere of the hour. There’s a looseness and spontaneity to his performances that keeps the set from becoming overly polished.

Ray Agee’s quartet of recordings—“Black Night Is Gone,” “The Wobble-Lou,” “Here Lies My Love,” and “Dream Queen”—adds a smoother West Coast rhythm & blues influence. His vocal delivery and arrangements bring a more melodic and soulful feel into the mix while maintaining strong blues foundations.

The hour closes with John Lee Hooker’s “Stomp Boogie” and “Moanin’ Blues,” two performances built around hypnotic rhythm and repetition. Hooker’s style always felt deeply personal and almost trance-like, driven less by formal structure than by groove and emotional momentum. Ending the hour with Hooker feels entirely fitting because his music represents both the roots and future of electric blues.

Hour Four succeeds because it captures blues music during a period of transformation. Amplification, urban migration, independent labels, and postwar nightlife all shaped these recordings. Yet despite the technological and stylistic changes, the emotional core remains the same—loneliness, resilience, humor, desire, and survival expressed through deeply personal performance.

Playlist – Hour Four

Shake Dancer – Little Walter
Crazy Mixed-Up World – Little Walter
Blue & Lonesome – Little Walter
Going Back to Memphis – Sunnyland Slim
That Woman – Sunnyland Slim
Sad & Lonesome – Sunnyland Slim
Can’t Stop Lovin’ – Elmore James
Hawaiian Boogie – Elmore James
Quarter Past Nine – Elmore James
I Get Evil – Gabriel Brown
Bad Love – Gabriel Brown
Hold That Train – Gabriel Brown
Black Night Is Gone – Ray Agee
The Wobble-Lou – Ray Agee
Here Lies My Love – Ray Agee
Dream Queen – Ray Agee
Stomp Boogie – John Lee Hooker
Moanin’ Blues – John Lee Hooker

The hour opens gently with Marshall Bro’s “I Won’t Believe You Any More,” easing listeners into the late-night mood before Charlie Parker’s “Out of Nowhere” introduces cool, elegant bebop phrasing. Parker’s alto saxophone work brings a sense of sophistication and emotional subtlety, demonstrating why he remains one of jazz’s defining innovators.

Arthur Prysock continues the smooth atmosphere with “Teardrops in the Rain,” while Ella Fitzgerald’s “My One & Only” adds warmth and grace through her effortless phrasing and vocal control. Jimmy Smith follows with the organ-driven “Once in a While,” creating a smoky jazz-club feeling that perfectly fits the overnight character of the broadcast.

Ray Charles contributes two standout performances with “Moonlight in Vermont” and “Basin Street Blues.” These recordings highlight Charles’ remarkable versatility, moving comfortably between jazz standards and blues interpretation while maintaining his unmistakable emotional presence.

As the hour progresses, the focus gradually shifts toward blues and rhythm & blues. Slim Harpo’s “Bobby Sox Baby” introduces a laid-back Louisiana groove, while Jerry McCain’s “Run Uncle John Run” injects playful harmonica-driven energy. Big John Wrencher’s “Goin’ Upstairs” deepens the Chicago blues feel with gritty vocals and driving rhythm.

Junior Wells keeps the momentum moving with “She’s a Sweet One,” and Roscoe Gordon contributes two rhythm-heavy sides, “I’m Gonna Shake It” and “Real Pretty Mama,” both rooted in the Memphis sound that helped shape early rock and roll. Billy “The Kid” Emerson’s “Cherry Pie” continues the dance-floor energy with infectious rhythm and swagger.

The final stretch of the hour leans fully into classic electric blues and rhythm & blues atmosphere. Johnny Morisette’s “Brick” adds a raw, street-level edge, while Memphis Slim’s “Chicago House Rent Party” captures the spirit of crowded neighborhood gatherings where blues music thrived long after midnight. Don & Dewey’s “Justine” pushes things toward early rock and roll with sharp vocal interplay and energetic rhythm.

As always, the journey concludes with Fleetwood Mac’s “Albatross,” a calm instrumental coda that allows the entire five-hour broadcast to drift gently into silence. After an evening filled with swing, gospel, prewar blues, Chicago electric blues, and the final chapter of the Ethel Waters series, the closing selection feels reflective and perfectly earned.

Playlist – Hour Five

I Won’t Believe You Any More – Marshall Bro
Out of Nowhere – Charlie Parker
Teardrops in the Rain – Arthur Prysock
My One & Only – Ella Fitzgerald
Once in a While – Jimmy Smith
Moonlight in Vermont – Ray Charles
Basin Street Blues – Ray Charles
Bobby Sox Baby – Slim Harpo
Run Uncle John Run – Jerry McCain
Goin’ Upstairs – Big John Wrencher
She’s a Sweet One – Jr Wells
I’m Gonna Shake It – Roscoe Gordon
Real Pretty Mama – Roscoe Gordon
Cherry Pie – Billy “The Kid” Emerson
Brick – Johnny Morisette
Chicago House Rent Party – Memphis Slim
Justine – Don & Dewey
Albatross – Fleetwood Mac

Roy Eldridge dominates the opening stretch with a fiery run of performances including “I Remember Harlem,” “All the Cats Join In,” “Ain’t That a Shame,” “Baby What’s the Matter with You,” and “Yard Dog.” Known for his explosive trumpet style and fearless phrasing, Eldridge brings intensity and movement to the hour right from the start. His recordings blend swing jazz with blues-based energy, capturing the restless spirit of the era.

Joe Carroll follows with a set of playful, vocal-driven sides including “Got a Penny Benny,” “Don’t Mess Around with My Love,” “Wha-Wha Blues,” and “Oo-Sho-Be-Doo-Be.” Carroll’s loose, energetic style reflects the growing influence of bebop and jump blues, where humor, rhythm, and improvisation became just as important as melody.

Wild Bill Davis shifts the mood slightly with organ-centered instrumentals like “Indian Summer,” “Theme from the Joe Louis Story,” and “Land of Dreams.” His Hammond organ work adds richness and atmosphere, introducing a smoother, more reflective texture into the hour while still maintaining a strong rhythmic pulse.

Toni Harper brings a softer vocal presence through “Petals on the Pond,” “Saturday Night,” and “Where Flamingos Fly.” Her performances provide an elegant contrast to the more aggressive swing and jump blues recordings heard earlier. The pacing relaxes briefly, allowing the emotional warmth of the vocals to take center stage.

The final portion of the hour expands stylistically while still holding together musically. The Jubilaires’ “Casey Jones” introduces vocal harmony rooted in spiritual and folk traditions, while Gene Rogers’ “Boogie Express” delivers energetic piano-driven swing. Hattie McDaniels adds personality and humor with “Ice Cold Katie,” closing the hour with charm and character.

What makes Hour One particularly effective is its balance between sophistication and spontaneity. The musicianship is polished, but the performances never feel stiff. Jazz, blues, swing, and early rhythm & blues overlap naturally, creating a lively opening chapter that prepares listeners for the deeper blues and gospel explorations still to come later in the night.

Playlist – Hour One

I Remember Harlem – Roy Eldridge
All the Cats Join In – Roy Eldridge
Ain’t That a Shame – Roy Eldridge
Baby What’s the Matter with You – Roy Eldridge
Yard Dog – Roy Eldridge
Got a Penny Benny – Joe Carroll
Don’t Mess Around with My Love – Joe Carroll
Wha-Wha Blues – Joe Carroll
Oo-Sho-Be-Doo-Be – Joe Carroll
Indian Summer – Wild Bill Davis
Theme from the Joe Louis Story – Wild Bill Davis
Land of Dreams – Wild Bill Davis
Petals on the Pond – Toni Harper
Saturday Night – Toni Harper
Where Flamingos Fly – Toni Harper
Casey Jones – Jubilaires
Boogie Express – Gene Rogers
Ice Cold Katie – Hattie McDaniels

Larry Darnell opens with “Do You Love Me Baby,” bringing a smooth vocal style that helped bridge swing-era blues into modern rhythm & blues. Etta James follows with “Be My Lovey Dovey,” already displaying the emotional intensity and vocal power that would later define her legendary career. Her performance carries both youthful energy and deep feeling.

Tommy Ridgely contributes two strong sides, “Booted” and “Wish I Had Never,” adding a New Orleans flavor that gives the hour much of its rhythmic pulse. Griffin Brothers’ “House Near the Railroad Track” continues that momentum, while Floyd Dixon’s “Roll Baby Roll” delivers a piano-driven groove deeply rooted in West Coast blues and boogie traditions.

Cousin Joe’s pair of performances inject personality and humor into the mix. “My Love Comes Tumblin’ Down” and “You Got It Comin’ to Ya” showcase the playful storytelling that has always been central to rhythm & blues. Luke Jones and Sonny Thompson continue the urban nightclub atmosphere, with Thompson’s “Palmetto” offering a smooth instrumental contrast amid the vocal-heavy set.

The hour begins to darken emotionally with Tampa Red’s “Big Stars Falling” and “She’s a Cool Operator.” His guitar work and understated delivery create a more reflective tone, while Walter Davis deepens the mood with “I Can’t See Your Face” and “Angel Child,” recordings full of loneliness and emotional vulnerability.

Ethel Waters then steps in with “Baby What Else Can I Do” and “I Just Got a Letter,” reminding listeners of her remarkable ability to move effortlessly between blues, jazz, and popular song traditions. Her voice carries a theatrical warmth that broadens the emotional range of the hour.

As the hour nears its close, the music begins transitioning toward spiritual territory. The Selah Jubilee Singers’ “There’s Something Within Me” introduces the gospel quartet sound that becomes the centerpiece of Hour Three. Rev. Johnny Blakey’s “The Coming King” continues the shift, and the Silver Echo Quartet closes with “Land of Endless Day,” providing a reverent and uplifting finish.

Hour Two works beautifully as a bridge between worlds. It starts in clubs, dance halls, and late-night blues rooms, then slowly moves toward church harmonies and spiritual reflection. The transition feels completely natural because these musical traditions were never truly separate—they grew from the same communities, emotions, and lived experiences.

Playlist – Hour Two

Do You Love Me Baby – Larry Darnell
Be My Lovey Dovey – Etta James
Booted – Tommy Ridgely
Wish I Had Never – Tommy Ridgely
House Near the Railroad Track – Griffin Brothers
Roll Baby Roll – Floyd Dixon
My Love Comes Tumblin’ Down – Cousin Joe
You Got It Comin’ to Ya – Cousin Joe
Say Hello to Miss Brown – Luke Jones
Palmetto – Sonny Thompson
Big Stars Falling – Tampa Red
She’s a Cool Operator – Tampa Red
I Can’t See Your Face – Walter Davis
Angel Child – Walter Davis
Baby What Else Can I Do – Ethel Waters
I Just Got a Letter – Ethel Waters
There’s Something Within Me – Selah Jubilee Singers
The Coming King – Rev. Johnny Blakey
Land of Endless Day – Silver Echo Quartet

What makes this hour especially striking is the overwhelming use of a cappella performance. Without instrumental backing, the focus falls entirely on the voices: layered harmonies, rhythmic phrasing, call-and-response structures, and deeply expressive lead singing. The recordings may be decades old, but the emotional force remains immediate.

The Golden Leaf Quartet opens with “I Wouldn’t Mind Dyin’,” setting a solemn but deeply committed tone. The Birmingham Jubilee Singers follow with “He Died on Calvary,” their harmonies carrying a raw sincerity that reflects the spiritual intensity of early quartet singing.

The Famous Blue Jay Singers dominate the middle portion of the hour with several selections, including “Clanka Lanka,” “I’m Bound for Canaan Land,” “Standing Out on the Highway,” and “Shall I Meet You Over Yonder.” Their recordings showcase the incredible rhythmic sophistication of quartet music. Even without instruments, the group creates momentum through vocal interplay alone, using repetition and harmony almost like percussion.

The Dunham Jubilee Singers continue that tradition with “Holy Is My Name” and “I Dreamed of Judgement Morning,” blending solemnity with soaring vocal arrangements. By this point in the hour, the listener begins to hear the direct connection between these quartet recordings and the later development of soul music, doo-wop, and rhythm & blues harmony groups.

The Ravizee Singers bring a quieter, more reflective energy through “I Am Thinking of a City,” “You’ll Need My Savior Too,” and “Hide Me.” Their performances feel deeply personal, emphasizing devotion over showmanship.

Toward the end of the hour, the Bessemer Sunset Four and Heavenly Gospel Singers reinforce the rural Alabama roots of the music. “Climbing Jacob’s Ladder” and “Rough & Rocky Road” sound timeless—music built not for commercial success but for community worship and shared experience.

The closing performance, “Lord Give Me Wings” by the Kings of Harmony, feels almost symbolic. After an hour filled with spiritual longing, struggle, hope, and conviction, the song serves as a final lift upward before the program transitions back into secular blues and rhythm & blues in the following hour.

Hour Three is more than a collection of old gospel recordings. It’s preservation work. These performances capture a musical culture that shaped generations of Black American music yet often exists outside mainstream historical narratives. The harmonies, vocal rhythms, and emotional intensity heard here would influence everything from soul to rock and roll. This hour reminds listeners that gospel quartet music wasn’t just adjacent to the blues tradition—it was one of its foundations.

Playlist – Hour Three

I Wouldn’t Mind Dyin’ – Golden Leaf Quartet
He Died on Calvary – Birmingham Jubilee Singers
He’ll Understand – Four Great Wonders
Clanka Lanka – Famous Blue Jay Singers
I’m Bound for Canaan Land – Famous Blue Jay Singers
Standing Out on the Highway – Famous Blue Jay Singers
Shall I Meet You Over Yonder – Famous Blue Jay Singers
Holy Is My Name – Dunham Jubilee Singers
I Dreamed of Judgement Morning – Dunham Jubilee Singers
I Am Thinking of a City – Ravizee Singers
You’ll Need My Savior Too – Ravizee Singers
Hide Me – Ravizee Singers
Climbing Jacob’s Ladder – Bessemer Sunset Four
Rough & Rocky Road – Heavenly Gospel Singers
Where Shall I Be – Heavenly Gospel Singers
Lord Give Me Wings – Kings of Harmony

The Mills Brothers open with “Wish I Had a Brand New Heart,” their smooth harmonies immediately establishing the relaxed tone. Cal Tjader follows with “It’s You or No One,” bringing a cool, understated Latin jazz influence that adds warmth without disrupting the hour’s flow.

Nat King Cole’s “I’m Lost” continues the intimate atmosphere, his voice carrying effortless elegance and emotional restraint. Shirley Horn follows with “How Am I to Know,” delivering one of the hour’s quietest and most emotionally nuanced performances. Her phrasing feels conversational, perfectly suited for the overnight setting.

Larry Young’s “Young Blues” adds a modern jazz texture through organ-driven improvisation, subtly increasing the energy before Sam Cooke steps in with “You Were Made for Me” and “Just for You.” His recordings bridge gospel roots and emerging soul music, offering warmth and sincerity that fit naturally within the late-night sequence.

From there, the hour gradually shifts back toward blues. Sunnyland Slim’s “Everything’s Gonna Be Alright” brings a grounded Chicago blues feel, while Harmonica George’s “Sputnik Music” injects a touch of playful energy. JoJo Williams follows with “Rock & Roll Boogie” and “All Pretty Women,” adding rhythm and momentum without losing the relaxed atmosphere.

Henry Gray’s “How Can You Do It” returns the focus to piano-driven blues, his rolling style connecting back to earlier traditions heard throughout the night. Morris Pejoe’s “Baby I’m Lonely” deepens the emotional tone, leading smoothly into Eddie Clearwater’s “A-Minor Cha-Cha,” which blends blues structure with a lightly danceable rhythm.

The final stretch belongs to Zora Young, whose “Blues Falling Down Like Rain” and “Two Trains Running” close the vocal portion of the hour with strength and emotional depth. Her performances feel timeless—firmly rooted in Chicago blues while still carrying a contemporary edge.

And then, as always, “Albatross” arrives to close the program. Fleetwood Mac’s instrumental remains the perfect ending for Blues Before Sunrise—quiet, spacious, and reflective, allowing the entire five-hour journey to slowly fade into silence.

Hour Five works as a gentle landing after a wide-ranging musical trip. It doesn’t seek a dramatic finish. Instead, it closes with warmth, mood, and the enduring comfort of blues and jazz played deep into the night.

Playlist – Hour Five

Wish I Had a Brand New Heart – Mills Brothers
It’s You or No One – Cal Tjader
I’m Lost – Nat King Cole
How Am I to Know – Shirley Horn
Young Blues – Larry Young
You Were Made for Me – Sam Cooke
Just for You – Sam Cooke
Everything’s Gonna Be Alright – Sunnyland Slim
Sputnik Music – Harmonica George
Rock & Roll Boogie – JoJo Williams
All Pretty Women – JoJo Williams
How Can You Do It – Henry Gray
Baby I’m Lonely – Morris Pejoe
A-Minor Cha-Cha – Eddie Clearwater
Blues Falling Down Like Rain – Zora Young
Two Trains Running – Zora Young
Albatross – Fleetwood Mac

Marion Abernathy starts things off with “Crying the Blues,” a performance that immediately grounds the hour in emotional honesty. From there, Joe Williams takes center stage with a commanding run of recordings including “Everyday I Have the Blues,” “Mean Mistreater,” “Keep Your Hand on Your Heart,” and “Shake, Rattle & Roll.” His delivery is confident and full-bodied, blending big band polish with blues grit. Williams represents a key link between swing-era vocalists and the emerging rhythm and blues style, and this set highlights that balance perfectly.

Dinah Washington follows with a series of standout performances—“I Wanna Be Loved,” “Fine Fine Daddy,” “Big Deal,” and “I Cross My Fingers.” Her voice moves effortlessly between styles, equally comfortable with blues phrasing and more pop-oriented material. She brings both control and emotional depth, adding a layer of sophistication to the hour without losing its blues foundation.

Louis Armstrong anchors the middle portion with “Love Walked In,” “I Can’t Give You Anything but Love,” “Elder Eatmore’s Sermon,” and “The Song Is Ended.” His presence reinforces the deep connection between jazz and blues, his phrasing and tone unmistakable. Whether leaning into humor or delivering a heartfelt ballad, Armstrong’s recordings provide both contrast and continuity.

The Cats & the Fiddle contribute “Mr Rhythm Man,” adding vocal harmony and rhythmic precision, while Albert Ammons’ “Mecca Flats Blues” brings the piano into focus with a driving boogie-woogie style. His performance acts as a subtle reminder of the instrumental force that underpins much of the blues tradition.

Miller & Lyles offer a brief comedic interlude with “The Lost Aviators,” keeping the mood from becoming too heavy, before Bill Doggett closes the hour with “Hi Heels.” His organ-driven sound adds a modern touch, hinting at the direction rhythm and blues would continue to take.

Hour One succeeds by blending vocal strength, instrumental depth, and stylistic variety. It doesn’t rush—it builds. By the time the hour ends, the listener is fully immersed, ready to follow the music as it branches out into rhythm and blues, gospel, and beyond.

Playlist – Hour One

Crying the Blues – Marion Abernathy
Everyday I Have the Blues – Joe Williams
Mean Mistreater – Joe Williams
Keep Your Hand on Your Heart – Joe Williams
Shake, Rattle & Roll – Joe Williams
I Wanna Be Loved – Dinah Washington
Fine Fine Daddy – Dinah Washington
Big Deal – Dinah Washington
I Cross My Fingers – Dinah Washington
Love Walked In – Louis Armstrong
I Can’t Give You Anything but Love – Louis Armstrong
Elder Eatmore’s Sermon – Louis Armstrong
The Song Is Ended – Louis Armstrong
Mr Rhythm Man – Cats & the Fiddle
Mecca Flats Blues – Albert Ammons
The Lost Aviators – Miller & Lyles
Hi Heels – Bill Doggett

Buddy Johnson’s “Kool Kitty” gets things started with a tight band arrangement and a strong rhythmic pulse, setting the tone for a lively, band-driven hour. That energy carries straight into Ella Johnson’s series of recordings, where her vocals move easily between playful and assertive. Tracks like “Gotto Go Upside Your Head” and “Don’t Shout at Me Daddy” showcase the blend of humor, attitude, and emotional clarity that defined much of early R&B.

Pigmeat Markham adds a touch of personality and novelty with “Batter Up,” a reminder that blues and R&B have always made room for storytelling that doesn’t take itself too seriously. From there, Camille Howard steps in with piano-driven sides like “Fiesta in Old Mexico” and “Excite Me Daddy,” bringing a boogie-woogie backbone that keeps the momentum moving.

The heart of the hour belongs to Ethel Waters, whose extended set demonstrates just how wide the blues spectrum could be. Moving from “Bread & Gravy” to “Georgia on My Mind,” her performances carry both emotional weight and stylistic versatility. She bridges earlier jazz-influenced blues with the evolving R&B sound, her voice equally capable of tenderness and strength.

As the hour progresses, the mood begins to shift. The driving rhythms soften, making space for a more reflective close. The Bessemer Sunset Four and Rev. M.L. Gipson introduce a gospel element, bringing spiritual themes into the mix. The Flying Clouds of Detroit close the hour with a sense of reverence, grounding the program in the deep connection between blues and gospel traditions.

Hour Two works as a transition point in the overall show. It moves the listener from the polished swing and jazz vocals of Hour One into a more rhythm-focused, emotionally varied landscape. At the same time, it hints at what’s to come—both the raw roots explored in Hour Three and the electrified energy waiting later in the program.

Playlist – Hour Two

Kool Kitty – Buddy Johnson
Gotto Go Upside Your Head – Ella Johnson
Bout to Break My Heart – Ella Johnson
Don’t Shout at Me Daddy – Ella Johnson
Good Bye Baby – Here I Go – Ella Johnson
Batter Up – Pigmeat Markham
Fiesta in Old Mexico – Camille Howard
Excite Me Daddy – Camille Howard
Bread & Gravy – Ethel Waters
Down in My Soul – Ethel Waters
Georgia on My Mind – Ethel Waters
Stop Worryin’ Myself – Ethel Waters
Old Man Harlem – Ethel Waters
Push Out – Ethel Waters
Don’t You Want That Stone – Bessemer Sunset Four
God Will Protect His Own – Rev. M.L. Gipson
Out of the Depths – Flying Clouds of Detroit

Lonnie Johnson opens with “Swing Out Rhythm,” bringing a level of musical sophistication that hints at the blues’ crossover into jazz. His guitar work is fluid and precise, offering a refined entry point into the hour. But that polish quickly gives way to the rougher textures of artists like Black Ace, whose “Whiskey & Women” and “Four Day Creep” lean into a droning, hypnotic style rooted in Texas blues tradition.

Funny Papa Smith and Cryin’ Sam Collins continue the shift toward rural, emotionally direct performances. Their recordings feel immediate and unfiltered, emphasizing rhythm and repetition over structure. Then comes Bessie Smith with “Midnight Blues,” a reminder of the commanding presence of the classic blues queens. Her voice carries weight and authority, bridging the gap between vaudeville stages and the deeper blues tradition.

Rosa Henderson and Bessie Brown follow with recordings that highlight the diversity within early blues vocal styles—playful, assertive, and often tinged with humor or defiance. But the emotional center of the hour arrives with Robert Johnson. “Stop Breaking Down” and “Traveling Riverside Blues” stand as pivotal recordings, not just for their musical quality but for their influence. His guitar work and vocal phrasing would echo through generations, shaping the sound of modern blues and rock alike.

The hour continues with lesser-known but equally compelling voices. Bessie Tucker’s recordings carry a stark, haunting quality, while Jesse Thomas and Blind Teddy Darby contribute regional variations that expand the sonic landscape. Yank Rachell’s “.38 Pistol Blues” adds a mandolin-driven texture, a reminder that blues instrumentation was never limited to guitar alone.

Closing out the hour, Cow Cow Davenport’s “Alabama Mistreater” brings the piano back into focus, tying this segment subtly to the show’s broader appreciation for blues pianists heard in other episodes. His rhythmic, rolling style offers a different kind of drive—less about melody, more about groove.

Hour Three isn’t just a collection of old recordings—it’s a living archive. These tracks document the blues before it was standardized, before it was electrified, and before it reached mass audiences. It’s music shaped by region, circumstance, and individual voice. Everything that comes later in the show—Chicago blues, R&B, rock ’n’ roll—can be traced back to moments like these.

Playlist – Hour Three

Swing Out Rhythm – Lonnie Johnson
Whiskey & Women – Black Ace
Four Day Creep – Black Ace
Before Long – Funny Papa Smith
Slow Mama Slow – Cryin’ Sam Collins
Midnight Blues – Bessie Smith
Can’t Be Bothered with No Sheiks – Rosa Henderson
I’m Saving It All for You – Rosa Henderson
Nobody But My Baby – Bessie Brown
Stop Breaking Down – Robert Johnson
Traveling Riverside Blues – Robert Johnson
Got Cut All to Pieces – Bessie Tucker
Black Name Moan – Bessie Tucker
Mountain Key Blues – Jesse Thomas
My Laona Blues – Blind Teddy Darby
.38 Pistol Blues – Yank Rachell
Alabama Mistreater – Cow Cow Davenport

Chuck Berry opens the hour with a commanding presence. Tracks like “Rock & Roll Music,” “School Days,” and “Guitar Boogie” define the shift from traditional blues structures into something faster, sharper, and more youth-driven. His guitar style—clean, biting, and rhythmically precise—sets the tone for much of what follows, while his storytelling keeps the music grounded in everyday life.

Bo Diddley’s “Road Runner” adds another layer, built on his unmistakable rhythmic pattern. It’s hypnotic, driving, and unmistakably modern for its time, showing just how far the blues had stretched by the mid-1950s.

From there, the hour leans into Chicago electric blues. Muddy Waters brings a heavier, more deliberate sound with “You Shook Me,” his slide guitar and vocal delivery carrying the weight of Delta roots into an urban setting. Howling Wolf follows with “You Can’t Be Beat,” his raw, booming voice cutting through with authority. Billy Boy Arnold adds a harmonica-driven edge, reinforcing the Chicago sound that would influence generations.

B.B. King provides contrast with a smoother, more melodic approach. His guitar lines sing as much as his voice, adding emotional nuance to “You Know I Got You” and “Growing Old.” Where Berry and Diddley push forward with rhythm and attitude, B.B. King slows things just enough to remind you that the blues is still about feeling first.

The latter half of the hour shifts into a broader R&B direction. Shy Guy Douglas, Clenest Gant, and Larry Birdsong bring a mix of jump blues and early soul energy, while Earl Gaines appears multiple times, anchoring the set with his expressive vocals and steady groove. Ted Jarrett and Christine Kittrell round things out with performances that lean toward the emerging soul sound—polished but still rooted in blues tradition.

By the end of the hour, the transformation is clear. What began decades earlier as acoustic, rural blues has evolved into a fully electrified, rhythm-driven force that would soon dominate popular music. Hour Four doesn’t just showcase great records—it captures a turning point.

Playlist – Hour Four

Rock & Roll Music – Chuck Berry
School Days – Chuck Berry
Guitar Boogie – Chuck Berry
Road Runner – Bo Diddley
You Shook Me – Muddy Waters
You Can’t Be Beat – Howling Wolf
You Got to Love Me – Billy Boy Arnold
You Know I Got You – B.B. King
Growing Old – B.B. King
Let’s Rock & Roll – Shy Guy Douglas
Jump Jump Hi-Ho – Clenest Gant
Do You Love Me – Larry Birdsong
Now Do You Hear – Earl Gaines
Love Me a Long Time – Ted Jarrett
Just What You’re Looking For – Christine Kittrell
Love You So – Earl Gaines
Since You Left Me Behind – Larry Birdsong
Best of Luck Baby – Earl Gaines

The Charioteers open with “Forget If You Can,” their smooth vocal harmony immediately setting a relaxed, late-night atmosphere. Milt Jackson follows with “Cedar Lane,” his vibraphone adding a soft, floating texture that eases the listener into the hour. Johnny Hartman’s “Wee Small Hours of the Morning” continues that mood—rich, intimate, and perfectly suited for the quietest part of the night.

Georgia Carr and Lou Donaldson keep things moving without breaking the spell, their performances balancing subtle swing with understated blues feeling. Savannah Churchill’s pair of recordings—“I Want to Cry” and “Never Belong to Anyone Else”—bring emotional depth, her voice carrying a sense of longing that fits naturally into the hour’s introspective tone.

From there, the program gradually shifts back toward blues. Junior Wells steps in with “Tomorrow Night” and “Come On In This House (Theresa’s),” grounding the hour firmly in Chicago tradition. His harmonica work and vocal phrasing bring a lived-in authenticity that contrasts beautifully with the earlier jazz influences.

Jimmy Anderson and George “Harmonica” Smith pick up the tempo slightly, adding a touch of groove without losing the late-night feel. Smokey Smothers follows with “Hello Little Schoolgirl” and “Drinking Muddy Water,” his guitar work keeping things raw and direct. Eddie Clearwater continues in that vein, bridging traditional blues with a slightly more modern edge.

The final stretch belongs to Stick McGhee, whose “Jungle Juice” and “Ease My Worried Mind” bring a relaxed, almost conversational close to the vocal portion of the hour. His style feels unhurried, perfectly matching the winding-down atmosphere.

And then, as always, the program closes with “Albatross.” After five hours of vocals, rhythms, and stories, its instrumental calm provides a final moment of reflection—an exhale that lets the entire journey settle.

Hour Five doesn’t try to make a statement—it lets the music speak quietly. It’s a closing chapter built on mood, memory, and the enduring simplicity of the blues.

Playlist – Hour Five

Forget If You Can – Charioteers
Cedar Lane – Milt Jackson
Wee Small Hours of the Morning – Johnny Hartman
Softly Baby – Georgia Carr
Gravey Train – Lou Donaldson
I Want to Cry – Savannah Churchill
Never Belong to Anyone Else – Savannah Churchill
Tomorrow Night – Jr Wells
Come On In This House (Theresa’s) – Jr Wells
I Wanna Boogie – Jimmy Anderson
Rockin’ – George “Harmonica” Smith
Hello Little Schoolgirl – Smokey Smothers
Drinking Muddy Water – Smokey Smothers
A Little Bit of Blues – Eddie Clearwater
Jungle Juice – Sticks McGhee
Ease My Worried Mind – Sticks McGhee
Albatross – Fleetwood Mac

Billy Eckstine leads off with a series of recordings that immediately establish a polished, jazz-influenced atmosphere. His rich baritone and smooth delivery on tracks like “I Stay in the Mood for You” and “I Want to Talk About You” bring a level of refinement that contrasts with the rawer blues sounds heard later in the show. Yet even in this setting, the blues remains close to the surface, embedded in the phrasing and emotional tone of his performances.

Lurlean Hunter follows with a set of recordings that soften the mood while maintaining depth. Her interpretations are subtle and controlled, offering a quieter, more intimate listening experience. There’s a warmth in her delivery that balances Eckstine’s formality, creating a natural progression within the hour.

Annisteen Allen adds a touch of rhythm and personality with “Don’t Hesitate Too Long,” “In the Middle of the Night,” and “More More More.” Her vocals carry a sense of confidence and swing, bridging the gap between jazz and the more rhythm-driven sounds of early R&B. She brings a bit of edge to the hour without disrupting its overall flow.

Tiny Grimes shifts the focus toward instrumental work with “125th Street Sunrise,” “Loch Lomond,” and “Annie Laurie.” His guitar-driven approach introduces a different texture, but the rhythmic foundation remains consistent with the show’s broader direction. There’s a sense of movement in these recordings, hinting at the evolution of blues into more modern forms.

The Delta Rhythm Boys provide a brief return to vocal harmony with “I’d Rather Be Wrong,” their tight arrangement adding variety and depth. Pete Johnson’s “Buss Robinson Blues” brings the piano back into focus, offering an early glimpse of the instrument’s central role in the hours ahead. His boogie-woogie style is both energetic and foundational—a reminder of where much of the postwar piano tradition began.

Ernie Freeman’s “Night Sounds” closes the hour with a smooth, understated instrumental that leans into atmosphere. It’s a fitting conclusion—calm, reflective, and slightly anticipatory. By the time the final notes fade, the stage has been set for a deeper exploration of blues, rhythm, and especially piano in the hours to come.

Hour One doesn’t push too hard—it eases the listener in, establishing tone and direction while leaving plenty of room for the music to grow. It’s a quiet but essential beginning to a thoughtfully constructed five-hour journey.

Playlist – Hour One

Baby at Birdland – Baby Lawrence
I Stay in the Mood for You – Billy Eckstine
I Want to Talk About You – Billy Eckstine
Blowing the Blues Away – Billy Eckstine
Opus X – Billy Eckstine
Palm Chant – Lurlean Hunter
I Hadn’t Anyone Till You – Lurlean Hunter
My Home Town Chicago – Lurlean Hunter
I Get a Warm Feeling – Lurlean Hunter
Don’t Hesitate Too Long – Annisteen Allen
In the Middle of the Night – Annisteen Allen
More More More – Annisteen Allen
125th Street Sunrise – Tiny Grimes
Loch Lomond – Tiny Grimes
Annie Laurie – Tiny Grimes
I’d Rather Be Wrong – Delta Rhythm Boys
Buss Robinson Blues – Pete Johnson
Night Sounds – Ernie Freeman

Nappy Brown opens with “Coal Miner,” setting a gritty, blues-soaked tone with his powerful vocal delivery. Charles Brown follows with “Snuff Dippin’ Mama,” bringing a smoother, more relaxed West Coast blues feel. His piano-based style subtly reinforces the show’s larger theme, even before the official spotlight begins.

Bull Moose Jackson’s “I Want a Bowlegged Mama” adds humor and swagger, while Ruth Brown’s “Daddy Daddy” injects energy and vocal authority. Together, they represent the livelier side of early R&B—music built for jukeboxes and crowded rooms, but still rooted firmly in the blues.

Roy Milton’s “Little Boy Blue” continues that rhythmic drive, leading into Eddie “Cleanhead” Vinson’s “It Ain’t Necessarily So,” where jazz phrasing and blues feeling intersect. Ivory Joe Hunter’s “Did You Mean It” slows things down again, offering a more intimate, piano-centered performance that hints at the deeper exploration coming in later hours.

Dave Bartholomew brings a strong New Orleans influence with “Carnival Day” and “That’s How You Got Killed Before,” adding rolling rhythms and a sense of place. Crippled Clarence follows with “Streamline Train” and “Brownskin Girl,” reaching back toward earlier blues traditions while still fitting comfortably within the postwar sound.

Ethel Waters anchors the middle of the hour with a series of recordings—“Lonesome Walls,” “If You Ever Change Your Mind,” “What Goes Up,” and “Y’ Had It Comin’ to Ya’.” Her presence ties together multiple eras of Black music, from vaudeville and early blues to more modern interpretations. Her phrasing and emotional clarity remain as strong as ever, providing a steady center to the hour.

As the hour moves toward its close, the focus shifts to gospel. The Birmingham Jubilee Singers’ “Crying to the Lord” introduces a spiritual tone, followed by Rev. E.D. Campbell’s “Take Me to the Water.” The Five Trumpets’ “My Chains Fell Off” and the National Kings of Harmony’s “Do Not Pass Me By” continue that progression, bringing the hour to a powerful and reflective conclusion.

Hour Two works as both a transition and a foundation. It connects the dots between styles—swing, blues, R&B, and gospel—while quietly reinforcing the importance of the piano and the voices that carried these songs forward. By the time the hour ends, the stage is fully set for the deep dive into postwar piano masters that follows.

Playlist – Hour Two

Coal Miner – Nappy Brown
Snuff Dippin’ Mama – Charles Brown
I Want a Bowlegged Mama – Bull Moose Jackson
Daddy Daddy – Ruth Brown
Little Boy Blue – Roy Milton
It Ain’t Necessarily So – Eddie “Cleanhead” Vinson
Did You Mean It – Ivory Joe Hunter
Carnival Day – Dave Bartholomew
That’s How You Got Killed Before – Dave Bartholomew
Streamline Train – Crippled Clarence
Brownskin Girl – Crippled Clarence
Lonesome Walls – Ethel Waters
If You Ever Change Your Mind – Ethel Waters
What Goes Up – Ethel Waters
Y’ Had It Comin’ to Ya’ – Ethel Waters
Crying to the Lord – Birmingham Jubilee Singers
Take Me to the Water – Rev. E.D. Campbell
My Chains Fell Off – Five Trumpets
Do Not Pass Me By – National Kings of Harmony

Big Maceo opens the hour with a powerful trio: “Worried Life Blues,” “County Jail,” and “Kid Man Blues.” His playing is authoritative and deeply expressive, combining boogie-woogie roots with a slower, more deliberate feel that would become a hallmark of Chicago blues. “Worried Life Blues” in particular stands as one of the defining piano blues recordings—simple, direct, and emotionally resonant.

Sunnyland Slim follows with “Johnson Machine Gun,” “Fly Right Little Girl,” and “Down Home Child,” bringing a raw, rolling style that feels both spontaneous and grounded. His piano work is less structured than Maceo’s, leaning into a looser, more conversational approach that mirrors the storytelling nature of the blues itself.

Memphis Slim continues the progression with “Grinder Man Blues,” “Angel Child,” and “Throw This Poor Dog a Bone.” His style bridges regions and eras—rooted in the South but refined in the urban North. There’s a polish to his playing, but never at the expense of feeling. He brings a sense of balance to the hour, connecting the earlier, rougher edges to a more modern blues sound.

Otis Spann takes the spotlight next with “Otis in the Dark,” “The Hard Way,” and “Burning Fire.” As one of the key pianists in the Chicago blues scene, Spann’s playing is both technically strong and emotionally rich. His work behind Muddy Waters is legendary, but here, in a more focused setting, his ability to shape mood and atmosphere becomes even more apparent.

Eddie Boyd follows with “Five Long Years,” “Blue Coat Man,” and “Got Me Seeing Double,” adding a strong narrative voice to the mix. Boyd’s songwriting and vocal delivery are as important as his piano work, and his recordings capture the lived experience of postwar blues—struggles, movement, and resilience.

The hour closes with James Beale Street Clark, whose “Come to Me Baby” and “You Can’t Make the Grade” represent a crucial addition to this updated roster. Less widely circulated in earlier years, his recordings offer a valuable perspective on the breadth of postwar piano blues. His style is direct and unpolished, but full of character—exactly the kind of voice that rounds out the story being told.

Hour Three doesn’t just highlight individual artists—it illustrates a movement. These pianists weren’t simply accompanying the blues; they were redefining it. Their influence can be heard in the rhythm, the structure, and the emotional weight of the music that followed. This hour captures that transformation in real time.

Playlist – Hour Three

Worried Life Blues – Big Maceo
County Jail – Big Maceo
Kid Man Blues – Big Maceo
Johnson Machine Gun – Sunnyland Slim
Fly Right Little Girl – Sunnyland Slim
Down Home Child – Sunnyland Slim
Grinder Man Blues – Memphis Slim
Angel Child – Memphis Slim
Throw This Poor Dog a Bone – Memphis Slim
Otis in the Dark – Otis Spann
The Hard Way – Otis Spann
Burning Fire – Otis Spann
Five Long Years – Eddie Boyd
Blue Coat Man – Eddie Boyd
Got Me Seeing Double – Eddie Boyd
Come to Me Baby – James Beale Street Clark
You Can’t Make the Grade – James Beale Street Clark

Willie Mabon opens the hour with “I Don’t Know,” “Monday Woman,” and “Poison Ivy,” bringing a confident, groove-oriented style that blends blues with early R&B. His playing is less about flash and more about feel—locking into a rhythm that supports his vocals while still driving the song forward. It’s a sound that helped define Chicago blues in the 1950s.

Little Johnny Jones follows with “Hoy-Hoy,” “Wait Baby,” and “Do the Best I Can,” carrying a similar energy but with a slightly looser, more expressive approach. His piano work leans into boogie-woogie traditions while adapting to the evolving electric band format, showing how older styles continued to shape newer sounds.

Blind John Davis takes the spotlight next with “My Red,” “No Mail Today,” and “Telegram to My Baby.” Davis brings a more refined, technically precise style, reflecting his deep roots in both blues and jazz. His playing is fluid and controlled, adding a layer of sophistication to the hour without losing the emotional core of the music.

Henry Gray continues the Chicago connection with “That Ain’t Right,” “You Messed Up,” and “Watch Yourself.” His piano work is steady and grounded, often working in tandem with guitar-driven arrangements. Gray represents the working backbone of the blues scene—less flashy, but absolutely essential.

Curtis Jones shifts the tone slightly with “Wrong Blues,” “Cool Playing Blues,” and “Flaming Blues.” His approach is more melodic and reflective, offering a contrast to the driving rhythms heard earlier in the hour. There’s a sense of space in his playing, allowing the songs to breathe and unfold at their own pace.

The hour closes with a rare and valuable set from Willie “Long-Time” Smith—“Devilment on My Mind,” “Due Respects to You,” and “No Special Rider.” These recordings provide a glimpse into a lesser-documented corner of the blues world. Smith’s style is raw and direct, capturing the spirit of the postwar era without the polish of more widely recorded artists. His inclusion here underscores the purpose of the show: not just to revisit the well-known names, but to bring overlooked voices back into the conversation.

Hour Four reinforces the central theme of the program. The piano wasn’t just an accompaniment in postwar blues—it was a driving force, shaping rhythm, structure, and mood. From Mabon’s groove to Davis’ precision to Smith’s raw edge, this hour showcases the full range of what blues piano could be.

Playlist – Hour Four

I Don’t Know – Willie Mabon
Monday Woman – Willie Mabon
Poison Ivy – Willie Mabon
Hoy-Hoy – Little Johnny Jones
Wait Baby – Little Johnny Jones
Do the Best I Can – Little Johnny Jones
My Red – Blind John Davis
No Mail Today – Blind John Davis
Telegram to My Baby – Blind John Davis
That Ain’t Right – Henry Gray
You Messed Up – Henry Gray
Watch Yourself – Henry Gray
Wrong Blues – Curtis Jones
Cool Playing Blues – Curtis Jones
Flaming Blues – Curtis Jones
Devilment on My Mind – Willie “Long-Time” Smith
Due Respects to You – Willie “Long-Time” Smith
No Special Rider – Willie “Long-Time” Smith

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

Dusty Fletcher kicks things off with “The Last Clean Shirt,” a track full of personality and rhythmic punch. It’s a fitting introduction—loose, humorous, and grounded in the everyday storytelling that runs through the blues. From there, Louis Jordan takes command with a string of recordings including “Cock-A-Doodle-Doo,” “Fat Sam from Birmingham,” “There Must Be a Way,” and “I Love That Kind of Carrying On.” Jordan’s influence on jump blues and early R&B is unmistakable. His tight arrangements, witty lyrics, and infectious grooves bring both polish and energy, making this stretch one of the most dynamic openings of the night.

The mood shifts with Little Miss Cornshucks, whose performances—“Gonna Leave Here Walking,” “Have You Ever Loved Somebody,” “So Long,” and “For Old Time Sake”—slow the pace and introduce a more intimate, emotional feel. Her understated delivery and warm tone provide a contrast to Jordan’s exuberance, reminding listeners of the quieter side of the blues.

Hot Lips Page, backed by Shaw, brings the sound back toward swing with “Blues in the Night,” “Take Your Shoes Off Baby,” and “Motherless Child.” These tracks blend jazz phrasing with blues feeling, creating a smooth but expressive middle section of the hour. Gene Ammons follows with “Don’t Do Me Wrong,” “Seven Eleven,” and “Can Anyone Explain,” his saxophone leading the way with a rich, full tone that leans into the emerging R&B sound.

The Spirits of Rhythm contribute “Rhythm,” adding a lighter, almost playful vocal group texture, while Meade Lux Lewis’ “Six Wheel Chaser” brings in a strong boogie-woogie piano foundation—connecting the hour back to one of the blues’ most important instrumental traditions.

Paul Robeson’s “Climbing Up” provides a striking moment of depth and gravitas, his powerful voice cutting through with clarity and purpose. It’s a reminder of the broader cultural and emotional reach of this music. Wardell Gray closes the hour with “Dat’s It,” delivering a sax-driven performance that feels both modern and rooted, pointing toward the direction the music would continue to take.

Hour One succeeds by balancing energy and restraint, humor and emotion, structure and spontaneity. It captures a moment when blues, jazz, and rhythm and blues were intersecting in exciting ways, laying the groundwork for everything that follows across the remaining hours of the show.

Playlist – Hour One

The Last Clean Shirt – Dusty Fletcher
Cock-A-Doodle-Doo – Louis Jordan
Fat Sam from Birmingham – Louis Jordan
There Must Be a Way – Louis Jordan
I Love That Kind of Carrying On – Louis Jordan
Gonna Leave Here Walking – Little Miss Cornshucks
Have You Ever Loved Somebody – Little Miss Cornshucks
So Long – Little Miss Cornshucks
For Old Time Sake – Little Miss Cornshucks
Blues in the Night – Hot Lips Page/Shaw
Take Your Shoes Off Baby – Hot Lips Page/Shaw
Motherless Child – Hot Lips Page/Shaw
Don’t Do Me Wrong – Gene Ammons
Seven Eleven – Gene Ammons
Can Anyone Explain – Gene Ammons
Rhythm – Spirits of Rhythm
Six Wheel Chaser – Meade Lux Lewis
Climbing Up – Paul Robeson
Dat’s It – Wardell Gray

Big Joe Turner opens with authority on “Baby Won’t You Marry Me” and “My Heart Belongs to You.” His booming voice and effortless sense of swing immediately ground the hour in rhythm and presence. From there, Ray Charles steps in with “Let the Good Times Roll” and “Don’t Let the Sun Catch You Cryin’,” blending blues feeling with a more modern R&B approach. His delivery bridges eras, connecting the jump blues tradition with the soul sound that would soon follow.

Paula Watson’s “Chick-Chick-Chick-A-Dee” adds a playful, upbeat moment, while Linda Hayes’ “Darling Angel” brings a smoother, more emotional tone. Gene Phillips’ “Wonder What the Poor Folks Are Doin’” introduces a reflective edge, hinting at the social awareness often woven into blues and R&B lyrics.

Andre Williams’ “Mean Jean” injects personality and grit, followed by a shift back toward earlier blues roots with Leroy Carr’s “Hard Hearted Papa.” Carr’s relaxed piano style and understated vocals provide a contrast to the more energetic performances earlier in the hour. Joe Dean’s “I’m So Glad I’m 21 Years Old Today” and the Hokum Boys’ “Let Me Pat That Thing” continue that connection to prewar blues traditions, blending humor and rhythm in equal measure.

Ethel Waters anchors the middle of the hour with a series of recordings—“You’re Mine,” “Frankie & Johnnie,” “They Say,” and “Jeepers Creepers.” Her versatility shines through, moving easily between blues, jazz, and popular song. She brings both emotional depth and technical precision, acting as a bridge between styles and generations.

As the hour progresses, the tone shifts toward gospel. The Chattahoochee Valley Choir’s “King Jesus Is Listening” introduces a sense of spiritual reassurance, followed by Rev. F.W. McGee’s “Nothing to Do in Hell,” which delivers a more urgent, sermon-like intensity. The Angelic Gospel Singers close the hour with “Back to the Dust,” offering a reflective and grounding finish.

Hour Two works as a journey—from lively, danceable rhythms to deeper emotional and spiritual themes. It reflects the natural connection between blues and gospel, showing how both forms speak to the same core experiences: love, hardship, hope, and resilience.

Playlist – Hour Two

Baby Won’t You Marry Me – Big Joe Turner
My Heart Belongs to You – Big Joe Turner
Let the Good Times Roll – Ray Charles
Don’t Let the Sun Catch You Cryin’ – Ray Charles
Chick-Chick-Chick-A-Dee – Paula Watson
Darling Angel – Linda Hayes
Wonder What the Poor Folks Are Doin’ – Gene Phillips
Mean Jean – Andre Williams
Hard Hearted Papa – Leroy Carr
I’m So Glad I’m 21 Years Old Today – Joe Dean
Let Me Pat That Thing – Hokum Boys
You’re Mine – Ethel Waters
Frankie & Johnnie – Ethel Waters
They Say – Ethel Waters
Jeepers Creepers – Ethel Waters
King Jesus Is Listening – Chattahoochee Valley Choir
Nothing to Do in Hell – Rev. F.W. McGee
Back to the Dust – Angelic Gospel Singers

The hour opens with a strong presence from Blind Willie McTell, whose recordings—“Your Time to Worry,” “Southern Can Mama,” and “Hillbilly Willie”—showcase his intricate guitar work and relaxed, storytelling vocal style. McTell’s playing is fluid and precise, carrying both rhythm and melody in a way that defines the East Coast blues tradition. His music sets the tone: thoughtful, detailed, and grounded in lived experience.

Blind Boy Fuller follows with “What’s That Smells Like Fish,” bringing a lighter, more playful edge while still rooted in strong guitar rhythms. From there, Skip James’ “Cypress Grove” shifts the mood dramatically. His haunting falsetto and unconventional guitar tuning create a sense of tension and isolation, offering one of the hour’s most emotionally striking moments.

Henry Townsend’s “Long Ago Blues” and Blind Lemon Jefferson’s “Matchbox Blues (#4)” continue the exploration of early blues styles, each artist bringing a distinct regional voice. Jefferson’s influence is especially notable—his phrasing and guitar work helped shape generations of blues musicians.

Jaybird Coleman’s “No More Good Water” adds a rare sound with harmonica at the forefront, while Ma Rainey’s “Don’t Fish in My Sea” reminds listeners of the commanding presence of classic female blues singers. Her voice carries authority and attitude, balancing the more introspective performances that surround it.

The hour continues to build with Mattie Hite’s “Texas Twist” and Mazel Meyers’ “Graveyard Blues,” both contributing to the rich variety of early blues expression. Coot Grant & Sox Wilson bring a touch of humor and theatricality, while Georgia White’s “Rattlesnakin’ Daddy” and “Get ‘Em From the Peanut Man” inject personality and rhythm into the set.

As the hour progresses, the focus gradually shifts toward spiritual material. Rev. Lonnie Farris’ “Golden Street” and “I’m So Happy & So Free” introduce a more uplifting tone, blending gospel themes with blues feeling. The transition feels natural—less a shift than a continuation of the same emotional thread.

The Hall-Johnson Choir closes the hour with “Great Camp Meeting” and “A City Called Heaven,” delivering full, powerful vocal arrangements that elevate the mood while maintaining the depth established throughout the set. Their performances bring a sense of resolution, offering a spiritual counterbalance to the struggles expressed earlier in the hour.

Hour Three stands as one of the most historically rich segments of the program. It captures the blues in its earlier forms—acoustic, direct, and deeply connected to both personal and communal experience. By the time it ends, the listener has traveled through a wide emotional landscape, from humor and hardship to hope and redemption.

Playlist – Hour Three

Your Time to Worry – Blind Willie McTell
Southern Can Mama – Blind Willie McTell
Hillbilly Willie – Blind Willie McTell
What’s That Smells Like Fish – Blind Boy Fuller
Cypress Grove – Skip James
Long Ago Blues – Henry Townsend
Matchbox Blues (#4) – Blind Lemon Jefferson
No More Good Water – Jaybird Coleman
Don’t Fish in My Sea – Ma Rainey
Texas Twist – Mattie Hite
Graveyard Blues – Mazel Meyers
Mama Didn’t Do It – Coot Grant & Sox Wilson
Rattlesnakin’ Daddy – Georgia White
Get ‘Em From the Peanut Man – Georgia White
Golden Street – Rev. Lonnie Farris
I’m So Happy & So Free – Rev. Lonnie Farris
Great Camp Meeting – Hall-Johnson Choir
A City Called Heaven – Hall-Johnson Choir

The set opens with a run of lesser-heard sides from artists like Goldrush, Black Diamond, and Johnny Beck—records that feel pulled straight from the margins of blues history. There’s a rough, unpolished quality here that defines the early part of the hour. These are working musicians, recording for local audiences, and the sound reflects that immediacy: direct, unfiltered, and rooted in rhythm.

That early grit begins to take shape as the hour moves into more structured performances. R. Green & Turner and Beverly Scott contribute sides that bridge that raw energy with a slightly more refined delivery, while Soldier Boy Houston’s “Old Hen” keeps things grounded in traditional blues themes with a steady, no-frills approach.

The center of the hour belongs to T-Bone Walker, whose trio of tracks—“Strollin’ With Bones,” “The Sun Went Down,” and “The Hustle Is On”—marks a clear evolution in blues guitar. Walker’s style is smoother, more melodic, and deeply influential. His electric guitar work doesn’t just support the rhythm—it leads it, shaping the direction of modern blues. His presence here feels like a pivot point, moving the hour from its rough beginnings into a more polished, forward-looking sound.

Lloyd Glenn follows with “Levee Blues” and “Chica Boo,” bringing piano back into focus while maintaining that postwar groove. His playing is rhythmic and accessible, reinforcing the danceable side of blues that would continue to evolve in the years ahead.

Curtis Jones’ “The Glamour & The Glory” slows things down slightly, offering a more reflective moment before Peppermint Harris returns the energy with “Fat Girl Boogie” and “Texarkana Bound.” Harris injects humor and movement, reminding us that blues has always made room for personality and storytelling.

Katie Webster’s “Sea of Love” introduces a softer, more melodic feel, while Jack Johnson’s “Catfish Blues” brings things back to a more traditional blues structure. Calvin Newborn’s “Afterhours” closes the main portion of the set with a smooth, late-night instrumental tone—bridging blues and jazz in a way that feels effortless.

Taken together, Hour Four is about transition. It captures the blues as it moves from rural roots into amplified, urban spaces. The rough edges remain, but they’re joined by new textures—electric guitars, stronger backbeats, and a growing sense of individuality in both playing and performance.

It’s not just a collection of songs—it’s a snapshot of a turning point, where the blues begins to stretch, adapt, and prepare for everything that comes next.

Playlist – Hour Four

All My Money’s Gone – Goldrush
T.P. Railor – Black Diamond
Lonesome Blues – Black Diamond
You Gotta Lay Down Mama – Johnny Beck
Central Avenue Blues – R. Green & Turner
Brownskin Woman – Beverly Scott
Old Hen – Soldier Boy Houston
Strollin’ With Bones – T-Bone Walker
The Sun Went Down – T-Bone Walker
The Hustle Is On – T-Bone Walker
Levee Blues – Lloyd Glenn
Chica Boo – Lloyd Glenn
The Glamour & The Glory – Curtis Jones
Fat Girl Boogie – Peppermint Harris
Texarkana Bound – Peppermint Harris
Sea of Love – Katie Webster
Catfish Blues – Jack Johnson
Afterhours – Calvin Newborn

The Ink Spots open with “The Sweetest Dream,” immediately establishing a reflective tone. Their smooth vocal harmonies feel almost suspended in time, creating a sense of quiet intimacy that carries into Duke Ellington’s “Almost Cried.” Ellington’s contribution adds a layer of elegance, blending orchestral depth with a blues sensibility that never strays far from the heart.

Joe Williams follows with “That Kind of Woman,” his voice grounded and confident, bridging jazz phrasing with blues storytelling. Dinah Washington’s “Make the Man Love Me” continues that thread, delivering a performance filled with control, nuance, and emotional clarity. Together, these early selections create a polished opening that eases the listener into the hour.

Don Patterson’s “Soul People” shifts the sound slightly, bringing in organ-driven warmth and a touch of groove. From there, Ray Charles takes over with “She’s on the Ball” and “All to Myself,” reminding us of his ability to move effortlessly between styles. His performances here balance playfulness and introspection, adding dimension to the hour’s evolving mood.

Johnny “Guitar” Watson pushes the energy forward with “Sweet Lovin’ Mama” and “The Eagle Is Back,” injecting a bit more bite into the set. His guitar work and vocal style bring a sharper edge, signaling a transition from the smoother jazz-influenced opening toward a more direct blues approach.

That shift deepens with Roy Hawkins’ “The Thrill Is Gone,” one of the hour’s emotional centerpieces. Hawkins delivers the song with a quiet intensity that captures the essence of blues heartbreak—restrained, yet deeply felt. It’s a performance that lingers, setting the tone for what follows.

Little Milton’s “Tin Pan Alley” continues in that vein, stretching out into a slow, expressive groove that allows every note and phrase to breathe. Big Moose Walker’s “The Bright Sounds” adds a subtle lift, but the focus remains on feeling rather than flash.

Guitar Slim’s “Stand By Me” brings a haunting, almost otherworldly quality, his guitar tone cutting through the mix with a distinctive edge. Johnny Ace’s “Yes Baby” returns to a softer, more vulnerable vocal style, while Mickey Champion’s “If You Can’t Hold Your Man” adds a final touch of emotional realism—closing the vocal portion of the hour with strength and conviction.

And then, as always, the journey ends with “Albatross.” After five hours of blues, rhythm, gospel, and soul, its instrumental calm serves as a quiet exhale—a moment to absorb everything that came before.

Hour Five doesn’t try to overpower. It doesn’t rush. Instead, it lets the music speak in its own time, offering a closing chapter that feels both complete and open-ended—like the blues itself.

Playlist – Hour Five

The Sweetest Dream – Ink Spots
Almost Cried – Duke Ellington
That Kind of Woman – Joe Williams
Make the Man Love Me – Dinah Washington
Soul People – Don Patterson
She’s on the Ball – Ray Charles
All to Myself – Ray Charles
Sweet Lovin’ Mama – Johnny Guitar Watson
The Eagle Is Back – Johnny Guitar Watson
The Thrill Is Gone – Roy Hawkins
Tin Pan Alley – Little Milton
The Bright Sounds – Big Moose Walker
Stand By Me – Guitar Slim
Yes Baby – Johnny Ace
If You Can’t Hold Your Man – Mickey Champion
Albatross – Fleetwood Mac

Tom Archia’s “Macomba Jump” gets things moving with a strong, sax-driven groove, immediately setting an upbeat and energetic tone. That momentum carries into a standout run from the King Cole Trio, whose recordings—“Little Joe from Chicago,” “Errand Boy for Rhythm,” “To Whom It May Concern,” and “That’s What”—blend jazz precision with blues feeling. Their tight arrangements and smooth delivery reflect a shift toward a more intimate, combo-based sound that would become increasingly important in the postwar years.

Lena Horne follows with “Any Place I Hang My Hat Is Home,” “It’s Love,” and “Get Out of Town,” bringing elegance and vocal control into the mix. Her performances add a polished, theatrical quality while still connecting to the emotional core that runs through the blues tradition.

Eddie “Cleanhead” Vinson injects a dose of grit with “Red Blues,” “Things Ain’t What They Used to Be,” “Is You Is,” and “Somebody’s Gotta Go.” His style bridges jazz and blues effortlessly, combining strong vocals with saxophone work that carries both swing and edge. It’s a reminder that the boundaries between genres were fluid, especially during this era.

The orchestral side of the hour comes into focus with Fletcher Henderson’s “My Sweet Tooth Says I Wanna,” “Malinda’s Wedding Day,” and “Roll On Mississippi Roll On.” These tracks highlight the sophistication of big band arrangements while still keeping rhythm at the forefront. In contrast, the Five Red Caps’ “Mary Had a Little Jam” brings things back to a smaller group feel, adding a playful and accessible touch.

Deryck Sampson’s “Steady Time Special” keeps the groove steady, while Marion Anderson’s “My Way’s Cloudy” provides one of the hour’s most emotionally resonant moments. Her powerful voice introduces a deeper, more reflective tone, hinting at the blues themes that will become more prominent as the show progresses.

Jim Wynn’s “J.W. Bop” closes the hour with a burst of energy, its driving rhythm and early R&B feel pointing directly toward the future. It’s a fitting conclusion—tying together the swing roots, blues feeling, and rhythmic evolution that define the hour.

Hour One works as both an introduction and a foundation. It captures a moment when jazz, swing, and blues were intersecting in new ways, creating the building blocks for modern rhythm and blues. By the time the hour ends, the listener is fully immersed, ready to move deeper into the blues journey that unfolds across the rest of the program.

Playlist – Hour One

Macomba Jump – Tom Archia

Little Joe from Chicago – King Cole Trio

Errand Boy for Rhythm – King Cole Trio

To Whom It May Concern – King Cole Trio

That’s What – King Cole Trio

Any Place I Hang My Hat Is Home – Lena Horne

It’s Love – Lena Horne

Get Out of Town – Lena Horne

Red Blues – Eddie Cleanhead Vinson

Things Ain’t What They Used to Be – Eddie Cleanhead Vinson

Is You Is – Eddie Cleanhead Vinson

Somebody’s Gotta Go – Eddie Cleanhead Vinson

My Sweet Tooth Says I Wanna – Fletcher Henderson

Malinda’s Wedding Day – Fletcher Henderson

Roll On Mississippi Roll On – Fletcher Henderson

Mary Had a Little Jam – Five Red Caps

Steady Time Special – Deryck Sampson

My Way’s Cloudy – Marion Anderson

J.W. Bop – Jim Wynn

Wynonie Harris sets the tone with “Quiet Whiskey,” delivering his signature mix of swagger and rhythm. His performance is loose, confident, and built for movement, immediately establishing a groove that carries into Jimmy Liggins’ “Trouble Good-Bye.” Liggins keeps the momentum going, his band-driven sound emphasizing rhythm and danceability while still grounded in blues structure.

Terry Timmons’ “Your Key Won’t Fit My Door” adds a touch of humor and storytelling, a reminder that blues has always had room for wit alongside its heavier themes. Charlie Singleton’s “Jiving With Dr. Jive” follows with a playful edge, reinforcing that upbeat, personality-driven feel.

Tiny Bradshaw’s “Take the Hands Off the Clock” pushes the rhythm forward with a tighter, more urgent arrangement, while Jimmy T-99 Nelson’s “Little Miss Teasin’ Brown” and “Meet Me With Your Black Dress On” bring a rougher, more direct vocal approach. These tracks lean into the working-class realities often reflected in the blues, delivered with a rawness that feels immediate and unpolished.

Todd Rhodes’ “Dance of the Redskins” shifts the focus toward instrumental rhythm, allowing the band to take center stage. It’s a brief but effective change of pace before Percy Mayfield steps in with “Never Say Naw” and “Ha-Ha in the Day Time.” Mayfield’s style contrasts sharply with the earlier performers—his delivery is smoother, more introspective, and lyrically nuanced, offering a quieter kind of intensity.

Pinetop Smith’s “Jump Steady Blues” reconnects the hour to its piano-driven roots, while Frankie “Half-Pint” Jaxon’s “Take It Easy” brings a relaxed, almost conversational feel. Jimmy Wade’s “Gates Blues” keeps the foundation intact, maintaining that balance between rhythm and storytelling.

Ethel Waters provides a turning point in the hour with “You’re a Sweetheart,” “How Can I Face This Weary World,” and “I’ll Get Along Somehow.” Her performances bridge blues and early popular song, carrying both emotional weight and vocal elegance. She softens the transition into the final segment, where the focus shifts toward gospel.

The closing stretch moves fully into spiritual territory. The Mid-South Singers’ “I’ll Meet You in the Morning” introduces a reflective tone, followed by Rev. A.W. Nix’s “Robbing God,” which delivers a sermon-like intensity rooted in conviction and urgency. The Harmony Kings of Orangeburg’s “Gospel Train” and the Gospel Vocalaires’ “Call Him Anytime” bring the hour to a powerful conclusion, lifting the mood while reinforcing the deep connection between blues and gospel traditions.

Hour Two stands as a bridge within the show. It connects the upbeat swing of the opening hour to the deeper blues focus that follows, all while highlighting the shared emotional ground between secular and sacred music. It’s an hour built on rhythm, feeling, and voice—each track adding another layer to the story.

Playlist – Hour Two

Quiet Whiskey – Wynonie Harris

Trouble Good-Bye – Jimmy Liggins

Your Key Won’t Fit My Door – Terry Timmons

Jiving With Dr. Jive – Charlie Singleton

Take the Hands Off the Clock – Tiny Bradshaw

Little Miss Teasin’ Brown – Jimmy T-99 Nelson

Meet Me With Your Black Dress On – Jimmy T-99 Nelson

Dance of the Redskins – Todd Rhodes

Never Say Naw – Percy Mayfield

Ha-Ha in the Day Time – Percy Mayfield

Jump Steady Blues – Pinetop Smith

Take It Easy – Frankie “Half-Pint” Jaxon

Gates Blues – Jimmy Wade

You’re a Sweetheart – Ethel Waters

How Can I Face This Weary World – Ethel Waters

I’ll Get Along Somehow – Ethel Waters

I’ll Meet You in the Morning – Mid-South Singers

Robbing God – Rev. A.W. Nix

Gospel Train – Harmony Kings of Orangeburg

Call Him Anytime – Gospel Vocalaires

The set opens with “44 Blues,” one of Sykes’ signature recordings and a perfect introduction to his approach. The groove is steady, almost hypnotic, with his piano anchoring the rhythm while his vocals glide effortlessly over the top. It’s a sound that feels both grounded and fluid, setting the tone for everything that follows.

“3-6-9 Blues” and “You So Dumb” continue to showcase Sykes’ ability to balance humor and sharp observation. His lyrics often carry a conversational quality, as if he’s speaking directly to the listener, drawing them into his world with ease. That same quality is present in “Highway 61 Blues,” where the imagery of travel and movement reflects a recurring theme in blues—life on the road, both literal and symbolic.

Tracks like “I Done You Wrong” and “Big Legs Ida” highlight his storytelling ability, blending personal narrative with a broader sense of experience. There’s a looseness in his delivery that makes the songs feel immediate, almost improvised, even when they follow a structured form.

“D.B.A. Blues” and “Driving Wheel” bring a deeper, more introspective tone. These are songs that lean into the emotional weight of the blues, where Sykes’ piano becomes more than accompaniment—it becomes a voice in itself, echoing and reinforcing the feeling of the lyrics.

“The Honeydripper” stands as a defining moment in the set, not just because of the nickname it inspired, but because it captures the essence of Sykes’ style—rhythmic, confident, and unmistakably his own. From there, “Dirty Mother for Ya” adds a playful edge, reminding listeners that humor and attitude have always been part of the blues tradition.

“Night Time Is the Right Time” shifts the mood again, its darker, more atmospheric feel contrasting with the lighter moments earlier in the hour. “Mistake in Life” continues that introspective thread, offering a more reflective perspective that deepens the emotional range of the set.

The closing stretch—“Sugar Hill Blues,” “47th Street Jive,” and “Sunny Road”—brings everything together. These tracks reflect Sykes’ connection to urban life, particularly in Chicago, where his style evolved alongside the changing sound of the blues. There’s a sense of movement and progression here, as if the music itself is heading somewhere new.

Hour Three stands as the centerpiece of the show, not just because of its focus on a single artist, but because of what that artist represents. Roosevelt Sykes was a bridge—between rural and urban blues, between tradition and innovation. His recordings capture a moment when the blues was expanding, adapting, and finding new ways to express the same core truths.

It’s a powerful reminder that the blues isn’t just about sound—it’s about voice, personality, and perspective. And in this hour, Roosevelt Sykes’ voice comes through loud and clear.

Playlist – Hour Three

44 Blues – Roosevelt Sykes

3-6-9 Blues – Roosevelt Sykes

You So Dumb – Roosevelt Sykes

Highway 61 Blues – Roosevelt Sykes

I Done You Wrong – Roosevelt Sykes

Big Legs Ida – Roosevelt Sykes

D.B.A. Blues – Roosevelt Sykes

Driving Wheel – Roosevelt Sykes

The Honeydripper – Roosevelt Sykes

Dirty Mother for Ya – Roosevelt Sykes

Night Time Is the Right Time – Roosevelt Sykes

Mistake in Life – Roosevelt Sykes

Sugar Hill Blues – Roosevelt Sykes

47th Street Jive – Roosevelt Sykes

Sunny Road – Roosevelt Sykes

The hour opens with Eddie Taylor’s “You’ll Always Have a Home,” a track grounded in the Chicago blues tradition. His guitar work is steady and supportive, setting a tone that feels both rooted and forward-looking. Homer Harris follows with “Cut Your Head Blues,” keeping that raw edge intact, while Muddy Waters’ “Sittin’ Here Drinkin’” brings a familiar authority. Waters’ presence alone signals the shift into a more modern blues sound—electric, confident, and deeply influential.

St. Louis Jimmy’s “Sittin’ & Thinkin’” slows the pace slightly, leaning into introspection, before Little Willie Foster’s “Fallin’ Rain Blues” adds a moody, atmospheric feel. These tracks maintain a connection to earlier blues traditions while embracing the fuller sound made possible by amplification.

Tarheel Slim takes center stage for a stretch with “Wildcat Tamer,” “My Flight,” “Too Much Competition,” and “Lock Me in Your Heart.” His recordings bring a lighter, more rhythmic approach, blending blues structure with early R&B sensibilities. There’s a looseness here that reflects the changing musical landscape of the late 1940s and early ’50s.

Novelty and rhythm collide with “Hambone” by Little Booker and “The Hambone” by The School Kids. These tracks inject a playful, percussive element into the hour, showing how rhythm itself could become the focal point. It’s a reminder that blues and R&B were never confined to one mood—they could be serious, but also fun and experimental.

Pee Wee Crayton’s “Texas Hop” returns the focus to guitar-driven blues, his style clean and precise, bridging the gap between swing and modern electric blues. Gatemouth Brown’s “That’s Your Daddy Yaddy-Yo” follows with a lively, genre-blending approach, combining blues, jazz, and a touch of humor.

Connie Mack Booker and Clarence Garlow continue the momentum, keeping the rhythm strong and the energy consistent. By this point, the hour is clearly moving toward something bigger—something louder and more rhythmically driven.

That evolution becomes unmistakable with Jackie Brenston’s “Rocket 88.” Often cited as one of the first rock and roll records, it captures the moment when blues structure met a driving backbeat and a new attitude. Backed by Ike Turner’s Kings of Rhythm, the track feels like a turning point—not just within the hour, but in the history of American music.

The Kings of Rhythm return with “Whole Heap of Mama” and “Rock a Bucket,” reinforcing that emerging sound. These tracks carry a raw, energetic feel that pushes beyond traditional blues, pointing directly toward the future.

Long-Man Binder’s “You Got Me Way Down Here” grounds the hour once more, bringing it back to a more traditional blues perspective before the set concludes.

Hour Four is about movement—musically and historically. It shows how the blues didn’t stay still, how it adapted and evolved, giving rise to new forms while still holding onto its core identity. From Chicago blues to the birth of rock and roll, this hour captures a moment of transformation that continues to shape music today.

Playlist – Hour Four

You’ll Always Have a Home – Eddie Taylor

Cut Your Head Blues – Homer Harris

Sittin’ Here Drinkin’ – Muddy Waters

Sittin’ & Thinkin’ – St. Louis Jimmy

Fallin’ Rain Blues – Little Willie Foster

Wildcat Tamer – Tarheel Slim

My Flight – Tarheel Slim

Too Much Competition – Tarheel Slim

Lock Me in Your Heart – Tarheel Slim

Hambone – Little Booker

The Hambone – The School Kids

Texas Hop – Pee Wee Crayton

That’s Your Daddy Yaddy-Yo – Gatemouth Brown

Love Me Pretty Baby – Connie Mack Booker

Crawfishin’ – Clarence Garlow

Rocket 88 – Jackie Brenston

Whole Heap of Mama – Kings of Rhythm

You Got Me Way Down Here – Long-Man Binder

Rock a Bucket – Kings of Rhythm

The hour begins with the Basin Street Boys’ “For You,” setting a gentle and melodic tone. It’s a relaxed opener, preparing the listener for a sequence that leans more toward mood and texture than momentum. Wes Montgomery follows with “Canadian Sunset,” his guitar tone warm and fluid, delivering a performance that feels both precise and effortless.

Arthur Prysock’s “When You Walked In the Room” brings a rich baritone vocal into the mix, adding depth and emotional weight. That sense of elegance continues with Betty Carter’s “My Reverie,” where her phrasing and timing showcase a jazz sensibility that is both subtle and powerful.

Grant Green’s “I Wish You Love” extends the instrumental mood, his guitar lines smooth and lyrical, while Little Jimmy Scott takes the spotlight with “Very Truly Yours” and “Street of Dreams.” Scott’s unique voice carries a fragile, almost haunting quality, making these performances some of the most emotionally striking moments of the hour.

The mood shifts slightly as the blues returns to the forefront. Little Walter’s trio—“Lights Out,” “Big Leg Mama,” and “Too Late”—introduces a sharper edge, his harmonica cutting through with authority. These tracks reconnect the hour to the Chicago blues sound, adding grit without breaking the overall flow.

John Brim’s “You Got Me Where You Want Me” keeps that blues momentum going, while Robert Jr. Lockwood’s “I Can’t Stand the Pain” deepens the emotional tone with a more measured, reflective delivery.

The final stretch of the hour belongs to Bobby “Blue” Bland, whose performances—“Blind Man,” “Ain’t Nothing You Can Do,” “Who Will the Next Fool Be,” and “Turn On Your Love Light”—blend blues and soul in a way that feels both polished and deeply felt. Bland’s voice carries a preacher-like intensity, tying together many of the emotional themes heard throughout the entire show—heartbreak, resilience, and longing.

As always, the program closes with “Albatross” by Fleetwood Mac. Its calm, drifting guitar lines provide a sense of resolution, allowing the listener to come down gently from the five-hour journey.

Hour Five doesn’t try to outshine what came before—it complements it. It offers space, reflection, and a final reminder of how versatile and emotionally rich this music can be. From jazz ballads to Chicago blues to soul-stirring vocals, it’s a fitting end to a show anchored by one of the great blues voices, Roosevelt Sykes, and surrounded by the many sounds his era helped inspire.

Playlist – Hour Five

For You – Basin Street Boys

Canadian Sunset – Wes Montgomery

When You Walked In the Room – Arthur Prysock

My Reverie – Betty Carter

I Wish You Love – Grant Green

Very Truly Yours – Little Jimmy Scott

Street of Dreams – Little Jimmy Scott

Lights Out – Little Walter

Big Leg Mama – Little Walter

Too Late – Little Walter

You Got Me Where You Want Me – John Brim

I Can’t Stand the Pain – Robert Jr. Lockwood

Blind Man – Bobby Bland

Ain’t Nothing You Can Do – Bobby Bland

Who Will the Next Fool Be – Bobby Bland

Turn On Your Love Light – Bobby Bland

Albatross – Fleetwood Mac

Sugar Ray Robinson kicks things off with “Knock Him Down Whiskey,” a track full of personality and swagger. Known more widely for his boxing career, Robinson proves here that he could deliver a vocal with confidence and charm, setting an upbeat tone right out of the gate.

Jimmy Rushing takes over with a series of performances—“She’s a Wino,” “Hey Pretty Baby,” “The Jungle King,” and “Don’t You Want a Man Like Me”—that showcase his powerful voice and deep connection to the Kansas City swing tradition. Rushing’s vocals are rich and commanding, perfectly suited to the driving rhythms behind him.

Helen Humes continues the momentum with “Bebop Bounce,” “Voo-I,” and “Pleasing Man Blues.” Her voice brings both elegance and energy, blending jazz phrasing with blues feeling. She bridges styles effortlessly, keeping the hour moving while adding a touch of sophistication.

Ivory Anderson adds another layer with “Rug Cutter,” “You Gave Me the Gate,” and “In a Mizz.” Her performances lean into the playful, danceable side of swing, reinforcing the upbeat nature of the hour while maintaining a strong vocal presence.

Benny Carter’s trio of tracks—“Baby You’re Mine Forever,” “Chilipancingo,” and “An Old Love Story”—shifts the focus slightly toward instrumental finesse and arrangement. Carter’s work highlights the musical craftsmanship behind the era, offering a polished contrast to the more vocal-driven performances earlier in the set.

The Charioteers’ “Wrap Your Troubles in Dreams” brings a smooth, harmony-rich moment, softening the pace just enough before Albert Ammons’ “Boogie Woogie Stomp” injects a burst of piano-driven energy. Ammons’ playing is powerful and rhythmic, a reminder of how central boogie-woogie was to the evolution of blues and early rock.

Buck & Bubbles follow with “I Ain’t Got Nobody,” blending humor and musicality in a way that captures the spirit of the time. Their performance adds variety and keeps the hour from feeling one-dimensional.

Eddie “Lockjaw” Davis closes the hour with “A Foggy Day,” bringing a saxophone-led finish that ties together the jazz and blues elements heard throughout the set. His tone is smooth yet expressive, providing a fitting conclusion to an hour built on rhythm, swing, and strong musical personalities.

Hour One serves as both an introduction and a foundation. It highlights the roots of rhythm and blues in swing and jazz, showing how these styles overlap and influence one another. It’s upbeat without being overwhelming, varied without losing focus—a perfect entry point into the deeper blues explorations that follow in the later hours.

Playlist – Hour One

Knock Him Down Whiskey – Sugar Ray Robinson

She’s a Wino – Jimmy Rushing

Hey Pretty Baby – Jimmy Rushing

The Jungle King – Jimmy Rushing

Don’t You Want a Man Like Me – Jimmy Rushing

Bebop Bounce – Helen Humes

Voo-I – Helen Humes

Pleasing Man Blues – Helen Humes

Rug Cutter – Ivie Anderson

You Gave Me the Gate – Ivie Anderson

In a Mizz – Ivie Anderson

Baby You’re Mine Forever – Benny Carter

Chilipancingo – Benny Carter

An Old Love Story – Benny Carter

Wrap Your Troubles in Dreams – Charioteers

Boogie Woogie Stomp – Albert Ammons

I Ain’t Got Nobody – Buck & Bubbles

A Foggy Day – Eddie “Lockjaw” Davis

Ray Charles opens the hour with a trio of performances—“The Night Time,” “You Be My Baby,” and “What Kind of Man Are You”—immediately establishing a powerful emotional tone. His ability to fuse blues feeling with gospel phrasing and early soul makes these tracks stand out. There’s a depth in his delivery that pulls the listener in, setting the stage for everything that follows.

Calvin Boze’s “Working With My Baby” lightens the mood slightly with a more rhythmic, upbeat feel, while Eddie Mack’s “Loud Mouth Lucy” and “Behind Closed Doors” bring storytelling and personality into the mix. These tracks highlight the diversity within rhythm and blues—serious one moment, playful the next.

Baby Dee’s “I Cried My Last Time” slows things down, leaning into heartbreak and vulnerability. That emotional thread continues with Effie Smith’s “Mambo Blues,” which blends blues structure with a hint of Latin rhythm, adding a unique twist to the hour.

Kitty Stevenson’s “I’m Satisfied” brings a confident vocal performance, shifting the tone toward resilience. Joe Thomas’ “Blue Tango” adds an instrumental layer, giving the hour room to breathe while maintaining its smooth, steady pace.

Blind John Davis takes the spotlight with “I Got the Blues So Bad” and “Magic Carpet,” his piano work driving both tracks with a strong sense of rhythm and feeling. His playing bridges traditional blues with a more modern, urban sound, keeping the hour grounded while still moving forward.

Ethel Waters appears next with “Hottentot Potentate” and “Thief in the Night,” delivering performances that connect the blues to earlier popular song traditions. Her voice carries both authority and warmth, reinforcing her role as a link between generations of music.

The final stretch of the hour turns toward gospel, bringing a spiritual dimension that has always been closely tied to the blues. The Spartanburg Famous Four’s “When the First Trumpet Sounds” sets a reverent tone, followed by Rev. J.M. Gates’ “Things You Can Do,” which delivers a sermon-like intensity.

The Coleman Brothers’ “We’ll Understand” and the Spirit of Memphis Quartet’s “He Never Let Go My Hand” close the hour with a sense of hope and reflection. These performances don’t just end the hour—they lift it, offering a spiritual resolution to the emotional journey that came before.

Hour Two stands as a bridge within the program. It connects the upbeat swing of Hour One with the deeper, rawer blues of Hour Three, all while highlighting the close relationship between blues, rhythm and blues, and gospel. It’s an hour that speaks to both struggle and strength, showing how the music has always carried both.

Playlist – Hour Two

The Night Time – Ray Charles

You Be My Baby – Ray Charles

What Kind of Man Are You – Ray Charles

Working With My Baby – Calvin Boze

Loud Mouth Lucy – Eddie Mack

Behind Closed Doors – Eddie Mack

I Cried My Last Time – Baby Dee

Mambo Blues – Effie Smith

I’m Satisfied – Kitty Stevenson

Blue Tango – Joe Thomas

I Got the Blues So Bad – Blind John Davis

Magic Carpet – Blind John Davis

Hottentot Potentate – Ethel Waters

Thief in the Night – Ethel Waters

When the First Trumpet Sounds – Spartanburg Famous Four

Things You Can Do – Rev. J.M. Gates

We’ll Understand – Coleman Brothers

He Never Let Go My Hand – Spirit of Memphis Quartet

The set opens with Barbecue Bob, whose “Mississippi Heavy Water” and “Goin’ Up the Country” bring a driving, rhythmic guitar style that feels both urgent and hypnotic. His playing sets the tone for what follows—direct, expressive, and rooted in experience.

Tony Hollins’ “Crosscut Saw” continues that momentum, offering a sharp, rhythmic approach that would later influence generations of blues players. Bukka White’s “Panama Limited” adds a sense of motion and storytelling, his slide guitar work evoking the sound of trains and long journeys, a recurring theme in the blues tradition.

Big Joe Williams’ “Killing Floor Blues” introduces a rough, insistent edge, while Stump Johnson’s “Sail On Black Sue” and “Heart Is Right Blues” bring a slightly more urban feel without losing that raw foundation. These tracks highlight the range within early blues—different regional styles, but a shared emotional core.

Sonny Boy Williamson I steps in with “Dealin’ With the Devil” and “Jivin’ the Blues,” adding harmonica-driven energy and a sharper, more rhythmic attack. His presence bridges the gap between country blues and the more structured Chicago sound that would come later.

The mood deepens with Sippie Wallace’s “Devil Dance Blues,” her powerful voice cutting through with authority and emotion. Lizzie Miles follows with “Cottonbelt Blues” and “Grievin’ Mama Blues,” bringing a classic vocal blues style that blends storytelling with a strong sense of melody.

Elzadie Robinson’s “Hour Behind the Sun” and Margaret Johnson’s “Death House Blues” push the hour into darker territory, their performances reflecting hardship and resilience in equal measure. These are songs that don’t shy away from reality—they confront it head-on.

Lightnin’ Hopkins brings the hour closer to the modern era with “Glory Be Blues” and “Whiskey Blues.” His loose, conversational style feels spontaneous, almost as if the songs are being created in the moment. He serves as a bridge between the earliest blues traditions and what would come next.

The hour closes with “Old Alabama” by the Alabama Chain Gang, a recording that carries a haunting, collective weight. It’s a reminder of the social and historical context that shaped so much of this music, grounding the entire hour in something deeper than sound alone.

Hour Three is the foundation of the show. It’s where the blues is at its most direct—no excess, no distraction, just voice, rhythm, and truth. It’s not always easy listening, but it’s essential.

Playlist – Hour Three

Mississippi Heavy Water – Barbecue Bob

Goin’ Up the Country – Barbecue Bob

Crosscut Saw – Tony Hollins

Panama Limited – Bukka White

Killing Floor Blues – Big Joe Williams

Sail On Black Sue – Stump Johnson

Heart Is Right Blues – Stump Johnson

Dealin’ With the Devil – Sonny Boy Williamson I

Jivin’ the Blues – Sonny Boy Williamson I

Devil Dance Blues – Sippie Wallace

Cottonbelt Blues – Lizzie Miles

Grievin’ Mama Blues – Lizzie Miles

Hour Behind the Sun – Elzadie Robinson

Death House Blues – Margaret Johnson

Glory Be Blues – Lightnin’ Hopkins

Whiskey Blues – Lightnin’ Hopkins

Old Alabama – Alabama Chain Gang

The hour opens with Lowell Fulson’s “I Believe I’ll Give It Up,” immediately setting a smooth, groove-driven tone. Fulson’s style leans into subtlety—his phrasing is relaxed, his guitar understated but effective, and his vocals carry a quiet confidence. That approach is quickly met by B.B. King’s “Love You Baby,” where the emotional intensity rises. King’s voice and guitar phrasing are more direct, more piercing, creating a natural tension between the two artists.

That contrast continues throughout the set. Fulson’s “Reconsider Baby” flows with a steady, almost hypnotic rhythm, while King’s “Sugar Mama” responds with a sharper edge and a more pronounced vocal presence. Each artist brings a distinct personality to the blues—Fulson smooth and measured, King expressive and immediate.

Tracks like “Tollin’ Bell” and “Rock ‘Em Dead” from Fulson keep the groove grounded, while B.B. King answers with “Whole Lotta Love” and “Sneakin’ Around,” injecting a sense of urgency and emotional weight. The alternating structure keeps the hour dynamic, never allowing it to settle into one mood for too long.

“Blue Shadows” and “Hung Down Head” further showcase Fulson’s ability to create atmosphere without excess, while King’s “Be Careful With a Fool” and “You Know I Go For You” highlight his mastery of phrasing—every note and lyric delivered with purpose and feeling.

As the back-and-forth winds down, Fulson’s “Do Me Right” and King’s “You Upset Me” provide a fitting closing to this musical exchange, reinforcing the balance between restraint and intensity that defines the hour.

The set then expands beyond the central pairing. Tommy Tucker brings a shift in energy with “Hi Heeled Sneakers,” “Walking the Dog,” and “Long Tall Shorty.” These tracks lean toward rhythm and blues and early rock influences, adding a lighter, more rhythmic feel after the emotional depth of the Fulson-King dialogue.

Little Brother Montgomery closes the hour with “Mr. Freddie Blues,” “Farrish Street Jive,” and “A Married Man’s a Fool.” His piano-driven style reconnects the hour to earlier blues traditions while still fitting comfortably within the electric era. It’s a reminder that even as the blues evolved, its roots remained close at hand.

Hour Four stands out as one of the most focused segments of the show. By centering on two contrasting voices and letting their music interact, it creates a sense of structure without feeling rigid. It’s not just a collection of songs—it’s a conversation between styles, approaches, and personalities.

Playlist – Hour Four

I Believe I’ll Give It Up – Lowell Fulson

Love You Baby – B.B. King

Reconsider Baby – Lowell Fulson

Sugar Mama – B.B. King

Tollin’ Bell – Lowell Fulson

Whole Lotta Love – B.B. King

Rock ‘Em Dead – Lowell Fulson

Sneakin’ Around – B.B. King

Blue Shadows – Lowell Fulson

Be Careful With a Fool – B.B. King

Hung Down Head – Lowell Fulson

You Know I Go For You – B.B. King

Do Me Right – Lowell Fulson

You Upset Me – B.B. King

Hi Heeled Sneakers – Tommy Tucker

Walking the Dog – Tommy Tucker

Long Tall Shorty – Tommy Tucker

Mr. Freddie Blues – Little Brother Montgomery

Farrish Street Jive – Little Brother Montgomery

A Married Man’s a Fool – Little Brother Montgomery

The Ravens open with “Lilacs in the Rain,” setting a calm and polished tone. Their harmonies are soft and measured, easing the listener into the hour. That mood continues with Henry Mancini’s “Too Little Time,” an instrumental that adds a cinematic quality, expanding the emotional space without overpowering it.

Johnny Hartman follows with “I’ll Follow You,” his deep, velvety voice bringing a sense of intimacy and warmth. Ella Fitzgerald’s “Dream a Little Longer” keeps that feeling intact, her phrasing effortless and precise, balancing emotion with control.

The instrumental side comes back into focus with Groove Holmes’ “Good Vibrations,” where the organ-driven groove adds a subtle pulse beneath the relaxed surface. From there, Brook Benton delivers two standout tracks, “Endlessly” and “Kiddeo,” blending smooth vocal delivery with a hint of early soul, keeping the hour grounded while still pushing forward.

The blues begins to take a stronger presence as the hour unfolds. Big Bill Broonzy’s “Midnight Steppers” introduces a more traditional feel, while Big Maceo’s “County Jail Blues” deepens the mood with piano-driven intensity. Tampa Red’s “Vacation in Harlem” adds a touch of urban storytelling, bridging older blues traditions with a more modern sensibility.

Yas-Yas Girl’s “You Don’t Know My Mind” brings a distinctive vocal style, adding variety and personality to the set. Mickey Baker follows with two instrumentals, “Old Devil Moon” and “Guitar Rambo,” showcasing clean, expressive guitar work that keeps the hour moving without disrupting its laid-back feel.

Christine Kittrell’s “Sittin’ Here Drinkin’” and “I’m Just What You’re Looking For” inject a bit of attitude and confidence, her vocals cutting through with clarity and presence. Earl Gaines’ “Let Me Down Easy” continues that thread, blending blues feeling with a smoother, more modern delivery.

As always, the hour—and the show—closes with “Albatross” by Fleetwood Mac. Its calm, drifting guitar lines provide the perfect ending, allowing the entire five-hour journey to settle into silence.

Hour Five doesn’t demand attention—it invites it. It’s music for the quiet moments, for reflection, for letting the night wind down. After everything that came before, this hour provides the space to take it all in.

Playlist – Hour Five

Lilacs in the Rain – Ravens

Too Little Time – Henry Mancini

I’ll Follow You – Johnny Hartman

Dream a Little Longer – Ella Fitzgerald

Good Vibrations – Groove Holmes

Endlessly – Brook Benton

Kiddeo – Brook Benton

Midnight Steppers – Big Bill Broonzy

County Jail Blues – Big Maceo

Vacation in Harlem – Tampa Red

You Don’t Know My Mind – Yas-Yas Girl

Old Devil Moon – Mickey Baker

Guitar Rambo – Mickey Baker

Sittin’ Here Drinkin’ – Christine Kittrell

I’m Just What You’re Looking For – Christine Kittrell

Let Me Down Easy – Earl Gaines

Albatross – Fleetwood Mac

Timmie Rogers opens the hour with “January & February,” setting a playful and engaging mood. That sense of personality carries straight into a strong run from Cab Calloway, whose tracks—“She’s Tall, She’s Tan, She’s Terrific,” “Mama I Wanna Make Rhythm,” “Hi-De-Ho Romeo,” and “Moon at Sea”—bring theatrical energy and polished band arrangements. Calloway’s presence dominates this stretch, blending humor, rhythm, and showmanship in a way that defined an era.

Slim & Slam take over with a quartet of performances that highlight tight vocal harmonies and rhythmic precision. Tracks like “Flat Foot Susie,” “Chinatown My Chinatown,” “Oh Lady Be Good,” and “Jump Session” are crisp and engaging, combining jazz sensibilities with an accessible, upbeat feel. Their interplay adds a conversational quality to the hour, keeping things lively and dynamic.

The Sweethearts of Rhythm push the momentum even further with “Central Avenue Boogie,” “Jump Children,” and “Tuxedo Junction.” Their contributions bring a strong instrumental focus, showcasing the power and sophistication of an all-female band that could swing as hard as any of their contemporaries. The arrangements here are tight, driving, and full of life.

John Schoolboy Porter shifts the tone slightly with “Walk Heavy” and “Soft Shoulders,” introducing a more grounded blues feel while still maintaining the rhythmic backbone of the hour. These tracks act as a bridge, connecting the high-energy swing numbers with the deeper blues elements that follow.

The Ink Spots’ “My Prayer” slows things down just enough to add emotional contrast. Their smooth harmonies and gentle delivery provide a moment of reflection without losing the hour’s overall flow. Pete Johnson’s “Swanee River Boogie” brings the piano back to the forefront, injecting a dose of boogie-woogie energy that keeps the momentum intact.

Bert Williams’ “You Can’t Trust Nobody” adds a classic vocal performance rooted in earlier traditions, while Buddy Tate’s “The Spot” closes the hour with a confident instrumental finish. Tate’s saxophone work ties everything together, leaving the listener with a sense of completion while still setting the stage for what’s to come.

Hour One works as both an introduction and an invitation. It opens the door with rhythm, swing, and personality, drawing the listener in with accessible, engaging performances. At the same time, it lays the groundwork for the deeper blues explorations that unfold in the hours ahead.

It’s a reminder that before the blues got heavier and more electric, it also knew how to swing.

Playlist – Hour One

January & February – Timmie Rogers

She’s Tall, She’s Tan, She’s Terrific – Cab Calloway

Mama I Wanna Make Rhythm – Cab Calloway

Hi-De-Ho Romeo – Cab Calloway

Moon at Sea – Cab Calloway

Flat Foot Susie – Slim & Slam

Chinatown My Chinatown – Slim & Slam

Oh Lady Be Good – Slim & Slam

Jump Session – Slim & Slam

Central Avenue Boogie – Sweethearts of Rhythm

Jump Children – Sweethearts of Rhythm

Tuxedo Junction – Sweethearts of Rhythm

Walk Heavy – John Schoolboy Porter

Soft Shoulders – John Schoolboy Porter

My Prayer – Ink Spots

Swanee River Boogie – Pete Johnson

You Can’t Trust Nobody – Bert Williams

The Spot – Buddy Tate

The hour opens with Jo Jo Adams’ “Rebecca,” a track that immediately establishes a relaxed but grounded blues feel. From there, Rubberlegs Williams’ “Bring It On Home” adds a touch of humor and personality, reminding listeners that even in hard times, the blues often carries a wink and a smile.

Ruth Brown follows with “We’ll Be Together Again,” bringing a smooth, confident vocal style that helped define early R&B. Her delivery is both polished and emotional, striking a balance that would influence generations of singers to come. Cecil Gant’s “Hit That Jive Jack” keeps the momentum going, blending blues and swing elements into a rhythm that feels both familiar and fresh.

Percy Mayfield’s contributions—“The Lonely One” and “Loose Lips”—shift the mood into something more introspective. Known for his poetic songwriting, Mayfield brings a reflective quality to the hour, where the focus turns inward and the stories become more personal.

Etta James arrives with “Something’s Got a Hold on Me,” injecting the set with raw energy and vocal power. Her performance stands out as a bridge between classic blues phrasing and the emerging soul sound, adding urgency and intensity to the hour.

The instrumental side of the blues is represented by Great Gates, whose tracks “Blues After Hours” and “Home Town Boy” provide space for the music to stretch out. These pieces emphasize mood and groove, allowing the listener to settle into the rhythm without the need for lyrics.

Little Margie’s “Years & Tears” continues the emotional thread, while Monette Moore’s “Birmingham Black Bottom” and “Don’t You Leave Me Here” bring a classic blues vocal style that feels rooted in earlier traditions. Her performances add depth and continuity, linking different eras of the genre.

Ethel Waters plays a central role in the latter half of the hour, with a series of recordings that highlight her versatility and enduring influence. Tracks like “Give Me a Heart to Sing” and “I Ain’t Gonna Sin No More” move between blues and early popular song, while “Trade Market” and “You’re Going to Leave the Old Folks Home” showcase her storytelling ability and emotional range.

The hour closes with Billie Holiday’s “Too Lovely to Last,” a fitting ending that brings everything back to a quiet, reflective space. Holiday’s understated delivery captures the essence of the hour—beauty mixed with sadness, strength wrapped in vulnerability.

Hour Two is where the blues becomes deeply personal. The grooves are steady, the voices are expressive, and the stories feel lived-in. It’s a portrait of a music form evolving—moving from its early roots toward something more modern, while still holding onto the emotion that defines it.

Playlist – Hour Two

Rebecca – Jo Jo Adams

Bring It On Home – Rubberlegs Williams

We’ll Be Together Again – Ruth Brown

Hit That Jive Jack – Cecil Gant

The Lonely One – Percy Mayfield

Loose Lips – Percy Mayfield

Something’s Got a Hold on Me – Etta James

Blues After Hours – Great Gates

Home Town Boy – Great Gates

Years & Tears – Little Margie

Birmingham Black Bottom – Monette Moore

Don’t You Leave Me Here – Monette Moore

Give Me a Heart to Sing – Ethel Waters

I Ain’t Gonna Sin No More – Ethel Waters

Trade Market – Ethel Waters

You’re Going to Leave the Old Folks Home – Ethel Waters

Too Lovely to Last – Billie Holiday

The hour opens with gospel voices, setting a spiritual tone before easing into the blues. The Trumpeteers and Elder Benjamin H. Broadie establish a reverent atmosphere, one rooted in faith and tradition. That feeling continues with Mahalia Jackson, whose performance carries a powerful sense of conviction. Her voice doesn’t just deliver a song—it delivers a message, anchoring the hour in something deeper than entertainment.

From there, the program transitions into the blues with Robert Wilkins’ “That’s No Way to Get Along.” His delivery feels reflective and measured, bridging the sacred and the secular. Casey Bill Weldon follows with “Blues Everywhere I Go,” bringing a lighter, more rhythmic feel while still staying grounded in classic blues structure.

Oscar Woods’ “Don’t Sell It – Don’t Give It Away” adds a storytelling element, while Walter Davis’ “Teasin’ Brownskin” brings a piano-driven groove that feels both playful and rooted in tradition. These tracks highlight the variety within early blues—different approaches, but a shared emotional core.

Bessie Smith appears next with “Need a Little Sugar” and “Safety Mama,” reminding listeners why she remains one of the most commanding voices in blues history. Her presence is undeniable—strong, expressive, and full of personality. She brings a sense of authority to the hour, connecting earlier folk traditions with a more developed vocal style.

Butterbeans & Susie inject humor and energy with “Deal Yourself Another Hand” and “Papa Ain’t No Santa Claus.” Their back-and-forth delivery adds a theatrical quality, showing how blues could entertain as much as it could express hardship.

Then comes Son House, and the mood shifts dramatically. Tracks like “Grinnin’ in Your Face,” “John the Revelator,” and “Pearline” strip everything down to its bare essentials. His voice is raw, intense, and completely direct—no instrumentation needed to carry the weight. These performances feel almost confrontational in their honesty, pulling the listener in with a force that’s impossible to ignore.

The hour closes with Big Bill Broonzy, whose “She’s Gone With the Wind” and “I Feel So Good” bring a sense of balance back to the set. His style blends the rawness of Delta blues with a more polished, approachable sound, making for a fitting transition toward the later, more modern hours of the program.

Hour Three is the heart of the show. It’s where the music is at its most fundamental—built on voice, rhythm, and lived experience. There’s no excess here, no distraction—just the blues in its purest form.

Playlist – Hour Three

At the Cross I’ll Bow – Trumpeteers

John Saw the Holy Number – Elder Benjamin H. Broadie

It’s Real – Mahalia Jackson

That’s No Way to Get Along – Robert Wilkins

Blues Everywhere I Go – Casey Bill Weldon

Don’t Sell It – Don’t Give It Away – Oscar Woods

Teasin’ Brownskin – Walter Davis

Need a Little Sugar – Bessie Smith

Safety Mama – Bessie Smith

Deal Yourself Another Hand – Butterbeans & Susie

Papa Ain’t No Santa Claus – Butterbeans & Susie

Grinnin’ in Your Face – Son House

John the Revelator – Son House

Pearline – Son House

She’s Gone With the Wind – Big Bill Broonzy

I Feel So Good – Big Bill Broonzy

The hour opens with a strong presence from Jimmy Rogers, whose recordings helped define the Chicago blues sound in the 1950s. Tracks like “Goin’ Away Baby,” “Cryin’ Shame,” and “Act Like You Love Me” showcase his smooth vocals and clean, understated guitar style. Rogers never overplays—he lets the groove do the work, creating performances that feel relaxed but deeply rooted.

Sunnyland Slim’s “It’s You Baby” keeps that Chicago feel moving, anchored by his rolling piano style. There’s a looseness in his playing that contrasts nicely with the tighter guitar-driven tracks, adding variety without breaking the flow.

The mood deepens with “Hard-Hearted Woman” by Big Walter, bringing in a heavier, more emotional tone. From there, Big Boy Spires’ “Murmur Low” adds a raw edge, reminding listeners that even within the electric era, there was still plenty of grit and individuality.

A major highlight of the hour comes from T-Bone Walker, whose influence on electric guitar cannot be overstated. Tracks like “That’s Better for Me,” “Prison Blues,” and “T-Bone Shuffle” show his smooth, jazz-influenced approach to the blues. Walker’s playing is elegant and precise, bridging the gap between earlier swing styles and the more modern electric sound.

Lloyd Glenn’s “Blues Hangover” brings a piano-driven groove that feels both relaxed and rhythmically strong, while Dickie Thompson’s “13 Women & Only One Man” adds a touch of storytelling and personality.

The hour continues with Jimmy Wilson’s “Mistake in Life,” a track that leans into emotional storytelling, followed by Eddie Boyd’s “I’m Going Downtown,” which brings the focus back to classic Chicago blues structure—steady rhythm, expressive vocals, and a strong sense of place.

St. Louis Jimmy’s “Hard Luck Boogie” adds a transitional feel, connecting earlier blues styles with the more modern sounds heard throughout the hour. That sense of continuity continues with Tender Slim’s “I’m Checkin’ Up,” a track that blends blues themes with a slightly more contemporary delivery.

Rose Johnson’s “Home Work Blues” brings a unique vocal perspective, adding variety to the lineup, while James Reed’s “Things Ain’t What They Used to Be” reflects a theme that runs throughout the blues—change, loss, and adaptation.

The hour closes with “Prison Bound” by Lowell Fulson, a fitting ending that captures the emotional weight and storytelling tradition of the blues while maintaining the electric, band-driven sound that defines this portion of the program.

Hour Four is where everything comes together. The roots explored in earlier hours are now amplified and refined, shaped by city life and evolving musical tastes. It’s the blues stepping into a new era—without losing the feeling that made it powerful in the first place.

Playlist – Hour Four

Goin’ Away Baby – Jimmy Rogers

It’s You Baby – Sunnyland Slim

Cryin’ Shame – Jimmy Rogers

Hard-Hearted Woman – Big Walter

Act Like You Love Me – Jimmy Rogers

Murmur Low – Big Boy Spires

That’s Better for Me – T-Bone Walker

Blues Hangover – Lloyd Glenn

Prison Blues – T-Bone Walker

13 Women & Only One Man – Dickie Thompson

T-Bone Shuffle – T-Bone Walker

Mistake in Life – Jimmy Wilson

I’m Going Downtown – Eddie Boyd

Hard Luck Boogie – St. Louis Jimmy

I’m Checkin’ Up – Tender Slim

Home Work Blues – Rose Johnson

Things Ain’t What They Used to Be – James Reed

Prison Bound – Lowell Fulson

The hour opens with the soft, polished harmonies of the Charioteers on “With Every Breath I Take.” It’s a gentle beginning, immediately shifting the mood into something calm and intimate. From there, the tone deepens with Charlie Parker’s “Dancing in the Dark.” Parker’s phrasing is fluid and expressive, bringing a cool, almost weightless quality that sets the stage for the rest of the hour.

Arthur Prysock follows with “It’s Too Late Baby,” his rich baritone adding emotional weight without ever becoming heavy-handed. That same sense of control carries into Ella Fitzgerald’s “Single-O,” where her effortless delivery provides a perfect balance of precision and feeling.

The instrumental mood continues with Larry Young’s “Flamingo,” adding a subtle, atmospheric groove that keeps things moving without disrupting the relaxed pace. Then comes Sam Cooke, whose “Lonely Island” and “Let’s Go Steady Again” bridge gospel roots and early soul. Cooke’s voice carries warmth and clarity, making these tracks feel personal and inviting.

The blues begins to take a stronger hold as the hour progresses. Howlin’ Wolf steps in with a trio of performances—“Love Me Darlin’,” “I Walked From Dallas,” and “I Better Go Now.” His raw, commanding voice cuts through the smoother textures that came before, reintroducing grit and intensity into the mix.

Jr. Parker’s “Sometimes” eases that intensity slightly, bringing a more melodic and measured approach. Then Magic Sam delivers two standout tracks, “Sweet Home Chicago” and “Mama Talk to Your Daughter,” both rooted firmly in the West Side Chicago blues sound—clean guitar lines, steady rhythm, and an understated confidence.

John Lee Hooker’s “Goin’ Down Highway 51” shifts the feel again, stripping things back to a hypnotic, driving groove. His style is minimal but powerful, pulling the listener into a rhythm that feels almost trance-like.

The closing stretch keeps the focus on raw blues expression. Frank Frost’s “Catfish Blues” brings a deep, earthy sound, while Ricky Allen’s “Cut You A-Loose” adds a final burst of energy before the hour winds down.

As always, the program closes with “Albatross” by Fleetwood Mac. Its calm, spacious guitar lines provide a perfect ending—cool, reflective, and just distant enough to signal that the journey is complete.

Hour Five doesn’t try to compete with the earlier hours—it complements them. It’s quieter, more spacious, and more reflective, giving the listener a chance to absorb everything that came before. It’s the sound of the night winding down, one last groove before the sun comes up.

Playlist – Hour Five

With Every Breath I Take – Charioteers

Dancing in the Dark – Charlie Parker

It’s Too Late Baby – Arthur Prysock

Single-O – Ella Fitzgerald

Flamingo – Larry Young

Lonely Island – Sam Cooke

Let’s Go Steady Again – Sam Cooke

Love Me Darlin’ – Howlin’ Wolf

I Walked From Dallas – Howlin’ Wolf

I Better Go Now – Howlin’ Wolf

Sometimes – Jr. Parker

Sweet Home Chicago – Magic Sam

Mama Talk to Your Daughter – Magic Sam

Goin’ Down Highway 51 – John Lee Hooker

Catfish Blues – Frank Frost

Cut You A-Loose – Ricky Allen

Albatross – Fleetwood Mac

The hour begins with a burst of energy from Louis Jordan and Martha Davis on “Daddy-O.” Jordan’s influence on jump blues and early rhythm and blues is impossible to overstate, and this track captures his ability to combine humor, rhythm, and tight musicianship into something instantly engaging. It’s the perfect way to kick off a five-hour journey.

From there, the spotlight shifts to Joe Williams, whose series of performances—“Workin’,” “A Woman,” “I’ll Follow You,” and “You Stepped Out of a Dream”—showcase his rich baritone voice and effortless phrasing. Williams brings a smooth, jazz-inflected sensibility that contrasts nicely with the more playful energy of the opening track.

Dinah Washington follows with a strong set of recordings including “Soft Winds,” “Feel Like I Wanna Cry,” “Fat Daddy,” and “If It’s the Last Thing I Do.” Washington’s versatility shines here—she moves easily between jazz, blues, and early R&B, delivering each line with precision and emotional clarity. Her presence anchors the hour and elevates its overall tone.

Instrumental energy enters the mix with saxophonist Plas Johnson, whose tracks “Last Call,” “Dungaree Hop,” “Red Cider,” and “Bar B Que” bring a swinging, late-night groove. These recordings feel like the soundtrack to a packed club, full of movement and momentum.

The vocal and instrumental balance continues with Martha Davis returning for “The Bebop Bounce” and “I Ain’t Getting Any Younger,” adding a playful yet grounded perspective. Her delivery feels conversational, drawing the listener in without ever overpowering the arrangement.

A shift toward blues piano tradition arrives with Meade Lux Lewis and “Fast Boogie/Suitcase Blues.” His rolling, rhythmic style connects directly back to the boogie-woogie era, reinforcing the deep roots that underpin the more modern sounds heard earlier in the hour.

Josephine Baker brings a touch of elegance and international flair with “Pretty Little Baby,” reminding listeners of the global reach of early jazz and blues performers. Meanwhile, Paul Bascomb keeps things moving with “Robin’s Hop,” an instrumental that maintains the hour’s steady groove.

The hour closes with “Don’t Take It Fast” by the Palmer Brothers, a track that neatly ties together the themes of rhythm, melody, and early R&B development. It’s a fitting end to an hour that doesn’t overwhelm but instead invites the listener in—setting a tone that feels both welcoming and musically rich.

Hour One works because of its balance. It blends vocal sophistication with instrumental swing, humor with emotion, and jazz with blues. It doesn’t dive too deep too quickly—instead, it builds a strong, steady foundation. By the time it ends, the listener is fully settled in, ready to follow the program wherever it goes next.

Playlist – Hour One

Daddy-O – Louis Jordan & Martha Davis

Workin’ – Joe Williams

A Woman – Joe Williams

I’ll Follow You – Joe Williams

You Stepped Out of a Dream – Joe Williams

Soft Winds – Dinah Washington

Feel Like I Wanna Cry – Dinah Washington

Fat Daddy – Dinah Washington

If It’s the Last Thing I Do – Dinah Washington

Last Call – Plas Johnson

Dungaree Hop – Plas Johnson

Red Cider – Plas Johnson

Bar B Que – Plas Johnson

The Bebop Bounce – Martha Davis

I Ain’t Getting Any Younger – Martha Davis

Don’t Take It Fast – Palmer Brothers

Fast Boogie/Suitcase Blues – Meade Lux Lewis

Pretty Little Baby – Josephine Baker

Robin’s Hop – Paul Bascomb

The hour kicks off with the commanding voice of Big Maybelle on “Ramblin’ Blues.” Her delivery is bold and unapologetic, immediately establishing a tone of strength and emotional intensity. That feeling continues with Big Joe Turner and “Low Down Dog,” where his booming voice rides a driving rhythm that points straight toward the birth of rock and roll.

Amos Milburn follows with “That Was Your Last Mistake,” bringing his signature blend of piano-driven blues and sly vocal phrasing. Milburn’s recordings often balanced humor and heartbreak, and that duality is on full display here. The mood deepens with Ivory Joe Hunter and “Lying Woman Blues,” a smoother, more melodic take on the blues that highlights his crossover appeal.

The hour continues to shift stylistically with performances from Clyde Bernhardt and the duo Don and Dewey, whose “Just a Little Lovin’” adds a touch of early rock and roll energy into the mix. Then comes the comedic and theatrical side of the blues with Pigmeat Markham and “Insane Asylum,” a reminder that humor has always been part of the tradition.

A major highlight arrives with a trio of recordings by Ray Charles—“Baby Don’t You Cry,” “Born to Lose,” and “You Don’t Know Me.” These performances showcase his ability to fuse gospel emotion with blues structure, creating a sound that would redefine popular music. Charles doesn’t just sing the blues—he transforms it.

Instrumental blues and barrelhouse piano make a strong appearance with Cow Cow Davenport and “Mooch Piddle,” bringing a rolling, rhythmic energy that connects back to earlier piano traditions.

The hour then takes a turn toward classic vocal blues with Ethel Waters, whose recordings “Miss Otis Regrets,” “Dinah,” “When It’s Sleepy Time Down South,” and “Moonglow” demonstrate her incredible versatility. Waters could move effortlessly between blues, jazz, and popular standards, and her presence here adds depth and historical weight to the program.

As the hour winds down, gospel music takes center stage, reinforcing the spiritual roots that have always run parallel to the blues. Sister Sallie Sanders delivers “Tree of Life” with conviction and grace, followed by Rev. J.C. Burnett and “God Will Deliver His People,” a performance filled with urgency and faith.

The closing track by the Soul Stirrers, “One More River to Cross,” provides a powerful finish. Their harmonies and emotional delivery feel like both a conclusion and a continuation—tying together the blues, gospel, and R&B elements that define this hour.

Hour Two is where the blues begins to stretch its boundaries. It’s louder, more rhythmic, and more connected to the world beyond the juke joint. At the same time, it never loses sight of its roots, keeping one foot firmly planted in tradition while the other steps forward into something new.

Playlist – Hour Two

Ramblin’ Blues – Big Maybelle

Low Down Dog – Big Joe Turner

That Was Your Last Mistake – Amos Milburn

Lying Woman Blues – Ivory Joe Hunter

I’m Henpecked – Clyde Bernhardt

Just a Little Lovin’ – Don & Dewey

Insane Asylum – Pigmeat Markham

Baby Don’t You Cry – Ray Charles

Born to Lose – Ray Charles

You Don’t Know Me – Ray Charles

Mooch Piddle – Cow Cow Davenport

Miss Otis Regrets – Ethel Waters

Dinah – Ethel Waters

When It’s Sleepy Time Down South – Ethel Waters

Moonglow – Ethel Waters

Tree of Life – Sister Sallie Sanders

God Will Deliver His People – Rev. J.C. Burnett

One More River to Cross – Soul Stirrers

The hour opens with the powerful duo of Memphis Minnie and Kansas Joe McCoy. Tracks like “Today Today Blues” and “You Know You Done Me Wrong” showcase Minnie’s sharp guitar work and commanding vocal presence. She wasn’t just one of the great female blues artists—she was one of the great blues artists, period. “Hard Time Blues” continues that thread, blending technical skill with deeply personal storytelling.

From there, the spotlight shifts to Peetie Wheatstraw, whose “Doin’ the Best I Can” and “Rising Sun Blues” highlight his distinctive vocal style and mythic persona as the “Devil’s Son-in-Law.” His recordings carry a haunting quality, equal parts humor and darkness.

Kokomo Arnold follows with “Backfence Pickett Blues” and “Wild Water Blues,” bringing a fast-paced, intricate guitar style that would later influence artists like Robert Johnson. Arnold’s playing is sharp and driving, pushing the rhythm forward in a way that feels ahead of its time.

The hour continues to highlight the importance of female blues voices with Monette Moore and her “Sugar Blues,” as well as Lucille Hegamin on “Beale Street Mama.” These performances carry a theatrical quality rooted in vaudeville and early blues traditions, where storytelling and personality were just as important as musical technique.

Eva Taylor adds a smoother vocal touch with “Nobody But My Baby,” offering a contrast to the more rugged performances surrounding it. Meanwhile, artists like Walter Roland and Lee Green bring the focus back to rural and urban blues hybrids—piano-driven and rhythmically grounded.

A particularly striking moment comes with the recordings by the Two Poor Boys. Their tracks “Two White Horses in a Line” and “Down in Black Bottom” capture the essence of early blues duos—minimal instrumentation, maximum feeling. There’s a looseness here that feels completely natural, as if the music is unfolding in real time.

Lewis Black adds another layer with “Spanish Blues,” blending stylistic influences and showcasing how diverse early blues could be, even within a relatively small recording window.

The hour closes with two powerful performances: “Whiskey Head Man” by Tommy McClennan and “Evil But Kindhearted” by Brownie McGhee. McClennan’s raw, driving style contrasts beautifully with McGhee’s smoother, more melodic approach, effectively summarizing the range of expression found within the blues tradition.

Hour Three doesn’t just revisit the past—it explains the present. Every electric riff, every Chicago groove, every jazz-inflected vocal heard elsewhere in the program can be traced back to recordings like these. This is where the blues speaks most plainly, without amplification or embellishment.

It’s not always pretty. It’s not always polished. But it’s real—and that’s exactly the point.

Playlist – Hour Three

Today Today Blues – Memphis Minnie & Kansas Joe

You Know You Done Me Wrong – Memphis Minnie & Kansas Joe

Hard Time Blues – Memphis Minnie & Kansas Joe

Doin’ the Best I Can – Peetie Wheatstraw

Rising Sun Blues – Peetie Wheatstraw

Backfence Pickett Blues – Kokomo Arnold

Wild Water Blues – Kokomo Arnold

Sugar Blues – Monette Moore

Beale Street Mama – Lucille Hegamin

Nobody But My Baby – Eva Taylor

Lonesome Monday Morning Blues – Bluetta Mooney

House Lady Blues – Walter Roland

Down in Death Alley Blues – Lee Green

Two White Horses in a Line – Two Poor Boys

Down in Black Bottom – Two Poor Boys

Spanish Blues – Lewis Black

Whiskey Head Man – Tommy McClennan

Evil But Kindhearted – Brownie McGhee

By the mid-1970s, Muddy Waters was no longer just a pioneer—he was a living legend. His influence had already shaped the course of electric blues and inspired generations of rock musicians. But what makes this performance special is the band behind him. This lineup would later become known as the Legendary Blues Band, featuring Pinetop Perkins on piano, Calvin “Fuzz” Jones on bass, Willie “Big Eyes” Smith on drums, Luther “Guitar Jr” Johnson on guitar, Jerry Portnoy on harmonica, and Bob Margolin on guitar. Together, they formed a tight, road-tested unit capable of delivering both subtlety and raw power.

The set opens with “Blow Wind Blow,” immediately establishing the deep groove and commanding presence that defined Muddy’s live performances. His voice, weathered but strong, carries authority, while the band locks into a rhythm that feels both relaxed and unstoppable.

“What’s the Matter with the Mill” and “Screamin’ & Cryin’” follow, showcasing the band’s ability to shift dynamics while maintaining that unmistakable Chicago blues feel. There’s a looseness to the performance—an organic quality that only comes from years of playing together night after night.

When the band launches into “Got My Mojo Workin’,” the energy rises instantly. This is one of Muddy’s signature songs, and here it’s delivered with a confidence and drive that turns it into a centerpiece of the set. The audience may be thousands of miles from Chicago, but the feeling is exactly the same.

“Garbage Man” and “Baby Please Don’t Go” continue the momentum, blending humor, storytelling, and rhythm into performances that feel both timeless and immediate. Muddy’s ability to connect with an audience—regardless of language or location—is on full display throughout the set.

The mood shifts slightly with “Soon Forgotten,” bringing a more reflective tone before the band dives back into classics like “Hoochie Coochie Man.” That track alone is a masterclass in blues structure—built on tension, release, and a powerful stop-time rhythm that allows Muddy’s vocals to take center stage.

Interestingly, the set includes a performance titled “Howling Wolf,” a nod to Muddy’s longtime contemporary and friendly rival. It’s a reminder of the interconnected nature of the Chicago blues scene and the artists who helped define it.

After the Muddy Waters set, the hour continues with additional tracks that expand the blues landscape. “Sweet Home Chicago” by Big John Trice keeps the Chicago connection alive, while “Lester’s Comet” from Maddog Lester adds an instrumental twist.

The inclusion of “Deep Feeling” and “Wee Wee Hours” by Chuck Berry bridges blues and early rock and roll, highlighting how Muddy’s influence extended far beyond the blues world. Finally, “Bo Diddley’s a Gunfighter” by Bo Diddley closes the hour with a rhythmic drive that feels both primal and modern.

Hour Four stands as the heart of the program—a reminder that the blues is not confined to one place or time. From the South Side of Chicago to a stage in Warsaw, the music travels, evolves, and continues to speak to audiences everywhere.

Playlist – Hour Four

Blow Wind Blow – Muddy Waters

What’s the Matter with the Mill – Muddy Waters

Screamin’ & Cryin’ – Muddy Waters

Got My Mojo Workin’ – Muddy Waters

Garbage Man – Muddy Waters

Baby Please Don’t Go – Muddy Waters

Soon Forgotten – Muddy Waters

Hoochie Coochie Man – Muddy Waters

Howling Wolf – Muddy Waters

Sweet Home Chicago – Big John Trice

Lester’s Comet – Maddog Lester

Deep Feeling – Chuck Berry

Wee Wee Hours – Chuck Berry

Bo Diddley’s a Gunfighter – Bo Diddley

The hour opens with the gentle harmony vocals of the Mills Brothers on “Wish I Had a Brand New Heart.” It’s a soft beginning that immediately changes the tone from the raw energy of the previous hour to something more intimate and relaxed. From there, “Latin Snow Fall” by Henry Mancini adds a cinematic quality—quiet, spacious, and almost dreamlike.

Al Hibbler follows with “If I Knew You Were There,” delivering the kind of emotional depth that defined his recordings. His rich, expressive voice bridges the gap between jazz and blues, and that same feeling continues with Lena Horne’s “Just My Luck.” Horne’s performance feels calm but deeply emotional, adding another layer to the late-night mood of the hour.

The tempo stays slow and thoughtful with Gene Ammons’ instrumental version of “Stormy Monday Blues.” Ammons had a way of making every note feel deliberate, and this performance captures the quiet intensity of the blues without ever raising the volume. That mood carries over perfectly into John Wright’s “LaSalle Street After Hours,” a track that sounds like a nearly empty city long after midnight.

The blues returns more directly with Sonny Boy Williamson II performing “Bring It On Home.” His harmonica work and vocal phrasing are unmistakable, and the song reconnects the program to its deeper roots after the jazz-leaning opening of the hour.

From there, the focus shifts firmly to Chicago blues. L.C. McKinley’s “Lonely” is stripped down and emotional, while the Big Three Trio’s “Cool Kind Woman” brings a raw, early electric blues sound that feels honest and unpolished in the best possible way.

Junior Wells adds a bit more energy with “Come On In This House,” blending gospel feeling with Chicago blues grit. Guitarist Jody Williams follows with “Easy Lovin’,” a reminder of how influential his playing style became in shaping the Chicago electric blues sound.

Johnny Littlejohn gets two strong moments in this hour with “Nowhere to Lay My Head” and “Slidin’ Home.” His playing captures the West Side Chicago style perfectly—deep rhythm, expressive guitar work, and a sense of lived-in emotion that feels completely authentic.

The hour then reaches back to earlier blues traditions with “Root Doctor” by Doctor Clayton and “Farewell Little Girl” by Dr. Clayton’s Buddy. These recordings bring the program full circle, reminding listeners that even the electric Chicago blues of the 1950s and 60s grew directly from the earlier acoustic traditions.

As always, the show closes with “Albatross” by Fleetwood Mac. The calm instrumental ending feels almost like a quiet sign-off, allowing the entire five-hour journey to settle in. After the power of the live Muddy Waters set and the deep historical recordings earlier in the program, Hour Five provides a gentle landing—thoughtful, relaxed, and perfectly suited to the final moments before sunrise.

Playlist – Hour Five

Wish I Had a Brand New Heart – Mills Brothers

Latin Snow Fall – Henry Mancini

If I Knew You Were There – Al Hibbler

Just My Luck – Lena Horne

Stormy Monday Blues – Gene Ammons

LaSalle Street After Hours – John Wright

Bring It On Home – Sonny Boy Williamson II

Lonely – L.C. McKinley

Cool Kind Woman – Big Three Trio

Come On In This House – Junior Wells

Easy Lovin’ – Jody Williams

Nowhere to Lay My Head – Johnny Littlejohn

Slidin’ Home – Johnny Littlejohn

Root Doctor – Dr. Clayton

Farewell Little Girl – Dr. Clayton’s Buddy

Albatross – Fleetwood Mac

The hour begins with guitarist Tiny Grimes and his energetic performance of “Frankie & Johnny Boogie.” Grimes was known for his distinctive electric guitar work and his ability to blend blues and swing styles. His recordings often featured driving rhythms and playful arrangements that made them favorites in postwar dance halls.

From there the program moves into the Kansas City swing tradition with bandleader Buddy Johnson and vocalist Ella Johnson. Their recordings “Did You See Jackie Robinson,” “Til My Baby Comes Back,” “You’ll Get Them Blues,” and “Dr. Jive Jives” showcase the powerful blend of big band arrangements and blues-influenced vocals that made the Johnson orchestra a major force in the 1940s. Ella Johnson’s warm, expressive voice became one of the defining sounds of the band.

The Kansas City connection continues with pianist and bandleader Jay McShann, whose recordings “Jumpin’ the Blues,” “Lonely Boy Blues,” and “Swingmatism” demonstrate the relaxed but driving groove that characterized the Kansas City sound. McShann’s band was also notable for launching the career of saxophonist Charlie Parker, making his recordings an important part of jazz and blues history.

Next comes pianist and singer Hadda Brooks, often called the “Queen of the Boogie.” Her recordings “When a Woman Cries,” “Don’t Call It Love,” and “Juke Box Boogie” combine smooth piano playing with soulful vocals, reflecting the nightclub atmosphere of the late 1940s Los Angeles music scene.

Tenor saxophonist Julian Dash brings a strong instrumental presence with “Deacon Dash,” “Blue Velvet,” and “Preachin’.” Dash was known for his rich saxophone tone and his ability to move easily between jazz and rhythm-and-blues styles, contributing to the rise of sax-driven R&B instrumentals.

Vocal harmony enters the hour with the smooth sound of the Delta Rhythm Boys performing “How High the Moon.” The group’s polished harmonies helped popularize vocal jazz during the 1930s and 1940s, and their recordings became widely heard on radio and in films.

Boogie-woogie piano legend Albert Ammons appears with “Monday Struggle,” reminding listeners of the powerful left-hand rhythms that defined the boogie style and influenced generations of blues and rock pianists.

A rare historical recording follows from bandleader James Reese Europe with “My Chocolate Soldier.” Europe was one of the most important African American bandleaders of the early twentieth century, leading military bands during World War I and helping introduce jazz-influenced music to international audiences.

The hour also features the smooth tenor saxophone of Lucky Thompson performing “Smooth Sailin’.” Thompson was known for his lyrical approach to jazz improvisation and his ability to bridge swing and bebop traditions.

Together these recordings create an energetic opening hour that moves from swing orchestras and boogie-woogie piano to early rhythm-and-blues instrumentals. It’s a reminder that the blues has always lived alongside jazz, swing, and popular music, constantly evolving while maintaining its emotional core.

Playlist – Hour One

Frankie & Johnny Boogie – Tiny Grimes

Did You See Jackie Robinson – Buddy Johnson

Til My Baby Comes Back – Ella Johnson

You’ll Get Them Blues (1947) – Ella Johnson

Dr. Jive Jives – Buddy Johnson

Jumpin’ the Blues – Jay McShann

Lonely Boy Blues – Jay McShann

Swingmatism – Jay McShann

When a Woman Cries – Hadda Brooks

Don’t Call It Love – Hadda Brooks

Juke Box Boogie – Hadda Brooks

Deacon Dash – Julian Dash

Blue Velvet – Julian Dash

Preachin’ – Julian Dash

How High the Moon – Delta Rhythm Boys

Monday Struggle – Albert Ammons

My Chocolate Soldier – Lt. Jim Europe

Smooth Sailin’ – Lucky Thompson

The hour begins with the streetwise blues groove of Jimmy McCracklin performing “The Walk.” McCracklin’s relaxed vocal style and steady rhythm made him one of the most recognizable voices of West Coast rhythm and blues. His songs often reflected everyday life, delivered with a conversational style that connected easily with audiences.

Energy quickly rises with the lively performances of The Treniers on “Convertible Cadillac” and “Rock & Roll President.” Known for their explosive stage shows and humorous lyrics, the Treniers helped bring rhythm and blues closer to the rock-and-roll sound that would soon dominate the music world.

Piano blues takes center stage next with Floyd Dixon performing “Real Lovin’ Mama.” Dixon was a master of West Coast blues piano, blending boogie-woogie rhythms with smooth vocal delivery. His recordings helped define the relaxed yet rhythmic style that flourished in California blues clubs.

The hour also highlights the expressive vocals of Lulu Reed with “Walk On By” and “When My Love Was Down.” Reed’s recordings showcased the emotional strength of female rhythm-and-blues singers during the 1950s, delivering blues themes with a soulful intensity.

Next comes a trio of performances from Annie Laurie, including “Nobody’s Gonna Hurt You,” “Hold Onto What You Got,” and “Stop Talkin’ – Start Walkin’.” Laurie was known for her smooth phrasing and confident vocal style, bringing a strong personality to her rhythm-and-blues recordings.

New Orleans rhythm enters the picture with “Rootin’ & Tootin’” from Smiley Lewis. Lewis recorded many influential R&B songs during the 1950s, even though several of his hits were later covered by other artists who found greater commercial success.

The hour continues with rare recordings such as “On Your Way” by Barrelhouse Buck and the playful hokum blues of the Hokum Boys performing “Do You Catch On” and “Georgia Mule.” Hokum blues was known for its humorous lyrics and lively rhythms, offering a lighter side of the blues tradition.

The powerful voice of Ethel Waters returns to the program with “Come Up and See Me Sometime” and “You’ve Seen Harlem at Its Best.” Waters was one of the most important singers of the early twentieth century, equally comfortable in blues, jazz, and Broadway performances.

As the hour moves toward its conclusion, the program transitions into gospel music, reflecting the deep spiritual roots shared with the blues tradition. The harmonies of the Pilgrim Travelers on “Ring Them Golden Bells” bring a powerful gospel quartet sound, followed by the passionate preaching style of T‑N‑T Burton performing “Let God Fight Your Battles.”

The hour closes with the soaring gospel harmonies of the Swan Silvertones and their moving performance of “Careless Soul.” Ending the hour with gospel reminds listeners that blues and spiritual music have always been closely connected, each expressing different sides of the same emotional and cultural experience.

Together these recordings create an hour that moves from jump blues dance rhythms to heartfelt gospel devotion, capturing another chapter in the long and evolving story of the blues.

Playlist – Hour Two

The Walk – Jimmy McCracklin

Convertible Cadillac – Treniers

Rock & Roll President – Treniers

Real Lovin’ Mama – Floyd Dixon

Walk On By – Lulu Reed

When My Love Was Down – Lulu Reed

Nobody’s Gonna Hurt You – Annie Laurie

Hold Onto What You Got – Annie Laurie

Stop Talkin’ – Start Walkin’ – Annie Laurie

Rootin’ & Tootin’ – Smiley Lewis

On Your Way – Barrelhouse Buck

Do You Catch On – Hokum Boys

Georgia Mule – Hokum Boys

Come Up and See Me Sometime – Ethel Waters

You’ve Seen Harlem at Its Best – Ethel Waters

Ring Them Golden Bells – Pilgrim Travelers

Let God Fight Your Battles – T-N-T Burton

Careless Soul – Swan Silvertones

The hour opens with the haunting sound of Mississippi bluesman Ishman Bracey. His performances of “Saturday Blues” and “Woman Woman” demonstrate the expressive vocal delivery and loose guitar rhythms that defined early Delta blues. Bracey’s recordings, made in the late 1920s, reflect a raw emotional style that influenced generations of blues musicians.

Next comes “Stranger Blues” from Rosa Mae Moore. Moore was one of many talented female blues singers whose recordings appeared during the classic blues era, a time when women played a central role in bringing blues music to commercial audiences.

Few figures loom larger in early blues history than Charley Patton. Often referred to as the “Father of Delta Blues,” Patton helped establish many of the stylistic elements that later blues musicians would build upon. His performances of “Mississippi Boll Weevil,” “Lord I’m Discouraged,” and “Prayer of Death Pt. I” reveal the powerful voice, rhythmic guitar style, and dramatic storytelling that made him such a pivotal figure in blues history.

The music then shifts toward the urban blues sound with “Chain Gang Bound” by Bumble Bee Slim. Slim was one of the most popular blues artists of the 1930s, recording dozens of songs that blended country blues feeling with the evolving sound of city blues.

Another key voice of the era appears with “Patrol Wagon Blues” from St. Louis Jimmy. Known for his smooth vocal style and expressive songwriting, St. Louis Jimmy helped carry the blues into the swing era while maintaining its traditional roots.

The hour also highlights the work of Thomas A. Dorsey, who recorded early in his career under the name Georgia Tom. Before becoming one of the founding figures of modern gospel music, Dorsey was an accomplished blues pianist and composer. His recordings “Pat That Bread” and “All Alone Blues” reveal the strong connection between blues and gospel traditions.

Female blues voices return with the elegant performance of Alberta Hunter on “Everybody Loves My Baby.” Hunter’s career spanned decades, from the classic blues era through the late twentieth century, and her recordings remain a cornerstone of early blues and jazz.

The lively spirit of the classic blues era continues with “Ada Jane Blues” from Trixie Smith. Smith was known for her expressive vocals and her ability to blend humor and drama into her performances.

The hour then turns toward the folk-blues tradition with “High Brown Cheater” by Josh White. White’s sophisticated guitar work and thoughtful lyrics helped introduce blues and folk traditions to new audiences during the mid-twentieth century.

Finally, the hour closes with banjo master Gus Cannon performing “Poor Boy Long Way From Home.” Cannon, leader of the Jug Stompers, played a crucial role in preserving the jug band and folk-blues traditions that influenced countless musicians during the folk revival of the 1960s.

Taken together, these recordings offer a powerful reminder of how the blues first entered the recording studio nearly a century ago. The voices heard in this hour laid the groundwork for every blues style that followed—from Chicago electric blues to modern rhythm and blues.

Playlist – Hour Three

Saturday Blues – Ishman Bracey

Woman Woman – Ishman Bracey

Stranger Blues – Rosa Mae Moore

Mississippi Boll Weevil – Charley Patton

Lord I’m Discouraged – Charley Patton

Prayer of Death Pt. I – Charley Patton

Chain Gang Bound – Bumble Bee Slim

Patrol Wagon Blues – St. Louis Jimmy

Pat That Bread – Georgia Tom Dorsey

All Alone Blues – Georgia Tom Dorsey

Everybody Loves My Baby – Alberta Hunter

Ada Jane Blues – Trixie Smith

High Brown Cheater – Josh White

Poor Boy Long Way From Home – Gus Cannon

Otis Spann is often considered the definitive piano voice of Chicago blues. Born in Mississippi and raised in the Delta tradition, Spann moved to Chicago where he became an essential member of the band led by Muddy Waters. Throughout the 1950s and early 1960s, Spann’s powerful piano playing became a defining part of Waters’ sound. His style combined rolling boogie rhythms, deep blues feeling, and a gospel-influenced intensity that made every performance feel urgent and alive.

The recordings featured in this hour come from the album Cracked Spanner Head, produced by Mike Vernon during the late 1960s. Vernon had already become known in the United Kingdom for his work promoting American blues artists through his label Blue Horizon Records. His productions often paired traditional blues musicians with modern recording techniques while preserving the authenticity of the music.

The session featured an impressive group of musicians, including Muddy Waters on guitar, bassist Ransom Knowling, and drummer Willie ‘Big Eyes’ Smith. The album also included overdubbed horn arrangements and even appearances by British guitarist Jimmy Page on selected tracks, creating a unique blend of Chicago blues tradition and late-1960s studio experimentation.

Throughout the hour, Spann’s piano remains the heart of the music. Tracks like “Crack Your Head” and “Iced Nehi” showcase his ability to drive a band with rolling left-hand rhythms while adding expressive melodic lines with his right hand. His voice carries the same emotional honesty found in the best Delta blues singers—direct, unpolished, and deeply human.

Songs like “Rock Me Mama,” “No Sense in Worryin’,” and “Dollar Twenty Five” highlight the storytelling side of the blues. Spann’s delivery feels conversational, as though he is speaking directly to the listener rather than performing for an audience.

The intensity continues with performances such as “Everything’s Gonna Be Alright,” “Lucky So & So,” and “Sometimes I Wonder,” where the interplay between piano, guitar, and rhythm section captures the essence of Chicago blues during its most creative period. By the time “Mr. Highway Man” and “What Will Become of Me” arrive, the music has built a deep, hypnotic groove that reflects the late-night spirit of the program itself.

The hour concludes with several tracks from guitarist and harmonica player Johnny Young, whose recordings were included in Mike Vernon’s Blues Masters LP series. Young was a respected figure on the Chicago blues scene, known for his work with artists like Walter Horton and Jimmy Rogers. His performances here—“Moanin’ & Groanin’,” “Trainfare Out of Town,” “Walking Slow,” “Deal the Cards,” and “Little Girl”—provide a perfect closing to the tribute.

Taken together, Hour Four not only honors the memory of Mike Vernon but also celebrates the musicians whose recordings he helped bring to a wider audience. Through producers like Vernon, the music of artists such as Otis Spann and Johnny Young reached listeners across the world, ensuring that the Chicago blues tradition would continue to inspire new generations.

Playlist – Hour Four

Crack Your Head – Otis Spann

Iced Nehi – Otis Spann

Rock Me Mama – Otis Spann

No Sense in Worryin’ – Otis Spann

Dollar Twenty Five – Otis Spann

Everything’s Gonna Be Alright – Otis Spann

Lucky So & So – Otis Spann

Sometimes I Wonder – Otis Spann

Mr Highway Man – Otis Spann

What Will Become of Me – Otis Spann

Moanin’ & Groanin’ – Johnny Young

Trainfare Out of Town – Johnny Young

Walking Slow – Johnny Young

Deal the Cards – Johnny Young

Little Girl – Johnny Young

The hour opens with the smooth harmonies of The Four Vagabonds performing “Rose Ann of Charring Cross.” Vocal harmony groups like the Four Vagabonds were hugely popular during the 1930s and 1940s, bridging the gap between jazz, gospel, and early rhythm-and-blues.

From there the music turns to orchestral jazz with a performance by the legendary bandleader Duke Ellington. Ellington’s compositions always carried a sense of sophistication and atmosphere, and his music continues to stand as one of the towering achievements of American jazz.

The smooth baritone voice of Joe Williams follows with “With Every Breath I Take.” Williams, long associated with the Count Basie Orchestra, had a remarkable ability to interpret blues ballads with warmth and emotional depth.

Next comes the powerful vocal style of Dinah Washington. Often called the “Queen of the Blues,” Washington moved effortlessly between blues, jazz, and popular song. Her performance here demonstrates why she remains one of the most influential vocalists of the twentieth century.

Instrumental jazz takes a turn with organ master Jimmy Smith performing his dynamic interpretation of “St. Louis Blues.” Smith’s revolutionary Hammond organ style helped redefine jazz in the late 1950s and early 1960s, bringing gospel feeling and blues rhythm into modern jazz settings.

The mood shifts toward soul blues with recordings from Eunice Davis, whose performances “24 Hours a Day” and “Get Your Enjoys” bring a lively rhythm-and-blues groove into the mix.

Chicago-style electric blues arrives next with the laid-back but unmistakable sound of Jimmy Reed. His recordings “Honey Where You Going,” “Down in Virginia,” and “I’m Gonna Get My Baby” represent the hypnotic shuffle rhythm that made Reed one of the most influential blues artists of the 1950s and 1960s.

The guitar spotlight continues with Texas blues legend Freddy King, whose fiery playing helped shape the sound of modern electric blues. His recording “Goin’ Down” remains one of the most powerful guitar-driven blues performances ever recorded.

Chicago guitar master Buddy Guy follows with “Fever,” delivering the emotional intensity and explosive guitar style that would later inspire generations of blues and rock musicians.

Another outstanding guitarist appears with Pee Wee Crayton and “Peewee Special,” a performance that highlights the smooth West Coast blues sound that flourished during the postwar years.

Rare piano blues arrives with “Forgive Me Baby” from Elmore Nixon, followed by the boogie piano brilliance of Little Willie Littlefield and “Little Willie’s Boogie,” a reminder of how deeply blues piano traditions shaped rhythm-and-blues and early rock music.

As the hour—and the program—draws to a close, the music turns atmospheric with “Albatross” by Fleetwood Mac. Produced by Mike Vernon and written by Peter Green, the instrumental became one of Fleetwood Mac’s most famous recordings. For many listeners, it also served as a gateway into the world of blues music.

Ending the program with “Albatross” creates a quiet, reflective moment—an appropriate farewell to a show honoring a producer whose work helped bring blues music to a wider audience.

Playlist – Hour Five

Rose Ann of Charring Cross – Four Vagabonds

Haupe – Duke Ellington

With Every Breath I Take – Joe Williams

I Don’t Know You Anymore – Dinah Washington

St. Louis Blues – Jimmy Smith

24 Hours a Day – Eunice Davis

Get Your Enjoys – Eunice Davis

Honey Where You Going – Jimmy Reed

Down in Virginia – Jimmy Reed

I’m Gonna Get My Baby – Jimmy Reed

Goin’ Down – Freddy King

Fever – Buddy Guy

Peewee Special – Pee Wee Crayton

Forgive Me Baby – Elmore Nixon

Little Willie’s Boogie – Little Willie Littlefield

Albatross – Fleetwood Mac

The hour begins with the playful spirit of Al Stomp Russell and “Dig Mr. K-K-K.” Russell’s performance carries the loose, good-time feeling that defined much of the swing era, when bands focused on rhythm, humor, and irresistible dance grooves.

From there the spotlight turns to vibraphone master Lionel Hampton, one of the most energetic bandleaders in jazz history. Hampton’s recordings “The Pencil Broke,” “Don’t Let the Landlord Gyp You,” and the classic “The Hucklebuck” showcase his ability to combine jazz sophistication with infectious rhythm. “The Hucklebuck” in particular became a major rhythm-and-blues hit, helping push jazz toward the emerging R&B sound of the late 1940s.

Next comes the smooth sophistication of the King Cole Trio, led by the legendary pianist and vocalist Nat King Cole. Before he became a major pop star, Cole led one of the most influential small jazz groups of the era. “Hit That Jive Jack,” “Scotchin’ with the Soda,” and “Sweet Lorraine” demonstrate the trio’s effortless swing and clever arrangements. Cole’s relaxed voice and piano style helped define a more intimate form of jazz performance that influenced generations of singers.

The song “Sweet Lorraine” appears again in a classic performance from Chicago clarinet great Jimmie Noone. Noone was a major figure in early Chicago jazz and a mentor to many musicians who came through the city’s vibrant club scene during the 1920s and 30s.

The tempo picks up with the powerful tenor saxophone sound of Eddie ‘Lockjaw’ Davis. His recordings “There’s a Small Hotel,” “Tickle Toe,” and “Leapin’ on Lennox” deliver the kind of muscular jazz sax playing that energized bandstands and late-night jam sessions across the country.

Vocal jazz takes center stage next with the incomparable Ella Fitzgerald. Her recordings “Cry You Out of My Heart,” “A Kiss Goodnight,” “I Want to Learn About Love,” and “How High the Moon” remind listeners why Fitzgerald became one of the greatest singers in American music. Her voice combined technical brilliance with warmth and playfulness, making every song feel alive.

The mood shifts briefly toward gospel harmony with the rich voices of the Jubilaires performing “Let It Rain.” Gospel groups like the Jubilaires carried a strong influence on blues and rhythm-and-blues singers, bringing spiritual intensity and powerful vocal arrangements into popular music.

Instrumental boogie piano follows with the legendary duo Albert Ammons and Pete Johnson performing “Sixth Avenue Express.” Ammons and Johnson were pioneers of boogie-woogie piano, creating fast, rolling rhythms that would influence blues, jazz, and eventually rock and roll.

Entertainment and dance return with the dazzling performers Nicholas Brothers and their upbeat “Keep a Twinkle in Your Eye.” Known for their incredible tap dancing and stage charisma, the Nicholas Brothers brought energy and joy wherever they performed.

The hour closes with the soulful saxophone groove of Rusty Bryant performing “All Night Long,” a fitting title for a program designed to accompany listeners through the quiet hours before sunrise.

By the end of Hour One, the stage has been set. Swing, jazz, gospel, and early rhythm-and-blues have all taken their turn, creating the musical foundation that the rest of the program will continue to explore.

Playlist – Hour One

Dig Mr K-K-K – Al Stomp Russell

The Pencil Broke – Lionel Hampton

Don’t Let the Landlord Gyp You – Lionel Hampton

The Hucklebuck – Lionel Hampton

Hit That Jive Jack – King Cole Trio

Scotchin’ with the Soda – King Cole Trio

Sweet Lorraine – King Cole Trio

Sweet Lorraine – Jimmie Noone

There’s a Small Hotel – Eddie “Lockjaw” Davis

Tickle Toe – Eddie “Lockjaw” Davis

Leapin’ on Lennox – Eddie “Lockjaw” Davis

Cry You Out of My Heart – Ella Fitzgerald

A Kiss Goodnight – Ella Fitzgerald

I Want to Learn About Love – Ella Fitzgerald

How High the Moon – Ella Fitzgerald

Let It Rain – Jubilaires

Sixth Avenue Express – Ammons & Johnson

Keep a Twinkle in Your Eye – Nicholas Brothers

All Night Long – Rusty Bryant

m

The hour opens with the unmistakable smoothness of Charles Brown and his classic “Black Night.” Brown’s relaxed piano style and velvet voice helped define West Coast blues in the late 1940s. His music slowed the tempo and deepened the mood, creating a sound that felt intimate and late-night perfect for a program like Blues Before Sunrise.

Things pick up quickly with the jump blues energy of Roy Milton and “Hop, Skip & Jump.” Milton’s bandleader style and driving rhythms helped bridge the gap between big band swing and the emerging rhythm and blues sound that would soon dominate jukeboxes across America.

The emotional center of the hour arrives with Percy Mayfield performing “I Need Love So Bad.” Mayfield was one of the great lyric writers of the blues era, often referred to as the “Poet Laureate of the Blues.” His songs carried deep emotional honesty, and his gentle vocal delivery made even the saddest stories feel deeply personal.

Jump blues legend Big Joe Turner brings explosive energy with “Cherry Red,” a performance that showcases the booming voice that would later influence early rock and roll singers. Turner had the ability to command a room with sheer vocal power, turning blues into pure excitement.

Female rhythm and blues royalty arrives next with LaVern Baker and “It’s So Fine.” Baker was one of the strongest voices of the 1950s R&B scene, combining gospel power with sophisticated pop phrasing.

Humor enters the mix when comedian and performer Pigmeat Markham appears with “Hello Bill.” Blues and comedy have always been closely connected, and novelty records like this added personality and entertainment to jukebox culture.

The tempo continues rising with “Rock This Joint” by Chris Powell, a record that practically anticipates the coming explosion of rock and roll. Powell’s energetic band captured the excitement of postwar rhythm and blues dance music.

The soulful side of R&B returns with “Big Mary’s” from Titus Turner and the strong vocal performance of Varetta Cillard on “If You Want To Be My Baby.” These recordings highlight the growing importance of powerful vocalists during the 1950s.

Rare blues voices appear next with Mr. Google-Eyes performing “Rough & Rocky Road,” followed by two performances from Specs McFadden—“Harvest Moon Blues” and “People People.” These kinds of lesser-known recordings are exactly the sort of forgotten gems that Blues Before Sunrise loves to rediscover.

The hour then transitions toward classic jazz and blues interpretation with the legendary Ethel Waters. Her performances of “Heat Wave” and “Harlem On My Mind” remind listeners how early blues singers influenced the entire American popular music tradition.

As the hour winds down, the program shifts toward the spiritual roots that have always stood alongside the blues. The harmonies of the Dunham Jubilee Singers performing “Calvary,” followed by “Walk That Lonesome Valley” from the Morris Brown Quartet, bring a powerful gospel presence into the mix.

The closing moments feature “Present Your Body” by Rev. T.T. Rose and “Jesus Is Mine” from Professor J. Earl Hines. Ending the hour with gospel reminds listeners how closely blues and spiritual music have always been connected—two musical traditions born from the same emotional and cultural roots.

By the time Hour Two ends, listeners have traveled through jump blues, rhythm and blues, classic vocal jazz, and gospel, hearing the many directions the blues took as it moved deeper into the twentieth century.

Playlist – Hour Two

Black Night – Charles Brown

Hop, Skip & Jump – Roy Milton

I Need Love So Bad – Percy Mayfield

Cherry Red (1939) – Big Joe Turner

It’s So Fine – LaVerne Baker

Hello Bill – Pigmeat Markham

Rock This Joint – Chris Powell

Big Mary’s – Titus Turner

If You Want To Be My Baby – Varetta Cillard

Rough & Rocky Road – Mr. Google-Eyes

Harvest Moon Blues – Specs McFadden

People People – Specs McFadden

Heat Wave – Ethel Waters

Harlem On My Mind – Ethel Waters

Calvary – Dunham Jubilee Singers

Walk That Lonesome Valley – Morris Brown Quartet

Present Your Body – Rev. T.T. Rose

Jesus Is Mine – Professor J. Earl Hines

The journey begins with the powerful voice and guitar work of Tommy Johnson performing “Big Road Blues.” Johnson remains one of the most mysterious and influential Delta blues musicians of the early era. His expressive falsetto vocals and hypnotic guitar rhythms created a sound that felt both deeply personal and timeless. “Big Road Blues” captures the restless spirit of travel and uncertainty that often defined blues storytelling.

Next comes “Yellow Dog Blues” from Cryin’ Sam Collins. Collins’ voice carried a piercing emotional quality, and his recordings from the late 1920s remain some of the most evocative examples of early country blues. The performance feels raw and immediate, as though it were recorded just down the road rather than nearly a century ago.

The guitar-driven sound continues with “Old Country Rock” by William Moore and “Airy Man Blues” from Papa Charlie Jackson. Jackson was one of the earliest blues musicians to record extensively and one of the first to accompany himself on banjo rather than guitar. His lively rhythm and storytelling style helped bridge older folk traditions with the emerging commercial blues recording industry.

The music then moves into lesser-known but equally compelling recordings like “Michigan River Blues” from Bert M. Mays and “You Left Me Alone” by James ‘Bat’ Robinson. These recordings represent the kind of forgotten treasures that make programs like Blues Before Sunrise such an important archive of American music history.

Female blues voices soon take center stage. Maggie Jones delivers the sly storytelling of “Don’t Never Tell Nobody,” followed by the lively “Sports Model Mama” from Chippie Hill and the playful “Mean Eyes” from Kitty Brown. These singers were part of the classic blues era when powerful women vocalists dominated the recording industry, bringing theatrical style and emotional drama to blues performance.

No discussion of classic blues would be complete without the legendary Bessie Smith. Her performances of “Graveyard Dream Blues” and “Chicago Bound Blues” remind listeners why she was known as the Empress of the Blues. Smith’s voice carried extraordinary strength and emotional clarity, capable of turning even the darkest themes into unforgettable music.

Instrumental energy returns with “Wake Up in the Morning” by Turner Parrish and the swinging “Naptown Special” from Herve Duerson. These tracks add rhythmic momentum while still maintaining the vintage atmosphere that defines this hour.

The final stretch returns to the rural blues tradition with “Pony Blues” from Sonny Boy Nelson and the heartfelt “Happy Home Blues” by Mississippi Matilda. These recordings highlight the intimate storytelling that made early blues so compelling.

The hour closes with two performances from Calvin Frazier: “This Old World’s in a Tangle” and “Lily Mae.” Frazier’s guitar playing blends Delta and hill-country influences, bringing this hour of early blues full circle.

Together these recordings form a living history of the blues—music born from hardship, travel, love, and survival. By the time the hour ends, listeners have traveled through nearly the entire landscape of early blues recording history, hearing the voices that laid the groundwork for every generation of blues musicians that followed.

Playlist – Hour Three

Big Road Blues – Tommy Johnson

Yellow Dog Blues – Cryin’ Sam Collins

Old Country Rock – William Moore

Airy Man Blues – Papa Charlie Jackson

Michigan River Blues – Bert M. Mays

You Left Me Alone – James Bat Robinson

Don’t Never Tell Nobody – Maggie Jones

Sports Model Mama – Chippie Hill

Mean Eyes – Kitty Brown

Graveyard Dream Blues – Bessie Smith

Chicago Bound Blues – Bessie Smith

Wake Up in the Morning – Turner Parrish

Naptown Special – Herve Duerson

Pony Blues – Sonny Boy Nelson

Happy Home Blues – Mississippi Matilda

This Old World’s in a Tangle – Calvin Frazier

Lily Mae – Calvin Frazier

Eddie C. Campbell was born in Mississippi in 1939 and, like many blues musicians of his generation, eventually made his way north to Chicago. The city had become the epicenter of electric blues by the 1950s and 60s, attracting musicians from across the South who were searching for opportunity and a place to develop their sound. Campbell arrived in Chicago as a young man and quickly immersed himself in the thriving blues scene that stretched across the city’s South and West sides.

Early in his career he played under the stage name “Little Eddie Campbell,” performing alongside established blues figures and sharpening his skills in clubs where musicians were expected to hold their own against loud rooms and demanding audiences. Campbell absorbed influences from Chicago blues giants like Muddy Waters, Magic Sam, and Buddy Guy, but he developed a distinctive style that reflected the West Side blues sound—bright, metallic guitar tones driven by sharp rhythms and expressive solos.

That West Side style was different from the heavier Delta-influenced sound associated with earlier Chicago blues. It was more aggressive, more modern, and often carried a strong soul and R&B influence. Campbell’s guitar tone had a ringing quality with plenty of reverb, cutting cleanly through a band while still maintaining the emotional weight of the blues.

During the late 1960s and early 1970s Campbell recorded several notable records and became a regular performer in Chicago clubs. His reputation grew steadily as a dynamic live performer who could command a room with both his guitar playing and his deep, soulful voice. Audiences appreciated his authenticity—Campbell never played the blues as nostalgia. For him it was living music, meant to be loud, expressive, and immediate.

Although he spent a period of time living and performing in Europe during the 1980s, Campbell remained closely associated with Chicago blues. When he returned to the United States he continued recording and touring, releasing albums that reaffirmed his place among the city’s respected blues veterans.

Campbell’s recordings for labels such as Delmark and Earwig captured the essence of his style: sharp guitar lines, driving rhythms, and songs rooted firmly in traditional blues themes of love, hardship, and perseverance. But it was on stage where Campbell truly shined. His live performances were known for their intensity, groove, and powerful band interplay.

One such performance took place in 1997 at Lily’s on Lincoln in Chicago during a fundraising event for Blues Before Sunrise. Campbell appeared with his regular drummer, Huckleberry Hound, delivering the kind of performance that perfectly represented the West Side blues tradition. His guitar sound—bright, ringing, and filled with echo—could fill a room and spill out into the street.

Over the course of his career, Eddie C. Campbell became one of the important carriers of Chicago’s electric blues tradition. He never achieved the mainstream fame of some of his contemporaries, but among blues fans and musicians he was widely respected as a true Chicago bluesman.

Eddie C. Campbell passed away in 2018, but his music remains an enduring reminder of the energy and authenticity that defined the city’s blues scene. His guitar playing, his voice, and his dedication to the music ensured that the sound of Chicago’s West Side blues continues to be heard by new generations of listeners.

Playlist – Hour Four

Live Set – Eddie C. Campbell

The hour opens with the polished vocal blend of the Delta Rhythm Boys, whose rendition of “Blue Skies” floats like a calm breeze after midnight. Their harmonies recall an earlier era of American popular music, when vocal groups balanced swing sophistication with gospel warmth. It’s a fitting doorway into the final stretch of the program.

Next comes an unexpected but elegant instrumental turn from Henry Mancini with “Royal Blue.” Mancini, known to many for his film scores, had a knack for creating melodies that felt both cinematic and intimate. In the late hours of the program, his music works like mood lighting—soft, reflective, and quietly sophisticated.

The atmosphere deepens with Ray Charles and “Moon Over Miami.” Few artists bridged jazz, blues, and soul with the authority of Ray Charles, and here he delivers a performance that feels both romantic and slightly lonely—the perfect emotional color for the final hour of a late-night blues show.

Vocalist Lorez Alexandria follows with “Spring Is Here,” her rich jazz phrasing reminding listeners how deeply the blues runs through classic jazz singing. Then guitarist Jimmy Ponder delivers a reflective take on “This Bitter Earth,” turning the famous song into a soulful guitar meditation.

The emotional core of this portion of the hour arrives with two performances from Nancy Wilson. Her interpretations of “Never Will I Marry” and “When Sunny Gets Blue” showcase the elegance and emotional precision that made her one of the most respected jazz and soul vocalists of the 20th century. Wilson never over-sings; she simply tells the story, letting the lyrics do their work.

From there, the program shifts back toward the blues with a trio of recordings from B.B. King. “Gonna Miss You Around Here,” “Long Night,” and “Jump With You Baby” demonstrate why King became one of the defining voices of electric blues. His guitar tone—singing, sharp, and unmistakably human—carries both pain and celebration.

The blues continue with Al King’s “On My Way,” followed by the moody soul-blues atmosphere of Ted Taylor with “Days Are Dark.” These recordings capture the emotional honesty that lies at the heart of the genre: heartbreak, perseverance, and the determination to keep moving forward.

Things get a little more electrified when Little Milton appears with “She Put a Spell on Me,” a record that mixes Chicago blues grit with southern soul swagger. That momentum carries straight into the raw slide guitar attack of Guitar Slim, whose influence can be heard in generations of blues and rock guitarists.

The powerful voice of Big Mama Thornton arrives next with “Big Mama’s Coming Home,” reminding listeners why she remains one of the most commanding performers in blues history. Her delivery is fearless, direct, and unmistakably authentic.

Johnny Fuller follows with “First Stage of the Blues,” a record steeped in the tradition of West Coast electric blues, before the program closes with one of the most atmospheric instrumentals ever recorded.

“Albatross” by Fleetwood Mac drifts in like fog over still water. Released during the band’s early blues era under guitarist Peter Green, the instrumental provides a quiet, almost meditative ending to the program. The guitars shimmer softly as the night fades toward morning.

After hours of rare records, forgotten classics, and deep blues history, Hour Five brings the show gently to rest—exactly the way Blues Before Sunrise was meant to end.

Playlist – Hour Five

Blue Skies – Delta Rhythm Boys

Royal Blue – Henry Mancini

Moon Over Miami – Ray Charles

Spring Is Here – Lorez Alexandria

This Bitter Earth – Jimmy Ponder

Never Will I Marry – Nancy Wilson

When Sunny Gets Blue – Nancy Wilson

Gonna Miss You Around Here – B.B. King

Long Night – B.B. King

Jump With You Baby – B.B. King

On My Way – Al King

Days Are Dark – Ted Taylor

She Put a Spell On Me – Little Milton

The Things That I Used to Do – Guitar Slim

Big Mama’s Coming Home – Big Mama Thornton

First Stage of the Blues – Johnny Fuller

Albatross – Fleetwood Mac

Timmie Rogers starts things off with “If I Were You I’d Love Me,” a sly, self-assured performance that carries both humor and authority. Rogers had a knack for blending personality with phrasing, and it’s the perfect way to ease listeners into the broadcast.

The spotlight quickly turns to the Basie orchestra, with Jimmy Rushing stepping forward on “Boogie Woogie,” “Don’t You Miss Your Baby,” and “Baby Don’t Tell on Me.” Rushing’s voice is built for swing — hearty, rhythmic, and grounded in blues feeling even when backed by big band precision. His performances here demonstrate how seamlessly blues sentiment integrated into jazz orchestration.

Helen Humes continues the Basie connection with “Bolero at the Savoy,” “And the Angels Sing,” and “Don’t Worry About Me.” Humes brought both warmth and clarity to the bandstand. Her delivery never feels forced; instead, it glides atop the arrangements, equally comfortable with romantic balladry and uptempo sparkle.

Then comes the irrepressible charm of Fats Waller. “Copper Colored Gal of Mine,” “Who’s Afraid of Love,” and “I Adore You” showcase Waller’s playful sophistication. His piano lines bounce and grin, but beneath the humor lies impeccable timing and musical control. Waller represents a crucial bridge between stride piano tradition and popular songcraft.

The saxophone takes center stage with Tab Smith on “Boogie Joogie,” “Because of You,” and “Deejay Special.” Smith’s tone is smooth yet blues-inflected, capturing the transitional sound between swing-era dance music and the emerging rhythm & blues aesthetic. His instrumentals feel modern without losing their roots.

Vocal harmony enters the mix through the Four Vagabonds’ “Ask Anyone Who Knows,” a reminder of how close-harmony groups contributed to the blues conversation. Their blend is polished, but the emotional core remains intact.

The piano tradition deepens with “Self Portrait” by Meade Lux Lewis. Lewis’ boogie-woogie left hand anchors the hour in rhythmic drive, connecting big band swing back to barrelhouse origins. His influence on postwar piano styles cannot be overstated.

A moment of gravitas arrives with “Canoe Song” from Paul Robeson. Robeson’s deep, resonant voice shifts the emotional register, offering a sense of reflection and cultural weight.

Finally, “Last Call” by Plas Johnson closes the hour with smooth, late-night phrasing. It feels intentional — not a dramatic finale, but a graceful transition. The door is still open, and the story is just beginning.

Hour One establishes the program’s thesis: blues is not confined to one style or setting. It swings, it croons, it jokes, and it testifies. From big band stages to boogie-woogie pianos, this opening hour lays the groundwork for everything that follows — including the scholarship spotlight and electric intensity later in the show.

Hour One Playlist

If I Were You I’d Love Me – Timmie Rogers

Boogie Woogie – Jimmy Rushing / Basie

Don’t You Miss Your Baby – Jimmy Rushing / Basie

Baby Don’t Tell on Me – Jimmy Rushing / Basie

Bolero at the Savoy – Helen Humes / Basie

And the Angels Sing – Helen Humes / Basie

Don’t Worry About Me – Helen Humes / Basie

Copper Colored Gal of Mine – Fats Waller

Who’s Afraid of Love – Fats Waller

I Adore You – Fats Waller

Boogie Joogie – Tab Smith

Because of You – Tab Smith

Deejay Special – Tab Smith

Ask Anyone Who Knows – Four Vagabonds

Self Portrait – Meade Lux Lewis

Canoe Song – Paul Robeson

Last Call – Plas Johnson

It opens in New Orleans with Joe Liggins and “Goin’ Back to New Orleans.” The groove is immediate and inviting, built for dance floors but rooted in blues phrasing. That Crescent City undercurrent continues with the swagger of Wynonie Harris. “My Playful Baby’s Gone” and “Luscious Woman” carry Harris’ trademark bravado — playful on the surface, but always riding a tightly wound rhythm section. Harris didn’t just sing blues; he energized it.

The confidence rolls forward with Chuck Willis and “I Rule My House,” a sly declaration that balances humor and authority. Then comes the emotional pivot: “Tears of Joy” by Etta James. Her voice blends gospel training with R&B immediacy, making heartbreak and hope feel inseparable. It’s one of those performances that bridges secular and sacred without effort.

New Orleans returns through Fats Domino and “You Done Me Wrong.” Domino’s piano touch is unmistakable — rolling, buoyant, and warm even when the lyrics aren’t. “Move Me” by Little Caesar and “Easy Easy Baby” by Ann Cole continue the danceable pulse, keeping the rhythm section front and center.

Then the hour reaches back to earlier foundations. “No I Ain’t Got Nothing at All” by Pinetop Smith reminds listeners where boogie-woogie took root. The left hand drives, the right hand decorates — a blueprint for so much that followed. Lonnie Johnson’s “Steppin’ on the Blues” adds refined guitar work, while Tampa Red’s “Heck of a How Do You Do” blends polish with bite.

The inclusion of Ethel Waters with “Don’t Blame Me” and “Shadows on the Swanee” offers a sophisticated bridge between blues and the popular song tradition. Waters could inhabit both worlds seamlessly, elevating material without stripping it of emotional weight.

As the hour moves toward its final stretch, the spotlight turns to gospel. “Bells of Love” by the Middle Georgia Singing Convention introduces communal harmony — less about spotlight solos and more about shared expression. Rev. J.M. Gates’ “Pay Your Furniture Man” is vintage sermon-in-song, urgent and direct. And then the Sensational Nightingales and the Soul Stirrers close the hour with “Somewhere to Lay My Head” and “Lord I’ve Tried,” respectively.

That closing gospel pairing feels intentional. After an hour of love, loss, swagger, and survival, the spiritual dimension emerges not as a contradiction but as continuation. Blues and gospel have always been intertwined — two responses to the same human condition.

Hour Two stands as a crossroads: New Orleans rhythm, postwar R&B heat, classic blues craftsmanship, and sanctified testimony. It reminds us that the blues isn’t a single lane — it’s a network of roads, all leading somewhere meaningful.

Hour Two Playlist

Goin’ Back to New Orleans – Joe Liggins

My Playful Baby’s Gone – Wynonie Harris

Luscious Woman – Wynonie Harris

I Rule My House – Chuck Willis

Tears of Joy – Etta James

You Done Me Wrong – Fats Domino

Move Me – Little Caesar

Easy Easy Baby – Ann Cole

No I Ain’t Got Nothing at All – Pinetop Smith

Steppin’ on the Blues – Lonnie Johnson

Heck of a How Do You Do – Tampa Red

Don’t Blame Me – Ethel Waters

Shadows on the Swanee – Ethel Waters

Bells of Love – Middle Georgia Singing Convention

Pay Your Furniture Man – Rev. J.M. Gates

Somewhere to Lay My Head – Sensational Nightingales

Lord I’ve Tried – Soul Stirrers

Dixon is best known as co-compiler, alongside John Godrich, of Blue & Gospel Records 1890–1943 — widely regarded as the definitive prewar blues discography. For collectors, researchers, and broadcasters alike, the volume is more than a book; it is a working tool. Organized with painstaking attention to recording dates, matrix numbers, alternate takes, personnel listings, and label variations, it provides the structural backbone for understanding early blues documentation.

Born in Australia in 1939, Dixon developed an early fascination with American jazz and blues recordings. That passion evolved into rigorous archival research at a time when blues scholarship was still developing formal standards. In the 1960s and 1970s, discographical work required detective skills: tracking down 78 rpm pressings, comparing label inconsistencies, confirming recording sessions through fragmented studio logs, and communicating across continents with fellow researchers. It was meticulous, often painstaking labor — but essential.

During the interview, Dixon reflects on the collaborative nature of discography. Early editions of Blue & Gospel Records bore the names Godrich & Dixon; later printings reversed the order to Dixon & Godrich, and eventually incorporated the contributions of Howard Rye. The shifting billing reflected ongoing scholarship rather than hierarchy — each edition expanded and corrected previous findings. New discoveries, newly surfaced pressings, and improved documentation meant that the work was never truly finished.

The conversation also touches on the difference between collecting and documenting. A collector might seek rarity; a discographer seeks clarity. For Dixon, accuracy was paramount. Recording dates matter. Matrix numbers matter. Identifying accompanists matters. Without that information, tracing stylistic development becomes guesswork. With it, musical evolution becomes visible.

Listeners accustomed to hearing early blues on programs like Blues Before Sunrise may not always consider the research behind the music. Yet every time a prewar recording is introduced with confidence — artist name, label, year, personnel — that certainty rests on the foundation built by scholars like Dixon. His work ensures that performers who recorded under difficult circumstances nearly a century ago are not reduced to obscurity or misinformation.

The interview also underscores the international nature of blues scholarship. Though American in origin, blues research became a global effort, with British, Australian, European, and American researchers sharing findings long before the internet made collaboration simple. Letters, photocopies, and transatlantic phone calls once served as the infrastructure for building accurate musical history.

By dedicating an entire hour to this conversation, Blues Before Sunrise affirms that preservation is as important as performance. The blues lives not only in recordings and live shows, but also in footnotes, discographies, and careful verification.

Hour Three does not feature a traditional playlist; instead, it offers context — the framework that supports the previous and following hours. In doing so, it reminds listeners that history does not preserve itself. It requires patience, rigor, and devotion.

Robert M.W. Dixon’s life work ensures that when we spin a prewar 78, we know not just what we are hearing — but when, where, and how it came to be.

Hour Three Segment

Robert M.W. Dixon Interview

It begins with Johnny Guitar Watson and “Gangster of Love,” a track that drips with West Coast cool. Watson’s style is slick without losing grit — part showman, part street poet. “Sweet Lovin’ Mama” and “Three Hours Past Midnight” follow, each reinforcing his effortless command of rhythm and tone. Watson’s guitar doesn’t just solo; it converses, taunts, and occasionally smirks.

Then the temperature rises with Ike Turner. “Sad as a Man Can Be,” “No Coming Back,” and “Just One More Time” showcase Turner’s muscular approach to early electric blues. His arrangements feel urgent and driving, anchored by rhythm sections that refuse to sit still. There’s a rawness here — less polish, more propulsion.

From there, the program slides into Texas territory with Lightnin’ Hopkins. “Death Bells,” “Racetrack Blues,” and “Shining Blues” strip things back emotionally even as the electricity remains. Hopkins’ playing is loose but deliberate, his vocals conversational yet heavy with experience. He sounds like a man who’s seen enough to tell you exactly how it’s going to end.

Roscoe Gordon adds Memphis groove with “Let’s Get High,” “New Orleans L.A.,” and “I Don’t Like It.” Gordon’s signature loping rhythm creates tension and release at the same time — slightly off-center in a way that feels hypnotic rather than unstable. It’s dance music for people who understand blues.

Humor and bite arrive courtesy of Willie Mabon on “Say Man” and “I’m Mad.” Mabon’s delivery carries that sly Chicago edge — conversational, a little sarcastic, entirely self-assured. The blues has always had room for personality, and Mabon fills it easily.

The guitar spotlight sharpens with Earl Hooker. “Dust My Broom,” “You Took All My Love,” and “Hot & Heavy” reveal Hooker’s fluid slide work — precise, melodic, and surprisingly modern in feel. Hooker’s tone glides rather than bites, but there’s no mistaking its power.

Finally, the hour closes with the icy precision of Albert Collins. “Koll Aide” and “Tongue Lashing” deliver that signature stinging Telecaster attack. Collins doesn’t waste notes. Each one lands like a clean strike, sharp and unmistakable. It’s a fitting finale — tight, controlled, and electrifying.

Hour Four stands as the high-voltage centerpiece of the broadcast. After the historical deep dive of the Dixon interview, this set reminds listeners why that history matters. These artists didn’t just preserve the blues — they expanded it, amplified it, and sent it roaring into the modern era.

Hour Four Playlist

Gangster of Love – Johnny Guitar Watson

Sweet Lovin’ Mama – Johnny Guitar Watson

Three Hours Past Midnight – Johnny Guitar Watson

Sad as a Man Can Be – Ike Turner

No Coming Back – Ike Turner

Just One More Time – Ike Turner

Death Bells – Lightnin’ Hopkins

Racetrack Blues – Lightnin’ Hopkins

Shining Blues – Lightnin’ Hopkins

Let’s Get High – Roscoe Gordon

New Orleans L.A. – Roscoe Gordon

I Don’t Like It – Roscoe Gordon

Say Man – Willie Mabon

I’m Mad – Willie Mabon

Dust My Broom – Earl Hooker

You Took All My Love – Earl Hooker

Hot & Heavy – Earl Hooker

Koll Aide – Albert Collins

Tongue Lashing – Albert Collins

The Charioteers open with “For Sentimental Reasons,” immediately setting a tone of warmth and polish. Their harmonies glide rather than press, establishing that late-night intimacy that BBS handles so well. From there, Wes Montgomery’s “Whisper Not” enters like a slow exhale. Montgomery’s guitar phrasing is fluid and conversational, each note placed with unhurried confidence. It’s jazz, yes — but jazz with deep blues DNA.

Al Hibbler’s “My Little Brown Book” continues the sophisticated mood. His baritone carries equal parts strength and vulnerability, transforming a love song into something deeply personal. Ella Fitzgerald’s “Sweet & Slow” follows, and her phrasing feels effortless — never showy, always precise. The pairing of Hibbler and Fitzgerald reinforces how intertwined jazz and blues remain, even when the delivery is polished.

Brother Jack McDuff shifts the energy with “The Honeydripper.” The organ groove adds a subtle pulse, bringing back a hint of rhythm without disrupting the hour’s calm. It’s the kind of track that reminds you the night isn’t over — it’s just deepening.

Brook Benton then delivers a pair of emotionally resonant ballads: “Thank You Pretty Baby” and “It’s Just a Matter of Time.” Benton had a gift for combining smooth delivery with raw sentiment, and these performances underscore that balance. His voice sounds both confident and quietly wounded — classic late-night soul.

The mood pivots toward earthier terrain with Robert Nighthawk’s “Seventy Four.” The slide guitar cuts through gently but unmistakably, reconnecting the hour to Delta roots. Forrest City Joe’s “Shady Lane Woman” keeps that Mississippi feel alive, stripped down and direct. There’s something grounding about this shift — as if the show is reminding listeners where all this elegance ultimately began.

James “Beale Street” Clark contributes two tracks — “You Can’t Make the Grade” and “Who But You” — blending humor and streetwise storytelling. His delivery feels conversational, slightly rough around the edges in a way that suits the hour perfectly. Taildragger’s “Do the Do” injects Chicago grit without overpowering the reflective atmosphere.

Jimmy Yancy’s “Yancy’s Bugle Call” returns to piano blues tradition, the rolling left hand anchoring everything firmly. Then comes one of the hour’s most touching moments: “Someone to Love” by Charles Brown and Bonnie Raitt. The generational blend works beautifully — Brown’s understated warmth paired with Raitt’s expressive sensitivity creates a seamless bridge between eras.

Andrew Dunham’s “I Found Out” keeps things intimate and grounded, reinforcing the blues’ enduring relevance. And finally, as the night gives way to early light, Fleetwood Mac’s “Albatross” closes the program. Wordless and atmospheric, it drifts rather than concludes — a gentle instrumental farewell that feels like watching the horizon brighten.

Hour Five doesn’t compete for attention. It lingers. It respects silence as much as sound. After scholarship, swagger, and electric intensity earlier in the broadcast, this final hour reminds us that blues — in all its forms — ultimately returns to feeling.

And that’s how you end a Sunday morning right.

Hour Five Playlist

For Sentimental Reasons – Charioteers

Whisper Not – Wes Montgomery

My Little Brown Book – Al Hibbler

Sweet & Slow – Ella Fitzgerald

The Honeydripper – Brother Jack McDuff

Thank You Pretty Baby – Brook Benton

It’s Just a Matter of Time – Brook Benton

Seventy Four – Robert Nighthawk

Shady Lane Woman – Forrest City Joe

You Can’t Make the Grade – James Beale Street Clark

Who But You – James Beale Street Clark

Do the Do – Taildragger

Yancy’s Bugle Call – Jimmy Yancy

Someone to Love – Charles Brown & Bonnie Raitt

I Found Out – Andrew Dunham

Albatross – Fleetwood Mac

Babs Gonzales dominates the early part of the hour, and rightly so. With “Get Out That Bed,” “A Dollar Is Your Only Friend,” “Get Ta Dat,” “A Cool Tale of Love,” and “Oo-Pop-A-Daa,” Gonzales brings his unmistakable beat-era jive into the mix. These tracks blur the line between poetry and rhythm, spoken word and swing. Gonzales doesn’t sing so much as perform language itself, and the effect is electric. His presence signals immediately that Blues Before Sunrise is a place where risks are welcomed.

Sarah Vaughan follows, shifting the mood without breaking the flow. “The Lorelei,” “Jive Samba,” “I’ve Got Some Crying to Do,” and “Shulie-a-Bop” highlight Vaughan’s mastery of phrasing and tone. She can move from playful to pained in a single breath, always in control, always expressive. Her selections here reinforce the idea that sophistication and blues feeling are not opposites — they are partners.

The horn-driven side of the blues takes center stage next with Arnett Cobb’s “Gate Serene Blues,” “Jenny,” and “Black Velvet.” Cobb’s tenor sax roars and purrs in equal measure, pushing the hour toward a harder swing without sacrificing nuance. Julia Lee answers with “Lotus Blossom” and “The Spinach Song,” injecting humor and personality. Lee’s performances are sly, self-aware, and irresistibly human.

The Spirits of Rhythm’s “That’s What I Hate About You” adds string-driven swing and rhythmic bounce, reminding listeners of an earlier jazz-blues hybrid that rarely gets airtime. Albert Ammons’ “The Boogie Rocks” grounds the hour with percussive piano power, while Bert Williams’ “Woodman Spare That Tree” connects the blues to vaudeville tradition and social commentary, his performance both charming and quietly profound.

Bill Doggett’s “Shove Off” brings the hour to a confident close, its smooth groove pointing toward the R&B future while still rooted firmly in the blues tradition.

Hour One works as an opening statement because it refuses to play it safe. It invites the listener in with wit, swing, intelligence, and daring — setting the stage for the deeper emotional journeys that follow. By the time the hour ends, the listener understands exactly what kind of night lies ahead: one filled with rare voices, strong personalities, and music that rewards curiosity.

Hour One Playlist

GET OUT THAT BED – Babs Gonzales

A DOLLAR IS YOUR ONLY FRIEND – Babs Gonzales

GET TA DAT – Babs Gonzales

A COOL TALE OF LOVE – Babs Gonzales

OO-POP-A-DAA – Babs Gonzales

THE LORELEI – Sarah Vaughan

JIVE SAMBA – Sarah Vaughan

I’VE GOT SOME CRYING TO DO – Sarah Vaughan

SHULIE-A-BOP – Sarah Vaughan

GATE SERENE BLUES – Arnett Cobb

JENNY – Arnett Cobb

BLACK VELVET – Arnett Cobb

LOTUS BLOSSOM – Julia Lee

THE SPINACH SONG – Julia Lee

THAT’S WHAT I HATE ABOUT YOU – Spirits of Rhythm

THE BOOGIE ROCKS – Albert Ammons

WOODMAN SPARE THAT TREE – Bert Williams

SHOVE OFF – Bill Doggett

JoJo Adams opens the hour with “Call My Baby,” his vocal full of easy confidence and warmth. Big Maybelle follows with “That’s a Pretty Good Love,” delivering the kind of power only she could muster — bold, joyful, and unapologetically present. Crown Prince Waterford’s “Girl Friend Blues” keeps things intimate and conversational, while Little Willie Littlefield’s “Jim Wilson’s Boogie” injects pure kinetic energy, reminding us how closely boogie-woogie and early rhythm & blues were intertwined.

Ivory Joe Hunter’s “Where Shall I Go” brings the mood inward, his voice soft and searching, perfectly suited to the reflective side of the blues. Dave Bartholomew’s “Jump Children” shifts the atmosphere again, full of New Orleans swagger and rhythmic authority. Archibald’s two-part “Stack-O-Lee” follows, turning folklore into high drama, his pounding piano and emphatic delivery making the story feel urgent and alive.

Blanche Thomas’ “You Ain’t So Such-A-Much” adds sharp wit, cutting through bravado with humor and perspective. Gatemouth Moore’s “Highway 61 Blues” grounds the hour geographically and emotionally, evoking movement, escape, and the long road north. Charlie Spand’s “Dreamin’ the Blues” keeps the narrative rolling, his piano lines understated but insistent.

Butterbeans & Susie then steal the spotlight with “’Tain’t What You Used to Have” and “Deal Yourself Another Hand.” Their vaudeville-inflected performances blend comedy and commentary, offering knowing smiles alongside hard-earned wisdom. These records remind us that laughter has always been one of the blues’ survival tools.

The hour’s final stretch leans into the sacred. Ethel Waters delivers “Stormy Weather” and “Love Is the Thing” with unmatched emotional gravity, her voice carrying both worldly experience and spiritual depth. Sister Sallie Sanders’ “Gotta Right to the Tree of Life” offers a declarative statement of faith, while the Southernaires’ “Beautiful Isle of Somewhere” brings harmony and calm. Mahalia Jackson’s “I Want to Rest” closes the hour in reverent fashion, her voice lifting the blues toward something eternal.

Hour Two works because it refuses to separate the secular from the sacred. Instead, it shows how the blues has always moved freely between juke joint and church pew, laughter and tears, Saturday night and Sunday morning. It’s an hour that doesn’t resolve contradictions — it embraces them.

Hour Two Playlist

CALL MY BABY – JoJo Adams

THAT’S A PRETTY GOOD LOVE – Big Maybelle

GIRL FRIEND BLUES – Crown Prince Waterford

JIM WILSON’S BOOGIE – Little Willie Littlefield

WHERE SHALL I GO – Ivory Joe Hunter

JUMP CHILDREN – Dave Bartholomew

STACK-O-LEE PTS I & II – Archibald

YOU AIN’T SO SUCH-A-MUCH – Blanche Thomas

HIGHWAY 61 BLUES – Gatemouth Moore

DREAMIN’ THE BLUES – Charlie Spand

’T AIN’T WHAT YOU USED TO HAVE – Butterbeans & Susie

DEAL YOURSELF ANOTHER HAND – Butterbeans & Susie

STORMY WEATHER – Ethel Waters

LOVE IS THE THING – Ethel Waters

GOTTA RIGHT TO THE TREE OF LIFE – Sister Sallie Sanders

BEAUTIFUL ISLE OF SOMEWHERE – Southernaires

I WANT TO REST – Mahalia Jackson

Blind Willie McTell opens the hour with a devastating run of sides. “Mama Tain’t Long ’Fore Day,” “Statesboro Blues,” and “Razor Ball” showcase McTell’s unmatched 12-string guitar work and lyrical clarity. His playing is fluid yet forceful, his voice calm but commanding. McTell doesn’t plead or posture — he reports, making his songs feel like eyewitness accounts of life lived hard and honestly.

Rev. Gary Davis follows, and the atmosphere shifts from observation to devotion. “Lord Stand By Me,” “Have More Faith in Jesus,” and “I Cannot Bear My Burden” blur the line between sacred and secular, revealing how closely blues and gospel have always walked together. Davis’ guitar is restless and intricate, his voice full of conviction. These are performances meant to steady the soul, even as they acknowledge struggle.

Scrapper Blackwell’s “Mr. Scrapper Blues” brings a conversational intimacy, his guitar phrasing relaxed but purposeful. Sonny Terry and Brownie McGhee’s “Goin’ Down Slow” deepens the emotional gravity, their interplay capturing resignation without surrender. Judson Brown’s “You Don’t Know My Mind” adds a sense of isolation, a quiet confession offered without ornament.

Ida Cox then takes command of the hour with three powerful selections. “I Love My Man Better Than…” “Lovin’ Is the Thing,” and “So Soon This Morning” reveal her strength, independence, and emotional intelligence. Cox sings with authority born of experience, her voice never begging for sympathy. She states her truths plainly — and that’s what makes them resonate.

Virginia Liston’s “Shreveport Blues” and Lillyn Brown’s “Bad Land Blues” continue the theme of resilience, each voice distinct but united in purpose. These are women telling their stories on their own terms, unfiltered and unflinching.

The hour takes a rhythmic turn with Speckled Red’s “The Dirty Dozen” and “Do the Georgie,” barrelhouse piano pounding with barely contained energy. Piano Red’s “The Wrong Yo-Yo” and “Big Rock Joe from Kokomo” keep the momentum high, injecting humor and swagger into the proceedings without losing authenticity.

Hour Three closes having covered sacred ground and saloon floors alike. It reminds us that the blues didn’t begin as entertainment — it began as expression, survival, and release. These recordings carry fingerprints, breath, and truth. They ask nothing of the listener except attention.

In the context of the full show, Hour Three serves as the anchor — the place where everything else connects. Without these voices, the later electricity and sophistication would have nothing to build on. This is the blues at its most essential, still speaking clearly across nearly a century.

Hour Three Playlist

MAMA TAIN’T LONG ’FORE DAY – Blind Willie McTell

STATESBORO BLUES – Blind Willie McTell

RAZOR BALL – Blind Willie McTell

LORD STAND BY ME – Rev. Gary Davis

HAVE MORE FAITH IN JESUS – Rev. Gary Davis

I CANNOT BEAR MY BURDEN – Rev. Gary Davis

MR. SCRAPPER BLUES – Scrapper Blackwell

GOIN’ DOWN SLOW – Sonny Terry & Brownie McGhee

YOU DON’T KNOW MY MIND – Judson Brown

I LOVE MY MAN BETTER THAN… – Ida Cox

LOVIN’ IS THE THING – Ida Cox

SO SOON THIS MORNING – Ida Cox

SHREVEPORT BLUES – Virginia Liston

BAD LAND BLUES – Lillyn Brown

THE DIRTY DOZEN – Speckled Red

DO THE GEORGIE – Speckled Red

THE WRONG YO-YO – Piano Red

BIG ROCK JOE FROM KOKOMO – Piano Red

The hour kicks off with Sandy Nelson’s “Chick-A-Boom” and “Alexes,” two driving instrumentals that waste no time establishing momentum. Their relentless rhythm feels like a door being kicked open, clearing space for the heavy hitters that follow. Albert King steps in next, and everything tightens. “Killing Floor” and “If the Washing Don’t Get Ya’” showcase King’s commanding guitar tone and unshakable authority — blues that sound confident, dangerous, and fully in control.

Elmore James keeps the pressure on with “Lost Woman Blues” and “Held My Baby Last Night.” His slide guitar slices straight through the mix, raw and urgent, embodying the restless energy that defined postwar electric blues. These are not songs meant for background listening; they demand your full attention, and they get it.

Little Walter shifts the mood slightly, trading brute force for sly sophistication. “Can’t Stop Lovin’” and “Last Night” highlight his ability to make the harmonica sing, whisper, and shout all at once. Walter’s genius lies in his restraint — every note placed exactly where it needs to be, never more.

At the heart of the hour stands Robert Jr. Lockwood. His run of “Sweet Home Chicago,” “Stormy Monday,” and “Feel Alright Again” is a masterclass in economy and elegance. Lockwood doesn’t rush these performances; he lets the music breathe, proving that power doesn’t always come from volume. His guitar lines are clean and conversational, his vocals measured and confident. It’s blues played by someone who knows exactly who he is.

Tampa Red’s “She’s a Cool Operator” and “I Won’t Let Her Do It” extend the hour’s Chicago lineage, his smooth slide work offering contrast to the heavier tones heard earlier. Big Maceo’s “Texas Stomp” adds piano-driven muscle, reminding listeners that electricity didn’t replace the blues — it simply expanded it.

The hour closes with grit and grit alone. Dr. Clayton’s “Ain’t Gonna Drink No More” delivers humor and warning in equal measure, while Eddie King’s “Laundromat Blues” grounds the hour in everyday reality. Jerry McCain’s “Twist 62” sends the show into the next stretch with kinetic energy still buzzing, refusing to let the night cool off too quickly.

Hour Four is the sound of the blues standing upright — amplified, confident, and unapologetic. It honors tradition without being bound by it, channeling emotion through wires and speakers with purpose. This is music meant to be felt in the chest as much as heard in the ears.

Hour Four Playlist

CHICK-A-BOOM – Sandy Nelson

ALEXES – Sandy Nelson

KILLING FLOOR – Albert King

IF THE WASHING DON’T GET YA’ – Albert King

LOST WOMAN BLUES – Elmore James

HELD MY BABY LAST NIGHT – Elmore James

CAN’T STOP LOVIN’ – Little Walter

LAST NIGHT – Little Walter

SWEET HOME CHICAGO – Robert Jr. Lockwood

STORMY MONDAY – Robert Jr. Lockwood

FEEL ALRIGHT AGAIN – Robert Jr. Lockwood

SHE’S A COOL OPERATOR – Tampa Red

I WON’T LET HER DO IT – Tampa Red

TEXAS STOMP – Big Maceo

AIN’T GONNA DRINK NO MORE – Dr. Clayton

LAUNDROMAT BLUES – Eddie King

TWIST 62 – Jerry McCain

The hour opens with The Ravens’ “Out of a Dream,” setting a hushed, nocturnal mood immediately. Their smooth harmonies feel suspended in air, perfectly suited to the pre-dawn hours when thoughts drift freely. Milt Jackson’s “The Cylinder” follows, vibraphone lines gliding effortlessly, creating a cool, modern jazz atmosphere that feels both intimate and expansive. This pairing signals that Hour Five is about texture and mood as much as story.

Johnny Hartman’s “I Thought About You” deepens the sense of late-night introspection. Hartman’s voice is rich and unhurried, each phrase delivered as though meant for one listener alone. Dinah Washington’s “If I Were a Bell” adds a subtle shift — playful but sophisticated — reminding us of her unmatched ability to balance emotional clarity with technical brilliance. Jimmy Smith’s “The Champ” brings the Hammond B-3 into the room, its rolling grooves grounding the hour with warmth and pulse.

Savannah Churchill’s back-to-back selections mark a turning point. “I’ll Never Belong to Anyone Else” and “I Want to Cry” strip away elegance in favor of emotional honesty. Churchill sings with quiet resolve, her voice heavy with experience rather than drama. Otis Hinton’s “Walking Downhill” continues this reflective descent, a song that feels like a conversation with oneself rather than a performance.

The mood tightens as Jimmy Newsome’s “Do That Thing” and “My Little Child” bring gentle swing and phrasing rooted firmly in the blues. These are records built on subtlety — the kind that reward close listening. Cousin Leroy’s trio of sides (“Highway 41,” “Will a Matchbox Hold My Soul,” and “Crossroads”) pulls the hour back toward its rural foundations. His guitar work is raw and direct, the lyrics steeped in symbolism and survival, bridging past and present in just a few chords.

Betty James’ “I’m a Little Mixed-Up” introduces a note of vulnerability, her performance capturing uncertainty without apology. Little Luther’s “Ever Lovin’ Baby” follows with tenderness and restraint, offering warmth without excess. Little L. Boyd’s “Drinkin’ Blues Pt. I” returns us to the familiar blues terrain of reflection and regret, the kind of song that feels especially at home in the final hour of the program.

“Georgie Chain Gang” by Guitar Nubbit is stark and haunting, a reminder of the blues’ role as witness and record-keeper. The performance carries weight without embellishment — the story alone is enough. And then, fittingly, the hour closes with Fleetwood Mac’s “Albatross.” Its spacious, floating melody feels like a deep exhale, a final moment of calm that doesn’t break the spell but gently releases it.

Hour Five doesn’t try to summarize the night — it lets the night speak for itself. These are records meant to linger, to follow the listener into silence when the radio finally clicks off. It’s not about volume or virtuosity here. It’s about mood, memory, and the quiet truths that only surface after midnight.

Hour Five Playlist

OUT OF A DREAM – Ravens

THE CYLINDER – Milt Jackson

I THOUGHT ABOUT YOU – Johnny Hartman

IF I WERE A BELL – Dinah Washington

THE CHAMP – Jimmy Smith

I’LL NEVER BELONG TO ANYONE ELSE – Savannah Churchill

I WANT TO CRY – Savannah Churchill

WALKING DOWNHILL – Otis Hinton

DO THAT THING – Jimmy Newsome

MY LITTLE CHILD – Jimmy Newsome

HIGHWAY 41 – Cousin Leroy

WILL A MATCHBOX HOLD MY SOUL – Cousin Leroy

CROSSROADS – Cousin Leroy

I’M A LITTLE MIXED-UP – Betty James

EVER LOVIN’ BABY – Little Luther

DRINKIN’ BLUES PT I – Little L. Boyd

GEORGIE CHAIN GANG – Guitar Nubbet

ALBATROSS – Fleetwood Mac

The hour opens with Midge Williams’ “Organ Grinder’s Swing,” an instrumental that immediately places us in an urbane, late-night frame of mind. Its relaxed groove and confident phrasing serve as an invitation rather than a declaration — this is music meant to unfold gradually, not shout for attention. From there, Cab Calloway takes over with a run of sides that showcase his unmatched ability to blend theatrical flair with genuine swing. Tracks like “The Mermaid Song,” “Virginia, Georgia & Caroline,” and “North of the Mohawk Trail” reveal Calloway as both entertainer and master stylist, effortlessly balancing novelty with musical sophistication.

Louis Armstrong’s cluster of selections continues that sense of warmth and accessibility. “Hobo You Can’t Ride This Train” and “There’s a Cabin in the Pines” lean into Armstrong’s gift for storytelling, while “Puttin’ All My Eggs in One Basket” and “Evenin’ Tide” highlight the tenderness and optimism that made his recordings so enduring. These are performances that smile without becoming saccharine — perfect early-hour companions.

Betty Hall Jones then shifts the mood slightly toward the dance floor with “This Joint’s Too Much for Me,” “Thrill Me,” and “Learn to Boogie.” Her recordings crackle with energy, capturing the post-war nightlife where swing and rhythm blues began to blur together. These songs don’t just suggest movement — they require it, making them a vital link between jazz sophistication and the bluesy urgency that follows later in the show.

Coleman Hawkins’ appearances with “I’ll See You Later” and “What a Difference a Day Made” slow things down again, offering reflection and melodic depth. Hawkins’ tone is rich and unhurried, his phrasing conversational in the best sense. This is music that rewards attention, encouraging listeners to settle in rather than rush ahead.

The Mills Brothers bring vocal harmony into focus with “There’s No One But You,” reminding us how seamlessly close-harmony groups fit into the broader blues ecosystem. Their smooth blend acts as a palate cleanser before the hour moves into more modern, groove-oriented territory.

Deryck Sampson’s “Monday Wah” and Russell Jacquet’s “Relaxing” close the hour on a beautifully understated note. These selections feel intentional — not climactic, but calming. They signal that the night is young, the coffee is hot, and there’s plenty more music ahead. Rather than ending with a bang, Hour One ends with a deep breath.

As an opening statement, Hour One does exactly what it’s meant to do. It welcomes, reassures, and gently prepares the listener for the deeper blues narratives still to come. This is Blues Before Sunrise at its most graceful — curating a mood that invites listeners to stay awhile.

Hour One Playlist

Organ Grinder’s Swing – Midge Williams

The Mermaid Song – Cab Calloway

Virginia, Georgia & Caroline – Cab Calloway

Who Calls – Cab Calloway

North of the Mohawk Trail – Cab Calloway

Hobo You Can’t Ride This Train – Louis Armstrong

There’s a Cabin in the Pines – Louis Armstrong

Puttin’ All My Eggs in One Basket – Louis Armstrong

Evenin’ Tide – Louis Armstrong

This Joint’s Too Much for Me – Betty Hall Jones

Thrill Me – Betty Hall Jones

Learn to Boogie – Betty Hall Jones

I’ll See You Later – Coleman Hawkins

What a Difference a Day Made – Coleman Hawkins

There’s No One But You – Mills Brothers

Monday Wah – Deryck Sampson

Relaxing – Russell Jacquet

The hour opens with Sailor Boy’s “What Have I Done Wrong,” a classic blues confession delivered with plainspoken honesty. There’s no theatrical excess here — just a voice wrestling with consequence. Al Simmons follows with “Old Folks Boogie” and “You Ain’t Too Old,” injecting humor and rhythmic drive into the set. These tracks remind us that blues often addressed aging and survival with wit rather than despair, turning life’s inevitabilities into danceable truths.

Roy Hawkins’ “Why Do Everything Happen to Me” brings the mood inward again. Hawkins was a master of emotional restraint, and his smooth, aching delivery here feels intimate, as though he’s confiding directly in the listener. That emotional thread continues with Little Willie John’s “My Love Is,” a performance rich with vulnerability and longing, hinting at the soul music that would soon evolve from this blues lineage.

Jimmy Witherspoon contributes two sides — “Don’t Tell Me Now” and “Jay’s Blues” — both steeped in late-night atmosphere. Witherspoon’s relaxed phrasing and conversational tone make these recordings feel timeless, the kind of blues meant for dimly lit rooms and attentive ears.

The hour then pivots toward piano-driven power with Sarah McLawler’s “I Gotta Have You” and Noble Watts’ trio of selections: “John Friday’s Son,” “Mashing Potatoes,” and “Pig Ear & Rice.” Watts’ work blends storytelling with rhythmic insistence, his pounding piano lines pushing the blues closer to the boogie-woogie explosion that defined the era.

Crippled Clarence Lofton deepens that energy with “Done Tore Your Playhouse Down” and “Crying Mother Blues.” Lofton’s barrelhouse style is raw and relentless — music designed to cut through noise and demand attention. These performances feel physical, driven as much by muscle memory as emotion.

Sonny Clay’s “Gang of Blues” and “Punishing the Piano” keep that momentum going, celebrating the communal aspect of blues performance. These are records that feel alive with room noise and collective energy, reminding us that blues was as much about gathering as it was about expression.

The emotional arc of the hour turns sharply with Ethel Waters’ iconic “St. Louis Blues.” Waters’ delivery is measured, elegant, and devastating — a reminder that blues could be refined without losing its emotional core. Her performance acts as a bridge into the final stretch of the hour, where sacred music takes center stage.

Selections from the Seven Star Quartet, Rev. Emmett Dickinson, and the Dixie Hummingbirds close the hour on a spiritual note. Songs like “Lord I’m Troubled,” “Hell & What It Is,” and “Will the Lord Be With Me” don’t reject the blues — they respond to it. These performances offer reflection rather than resolution, acknowledging hardship while searching for peace.

Hour Two stands as a testament to the blues’ emotional range. From playful bravado to deep soul-searching, from piano-pounding joy to sanctified release, this hour reminds us that the blues was never one thing. It was — and remains — a mirror held up to real life.

Hour Two Playlist

What Have I Done Wrong – Sailor Boy

Old Folks Boogie – Al Simmons

You Ain’t Too Old – Al Simmons

Why Do Everything Happen to Me – Roy Hawkins

My Love Is – Little Willie John

Don’t Tell Me Now – Jimmy Witherspoon

Jay’s Blues – Jimmy Witherspoon

I Gotta Have You – Sarah McLawler

John Friday’s Son – Noble Watts

Mashing Potatoes – Noble Watts

Pig Ear & Rice – Noble Watts

Done Tore Your Playhouse Down – Crippled Clarence Lofton

Crying Mother Blues – Crippled Clarence Lofton

Gang of Blues – Sonny Clay

Punishing the Piano – Sonny Clay

St. Louis Blues – Ethel Waters

Lord I’m Troubled – Seven Star Quartet

Hell & What It Is – Rev. Emmett Dickinson

Will the Lord Be With Me – Dixie Hummingbirds

The hour opens with Little Brother Montgomery’s “Mama You Don’t Mean Me No Good,” a piano-driven lament that immediately establishes the mood. Montgomery’s touch is both percussive and lyrical, bridging ragtime traditions with the deeper blues feeling that would define Chicago piano styles. It’s a reminder that early blues pianists were orchestras unto themselves, capable of swinging, moaning, and testifying all at once.

From there, Buddy Moss’s “Midnight Rambler” and Blind Boy Fuller’s paired tracks “She’s a Truckin’ Little Baby” and “Shake That Shimmey” inject a lively street-corner feel. Fuller’s Piedmont fingerpicking dances even as the lyrics hint at hard-earned experience. These are records that feel spontaneous, but beneath the surface lies incredible discipline and musical intelligence.

Sonny Boy Williamson I brings a darker tone with “She Was a Dreamer” and “Drink on Little Girl.” His harmonica work cuts through the hour like a warning siren — sharp, insistent, and emotionally direct. Sonny Boy’s recordings often balance humor and menace, and here he sounds completely at ease inhabiting both worlds at once.

Memphis Minnie follows with “In My Girlish Days” and “Me & My Chauffeur,” delivering some of the most confident performances of the hour. Minnie’s guitar playing is crisp and authoritative, and her vocals radiate independence. She doesn’t plead or apologize — she states her case plainly, making these sides feel remarkably modern even decades later.

The mood deepens with Ma Rainey’s “Barrelhouse Blues” and “Honey Where You Been So Long.” Rainey’s voice carries the weight of experience, and her phrasing transforms simple lyrics into emotional declarations. These are records that don’t rush — they linger, allowing every word to land with full force.

From there, the hour moves through Monette Moore’s playful “Sugar Blues,” Sara Martin’s commanding “Take Your Black Bottom Outside,” and Josie Miles’ “31st Street Blues,” each adding another layer to the rich tapestry of early blues vocalists who helped define the genre’s emotional vocabulary.

The instrumental side returns with Teddy Bunn’s “Guitar in High,” a dazzling display of jazz-inflected blues guitar that hints at where the music would soon go. Buster Pickens contributes two stark, evocative performances — “Santa Fe Train” and “Women in Chicago” — songs filled with motion, longing, and geographic identity.

Big Boy Cruddup closes the hour with “I’m Gonna Dig Myself a Hole” and “Too Much Competition,” grounding the set in driving rhythm and plainspoken realism. Cruddup’s music feels forward-looking, pointing toward the postwar blues explosion that would soon arrive.

Hour Three is a reminder that blues history isn’t linear — it’s layered. Rural and urban, playful and painful, sacred and secular all coexist here. This hour doesn’t smooth over the edges. It celebrates them.

Hour Three Playlist

Mama You Don’t Mean Me No Good – Little Brother Montgomery

Midnight Rambler – Buddy Moss

She’s a Truckin’ Little Baby – Blind Boy Fuller

Shake That Shimmey – Blind Boy Fuller

She Was a Dreamer – Sonny Boy Williamson I

Drink on Little Girl – Sonny Boy Williamson I

In My Girlish Days – Memphis Minnie

Me & My Chauffeur – Memphis Minnie

Barrelhouse Blues – Ma Rainey

Honey Where You Been So Long – Ma Rainey

Sugar Blues – Monette Moore

Take Your Black Bottom Outside – Sara Martin

31st Street Blues – Josie Miles

Guitar in High – Teddy Bunn

Santa Fe Train – Buster Pickens

Women in Chicago – Buster Pickens

I’m Gonna Dig Myself a Hole – Big Boy Cruddup

Too Much Competition – Big Boy Cruddup

Harpo’s greatness lies in restraint. His records breathe. His harmonica whispers and growls rather than shouts, and his vocals sound like they’re coming from a half-lit room somewhere in Louisiana, where time moves slower and the beat settles deep into your bones. Opening with “King Bee,” Harpo immediately establishes his domain — hypnotic, minimal, and utterly confident. This isn’t blues that begs for attention; it assumes you’ll lean in.

From there, the hour unfolds like a perfectly paced conversation. “Got Love If You Want It” and “Shake Your Hips” showcase Harpo’s uncanny ability to create irresistible rhythm without clutter. Each note serves the groove. Each pause matters. These songs would go on to influence generations of blues and rock musicians, but here they’re presented in their original, unfiltered form — raw and endlessly listenable.

“Baby Scratch My Back” is the record everyone knows, and for good reason. Its sly humor and laid-back swagger remain unmatched. It’s blues as storytelling, blues as attitude, blues as invitation. That same slyness carries into “Bobby Sox Baby” and “Blues Hangover,” where Harpo turns everyday situations into slow-burning narratives that feel lived-in rather than performed.

As the hour progresses, deeper cuts like “Strange Love,” “Gonna Miss You Like the Devil,” and “Don’t Start Cryin’ Now” reveal Harpo’s emotional range. He could sound playful one moment and quietly devastated the next, all without raising his voice. The sadness never feels theatrical — it feels real, almost conversational, like advice given at the end of a long night.

“Buzz Me Baby,” “Mohair Sam,” and “Late Last Night” reinforce Harpo’s signature sound: harmonica lines that circle rather than soar, vocals that sound casual but are precisely placed, and rhythms that feel effortless while remaining rock-solid. This is music built for jukeboxes, front porches, and late-night radio — exactly where Blues Before Sunrise lives.

The latter half of the hour digs even deeper, pulling from the Bear Family box set that inspired the original Blowout ten years ago. Tracks like “Ti-Na-Nu-Na-Nu,” “Buzzin’,” and “Worryin’ & Wonderin’” show Harpo experimenting within his narrow but fertile lane, proving that simplicity can be endlessly varied when handled by the right artist.

As the hour winds down, “I Need Money,” “Rainin’ in My Heart,” “Cigarettes,” and “Dream Girl” close the set with weary honesty. These aren’t grand statements — they’re snapshots of daily life, rendered with warmth and humility. The finale, “Queen Bee Got a Brand New King,” brings things full circle, reaffirming Harpo’s quiet authority and lasting influence.

Hour Four isn’t just a tribute — it’s a reminder. Slim Harpo didn’t chase trends. He created a sound so grounded and timeless that it still feels modern. Ten years after the first Blowout, these records remain essential listening.

Hour Four Playlist

King Bee – Slim Harpo

Got Love If You Want It – Slim Harpo

Shake Your Hips – Slim Harpo

Baby Scratch My Back – Slim Harpo

Bobby Sox Baby – Slim Harpo

Blues Hangover – Slim Harpo

Strange Love – Slim Harpo

Gonna Miss You Like the Devil – Slim Harpo

Don’t Start Cryin’ Now – Slim Harpo

Buzz Me Baby – Slim Harpo

Mohair Sam – Slim Harpo

Late Last Night – Slim Harpo

Ti-Na-Nu-Na-Nu – Slim Harpo

Buzzin’ – Slim Harpo

Worryin’ & Wonderin’ – Slim Harpo

I Need Money – Slim Harpo

Rainin’ in My Heart – Slim Harpo

Cigarettes – Slim Harpo

Dream Girl – Slim Harpo

Queen Bee Got a Brand New King – Slim Harpo

The hour opens with the Ink Spots’ “That’s When Your Heartache Begins,” a master class in restrained heartbreak. Few groups could deliver sadness with such elegance, and their smooth harmonies immediately establish the late-night mood. Charlie Parker follows with “I’ll Remember April,” reminding listeners that even bebop’s firebrands could summon tenderness and reflection. Parker’s alto floats rather than burns here, perfectly suited to the hour’s introspective tone.

Arthur Prysock’s “How Did She Look” continues the emotional descent. Prysock’s voice — rich, wounded, and dignified — turns romantic curiosity into quiet devastation. Shirley Horn’s “Close Enough for Love” slows time even further, her phrasing intimate enough to feel like a confession whispered across a table after last call. These selections don’t demand attention; they invite it.

The mood shifts subtly with Lou Donaldson’s “Funky Mama,” injecting a touch of groove without breaking the spell. Donaldson’s alto keeps things grounded, reminding us that even late-night blues can still swing. That groove melts seamlessly into Little Willie John’s double shot of emotion: “Sufferin’ With the Blues” and “All My Love Belongs to You.” Willie John was a master of emotional economy, and these tracks capture both sides of his genius — pain and devotion, sung with raw honesty and impeccable control.

Sonny Boy Williamson II’s “Eyesight to the Blind” brings a darker, more ominous edge. His voice sounds weathered and knowing, steeped in experience and warning. Jimmy Wilson’s “The Strangest Blues” follows, its off-kilter storytelling and rhythmic tension keeping listeners slightly uneasy — the good kind of uneasy that belongs to late-night radio.

Little Margie’s “Years & Tears Ago” and “Yes It’s You” are emotional anchors, delivering heartfelt performances that balance vulnerability with strength. Her voice feels personal and unguarded, a reminder that the blues has always been a place where truth matters more than polish. Eddie Bo’s “Ain’t It the Truth Now” injects a touch of New Orleans flavor — conversational, rhythmic, and grounded in everyday reality.

Johnny Adams’ “The Bells Are Ringing” adds gospel-tinged soul, lifting the hour briefly toward redemption before Bobby “Blue” Bland brings it back down to earth. “Wouldn’t Treat a Dog” and “Who’s Foolin’ Who” showcase Bland at his most expressive, bending notes and emotions until they almost break. Few singers could sound so wounded and so powerful at the same time.

The hour — and the show — closes with Fleetwood Mac’s “Albatross,” a wordless instrumental that feels like an exhale after a long night. It’s a graceful, atmospheric ending that lets the listener drift out rather than be jolted awake, echoing the blues tradition while stretching its boundaries.

Hour Five doesn’t shout. It lingers. It understands that sometimes the strongest blues are the ones that simply sit with you until the sun comes up.

Hour Five Playlist

That’s When Your Heartache Begins – Ink Spots

I’ll Remember April – Charlie Parker

How Did She Look – Arthur Prysock

Close Enough for Love – Shirley Horn

Funky Mama – Lou Donaldson

Sufferin’ With the Blues – Little Willie John

All My Love Belongs to You – Little Willie John

Eyesight to the Blind – Sonny Boy Williamson II

The Strangest Blues – Jimmy Wilson

Years & Tears Ago – Little Margie

Yes It’s You – Little Margie

Ain’t It the Truth Now – Eddie Bo

The Bells Are Ringing – Johnny Adams

Wouldn’t Treat a Dog – Bobby Bland

Who’s Foolin’ Who – Bobby Bland

Albatross – Fleetwood Mac

The hour opens with Sammy Price’s “The Dirty Dozen,” a piano-driven romp that immediately establishes a playful, swinging atmosphere. Price’s touch is light but authoritative, a perfect invitation into the night. That sense of humor carries straight into Louis Jordan’s trio of sides — “Pettin’ & Pokin’,” “Chicky-Mo Craney-Crow,” and “Old Man Mose.” Jordan was a master entertainer, and these tracks show why. His ability to combine novelty lyrics, sharp rhythm, and undeniable swing makes these records feel effortless, even decades later.

Sarah Vaughan follows, and the mood shifts smoothly from playful to polished. “Cool Baby,” “I Ain’t Hurtin’,” and “The Thrill Is Gone” highlight Vaughan’s extraordinary control and emotional nuance. She doesn’t oversing these performances; instead, she lets phrasing and tone do the heavy lifting. Her presence here elevates the hour, showing how blues feeling could live comfortably inside jazz sophistication.

Jack McVea’s run of “Open the Door Richard,” “The Key Was in the Mailbox,” and “Richard Gets Hitched” brings the show back to earth with infectious R&B humor. These are records made for crowded rooms, laughter spilling over drinks, and call-and-response energy. McVea’s arrangements straddle jump blues and early rock ’n’ roll, giving the hour a jolt of momentum without losing its relaxed pacing.

The spotlight then turns instrumental with Morris Lane’s trio of “Turn Table,” “Moon Ray,” and “Poinciana.” These sides glide rather than swing, offering a dreamy, late-night feel that encourages listening rather than dancing. Lane’s work acts as a palate cleanser — a moment to lean back and let the sound wash over you.

The Ink Spots’ “Swing Hi Swing Low” adds romantic warmth, their harmonies instantly recognizable and deeply comforting. Pete Johnson’s “B&O Blues” shifts things again, grounding the hour with barrelhouse piano grit and rhythmic insistence. Johnson reminds us that beneath all the polish and humor, the blues’ heartbeat never stops.

“Waiting for the Evening Mail” by Sissle & Blake connects the show to the vaudeville and Broadway tradition, blending wit with melody in a way that feels timeless. Earl Bostic’s “Off Shore” closes the hour on a smooth, atmospheric note, his horn floating rather than shouting — a perfect transition point into the deeper emotional territory that follows in later hours.

Hour One works because it doesn’t try to define the blues too narrowly. Instead, it celebrates the genre’s openness — its ability to absorb jazz, humor, pop, and elegance without losing its soul. This is music meant to welcome listeners in, loosen their shoulders, and prepare them for the longer journey ahead.

By the time the hour ends, the listener isn’t just tuned in — they’re settled in, exactly where Blues Before Sunrise wants them to be.

Hour One Playlist

THE DIRTY DOZEN – Sammy Price

PETTIN’ & POKIN’ – Louis Jordan

CHICKY-MO CRANEY-CROW – Louis Jordan

OLD MAN MOSE – Louis Jordan

COOL BABY – Sarah Vaughan

I AIN’T HURTIN’ – Sarah Vaughan

THE THRILL IS GONE – Sarah Vaughan

OPEN THE DOOR RICHARD – Jack McVea

THE KEY WAS IN THE MAILBOX – Jack McVea

RICHARD GETS HITCHED – Jack McVea

TURN TABLE – Morris Lane

MOON RAY – Morris Lane

POINCIANA – Morris Lane

SWING HI SWING LOW – Ink Spots

B&O BLUES – Pete Johnson

WAITING FOR THE EVENING MAIL – Sissle & Blake

OFF SHORE – Earl Bostic

The set opens strong with Bull Moose Jackson’s “We Can Talk Some Trash,” a tune that announces attitude right out of the gate. Jackson’s delivery is sly and confident, blending humor with swagger in a way that perfectly sets the tone. From there, Eddie “Cleanhead” Vinson takes over with “Lonesome Train” and “Person to Person,” two sides that highlight his sharp lyric sense and horn-driven sophistication. Vinson always sounds like he’s reporting from the scene — these aren’t abstract blues, they’re lived conversations.

Ruth Brown follows with “Lucky Lips” and “9-10-15 Hours,” reminding us why she was one of the great crossover figures of early R&B. Her voice is playful but grounded, capable of turning heartbreak into dance-floor momentum. Percy Mayfield’s “Louisiana” slows things down just enough, introducing a reflective tone that balances the energy without killing the groove.

Cecil Gant’s “Rock Little Baby” brings a warm, rolling piano feel, while 3 Bits of Rhythm’s “Bronzeville Jump” snaps everything back into motion. This is music built for crowded rooms and clinking glasses, where the blues doesn’t sulk — it struts.

Annie Laurie’s “St. Louis Blues” provides a nod to tradition, grounding the hour in one of the most enduring compositions in the genre. From there, Nappy Brown’s “It Don’t Hurt No More” pushes things forward emotionally, suggesting resilience rather than resignation.

The heart of the hour belongs to Ethel Waters, whose multi-part selections — “Can’t Give You Anything But Love” and the extended “Porgy” takes — reveal her remarkable expressive range. Waters bridges vaudeville, blues, jazz, and theater with ease. These tracks feel intimate and theatrical at the same time, capturing an era when genre lines were still fluid and artists moved freely between worlds.

As the hour begins to turn inward, the spirituals arrive — not as an interruption, but as a natural continuation. The Morris Brown Quartet’s “Blind Man Stood on the Roadside” carries quiet power, while Rev. J.M. Gates’ “Samson & the Woman” brings sermonizing drama, mixing scripture with showmanship. Gates understood that storytelling was the key to keeping attention — sacred or secular.

The set closes with the Flying Clouds of Detroit’s “Peace in the Valley,” a perfect benediction. After an hour of jukebox energy, romantic tension, and worldly concerns, the song offers calm without false promises. It doesn’t erase the troubles heard earlier — it simply acknowledges them and offers rest.

Hour Two works because it refuses to separate the blues from the lives that created it. These are songs for working people, dancing people, praying people — often the same folks at different times of day. It’s an hour that reminds us the blues didn’t exist in isolation; it shared space with laughter, desire, exhaustion, and faith.

By the time the final notes fade, listeners are left standing at a crossroads — one foot in the club, one foot in the church — which is exactly where the blues has always thrived.

Hour Two Playlist

WE CAN TALK SOME TRASH – Bull Moose Jackson

LONESOME TRAIN – Eddie “Cleanhead” Vinson

PERSON TO PERSON – Eddie “Cleanhead” Vinson

LUCKY LIPS – Ruth Brown

9-10-15 HOURS – Ruth Brown

LOUISIANA – Percy Mayfield

ROCK LITTLE BABY – Cecil Gant

BRONZEVILLE JUMP – 3 Bits of Rhythm

ST. LOUIS BLUES – Annie Laurie

IT DON’T HURT NO MORE – Nappy Brown

CAN’T GIVE YOU ANYTHING BUT LOVE (TK A) – Ethel Waters

CAN’T GIVE YOU ANYTHING BUT LOVE (TK B) – Ethel Waters

PORGY (TK A) – Ethel Waters

PORGY (TK B) – Ethel Waters

PORGY (TK C) – Ethel Waters

BLIND MAN STOOD ON THE ROADSIDE – Morris Brown Quartet

SAMSON & THE WOMAN – Rev. J.M. Gates

PEACE IN THE VALLEY – Flying Clouds of Detroit

The set opens with Blind Lemon Jefferson, and right away the tone is established. “Eagle Eyed Mama” and “The Cheaters Spell” showcase Jefferson’s unmatched ability to make a single voice and guitar sound like a crowd. His phrasing is loose but intentional, his guitar lines snapping and weaving around the vocal rather than supporting it. These recordings feel spontaneous, alive, and slightly dangerous — exactly what makes them timeless.

From there, the program stays in Texas with Willie Reed’s “Texas Blues,” a reminder that the Lone Star sound was never monolithic. Reed’s approach is heavier, earthier, rooted in rhythm and repetition. Little Hat Jones’ “Rolled from Side to Side” follows, carrying a relaxed swing that contrasts nicely with the tension of the opening tracks.

The hour continues to build its sense of place with Funny Paper Smith’s “Howling Wolf Blues Pt. 1” and Joe Pullum’s “McKinney Street Stomp.” Pullum’s smooth, floating vocal delivery introduces a lighter emotional touch, while still keeping one foot firmly planted in blues tradition. Whistlin’ Alex Moore’s “I Want My Mary” adds humor and charm — a reminder that early blues was as much about personality as pain.

As the set deepens, Big Boy Knox’s “Blue Man Blues” and Pinetop Burkes’ “Mountain Jack Blues” lean into regional storytelling. These songs feel like postcards from specific corners of the country, each one carrying its own accent, pace, and worldview. The blues here is less about universal statements and more about individual truth.

Clara Smith’s trio — “It Takes the Lord,” “Ship-Wrecked Blues,” and “Onery Blues” — forms the emotional spine of the hour. Smith’s voice is commanding and expressive, bridging sacred and secular themes with ease. She sings with authority, vulnerability, and a sense of lived experience that grounds the hour firmly in human emotion rather than performance.

Leona Williams’ “Got to Cool My Doggies Now” shifts the mood again, playful and sly, before Ester Bigeou’s “Gulf Coast Blues” brings a smooth, coastal feel that expands the geography even further. Fats Pichon’s “I’ve Seen My Baby” injects New Orleans flavor, adding sophistication and swing without losing the blues foundation.

Then the hour takes a fascinating turn with Hawaiian material from Sol K. Bright and the George Kuu Trio. “Hawaiian Cowboy,” “Tomi Tomi,” and “Kuu Lei” might seem unexpected in a blues set, but they fit perfectly here. The steel guitar phrasing, relaxed tempos, and melodic structures echo the blues’ emotional language, proving how far the feeling traveled — and how adaptable it became.

Hour Three closes as a meditation rather than a statement. It’s not about big endings or dramatic climaxes. Instead, it leaves listeners with a sense of continuity — that the blues isn’t a single sound or story, but a network of voices connected by expression, survival, and rhythm.

This is the blues before it was codified, categorized, or electrified. Honest. Regional. Human.

Hour Three Playlist

EAGLE EYED MAMA – Blind Lemon Jefferson

THE CHEATERS SPELL – Blind Lemon Jefferson

TEXAS BLUES – Willie Reed

ROLLED FROM SIDE TO SIDE – Little Hat Jones

HOWLING WOLF BLUES PT. 1 – Funny Paper Smith

McKINNEY STREET STOMP – Joe Pullum

I WANT MY MARY – Whistlin’ Alex Moore

BLUE MAN BLUES – Big Boy Knox

MOUNTAIN JACK BLUES – Pinetop Burkes

IT TAKES THE LORD – Clara Smith

SHIP-WRECKED BLUES – Clara Smith

ONERY BLUES – Clara Smith

GOT TO COOL MY DOGGIES NOW – Leona Williams

GULF COAST BLUES – Ester Bigeou

I’VE SEEN MY BABY – Fats Pichon

HAWAIIAN COWBOY – Sol K. Bright

TOMI TOMI – Sol K. Bright

KUU LEI – George Kuu Trio

The hour opens with a commanding run from B.B. King. “Think It Over” sets a thoughtful tone, while “Don’t Answer the Door” (Parts I & II) brings swagger and warning in equal measure. By the time “Paying the Cost to Be the Boss” arrives, King has established complete authority — not just as a guitarist, but as a storyteller who understands power, pride, and consequence. His phrasing is conversational yet precise, every note shaped by intent.

Junior Parker follows with “Sweet Home Chicago” and “Mother-in-Law,” grounding the hour firmly in Chicago blues tradition. Parker’s smooth delivery contrasts nicely with the edge of the previous tracks, proving that toughness doesn’t always need volume. His voice carries confidence without strain, making these recordings feel lived-in rather than performed.

Johnny Ace’s “How Can You Be So Mean” shifts the mood again, adding vulnerability and heartbreak. Ace’s emotional openness is striking — his voice fragile but sincere, pulling listeners closer before the rhythm kicks back in with Pee Wee Crayton’s “Texas Hop.” Crayton injects West Coast swing into the mix, followed by the moody, late-night feel of “Blues Afterhours.” These instrumentals and near-instrumentals act like streetlights passing by, transitional moments that keep the hour moving.

Mercy Dee Walton’s “Trailing My Baby” and “G.I. Fever” add grit and humor, balancing personal longing with sharp observation. Mercy Dee’s voice feels conversational, almost spoken, embodying the workingman’s blues with honesty and wit. From there, the hour tightens up rhythmically with Good Rockin’ Robinson’s “L.C.’s Shuffle,” a pure groove that exists to keep bodies moving and heads nodding.

The emotional center of the hour arrives with Otis Rush’s powerful trio: “All Your Love,” “Checking on My Baby,” and “Love That Woman.” Rush’s guitar tone is urgent and exposed, his vocals aching without melodrama. These tracks don’t just express longing — they lean into it, creating tension that never fully resolves. Eddie Boyd’s “24 Hours” continues that thread, its sense of desperation perfectly suited to the late-night slot.

Junior Wells’ “You Don’t Care” snaps the listener back to reality with sharp-edged harmonica and attitude. From there, Snooky Pryor’s “Hold Me in Your Arms” and Floyd Jones’ “Any Old Lonesome Day” soften the attack just enough to allow reflection. Homesick James’ “Lonesome Ole Train” reinforces the recurring theme of movement and distance — a motif that runs quietly through the entire show.

The hour closes with Big Boy Spires’ “Tired of Being Mistreated,” a raw, defiant statement that feels like both an ending and a challenge. It’s the perfect capstone for an hour that refuses to romanticize the blues. This is music born of pressure, shaped by experience, and delivered without apology.

Hour Four stands as the show’s muscular core — blues that don’t whisper, don’t wander, and don’t back down.

Hour Four Playlist

THINK IT OVER – B.B. King

DON’T ANSWER THE DOOR (PTS I & II) – B.B. King

PAYING THE COST TO BE THE BOSS – B.B. King

SWEET HOME CHICAGO – Junior Parker

MOTHER-IN-LAW – Junior Parker

HOW CAN YOU BE SO MEAN – Johnny Ace

TEXAS HOP – Pee Wee Crayton

BLUES AFTERHOURS – Pee Wee Crayton

TRAILING MY BABY – Mercy Dee

G.I. FEVER – Mercy Dee

L.C.’S SHUFFLE – Good Rockin’ Robinson

ALL YOUR LOVE – Otis Rush

CHECKING ON MY BABY – Otis Rush

LOVE THAT WOMAN – Otis Rush

24 HOURS – Eddie Boyd

YOU DON’T CARE – Junior Wells

HOLD ME IN YOUR ARMS – Snooky Pryor

ANY OLD LONESOME DAY – Floyd Jones

LONESOME OLE TRAIN – Homesick James

TIRED OF BEING MISTREATED – Big Boy Spires

The hour opens with the Five Red Caps’ “Sugar Lips,” a smooth, harmony-driven piece that sets a relaxed but confident tone. There’s charm here, but it’s not soft — it’s the kind of charm that knows exactly what it’s doing. Henry Mancini’s “Latin Snow Fall” follows, adding a cinematic shimmer. Its cool, stylized atmosphere briefly suspends time, acting like a neon glow in the distance before the vocals return.

Billy Eckstine’s “A Sure Thing” and Ella Fitzgerald’s “Mixed Emotions” bring vocal authority front and center. Eckstine delivers elegance with emotional restraint, while Ella, as always, communicates complexity without excess. These tracks remind us that the blues doesn’t require anguish to be deep — sometimes control says more than confession. Shirley Scott’s “Rapid Shave” shifts the energy again, her organ-driven groove injecting motion and swing, keeping the hour from settling too comfortably.

Dolly Cooper’s pair of songs — “Ay-La-Bah” and “Down So Long” — mark a turning point. Her voice carries weight and lived-in truth, bridging the earlier sophistication with the tougher material to come. By the time Freddy King’s “Lonesome Whistle Blues” arrives, the mood has darkened just enough. King’s guitar and vocal urgency feel like a train cutting through the night, signaling that this hour is about motion, not rest.

Hooker & Heat’s “Got My Eyes on You” brings hypnotic tension, John Lee Hooker’s signature pulse grounding the hour in repetition and trance. That tension sharpens with Junior Wells’ “Please Throw This Poor Dog a Bone,” a performance soaked in attitude and street-level humor. Muddy Waters’ “Honey Bee” follows naturally, its swagger undeniable, reminding listeners why Muddy remains a towering presence — commanding without forcing the issue.

The run continues strong with Howlin’ Wolf’s “Sweet Woman” and Sunnyland Slim’s “Mud Kickin’ Woman,” both dripping with personality and authority. These are performances that don’t ask permission. They assert themselves, carrying the weight of tradition while sounding permanently alive. Big Bill Broonzy’s “South Bound Train” introduces a reflective note, its imagery perfectly suited to the late hour — movement, distance, and the promise of somewhere else.

Lil Green’s “99 Blues” adds emotional vulnerability, her voice fragile but resolute. It’s one of the hour’s most human moments, setting up the stark narrative punch of St. Louis Jimmy’s “Murder in the First Degree.” That song lands hard, reminding us that the blues has always told the uncomfortable stories too — the ones that linger long after the needle lifts.

Closing the hour is Fleetwood Mac’s “Albatross,” a choice that feels both surprising and inevitable. Instrumental, spacious, and meditative, it acts as an exhale after everything that came before. Rather than breaking the mood, it extends it, showing how the blues’ influence stretches well beyond its origins. As a final track, it doesn’t end the night — it lets it drift into first light.

Hour Five is not an epilogue. It’s a statement: the blues doesn’t fade out — it stays awake.

Hour Five Playlist

SUGAR LIPS – Five Red Caps

LATIN SNOW FALL – Henry Mancini

A SURE THING – Billy Eckstine

MIXED EMOTIONS – Ella Fitzgerald

RAPID SHAVE – Shirley Scott

AY-LA-BAH – Dolly Cooper

DOWN SO LONG – Dolly Cooper

LONESOME WHISTLE BLUES – Freddy King

GOT MY EYES ON YOU – Hooker & Heat

PLEASE THROW THIS POOR DOG A BONE – Junior Wells

HONEY BEE – Muddy Waters

SWEET WOMAN – Howlin’ Wolf

MUD KICKIN’ WOMAN – Sunnyland Slim

SOUTH BOUND TRAIN – Big Bill Broonzy

99 BLUES – Lil Green

MURDER IN THE FIRST DEGREE – St. Louis Jimmy

ALBATROSS – Fleetwood Mac

Elder Charles Beck opens the show with “Winehead Willie – Put That Bottle Down,” a sermon wrapped in blues cadence. It’s a reminder that the blues has always been close to the pulpit, capable of warning as much as entertaining. That grounding makes Billy Eckstine’s trio of songs land even harder. “Lonesome Lover Blues,” “Tell Me Pretty Baby,” and “Cottage for Sale” showcase Eckstine’s unmatched ability to balance vulnerability with sophistication. His voice is rich, controlled, and unhurried — heartbreak delivered with dignity.

Ernestine Anderson continues the refined mood with “My Kinda Love,” “Mound Bayou,” and “Lazy Afternoon.” Her phrasing is conversational yet precise, and her emotional range subtle but deep. These are songs that reward close listening, perfect for the late-night intimacy the program thrives on. Nellie Lutcher follows with a burst of personality. “He’s a Real Gone Guy,” “I Thought About You,” and “Cool Water” combine wit, swing, and charm, reminding us that intelligence and humor have always been central to the blues tradition.

Illinois Jacquet shifts the hour from vocal elegance to instrumental fire. “For Europeans Only,” “Big Dog,” and “You Left Me Alone” feature his tenor sax at full strength — bold, playful, and fearless. Jacquet’s sound injects motion into the hour, nudging the listener from reflection toward engagement without breaking the spell.

The Delta Rhythm Boys’ “Conversation at Midnight” feels perfectly placed, its harmonies echoing the kind of quiet exchanges that happen when the rest of the world is asleep. Meade Lux Lewis’ “Tell Your Story” brings boogie-woogie piano into focus, a reminder that rhythm has always been the engine of the blues, even in its most refined forms.

Buck & Bubbles’ “Rhythm for Sale” leans into that idea, blending vaudeville roots with jazz sophistication. Jackie Davis closes the hour with “Love Is Just Around the Corner” and “Hammond Gone Cha-Cha,” her organ work modern, playful, and forward-looking. It’s a subtle signal that while this show honors history, it isn’t trapped by it.

Hour One doesn’t shout its intentions. It earns attention through confidence and craft. By the time it ends, the listener is settled in, senses sharpened, ready for the deeper emotional currents ahead. This is how Blues Before Sunrise always works best — by opening the door slowly and letting the music do the talking.

Hour 1 Playlist

• Winehead Willie – Put That Bottle Down – Elder Charles Beck
• Lonesome Lover Blues – Billy Eckstine
• Tell Me Pretty Baby – Billy Eckstine
• Cottage for Sale – Billy Eckstine
• My Kinda Love – Ernestine Anderson
• Mound Bayou – Ernestine Anderson
• Lazy Afternoon – Ernestine Anderson
• He’s a Real Gone Guy – Nellie Lutcher
• I Thought About You – Nellie Lutcher
• Cool Water – Nellie Lutcher
• For Europeans Only – Illinois Jacquet
• Big Dog – Illinois Jacquet
• You Left Me Alone – Illinois Jacquet
• Conversation at Midnight – Delta Rhythm Boys
• Tell Your Story – Meade Lux Lewis
• Rhythm for Sale – Buck & Bubbles
• Love Is Just Around the Corner – Jackie Davis
• Hammond Gone Cha-Cha – Jackie Davis

Charles Brown opens with “Drifting Blues,” a masterclass in understatement. His piano touch is delicate, his voice weary but controlled. This is heartbreak delivered without spectacle, setting an introspective tone that lingers. Tiny Bradshaw immediately flips the script with “The Train Kept a Rollin’” and “Rippin’ & Runnin’,” injecting momentum and swagger. His jump-blues energy reminds us that movement itself can be survival — when life presses in, sometimes you dance your way forward.

Little Esther’s “If It’s News to You” and “Streetlight” add youthful confidence and emotional clarity. Her delivery is direct, unafraid, and modern for its time, signaling the blues’ evolution toward R&B. Pigmeat Markham’s “The Fortune Teller” brings humor and commentary into the mix, blurring entertainment and observation in a way that feels distinctly urban.

Jimmy McCracklin’s pair, “What That Is” (Parts I & II) and “She Felt Too Good,” anchor the hour with grit and groove. His voice carries authority earned on the road, and his lyrics land with knowing realism. Charlie Singleton’s “Cat’s Paw” and Jimmy Yancey’s “Rolling the Stone” follow, grounding the hour in piano tradition — steady, rhythmic, and deeply rooted.

The mood darkens with Kansas City Kitty’s “Gym’e Too Much for Me” and Will Ezell’s “Bucket of Blood,” where storytelling becomes vivid and dangerous. These aren’t metaphors meant to soften reality; they’re warnings, delivered plainly. Ethel Waters provides a tonal shift with “River Stay Away from My Door” and “Shine On Harvest Moon,” her voice full of grace and emotional intelligence. She doesn’t erase the trouble — she rises above it.

As the hour moves toward its close, sacred voices enter not as interruption, but as response. The Pace Jubilee Singers’ “Walk Thru the Valley in Peace” offers calm assurance, while Rev. A.W. Nix’s “Hiding Behind the Stuff” brings sharp moral clarity, calling out hypocrisy without hesitation. The Swanee Quintet’s “Well Done” seals the hour with uplift, suggesting resolution without false optimism.

Hour Two captures the blues in circulation — carried by trains, street corners, sanctuaries, and stories passed hand to hand. It’s the sound of people navigating the world as it is, finding rhythm wherever they can, and occasionally lifting their eyes toward something higher.

Hour 2 Playlist

• Drifting Blues – Charles Brown
• The Train Kept a Rollin’ – Tiny Bradshaw
• Rippin’ & Runnin’ – Tiny Bradshaw
• If It’s News to You – Little Esther
• Streetlight – Little Esther
• The Fortune Teller – Pigmeat Markham
• What That Is (Pts. I & II) – Jimmy McCracklin
• She Felt Too Good – Jimmy McCracklin
• Cat’s Paw – Charlie Singleton
• Rolling the Stone – Jimmy Yancey
• Gym’e Too Much for Me – Kansas City Kitty
• Bucket of Blood – Will Ezell
• River Stay Away from My Door – Ethel Waters
• Shine On Harvest Moon – Ethel Waters
• Walk Thru the Valley in Peace – Pace Jubilee Singers
• Hiding Behind the Stuff – Rev. A.W. Nix
• Well Done – Swanee Quintet

Robert Johnson opens the hour with “I Believe I’ll Dust My Broom” and “Terraplane Blues,” two pillars of the blues canon. Johnson’s guitar work is sharp and driving, his voice both distant and immediate. These songs don’t explain themselves; they move forward with purpose, pulling the listener along. Tommy McClennan’s “Deep Blue Sea Blues” follows with brute force and intensity, his vocal delivery raw and relentless, offering contrast without relief.

Robert Wilkins’ “Falling Down Blues” slows the pace slightly, introducing reflection without softening the edge. Little Brother Montgomery’s “Vicksburg Blues” adds piano-driven authority, grounding the hour in rhythm and history. Bessie Smith’s “Preachin’ the Blues” brings humor and power together, her voice commanding attention while bending sacred language toward secular ends.

The collaboration between George Brown and Bessie Smith on “Hit Me But Don’t Quit Me” is playful yet dangerous, a reminder that the blues has always been unafraid to walk uncomfortable lines. Martha Copeland’s “Daddy U Put Done That Thing on Me” continues that tradition, blending desire and wit with unmistakable confidence. Viola McCoy’s “Slow Up Papa” adds charm and personality, her phrasing both teasing and firm.

Julia Moody’s “The Cootie Crawl” lightens the mood just enough, its dance-driven rhythm hinting at communal release. But the gravity returns quickly with Leroy Carr’s “Sloppy Drunk” and “How Long Has the Evening Train Been Gone.” Carr’s smooth delivery masks deep loneliness, his piano lines offering structure to emotional chaos. These are songs about waiting — for love, for escape, for change.

Carolina Slim’s “Your Picture Done Faded” feels like memory dissolving in real time, while Black Ace’s “Whiskey & Wimmin” delivers blunt honesty without apology. The hour expands briefly with “You Got to Be Modernistic,” a snapshot of New Orleans sophistication that reminds listeners the blues has always absorbed its surroundings.

The Hall Johnson Choir’s “Water Boy” introduces spiritual weight, not as contrast but as continuation. Faith and fatigue share the same breath here. Eddie Miller’s “School Days” closes the hour with bittersweet reflection, youth remembered from a distance that feels both tender and irreversible.

Hour Three is the spine of the show. Without it, nothing else stands. These songs carry the weight of experience without decoration, proving that the blues doesn’t need amplification to be powerful — it only needs honesty.

Hour 3 Playlist

• I Believe I’ll Dust My Broom – Robert Johnson
• Terraplane Blues – Robert Johnson
• Deep Blue Sea Blues – Tommy McClennan
• Falling Down Blues – Robert Wilkins
• Vicksburg Blues – Little Brother Montgomery
• Preachin’ the Blues – Bessie Smith
• Hit Me But Don’t Quit Me – George Brown & Bessie Smith
• Daddy U Put Done That Thing on Me – Martha Copeland
• Slow Up Papa – Viola McCoy
• The Cootie Crawl – Julia Moody
• Sloppy Drunk – Leroy Carr
• How Long Has the Evening Train Been Gone – Leroy Carr
• Your Picture Done Faded – Carolina Slim
• Whiskey & Wimmin – Black Ace
• You Got to Be Modernistic – Great Day in New Orleans
• Water Boy – Hall Johnson Choir
• School Days – Eddie Miller

T-Bone Walker opens the hour with “You’re My Best Poker Hand,” setting a confident, swinging tone. Walker’s guitar work is conversational, every phrase responding to the last, while his vocal delivery balances humor and authority. “Plain Old Down Home Blues” and “West Side Baby” follow, grounding the hour in urban realism. This is blues that knows the neighborhood and names names. With “Sugar on My Mind,” Walker lets melody do the heavy lifting, proving once again why his influence stretches far beyond his own era.

Lightning Hopkins shifts the mood slightly, his performance rawer and more conversational. His guitar feels unfiltered, his voice shaped by experience rather than polish. That looseness flows naturally into Clarence “Gatemouth” Brown’s pair of tracks, “Ain’t That Dandy” and “That’s Your Daddy Yaddy-Yo.” Brown’s playful phrasing and musical versatility bring a sense of humor back into the room without ever sacrificing credibility.

Slim Harpo’s “Late Last Night” and “Strange Love” slow the pulse and deepen the groove. His swamp-inflected delivery feels hypnotic, each repetition tightening the spell. These songs don’t rush; they wait, letting atmosphere do the work. John Lee Hooker follows with “Stop Talking” and “I’m Going Upstairs,” his signature boogie rhythm relentless and intimate. Hooker doesn’t explain — he commands, and the listener follows.

Madonna Martin’s “Rattlesnakin’ Papa” and “I Ain’t the Same Old Fool” bring grit and determination to the hour. Her vocals carry strength without bravado, making her performances feel lived-in and personal. Elmore Nixon’s “Shout & Rock” and “Over Here Pretty Baby” push the rhythm forward again, piano lines bouncing with energy and urgency.

Junior Parker’s “I Feel Alright Again” and “These Kind of Blues” offer a moment of reflection, his smooth delivery easing the tension without draining it. There’s relief here, but it’s cautious — the kind earned through endurance. Al Harrison’s “I Don’t Know Where It’s At” leans into uncertainty, while Jimmy Wilson’s “Call Me a Hound Dog” closes the hour with attitude and bite.

Hour Four captures the blues at its most honest — no ornament, no apology. These are songs built for after midnight, when stories get sharper and truth comes out without being asked. The electricity isn’t just in the instruments; it’s in the way each performer meets the listener head-on.

Hour 4 Playlist

• You’re My Best Poker Hand – T-Bone Walker
• Plain Old Down Home Blues – T-Bone Walker
• West Side Baby – T-Bone Walker
• Sugar on My Mind – Lightning Hopkins
• Ain’t That Dandy – Gatemouth Brown
• That’s Your Daddy Yaddy-Yo – Gatemouth Brown
• Late Last Night – Slim Harpo
• Strange Love – Slim Harpo
• Stop Talking – John Lee Hooker
• I’m Going Upstairs – John Lee Hooker
• Rattlesnakin’ Papa – Madonna Martin
• I Ain’t the Same Old Fool – Madonna Martin
• Shout & Rock – Elmore Nixon
• Over Here Pretty Baby – Elmore Nixon
• I Feel Alright Again – Junior Parker
• These Kind of Blues – Junior Parker
• I Don’t Know Where It’s At – Al Harrison
• Call Me a Hound Dog – Jimmy Wilson

The Deep River Boys open the hour with “My Guy’s Come Back,” setting a tone of relief and reunion. Their smooth harmonies feel like warmth returning after a long absence, a gentle promise that not all stories end in loss. Duke Ellington’s “Star Crossed Lovers” follows, deepening the mood with orchestral grace. This isn’t blues as confession — it’s blues as atmosphere, where feeling lives between the notes.

Herb Jeffries’ “Flamingo” continues that glide, his velvety vocal delivery wrapping melancholy in romance. It’s the sound of late-night radio at its most luxurious, music that doesn’t demand attention but rewards it. Sarah Vaughan’s “Cool Baby” adds playful sophistication, her phrasing effortless and assured, reminding listeners that control can be just as powerful as intensity.

Jimmy Smith’s “Minor Chant” brings the groove back into focus. His Hammond organ pulses with restrained fire, bridging jazz and blues in a way that feels both intellectual and physical. That rhythmic momentum carries smoothly into Sam Cooke’s pair of songs, “Canadian Sunset” and “Along the Navajo Trail.” Cooke’s voice is pure clarity — open, hopeful, and unburdened. These tracks feel like open road music, hinting at a future where the blues could stretch into soul without breaking.

Then the hour pivots. Chuck Berry’s “I’m Talking About You” and “Bo’s Beat” snap the room awake, injecting youthful urgency and raw electricity. This is the blues mutating in real time, learning to run faster and shout louder. Bo Diddley’s “Bring It to Jerome” locks in the rhythm, his signature beat reminding us that repetition can be revolutionary.

From there, the hour slides back into Chicago depth. Big Walter Horton’s “Blues in the Morning” lives up to its title, harmonica lines curling like smoke in cold air. Johnny Young’s “Stealin’” and “My Baby Walked Out in 1954” strip things down, returning the focus to personal storytelling and street-level truth. These aren’t flashy records — they’re lived-in, worn smooth by repetition.

Otis Spann’s “What’s on Your Worried Mind” feels like a quiet conversation just before sunrise, piano and voice carrying equal emotional weight. Eddie Taylor’s “You’re Gonna Look for Me” reinforces that sense of inevitability — loss accepted, lessons learned. By the time Fleetwood Mac’s “Albatross” closes the hour, the transformation is complete. The blues has traveled oceans, generations, and genres, arriving at a place of calm reflection.

Hour Five doesn’t fade out. It stretches forward. It suggests that the blues isn’t something that ends when the sun comes up — it simply changes shape, ready to be rediscovered again and again.

Hour 5 Playlist

• My Guy’s Come Back – Deep River Boys
• Star Crossed Lovers – Duke Ellington
• Flamingo – Herb Jeffries
• Cool Baby – Sarah Vaughan
• Minor Chant – Jimmy Smith
• Canadian Sunset – Sam Cooke
• Along the Navajo Trail – Sam Cooke
• I’m Talking About You – Chuck Berry
• Bo’s Beat – Chuck Berry
• Bring It to Jerome – Bo Diddley
• Blues in the Morning – Big Walter Horton
• Stealin’ – Johnny Young
• My Baby Walked Out in 1954 – Johnny Young
• What’s on Your Worried Mind – Otis Spann
• You’re Gonna Look for Me – Eddie Taylor
• Albatross – Fleetwood Mac

The hour opens with the King Cole Trio’s “Hip Hip Hooray,” a perfect curtain-raiser. Nat King Cole’s piano touch and relaxed vocal delivery immediately establish comfort and charm. This is music that smiles back at you, offering reassurance before the night deepens. Cab Calloway follows with a playful run of recordings that showcase his unmatched ability to turn exuberance into insulation. “Do You Wanna Jump Children,” “Long Long Ago,” and “Twee Twee Tweet” radiate humor and rhythmic joy, reminding listeners that laughter has always been one of the blues’ best survival tools.

Calloway’s “The Fuehrer’s Got the Jitters” adds bite beneath the swing. Even in the depths of winter and wartime uncertainty, satire becomes a form of resistance. That mix of intelligence and energy keeps the hour from drifting into nostalgia; this is living music, not background noise.

Ivy Anderson’s trio of songs — “Killin’ Myself,” “Rocks in My Bed,” and “Rug Cutter” — shifts the mood toward intimacy. Anderson’s voice is expressive and grounded, capable of conveying heartbreak without melodrama. Her performances feel personal, like conversations held close to the heater. The warmth here isn’t carefree; it’s earned.

The Mills Brothers follow with “And the Angels Sing” and “South of the Border,” their tight harmonies acting like a blanket pulled up around the shoulders. Their sound is smooth but never slick, rooted in vocal tradition and emotional clarity. The Charioteers continue that approach with “I Understand” and “Stardust,” songs that lean into reflection rather than escape. Winter encourages memory, and these tracks honor that instinct.

Maurice Rocco’s “Why Don’t You Do Right” brings piano-driven attitude into the room, sharp and confident. It’s a reminder that winter doesn’t dull wit or edge. Ethel Waters’ “Blues in My Heart” deepens the emotional register, her voice carrying the weight of experience and restraint. Few singers could balance elegance and sorrow so completely.

Alberta Hunter’s “Drifting Tide” feels like a moment of quiet reflection, the sound of someone watching snow fall and thinking about distance — emotional or physical. Adelaide Hall’s performance of “Baby,” with Duke Ellington’s influence woven in, restores sophistication and swing, bridging jazz and blues seamlessly.

Paul Quinichette’s “Sandstone” closes the hour with cool assurance. His Lester Young–influenced tenor saxophone glides effortlessly, suggesting motion without urgency. It’s the perfect transition point: warm enough to keep you listening, calm enough to let the cold wait outside a little longer.

Hour One doesn’t deny winter’s presence. It prepares you for it. By the time the hour ends, the room feels warmer, the night feels manageable, and the listener is ready to go deeper into the cold — with music as protection.

Hour 1 Playlist

• Hip Hip Hooray – King Cole Trio
• Do You Wanna Jump Children – Cab Calloway
• Long Long Ago – Cab Calloway
• Twee Twee Tweet – Cab Calloway
• The Fuehrer’s Got the Jitters – Cab Calloway
• Killin’ Myself – Ivy Anderson
• Rocks in My Bed – Ivy Anderson
• Rug Cutter – Ivy Anderson
• And the Angels Sing – Mills Brothers
• South of the Border – Mills Brothers
• I Understand – The Charioteers
• Stardust – The Charioteers
• Why Don’t You Do Right – Maurice Rocco
• Blues in My Heart – Ethel Waters
• Drifting Tide – Alberta Hunter
• Baby – Adelaide Hall / Duke Ellington
• Sandstone – Paul Quinichette

The hour opens with Slim & Slam’s “It’s Gettin’ Kinda Chilly,” a playful warning shot. Their humor softens the blow, but the message is clear: something unpleasant is on the way. Joe Williams’ “Winter Weather” follows with smoother authority, turning seasonal complaint into something cool and composed. Cab Calloway’s “Frosty Morning” brings theatrical flair, reminding listeners that even discomfort can be stylized — at least for a while.

Ray Charles’ “The Snow Is Falling” marks a tonal shift. His voice carries both awe and unease, capturing that moment when weather crosses from inconvenience into isolation. From there, the hour leans into one of popular music’s most enduring cold-weather standards, “Baby It’s Cold Outside,” presented in three distinct versions. Louis Jordan and Ella Fitzgerald approach it with playful flirtation, Pearl Bailey and Hot Lips Page lean into charm and personality, while Ray Charles and Betty Carter add emotional tension. The repetition becomes a study in interpretation — how the same lyric changes depending on who’s trying to stay warm, and why.

Alberta Prime’s “It’s Gonna Be a Cold Winter” removes any remaining illusion. There’s no teasing here, just preparation. Bessie Smith’s “Frosty Morning Blues” follows, grounding the hour in blues tradition. Her voice is unyielding, reporting conditions without embellishment. Clara Smith’s “Cold Weather Papa” continues that directness, pairing complaint with strength.

Madlyn Davis’ “Winter Weather” feels quieter, more inward, while Big Maceo’s “Winter Time Blues” brings piano-driven authority. His playing suggests motion — fingers moving even when feet cannot. That momentum carries into Peetie Wheatstraw’s “Ice & Snow Blues,” where myth, exaggeration, and hardship collide. Clifford Gibson’s version of the same title reinforces the idea that some experiences are so common they demand multiple tellings.

The back half of the hour deepens into regional perspective. Isiah Nettles’ “It’s So Cold in China” and Lyin’ Joe Holley’s “So Cold in the U.S.A.” expand the theme beyond geography, using exaggeration and humor to describe an experience that feels universal. Cold, like the blues, ignores borders.

Gray Ghost’s “Winter Time Blues” closes the hour in reflective fashion. His delivery is unhurried, resigned, and steady. There’s no drama left — just acceptance. Winter has arrived, and life will now proceed under its rules.

Hour Two captures the moment when seasonal inconvenience becomes lived reality. The jokes thin out, routines change, and the blues adjusts accordingly. This is the sound of people learning how to get through the cold — one song at a time.

Hour 2 Playlist

• It’s Gettin’ Kinda Chilly – Slim & Slam
• Winter Weather – Joe Williams
• Frosty Morning – Cab Calloway
• The Snow Is Falling – Ray Charles
• Baby It’s Cold Outside – Louis Jordan & Ella Fitzgerald
• Baby It’s Cold Outside – Pearl Bailey & Hot Lips Page
• Baby It’s Cold Outside – Ray Charles & Betty Carter
• It’s Gonna Be a Cold Winter – Alberta Prime
• Frosty Morning Blues – Bessie Smith
• Cold Weather Papa – Clara Smith
• Winter Weather – Madlyn Davis
• Winter Time Blues – Big Maceo
• Ice & Snow Blues – Peetie Wheatstraw
• Ice & Snow Blues – Clifford Gibson
• It’s So Cold in China – Isiah Nettles
• So Cold in the U.S.A. – Lyin’ Joe Holley
• Winter Time Blues – Gray Ghost

The hour opens with Sonny Boy Williamson II’s “Nine Below Zero,” played twice for emphasis, as if once isn’t enough to convey just how brutal the conditions are. Sonny Boy’s harmonica cuts like frozen wind, his delivery matter-of-fact rather than theatrical. The repetition mirrors winter itself: the same cold, day after day, wearing you down by sheer persistence.

Bobo Jenkins’ “Ten Below Zero” pushes the temperature even lower. His vocal carries a weary authority, the sound of someone who has stopped complaining and started adapting. Roosevelt Sykes’ “Winter Time Blues” brings piano into the mix, its rolling patterns suggesting movement inside when outside offers none.

Elzee Floyd’s “Snowbound & Blue” and Blind Willie McTell’s “Cold Winter Day” deepen the isolation. McTell’s guitar is delicate but resolute, and his voice carries quiet dignity. The cold here isn’t dramatic — it’s lonely. Buddy Moss’ “Cold Country Blues” follows, keeping the focus on environment as destiny.

Barbecue Bob’s “Cold Wave Blues” adds a sense of unease. His delivery feels unsettled, reflecting how winter disrupts routines and stability. Pee Wee Crayton’s “A Frosty Night” shifts the mood slightly, his electric guitar introducing urban polish without softening the chill.

Peppermint Harris’ “Middle of Winter” and Lester Williams’ “Winter Time Blues” reinforce the hour’s central theme: time slows in the cold. These songs feel suspended, caught between nights that are too long and mornings that come too early. Roscoe Gordon’s “Cold Cold Winter” adds a subtle rhythmic sway, suggesting that even in hardship, the body keeps moving.

Taildragger’s “Cold Outdoors” is especially stark. There’s no escape here — no warm room, no comforting chorus. It’s blues as survival report. Piano Slim’s “Winter Time Blues” keeps that austerity intact, his playing economical and direct.

“Rainy & Snowy” by Rocky Fuller introduces a damp, relentless variation on the theme. Cold is bad enough; cold and wet is worse. Scott Dunbar’s “It’s So Cold Up North” closes the hour with blunt clarity. The title alone tells the story of migration’s cost. Southern musicians arrived in northern cities chasing opportunity, only to find themselves battling weather as fierce as any hardship they left behind.

Taken together, Hour Three feels almost ceremonial. The repetition of titles, themes, and phrases becomes hypnotic, like the steady fall of snow. This is blues that doesn’t entertain so much as accompany — music that keeps you company when the world outside is unlivable.

Hour Three doesn’t ask the listener to empathize. It simply tells the truth and lets the cold speak for itself.

Hour 3 Playlist

• Nine Below Zero – Sonny Boy Williamson II
• Nine Below Zero – Sonny Boy Williamson II
• Ten Below Zero – Bobo Jenkins
• Winter Time Blues – Roosevelt Sykes
• Snowbound & Blue – Elzee Floyd
• Cold Winter Day – Blind Willie McTell
• Cold Country Blues – Buddy Moss
• Cold Wave Blues – Barbecue Bob
• A Frosty Night – Pee Wee Crayton
• Middle of Winter – Peppermint Harris
• Winter Time Blues – Lester Williams
• Cold Cold Winter – Roscoe Gordon
• Cold Outdoors – Taildragger
• Winter Time Blues – Piano Slim
• Rainy & Snowy – Rocky Fuller
• It’s So Cold Up North – Scott Dunbar

This hour belongs entirely to Rogers, and that focus is intentional. His blues never relied on theatrics or brute force. Instead, they spoke with the voice of a man navigating daily life in a northern city — measured, observant, and resilient. In the context of an Ice & Snow Program, Rogers sounds like someone who has accepted the weather as part of the deal.

“Chicago Bound” opens the hour like a declaration and a destination. Migration is not romanticized here; it’s presented as necessity. Rogers’ relaxed delivery suggests confidence, but also caution — the understanding that arrival doesn’t guarantee comfort. “That’s Alright” and “Luedella” follow, personal songs that feel like conversations overheard rather than performances staged.

As the hour unfolds, a pattern emerges. Songs like “Going Away Baby,” “You’re the One,” and “Left Me with a Broken Heart” explore love strained by circumstance. Winter amplifies distance — emotional as much as physical — and Rogers captures that tension with remarkable restraint. His guitar lines are clean and economical, leaving space for the stories to breathe.

“Back Door Friend” and “Act Like You Love Me” introduce subtle humor and street-level wisdom. Rogers doesn’t judge his characters; he observes them. These songs reflect a blues worldview shaped by proximity — neighbors close, apartments thin-walled, privacy scarce. In winter, everything feels closer, and Rogers’ songs reflect that compressed emotional geography.

Midway through the hour, tracks like “The Last Time” and “Today Today Blues” slow the pace. There’s weariness here, but not defeat. Rogers sounds like someone who knows that endurance isn’t dramatic — it’s repetitive. You wake up, you go out into the cold, you do what needs doing, and you come back changed just enough to notice.

“The World’s in a Tangle” widens the lens. Personal trouble blends into collective uncertainty, and Rogers’ calm delivery makes the observation feel even heavier. “Sloppy Drunk” briefly lifts the mood, not as celebration but as coping mechanism. Winter blues have always included escape — some healthy, some not.

“MONEY, MARBLES & CHALK” returns to practical concerns: luck, money, chance. In a city shaped by industry and weather, nothing feels guaranteed. “She Loves Another Man” and “If It Ain’t Me” return to emotional territory, reminding listeners that heartbreak doesn’t pause for snowfall.

As the hour nears its end, “Cryin’ Shame” and “Walking by Myself” land with quiet force. These aren’t songs of isolation — they’re songs of independence. Rogers doesn’t sound abandoned; he sounds self-contained. In the frozen north, solitude can be punishment or protection. Rogers chooses the latter.

Hour Four doesn’t dramatize winter. It lives in it. Jimmy Rogers’ Chicago blues offers no escape from the cold — only a way to walk through it with dignity intact.

Hour 4 Playlist

• Chicago Bound – Jimmy Rogers
• That’s Alright – Jimmy Rogers
• Luedella – Jimmy Rogers
• Going Away Baby – Jimmy Rogers
• You’re the One – Jimmy Rogers
• Left Me with a Broken Heart – Jimmy Rogers
• Back Door Friend – Jimmy Rogers
• Act Like You Love Me – Jimmy Rogers
• The Last Time – Jimmy Rogers
• Today Today Blues – Jimmy Rogers
• The World’s in a Tangle – Jimmy Rogers
• Sloppy Drunk – Jimmy Rogers
• Money, Marbles & Chalk – Jimmy Rogers
• She Loves Another Man – Jimmy Rogers
• If It Ain’t Me – Jimmy Rogers
• Cryin’ Shame – Jimmy Rogers
• Walking by Myself – Jimmy Rogers

The hour opens with the Mills Brothers’ “I’ve Got My Love to Keep Me Warm,” and the choice couldn’t be more deliberate. Their close harmonies don’t just reference warmth — they create it. In the context of an Ice & Snow Program, the song becomes more than seasonal charm; it’s a statement of survival. Love, connection, and closeness are presented as insulation against the cold, both literal and emotional.

Harold Land’s “You Go to My Head” continues the mood with late-night sophistication. His tenor saxophone floats rather than pushes, suggesting introspection rather than urgency. Johnny Hartman follows with “If I’m Lucky,” his voice deep, patient, and intimate. Hartman always sounded like he was singing directly to one person in a quiet room, and here that intimacy feels like shelter.

Sarah Vaughan’s “You’re Not My Kind” introduces emotional complexity. Her phrasing is precise yet aching, turning rejection into something almost elegant. Jimmy Smith’s rendition of “My One & Only Love” brings the organ into focus, adding warmth and depth. Smith’s playing is lush without being heavy, filling the space like a low-burning fire.

The mood shifts with Eddie Boyd’s sequence of three songs — “What’s the Matter Baby,” “Hotel Blues,” and “I Began to Sing the Blues.” Boyd’s voice is weary but resilient, shaped by displacement and hard living. These songs bring the listener back into the real world: rented rooms, strained relationships, and the quiet loneliness that winter amplifies. Boyd doesn’t dramatize his situation; he reports it plainly, which makes it hit harder.

Willie Mabon picks up that thread with a run of four tracks that feel like chapters in a single story. “Life Could Be So Miserable” states the problem outright, while “I Love My Baby” offers brief relief. “Lucinda” and “I Got to Go” reintroduce movement — emotional and physical — suggesting that survival sometimes means leaving, even when the weather says stay put. Mabon’s delivery is conversational and grounded, perfectly suited to this hour’s reflective tone.

Otis Spann’s “Hungry Country Girl” brings piano back to the foreground. Spann’s touch is expressive without excess, anchoring the song in everyday truth. There’s longing here, but also steadiness — a sense that life continues, even under snow.

Leroy Carr’s “Blues Before Sunrise” feels like a mission statement tucked near the end. Carr’s smooth, understated style reinforces the idea that the blues isn’t about spectacle; it’s about clarity. His presence ties the entire program together, reminding listeners why the show exists in the first place.

The hour — and the broadcast — closes with Fleetwood Mac’s “Albatross.” Wordless, spacious, and calm, it feels like watching the sky lighten after a long night. The cold hasn’t vanished, but it no longer dominates. Silence, space, and reflection take over.

Hour Five doesn’t chase warmth — it creates it, one record at a time.

Hour 5 Playlist

• I’ve Got My Love to Keep Me Warm – Mills Brothers
• You Go to My Head – Harold Land
• If I’m Lucky – Johnny Hartman
• You’re Not My Kind – Sarah Vaughan
• My One & Only Love – Jimmy Smith
• What’s the Matter Baby – Eddie Boyd
• Hotel Blues – Eddie Boyd
• I Began to Sing the Blues – Eddie Boyd
• Life Could Be So Miserable – Willie Mabon
• I Love My Baby – Willie Mabon
• Lucinda – Willie Mabon
• I Got to Go – Willie Mabon
• Hungry Country Girl – Otis Spann
• Blues Before Sunrise – Leroy Carr
• Albatross – Fleetwood Mac

The hour opens with Louis Jordan’s “Beans & Cornbread,” a masterclass in jump blues storytelling. Jordan’s humor, timing, and irresistible groove immediately pull the listener in. His music always balanced accessibility with musicianship, and here he establishes a central theme of the hour: joy as an act of resilience. That spirit continues with Cleo Brown’s “When Hollywood Goes Black & Tan,” a sly, swinging commentary that blends elegance with cultural awareness. Brown’s piano work sparkles, suggesting both polish and defiance.

Rosetta Howard’s “Delta Bound” shifts the mood slightly, carrying the restless pull of movement and migration. Even as the music swings, the lyrics hint at deeper currents — leaving, longing, and searching for something better. Big Jim Wynn’s “I’m the Boss at My House” answers with swagger and humor, flipping domestic power dynamics into playful bravado. Wynn’s honking saxophone roots the track firmly in postwar R&B exuberance.

Billy Eckstine’s “Rhythm in a Riff” brings velvet smoothness into the mix. His baritone voice adds sophistication without dulling the groove, bridging jazz and blues seamlessly. That elegance gives way to emotional stakes with T-Bone Walker’s “Love Is a Gamble.” Walker’s guitar phrasing is fluid and expressive, turning romantic uncertainty into a refined blues statement that feels both intimate and urbane.

B.B. King’s “Chains & Things” anchors the hour emotionally. King’s voice carries reflection and weariness, while his guitar speaks in restrained, aching phrases. It’s a reminder that even in an upbeat hour, the blues never abandons its core truths. Dr. Clayton’s “Back Door Man” brings raw humor and innuendo roaring back, earthy and unapologetic, keeping the balance intact.

Richard Berry’s “Louie Louie” arrives as a cultural pivot point. Often remembered as a rock standard, its inclusion here restores it to its R&B roots, reminding listeners where the song truly came from. Grant Jones’ “Hospitality Blues” Parts I & II slows things down, delivering conversational storytelling steeped in everyday experience. The dual-part structure feels almost cinematic, letting the narrative breathe.

Dinah Washington’s “TV Is the Thing This Year” captures mid-century novelty with sharp wit. Washington delivers the lyric with playful sophistication, turning cultural observation into art. Ethel Waters’ “Organ Grinder” deepens the hour historically, her voice carrying theatricality, experience, and emotional gravity. Few singers could blend stage presence and blues feeling so effortlessly.

Fats Waller’s “If You’re a Viper” adds mischievous charm, its humor masking subversion beneath laughter. The song’s relaxed confidence makes it timeless. John Wright’s “LaSalle Street After Dark” brings the listener into the nighttime city, evoking movement, shadows, and late-hour energy. It feels like a bridge between swing-era elegance and urban blues grit.

The hour closes with Lurlean Hunter’s “You Do Something to Me,” a graceful, emotionally open performance that gently eases the listener forward. There’s warmth here, not resolution — an invitation rather than a conclusion.

Hour One doesn’t ease listeners into the blues — it welcomes them in with rhythm, personality, and style. It sets the stage beautifully for the deeper journeys that follow, proving that joy and depth have always lived side by side in the blues.

Hour 1 Playlist

• Beans & Cornbread – Louis Jordan
• When Hollywood Goes Black & Tan – Cleo Brown
• Delta Bound – Rosetta Howard
• I’m the Boss at My House – Big Jim Wynn
• Rhythm in a Riff – Billy Eckstine
• Love Is a Gamble – T-Bone Walker
• Chains & Things – B.B. King
• Back Door Man – Dr. Clayton
• Louie Louie – Richard Berry
• Hospitality Blues (Pts. I & II) – Grant Jones
• TV Is the Thing This Year – Dinah Washington
• Organ Grinder – Ethel Waters
• If You’re a Viper – Fats Waller
• LaSalle Street After Dark – John Wright
• You Do Something to Me – Lurlean Hunter

The hour opens with one of the most recognizable voices in American music: Cab Calloway’s 1931 performance of “Minnie the Moocher.” Equal parts spectacle and street poetry, Calloway’s delivery blends jazz theatrics with blues storytelling. His famous call-and-response wasn’t just a gimmick — it was a communal invitation, pulling listeners into the narrative and reminding them that the blues has always been participatory.

From there, the program pivots sharply with “Pick a Bale of Cotton” by Lead Belly and the Golden Gate Quartet. Rooted in work-song tradition, the performance bridges blues and gospel, labor and praise. Its harmonies carry history — not polished away, but lifted up. This track grounds the hour, connecting entertainment back to lived experience.

Big Maybelle’s “Hairdressin’ Women” brings playful swagger and unapologetic sensuality. Her commanding voice turns humor into power, flipping expectations and asserting presence. That confidence flows naturally into Etta James’ “Good Looking,” a performance bursting with youthful fire. James sings with urgency and grit, foreshadowing the emotional force she would soon bring to soul and R&B.

Bessie Smith’s “Sinful Blues” pulls the hour back toward gravity. Her phrasing is deliberate, weighted with experience, and deeply human. Even surrounded by stylistic variety, Smith’s voice remains a reminder of the blues’ emotional authority. Big Jay McNeely’s “Real Crazy Cool” answers with pure instrumental adrenaline — honking saxophone lines that push blues toward rhythm-and-blues and the dance floor.

Bumble Bee Slim’s “Direct South” introduces movement again, both literal and metaphorical. Migration, longing, and uncertainty ripple beneath the surface. Sam Cooke’s “Trouble Blues” then reveals an artist on the verge of transformation. Still rooted in blues tradition, Cooke’s smooth delivery hints at the soul music he would soon redefine.

“Trapped in a Web of Love” by the Treniers injects humor and theatricality. Their vocal interplay reflects the blues’ ability to tell painful stories with a wink, using charm as armor. Louis Jordan’s “Is You Is” follows, effortlessly cool and rhythmically precise. Jordan’s genius was accessibility — making blues-informed music feel joyful, clever, and universal.

Booker T. & the MGs’ “I Got a Woman” shifts the hour into instrumental soul territory, proving how blues structures could thrive without lyrics. The groove speaks for itself. Tommy Brown’s “Atlanta Boogie” keeps the tempo moving, celebrating regional identity and rhythmic drive.

Wilbert Harrison’s “Good-Bye Kansas City” carries both departure and nostalgia, a song about leaving that feels as heavy as staying. The Ink Spots’ “Java Jive” smooths the edges with velvety harmonies, while The Ravens’ “My Sugar Is So Refined” continues the vocal group tradition with warmth and intimacy.

Linda Hopkins’ “Gonna Cry You Right Out of My Mind” brings raw emotion back to the surface, her delivery fierce and unfiltered. Annie Laurie’s “You Belong to Me” softens the mood, offering longing wrapped in elegance. “A New Idea on Love” by Mickey & Sylvia adds playful innovation, blending innocence and experimentation.

The hour closes with Lulu Reed’s “Goin’ Back to Mexico,” a song of escape and reinvention. It feels open-ended — fitting for an hour defined by transition.

Hour Two reminds us that the blues doesn’t stand still. It adapts, flirts, dances, and evolves — carrying its heart forward into new forms without forgetting where it came from.

Hour 2 Playlist

• Minnie the Moocher (1931) – Cab Calloway
• Pick a Bale of Cotton – Lead Belly / Golden Gate Quartet
• Hairdressin’ Women – Big Maybelle
• Good Looking – Etta James
• Sinful Blues – Bessie Smith
• Real Crazy Cool – Big Jay McNeely
• Direct South – Bumble Bee Slim
• Trouble Blues – Sam Cooke
• Trapped in a Web of Love – The Treniers
• Is You Is – Louis Jordan
• I Got a Woman – Booker T. & the MGs
• Atlanta Boogie – Tommy Brown
• Good-Bye Kansas City – Wilbert Harrison
• Java Jive – The Ink Spots
• My Sugar Is So Refined – The Ravens
• Gonna Cry You Right Out of My Mind – Linda Hopkins
• You Belong to Me – Annie Laurie
• A New Idea on Love – Mickey & Sylvia
• Goin’ Back to Mexico – Lulu Reed

The journey begins with Robert Nighthawk’s “Friar’s Point,” a traveling song steeped in movement and memory. Nighthawk’s guitar lines glide with quiet authority, mapping the geography of the Mississippi Delta while hinting at the restless life behind the music. Bo Carter’s “Please Warm My Weiner” follows with sly humor and double entendre, reminding listeners that early blues was never solemn by default. Laughter, lust, and cleverness were survival tools, and Carter wielded them effortlessly.

“Sitting on Top of the World” by the Mississippi Sheiks shifts the mood again, blending confidence with fragility. The song’s optimism feels hard-earned, born from struggle rather than ease. Victoria Spivey’s “Murder in the First Degree” darkens the hour considerably, telling a violent story with chilling calm. Her delivery is composed, almost detached, which makes the narrative land harder — a reminder of how closely the blues lived alongside danger and injustice.

Bessie Smith’s “Backwater Blues” is one of the hour’s defining moments. Her voice carries the weight of natural disaster, personal loss, and collective trauma, transforming a flood into a universal metaphor for displacement and survival. Bukka White’s “Fixin’ to Die” follows with prophetic urgency. His pounding guitar and declamatory vocal feel ritualistic, as though he’s calling something ancient into the room.

Son House’s “Death Letter Blues” strips everything down to grief and fury. House doesn’t sing so much as exorcise, his bottleneck guitar moaning alongside his anguished voice. It’s one of the most emotionally naked recordings in the blues canon, and it still feels dangerously alive. Tampa Red’s “You Rascal You” offers brief relief, its lighter tone and playful delivery acting as a necessary breath between heavier truths.

Yas-Yas Girl’s “Got a Man in the ’Bama Mines” introduces a rare female perspective on labor and longing. The song reflects the economic realities of the era, where love, work, and distance were inseparable. Blind Willie McTell’s “Searching the Desert” expands the spiritual dimension of the hour, his twelve-string guitar shimmering beneath lyrics filled with biblical imagery and wandering despair.

“Maxwell Street Blues” by Papa Charlie Jackson grounds the hour in a specific place, capturing the sounds of early Chicago before it became fully electrified. Mississippi John Hurt’s “Candy Man” follows, gentle and intimate, his fingerpicking and soft vocal delivery offering warmth without sentimentality. Hurt’s music feels like a conversation held close.

Charley Patton’s “Pony Blues” brings raw power back into focus. His percussive guitar and commanding vocal presence define the Delta blues archetype — forceful, rhythmic, and unapologetically physical. Blind Lemon Jefferson’s “Black Snake Moan” continues the intensity, blending sexuality and mysticism into something both alluring and unsettling.

Blind Boy Fuller’s “Weeping Willow” carries loneliness like a shadow, its spare arrangement amplifying the ache. The hour then circles back to Bessie Smith with “St. Louis Blues” from the film soundtrack, a reminder of her towering influence and the way early blues crossed into cinema and mass culture without losing its emotional force.

The hour closes with “#19” by Kalama’s Quartet, an unexpected and haunting conclusion. Rooted in spiritual tradition, the piece blurs the line between sacred and secular, reminding listeners that the blues did not emerge in isolation. It grew from a community of voices, histories, and shared suffering.

Hour Three doesn’t just tell the story of the blues — it lets the story speak for itself.

Hour 3 Playlist

• Friar’s Point – Robert Nighthawk
• Please Warm My Weiner – Bo Carter
• Sitting on Top of the World – Mississippi Sheiks
• Murder in the First Degree – Victoria Spivey
• Backwater Blues – Bessie Smith
• Fixin’ to Die – Bukka White
• Death Letter Blues – Son House
• You Rascal You – Tampa Red
• Got a Man in the ’Bama Mines – Yas-Yas Girl
• Searching the Desert – Blind Willie McTell
• Maxwell Street Blues – Papa Charlie Jackson
• Candy Man – Mississippi John Hurt
• Pony Blues – Charley Patton
• Black Snake Moan – Blind Lemon Jefferson
• Weeping Willow – Blind Boy Fuller
• St. Louis Blues (Movie Soundtrack) – Bessie Smith
• #19 – Kalama’s Quartet

The hour opens with Little Walter’s “Too Late Brother,” a harmonica-driven statement of regret and finality. Walter’s amplified harp redefined the instrument, turning breath into electricity and sorrow into force. His playing here is muscular but precise, setting the tone for an hour that values clarity as much as power.

Howlin’ Wolf follows with “Built for Comfort,” and everything tightens. Wolf’s voice is a physical presence — rough, commanding, impossible to ignore. The song carries bravado on the surface, but beneath it lies vulnerability and tension, a hallmark of the Chicago blues sound. Muddy Waters’ “Take My Advice” continues that lineage, blending authority with weary insight. Muddy sounds like someone who has survived long enough to know exactly what he’s talking about.

Sonny Boy Williamson II’s “Santa Claus” injects dark humor into the mix. Equal parts seasonal oddity and biting commentary, the song reflects the blues’ long tradition of subverting expectation. This isn’t comfort music — it’s commentary wrapped in wit, reminding listeners that even joy can carry an edge.

Bo Diddley’s “You Don’t Love Me, You Don’t Care” strips rhythm down to its bones. His signature beat feels confrontational, hypnotic, and unavoidable. Bo’s music always sounded like the future knocking early, and here it rattles the door. That percussive drive flows naturally into “Wang Dang Doodle” by Koko Taylor and Willie Dixon, a raucous celebration of nightlife excess and communal release. Taylor’s voice cuts through the chaos with fearless authority, embodying Chicago blues at its most unrestrained.

Elmore James’ “Shake Your Moneymaker” is pure voltage. His slide guitar screams urgency, and the song’s raw sexual energy leaves nothing implied. It’s a blueprint for generations of blues and rock players, and it still sounds dangerous decades later.

The mood shifts with Bobo Jenkins’ “Democrat Blues,” a sharp-edged political snapshot that proves the blues has always been socially aware. Jenkins doesn’t moralize — he observes, reports, and lets the listener draw conclusions. Big Walter Horton’s “Have a Good Time” follows as a counterweight, reminding us that survival also requires joy, release, and moments of celebration.

Hound Dog Taylor’s “My Baby Is Comin’ Home” brings a garage-level roughness to the hour. His slide guitar is unpolished and joyful, powered by feeling rather than finesse. That rawness carries into Otis Spann’s “Five Spot,” where piano takes center stage. Spann’s playing is conversational, expressive, and deeply human, anchoring the hour in emotional honesty.

J.B. Lenoir’s “I Don’t Know” introduces unease and introspection. Lenoir’s high, anxious vocal delivery reflects a world out of balance, and the song’s uncertainty feels especially modern. Dr. Ross’ “Boogie Disease” leans into groove and obsession, turning repetition into a form of release.

Peck Curtis’ “Death of Sonny Boy” is a blues eulogy, reflective and mournful, paying tribute to lineage and loss. The hour begins to wind down with Lazy Lester’s “Late Late in the Evening,” a track soaked in atmosphere and restraint. Junior Wells’ “Little School Girl” snaps the tension back with humor and swagger, before Magic Sam’s “Sweet Home Chicago” reaffirms place, pride, and belonging.

The hour closes with Lightnin’ Hopkins’ “Shaggy Daddy,” bringing everything back to voice and personality. Hopkins sounds timeless here — half preacher, half street philosopher — reminding us that no matter how loud the blues gets, it always begins with a human voice telling the truth.

Hour Four is the city talking back. Loud, complicated, electric, and alive.

Hour 4 Playlist

• Too Late Brother – Little Walter
• Built for Comfort – Howlin’ Wolf
• Take My Advice – Muddy Waters
• Santa Claus – Sonny Boy Williamson II
• You Don’t Love Me, You Don’t Care – Bo Diddley
• Wang Dang Doodle – Koko Taylor & Willie Dixon
• Shake Your Moneymaker – Elmore James
• Democrat Blues – Bobo Jenkins
• Have a Good Time – Big Walter Horton
• My Baby Is Comin’ Home – Hound Dog Taylor
• Five Spot – Otis Spann
• I Don’t Know – J.B. Lenoir
• Boogie Disease – Dr. Ross
• Death of Sonny Boy – Peck Curtis
• Late Late in the Evening – Lazy Lester
• Little School Girl – Junior Wells
• Sweet Home Chicago – Magic Sam
• Shaggy Daddy – Lightnin’ Hopkins

The hour opens with Mari Jones’ “Say It Isn’t So,” a song steeped in classic blues melancholy. Her delivery is restrained yet devastating, the kind of performance that trusts silence as much as sound. It sets the emotional tone immediately: this is not about spectacle, but truth. Shirley Scott’s “Hip Twist” follows, bringing a smoky organ groove that bridges blues and soul-jazz. It’s loose, late-night music, the sound of a band locked into a groove not for charts or radio but for the room they’re in.

Sonny Boy Williamson II’s “Don’t Start Me to Talkin’” is a reminder of how powerful understatement can be. His harmonica doesn’t shout — it speaks. The song carries authority without aggression, humor without novelty, embodying the wisdom of someone who’s seen the cycle repeat too many times to get worked up about it. Lightnin’ Hopkins continues the conversation with “Get Off My Toe,” sharp, conversational, and sly. Hopkins always sounded like he was talking directly to the listener, and here he’s doing exactly that — half warning, half grin.

Andre Williams’ “Pass the Biscuits” injects the hour with raw, street-level energy. It’s playful, slightly dangerous, and unapologetically physical, showing how blues humor aged into something funkier and more confrontational. Rhythm Willie’s “Wailin’ Willie” follows, grounding that energy in instrumental expression, letting the harmonica do the shouting words no longer need to.

“Applejack Boogie” by Pinetop Slim is pure propulsion — piano-driven, kinetic, and joyful. It nods back to barrelhouse traditions while pointing toward the dancefloor, reminding listeners that the blues has always been as much about movement as mourning. That momentum darkens with Lightnin’ Slim’s “Hoodoo Blues,” a swampy, hypnotic track that leans into mysticism and menace. Here, the blues feels ritualistic, like something summoned rather than performed.

Charles Sheffield’s “It’s Your Voodoo Working” keeps that spell alive, blending superstition, love, and paranoia into a slow-burning lament. Then R.L. Burnside’s “It’s Bad You Know” strips everything back to groove and repetition. Burnside’s blues is relentless, almost trance-like, rooted in North Mississippi traditions but delivered with a modern bluntness that feels timeless and immediate.

Abb Locke’s “Cleo’s Back” adds a soulful pivot, while Eddie C. Campbell’s “It’s So Easy” brings urban grit back into focus. Jimmy Wilson’s “Mountain Climber” speaks to persistence and survival, themes that have followed the blues since its earliest days. Earl Gaines’ “Mercy on My Soul” pleads without apology, carrying gospel undertones that hint at redemption without guaranteeing it.

Bobby Bland’s “I Wake Up Screaming” is the emotional centerpiece of the hour. Few singers could balance elegance and agony the way Bland did, and this performance aches with controlled desperation. It’s the sound of heartbreak refined into art.

The hour — and the entire broadcast — closes with Fleetwood Mac’s “Albatross.” Instrumental, spacious, and meditative, it feels like a long gaze over open water. Rooted in blues but unbound by it, the track serves as a quiet benediction. No lyrics, no sermon — just reflection. After everything that’s been said over five hours, silence and space feel earned.

Hour Five doesn’t resolve the blues. It lets it linger. And that, perhaps, is the most honest ending of all.

Hour 5 Playlist

• Say It Isn’t So – Mari Jones
• Hip Twist – Shirley Scott
• Don’t Start Me to Talkin’ – Sonny Boy Williamson II
• Get Off My Toe – Lightnin’ Hopkins
• Pass the Biscuits – Andre Williams
• Wailin’ Willie – Rhythm Willie
• Applejack Boogie – Pinetop Slim
• Hoodoo Blues – Lightnin’ Slim
• It’s Your Voodoo Working – Charles Sheffield
• It’s Bad You Know – R.L. Burnside
• Cleo’s Back – Abb Locke
• It’s So Easy – Eddie C. Campbell
• Mountain Climber – Jimmy Wilson
• Mercy on My Soul – Earl Gaines
• I Wake Up Screaming – Bobby Bland
• Albatross – Fleetwood Mac

Leslie Uggams opens with “Mrs. Santa Claus,” a playful, bright introduction that signals a Christmas alive with personality. The King Cole Trio’s “The Christmas Song” and “Have Yourself a Merry Little Christmas” follow, balancing warmth and elegance while reminding listeners why these performances endure across generations. Joe Williams’ “Ole Santa” adds attitude and charm, a reminder that even the blues can have its winks and smiles.

Billy Eckstine’s “Little Christmas Tree” and Nat King Cole’s “The Christmas Song (1946 Trio/Orch)” offer familiar melodies, performed with style and intimacy that make the season feel close, personal, and lived-in. The playful “Jingle Jangle Jump” from Gladys Bentley and Dexter Gordon injects swing, keeping the rhythm moving as Calvin Bostick’s “Christmas Won’t Be Christmas” introduces reflection and a touch of melancholy.

From there, the hour blends humor, rhythm, and heart. Billy Eckstine’s “What Are You Doing New Year’s Eve” and Leslie Uggams’ “My Stocking Is Empty” add narrative and wit, exploring longing and anticipation. King Cole Trio’s “Jingle Bells” and Big Joe Turner’s “Christmas Date Boogie” return energy to the room, reminding listeners that Christmas is as much about movement and dance as reflection.

Babs Gonzales’ “Bebop Santa” and Titus Turner’s “Christmas Morning” keep the tempo lively, while Lionel Hampton’s “Boogie Woogie Santa” and the Ravens’ “White Christmas” merge swing and vocal harmony, bridging generations and styles. Sugar Chile Robinson’s “Rudolph the Red-Nosed Reindeer” adds youthful playfulness and charm, giving the hour a sense of timeless joy.

The hour closes with Bessie Smith’s “Christmas Morning Blues” and Butterbeans & Susie’s “Papa Ain’t No Santa Claus,” grounding the broadcast in history and humor. Ozzie Ware’s “Santa Bring My Man Back to Me” and the Black Swan Quartet’s “Come All Ye Faithful” combine longing and faith, while Lloyd Glenn’s “Sleigh Ride” and the Jackson Trio’s “Jingle Bell Hop” provide a final flourish—danceable, joyful, and unmistakably blues.

Hour One is Christmas at its entrance: open, vibrant, and alive. It establishes the warmth, humor, reflection, and rhythm that will guide listeners through the rest of the program. The stage is set, the music is ready, and the spirit of the season begins its journey through the blues.

Playlist – Hour 1 (12/21/25)

MRS. SANTA CLAUS – Leslie Uggams

THE CHRISTMAS SONG – King Cole Trio

HAVE YOURSELF A MERRY LITTLE CHRISTMAS – King Cole Trio

OLE SANTA – Joe Williams

LITTLE CHRISTMAS TREE – Billy Eckstine

THE CHRISTMAS SONG (1946 TRIO) – King Cole Trio

THE CHRISTMAS SONG (1946 ORCH) – King Cole Trio

JINGLE JANGLE JUMP – Gladys Bentley/Dexter Gordon

CHRISTMAS WON’T BE CHRISTMAS – Calvin Bostick

WHAT ARE YOU DOING NEW YEAR’S EVE – Billy Eckstine

MY STOCKING IS EMPTY – Leslie Uggams

JINGLE BELLS – King Cole Trio

CHRISTMAS DATE BOOGIE – Big Joe Turner

BEBOP SANTA – Babs Gonzales

CHRISTMAS MORNING – Titus Turner

BOOGIE WOOGIE SANTA – Lionel Hampton

WHITE CHRISTMAS – Ravens

RUDOLPH THE RED-NOSED REINDEER – Sugar Chile Robinson

The hour opens with Charles Brown’s “Merry Christmas Baby,” a song so deeply embedded in the season it feels inevitable. Brown’s performance is warm and restrained, setting a tone that values intimacy over spectacle. Little Esther’s “Far Away Christmas Blues” follows, answering that warmth with distance and longing, a reminder that togetherness is never guaranteed.

Mabel Scott’s “Boogie Woogie Santa” and Roy Milton’s “Christmas Time Blues” inject jump-blues energy into the hour, pushing things toward the dance floor without losing emotional weight. Jimmy Liggins’ “I Want My Baby for Christmas” keeps that theme rolling, tying holiday happiness directly to love and companionship.

Louis Jordan’s “My Everyday Be Christmas” is pure optimism, a reminder that joy doesn’t have to be seasonal. Bull Moose Jackson’s “I’ll Be Home for Christmas” reframes a familiar promise with blues realism, smoother and more grounded than its pop cousins. Lionel Hampton’s “Merry Christmas Baby” adds instrumental sparkle, keeping the groove alive while honoring the song’s emotional core.

The middle of the hour leans into classic R&B storytelling. Gatemouth Moore’s “Christmas Blues” and Cecil Gant’s “It’s Christmas Time Again” bring humor, personality, and lived experience into focus. Larry Darnell’s “Christmas Blues” and Gant’s “Hello Santa” feel like back-to-back letters to the season—hopeful, direct, and unsentimental.

Floyd Dixon’s “Empty Stocking Blues” marks a subtle emotional shift, moving the hour toward reflection. Big Maybelle’s powerful “White Christmas” follows, turning a familiar tune into something bold and declarative. The Swan Silvertones’ “When Was the Baby Born” grounds the hour spiritually, pulling the focus toward tradition and testimony.

Rev. J.M. Gates’ “Did You Spend Christmas in Jail” lands with sobering force, asking a question that cuts through nostalgia. Mahalia Jackson’s “Silent Night” closes the hour with grace and authority, offering calm without denying the truths raised earlier.

Hour Two is Christmas in motion—music that swings, testifies, and reflects all at once. It captures the season as it’s actually lived: joyful and heavy, sacred and secular, hopeful and unresolved. The blues doesn’t solve Christmas here—it carries it.

Playlist – Hour 2 (12/21/25)

MERRY CHRISTMAS BABY – Charles Brown

FAR AWAY CHRISTMAS BLUES – Little Esther

BOOGIE WOOGIE SANTA – Mabel Scott

CHRISTMAS TIME BLUES – Roy Milton

I WANT MY BABY FOR CHRISTMAS – Jimmy Liggins

MY EVERYDAY BE CHRISTMAS – Louis Jordan

I’LL BE HOME FOR CHRISTMAS – Bull Moose Jackson

MERRY CHRISTMAS BABY – Lionel Hampton

CHRISTMAS BLUES – Gatemouth Moore

IT’S CHRISTMAS TIME AGAIN – Cecil Gant

CHRISTMAS BLUES – Larry Darnell

HELLO SANTA – Cecil Gant

EMPTY STOCKING BLUES – Floyd Dixon

WHITE CHRISTMAS – Big Maybelle

WHEN WAS THE BABY BORN – Swan Silvertones

DID YOU SPEND CHRISTMAS IN JAIL – Rev. J. M. Gates

SILENT NIGHT – Mahalia Jackson

Frankie “Half-Pint” Jaxon opens with “Christ Was Born on Christmas Morn,” grounding the hour in tradition and belief. Tampa Red’s “Christmas & New Year’s Blues” follows, reminding us that while the calendar may change, hardship often doesn’t. Bumble Bee Slim appears twice, first with the hopeful but pointed “Santa Bring Me a Brand New Woman,” then with the resigned “Christmas and No Santa Claus.” Together, they frame Christmas as a season of desire and disappointment.

Rev. Edward Clayborn’s “Wrong Way to Celebrate Christmas” draws a moral line in the sand, offering a warning rather than comfort. That sense of accountability is briefly softened by Bessie Smith’s “At the Christmas Ball,” where observation and elegance take center stage. Victoria Spivey’s “Ain’t Gonna Let You See My Santa Claus” reintroduces humor and personality, reminding us that even in spiritual conversations, human nature never leaves the room.

The gospel presence deepens with the Black Swan Quartet’s “Come All Ye Faithful,” followed by Rev. Hudson Shower’s spoken “Holiday Message,” which feels like a pause for breath and reflection. Elle Thomas & Mattie’s “Christmas Chime” adds a rare, delicate texture, its simplicity standing in contrast to the weightier blues surrounding it.

As the hour moves forward, the songs grow starker. Bukka White’s “Christmas Eve Blues” and Walter Davis’ “Santa Claus” strip the holiday down to survival and honesty. Roosevelt Sykes’ “Let Me Hang My Stocking” brings a touch of levity, before Leroy Carr’s devastating “Christmas in Jail – Ain’t It a Pain” lands like a cold wind through the room.

The hour closes with Sonny Boy Williamson I’s “Christmas Morning Blues,” a fitting conclusion that blends resignation, reflection, and musical grace. It’s not an ending that resolves anything—it simply tells the truth and lets the listener sit with it.

Hour Three doesn’t separate faith from struggle or celebration from consequence. Instead, it presents Christmas as a moment of reckoning—a time when beliefs are tested and truths come into focus. It’s a powerful reminder that the blues didn’t borrow Christmas for novelty; it embraced it because the stories were already there.

Playlist – Hour 3 (12/21/25)

CHRIST WAS BORN ON CHRISTMAS MORN – Frankie “Half-Pint” Jaxon

CHRISTMAS & NEW YEAR’S BLUES – Tampa Red

SANTA BRING ME A BRAND NEW WOMAN – Bumble Bee Slim

CHRISTMAS AND NO SANTA CLAUS – Bumble Bee Slim

WRONG WAY TO CELEBRATE CHRISTMAS – Rev. Edward Clayborn

AT THE CHRISTMAS BALL – Bessie Smith

AIN’T GONNA LET YOU SEE MY SANTA CLAUS – Victoria Spivey

COME ALL YE FAITHFUL – Black Swan Quartet

HOLIDAY MESSAGE – Rev. Hudson Shower

CHRISTMAS CHIME – Elle Thomas & Mattie

CHRISTMAS EVE BLUES – Bukka White

SANTA CLAUS – Walter Davis

LET ME HANG MY STOCKING – Roosevelt Sykes

CHRISTMAS IN JAIL – AIN’T IT A PAIN – Leroy Carr

CHRISTMAS MORNING BLUES – Sonny Boy Williamson I

Jesse Thomas opens with “Christmas Celebration,” a title that promises joy but delivers it with grit. Eddie C. Campbell’s “Santa’s Messin’ with the Kid” immediately follows, keeping things grounded in blues reality. Santa isn’t a saint here—he’s a character, capable of mistakes, mischief, and misunderstanding.

B.B. King’s “Christmas Celebration” adds polish and authority, showing how effortlessly the blues adapts to seasonal themes. Albert King’s “Santa Claus Needs Some Lovin’” then tilts the hour toward humor and desire, reminding us that even mythical figures need affection and understanding.

Sonny Boy Williamson II again commands the center of the hour with “Sonny Boy’s Christmas Blues” and “Santa Claus.” His delivery is sly, conversational, and unmistakably human—Christmas filtered through experience rather than fantasy. These songs don’t beg for attention; they earn it.

Lee Jackson’s “The Christmas Song” resets the mood briefly before Clyde Lasley’s infamous “Santa Claus Came Home Drunk” steals the spotlight. It’s outrageous, funny, and perfectly suited to the blues tradition of telling uncomfortable truths with a grin.

A brief interlude of “Holiday Greetings” from various artists acts like a palate cleanser before the hour leans hard into electric blues royalty. Robert Nighthawk’s “Merry Christmas Baby” glides with precision and menace, followed by Howlin’ Wolf’s “Howling for My Baby,” a reminder that raw emotion never takes a holiday.

John Lee Hooker’s “Blues for Christmas” slows the tempo without losing intensity. Gus Jenkins’ “Remember Last Christmas” and Lowell Fulson’s “Lonesome Christmas Blues” deepen the emotional pull, offering memory and solitude as recurring themes.

Ralph Willis’ “Christmas Blues” keeps the hour grounded before Lightning Hopkins’ “Santa” brings Texas grit and conversational honesty back into the mix. Hopkins sounds like he’s talking directly to the listener—no myth, no polish, just truth.

The hour closes exactly as it should: Chuck Berry’s “Run Run Rudolph” racing toward the finish line, Freddy King’s “I Hear Jingle Bells” ringing loud and sharp, and Clarence Garlow’s “Let Me Be Your Santa” ending things with swagger and suggestion.

Hour Four is Christmas for listeners who prefer their cheer amplified. It’s loud, funny, sharp-edged, and unapologetically blues-driven. Santa may be involved, but the guitars are in charge.

Playlist – Hour 4 (12/21/25)

CHRISTMAS CELEBRATION – Jesse Thomas

SANTA’S MESSIN’ WITH THE KID – Eddie C. Campbell

CHRISTMAS CELEBRATION – B.B. King

SANTA CLAUS NEEDS SOME LOVIN’ – Albert King

SONNY BOY’S CHRISTMAS BLUES – Sonny Boy Williamson II

SANTA CLAUS – Sonny Boy Williamson II

THE CHRISTMAS SONG – Lee Jackson

SANTA CLAUS CAME HOME DRUNK – Clyde Lasley

HOLIDAY GREETINGS – Various Artists

MERRY CHRISTMAS BABY – Robert Nighthawk

HOWLING FOR MY BABY – Howlin’ Wolf

BLUES FOR CHRISTMAS – John Lee Hooker

REMEMBER LAST CHRISTMAS – Gus Jenkins

LONESOME CHRISTMAS BLUES – Lowell Fulson

CHRISTMAS BLUES – Ralph Willis

SANTA – Lightning Hopkins

RUN RUN RUDOLPH – Chuck Berry

I HEAR JINGLE BELLS – Freddy King

LET ME BE YOUR SANTA – Clarence Garlow

Amos Milburn opens the hour with “Let’s Make Christmas Merry Baby,” a gentle invitation rather than a demand for cheer. Milburn’s warmth sets the tone for what follows—a sequence of songs that feel lived-in, personal, and late-night intimate. Calvin Bostick’s “Christmas Won’t Be Christmas” reinforces that idea immediately, reminding us that the season is only as bright as the company we keep.

Billy Eckstine’s “What Are You Doin’ New Year’s Eve” bridges Christmas and what comes after, extending the emotional arc beyond December 25th. Louis Armstrong’s “The Night Before Christmas” follows, bringing storytelling, charm, and unmistakable humanity. Armstrong doesn’t polish Christmas—he animates it, making the familiar feel freshly told.

Dinah Washington’s “Silent Night” is reverent and restrained, her voice carrying quiet authority. Dan Grissom’s “Wonderful Christmas Night” keeps the mood hushed and tender, while Jimmy Smith’s “White Christmas” offers a soulful instrumental pause, letting listeners breathe before the next emotional turn.

Billy Eckstine returns with “Christmas Eve,” and the Ravens’ version of “Silent Night” adds rich harmony and depth, reinforcing the sacred side of the season without ever breaking the hour’s intimate spell. These performances feel less like public declarations and more like private moments overheard.

Charles Brown anchors the emotional core of the hour with “Christmas With No One to Love,” a song that captures loneliness without dramatics. Billy Eckstine’s “Blue Christmas” continues that thread, reminding us that sadness and beauty often arrive together during the holidays. Brook Benton’s “This Time of Year” widens the lens slightly, reflecting on the season itself rather than a single moment within it.

As the hour moves forward, humor and rhythm re-enter—gently. Oscar McLollie’s “Dig That Crazy Santa Claus” and Big John Greer’s “Santa Do the Mambo” bring playful relief, letting Santa dance his way back into the room without overwhelming the reflective mood.

Louis Armstrong returns with “Zat You Santa Claus” and “Cool Yule,” two sides that capture his unique ability to balance joy and sophistication. These tracks don’t shout Christmas—they swing it, effortlessly cool and timeless.

The hour closes with Sister Rosetta Tharpe’s “White Christmas,” a powerful reminder that faith, soul, and individuality can coexist beautifully. Bill Doggett’s “Moondust” serves as the perfect closer—instrumental, atmospheric, and slightly mysterious, like the last lights glowing before morning arrives.

Hour Five of Christmas Program #2 doesn’t rush to finish the season. Instead, it lingers, honoring the quieter emotions that arrive after the gifts are opened and the crowds have gone home. It’s Christmas music for the final hours—graceful, soulful, and deeply human.

Playlist – Hour 5 (12/21/25)

LET’S MAKE CHRISTMAS MERRY BABY – Amos Milburn

CHRISTMAS WON’T BE CHRISTMAS – Calvin Bostick

WHAT ARE YOU DOIN’ NEW YEAR’S EVE – Billy Eckstine

THE NIGHT BEFORE CHRISTMAS – Louis Armstrong

SILENT NIGHT – Dinah Washington

WONDERFUL CHRISTMAS NIGHT – Dan Grissom

WHITE CHRISTMAS – Jimmy Smith

CHRISTMAS EVE – Billy Eckstine

SILENT NIGHT – Ravens

CHRISTMAS WITH NO ONE TO LOVE – Charles Brown

BLUE CHRISTMAS – Billy Eckstine

THIS TIME OF YEAR – Brook Benton

DIG THAT CRAZY SANTA CLAUS – Oscar McLollie

SANTA DO THE MAMBO – Big John Greer

ZAT YOU SANTA CLAUS – Louis Armstrong

COOL YULE – Louis Armstrong

WHITE CHRISTMAS – Sister Rosetta Tharpe

MOONDUST – Bill Doggett

Big Joe Turner’s “Christmas Date” starts things off exactly right. It’s playful, swinging, and full of anticipation, immediately placing Christmas in a social setting rather than under a tree. Babs Gonzales’ “Bebop Santa” follows with beat-era wit and jazzy cool, reminding us that Santa kept up with the times—even in the 1940s. Titus Turner’s “Christmas Morning” and Lionel Hampton’s “Boogie Woogie Santa” keep the energy high, blending jump blues with irresistible rhythm.

Julia Lee’s “Christmas Spirits” adds a knowing wink, suggesting that holiday cheer might come in liquid form. From there, the mood shifts smoothly into elegance with the King Cole Trio’s “The Christmas Song” and Joe Williams’ tender “Have Yourself a Merry Little Christmas.” These performances don’t slow the show down—they deepen it, adding warmth and polish without losing soul.

Dinah Washington’s “Ole Santa” brings attitude and personality back into the mix, followed by Billy Eckstine’s “What Are You Doing New Year’s Eve,” which extends the holiday feeling beyond December 25th and into late-night reflection. Nat King Cole’s “Little Christmas Tree” is gentle and understated, a quiet moment before the party resumes.

The Ravens’ harmonized “White Christmas” bridges pop sensibility and R&B vocal group tradition, setting the stage for Sugar Chile Robinson’s joyful “Christmas Boogie.” Bessie Smith’s “At the Christmas Ball” grounds the hour historically, reminding listeners that blues Christmas celebrations stretch back to the 1920s. Butterbeans & Susie’s “Papa Ain’t No Santa Claus” injects humor and realism, poking holes in holiday myths with a smile.

Ozzie Ware’s “Santa Bring My Man Back to Me” brings longing back into focus, before the Black Swan Quartet’s “Come All Ye Faithful” shifts the mood toward reverence. Lloyd Glenn’s “Sleigh Ride” keeps the instrumental momentum flowing, and the Jackson Trio’s “Jingle Bell Hop” sends the hour out on a high note—danceable, joyful, and unmistakably blues-inflected.

Hour One is about arrival. It welcomes listeners into a Christmas season shaped by community, personality, humor, and deep musical tradition. It lets you know right away that Blues Before Sunrise doesn’t do Christmas one way—it does it the blues way.

Playlist – Hour 1 (12/14/25)

CHRISTMAS DATE – Big Joe Turner

BEBOP SANTA – Babs Gonzales

CHRISTMAS MORNING – Titus Turner

BOOGIE WOOGIE SANTA – Lionel Hampton

CHRISTMAS SPIRITS – Julia Lee

THE CHRISTMAS SONG – King Cole Trio

HAVE YOURSELF A MERRY LITTLE CHRISTMAS – Joe Williams

OLE SANTA – Dinah Washington

WHAT ARE YOU DOING NEW YEAR’S EVE – Billy Eckstine

LITTLE CHRISTMAS TREE – Nat King Cole

WHITE CHRISTMAS – Ravens

CHRISTMAS BOOGIE – Sugar Chile Robinson

AT THE CHRISTMAS BALL – Bessie Smith

PAPA AIN’T NO SANTA CLAUS – Butterbeans & Susie

SANTA BRING MY MAN BACK TO ME – Ozzie Ware

COME ALL YE FAITHFUL – Black Swan Quartet

SLEIGH RIDE – Lloyd Glenn

JINGLE BELL HOP – Jackson Trio

The hour opens with Charles Brown’s definitive “Merry Christmas Baby,” a performance so closely tied to the season it feels like a shared ritual. Brown doesn’t oversell the moment; he invites you in quietly, letting warmth and longing coexist. That balance carries straight into Little Esther’s “Far Away Christmas Blues,” which answers Brown’s intimacy with distance and yearning.

From there, the groove picks up. Mabel Scott’s “Boogie Woogie Santa” and Roy Milton’s “Christmas Time Blues” inject energy without losing emotional grounding. These songs understand that dancing and coping often happen at the same time. Jimmy Liggins’ “I Want My Baby for Christmas” and Louis Jordan’s “My Everyday Be Christmas” keep that idea rolling, tying holiday joy directly to human connection.

Bull Moose Jackson’s “I’ll Be Home for Christmas” reframes a familiar sentiment through an R&B lens, smoother and more grounded than its pop counterparts. Larry Darnell’s “Christmas Blues” and Cecil Gant’s “Hello Santa” follow, both records balancing humor and heart. Gant’s conversational delivery feels like a letter written out loud, full of hope but no illusions.

The middle of the hour is rich with contrast. Big Maybelle’s powerful take on “White Christmas” turns the song into a declaration rather than a whisper, while Gatemouth Moore’s “Christmas Blues” pulls the mood back toward earthy realism. Little Willie Littlefield’s “Merry X-Mas” adds bounce and personality, reminding us that Christmas blues can smile without pretending everything’s fine.

The sacred enters the picture with “When Was the Baby Born” by the Swan Silvertones, grounding the hour in gospel tradition and spiritual reflection. That sense of gravity deepens with Rev. A.W. Nix’s “Death Might Be Your Christmas Gift,” one of the most sobering holiday recordings ever made—direct, unsettling, and impossible to ignore. Mahalia Jackson’s “Silent Night” follows as a balm, restoring grace and calm without erasing the message that came before it.

The hour closes with a touch of playful irreverence. Bill Doggett’s “I Saw Mommy Kissing Santa Claus” lightens the mood just enough, before Charles Brown returns with “Christmas Dream,” bringing the hour full circle—hopeful, reflective, and quietly human.

Hour Two captures Christmas as lived experience: joyful, aching, sacred, funny, and serious—sometimes all at once. It’s the sound of the season in motion, carried by rhythm, belief, and the enduring pull of the blues.

Playlist – Hour 2 (12/14/25)

MERRY CHRISTMAS BABY – Charles Brown

FAR AWAY CHRISTMAS BLUES – Little Esther

BOOGIE WOOGIE SANTA – Mabel Scott

CHRISTMAS TIME BLUES – Roy Milton

I WANT MY BABY FOR CHRISTMAS – Jimmy Liggins

MY EVERYDAY BE CHRISTMAS – Louis Jordan

I’LL BE HOME FOR CHRISTMAS – Bull Moose Jackson

CHRISTMAS BLUES – Larry Darnell

HELLO SANTA – Cecil Gant

WHITE CHRISTMAS – Big Maybelle

CHRISTMAS BLUES – Gatemouth Moore

MERRY X-MAS – Little Willie Littlefield

WHEN WAS THE BABY BORN – Swan Silvertones

DEATH MIGHT BE YOUR CHRISTMAS GIFT – Rev. A.W. Nix

SILENT NIGHT – Mahalia Jackson

I SAW MOMMY KISSING SANTA CLAUS – Bill Doggett

CHRISTMAS DREAM – Charles Brown

The hour opens with Frankie “Half-Pint” Jaxon’s “Christ Was Born on Christmas Morn,” a recording that sets both the timeline and the tone. It’s celebratory, but rooted in testimony rather than spectacle. Tampa Red follows with “Christmas & New Year’s Blues,” blending seasonal reflection with the ongoing struggle of everyday life. In this world, the calendar turns, but the blues stay put.

Bumble Bee Slim appears twice, and his presence anchors the early portion of the hour. “Christmas and No Santa Claus” and the biting “Wrong Way to Celebrate Christmas” (via Rev. Edward Clayborn) underline a recurring theme: expectation versus reality. These songs don’t deny the holiday—they question it, asking what Christmas means when the promises don’t arrive.

Bessie Smith’s “At the Christmas Ball” briefly shifts the scene to a social space, offering elegance and observation rather than despair. That sense of contrast deepens with Victoria Spivey’s playful but pointed “Ain’t Gonna Let You See My Santa Claus,” a reminder that secrecy, jealousy, and humor all survive the holidays.

From there, the hour sinks back into solitude. Kansas City Kitty and Sonny Boy Williamson I both deliver versions of “Christmas Morning Blues,” two voices expressing the same ache from different angles. Lead Belly’s “On Christmas Day” expands the frame, bringing folk-blues storytelling into the mix and reminding us that Christmas, for many, was a marker of time more than celebration.

The starkness intensifies as the hour progresses. Leroy Carr’s “Christmas in Jail – Ain’t It a Pain” is as direct as its title, capturing a holiday stripped of freedom and hope. Blind Blake’s “Lonesome Christmas Blues” follows, lighter in touch but no less honest, offering rhythmic contrast without softening the message.

The closing stretch is pure prewar power. Blind Lemon Jefferson’s “Christmas Eve Blues” feels almost whispered across time, while Charlie Jordan’s “Christmas – Christmas” and Bukka White’s second take on “Christmas Eve Blues” drive home how often the season arrived with more cold than comfort. Walter Davis’ “Santa Claus” and twin versions of “Christmas Time Blues” from Casey Bill Weldon and Black Ace round out the hour, emphasizing how widespread—and how personal—these experiences were.

Hour Three is not background music. It asks for attention and rewards it with truth. These songs remind us that Christmas has always lived alongside hardship, and that the blues didn’t borrow the holiday for novelty—it absorbed it because the stories were already there.

This is Christmas before neon lights, before mall Santas, before easy cheer. It’s raw, human, and unforgettable.

Playlist – Hour 3 (12/14/25)

CHRIST WAS BORN ON CHRISTMAS MORN – Frankie “Half-Pint” Jaxon

CHRISTMAS & NEW YEAR’S BLUES – Tampa Red

CHRISTMAS AND NO SANTA CLAUS – Bumble Bee Slim

WRONG WAY TO CELEBRATE CHRISTMAS – Rev. Edward Clayborn

AT THE CHRISTMAS BALL – Bessie Smith

AIN’T GONNA LET YOU SEE MY SANTA CLAUS – Victoria Spivey

CHRISTMAS MORNING BLUES – Kansas City Kitty

CHRISTMAS MORNING BLUES – Sonny Boy Williamson I

ON CHRISTMAS DAY – Lead Belly

CHRISTMAS IN JAIL – AIN’T IT A PAIN – Leroy Carr

LONESOME CHRISTMAS BLUES – Blind Blake

CHRISTMAS EVE BLUES – Blind Lemon Jefferson

CHRISTMAS – CHRISTMAS – Charlie Jordan

CHRISTMAS EVE BLUES – Bukka White

SANTA CLAUS – Walter Davis

CHRISTMAS TIME BLUES – Casey Bill Weldon

CHRISTMAS TIME BLUES – Black Ace

The hour opens with Jesse Thomas’ “Christmas Celebration,” a joyful but grounded reminder that celebration doesn’t require perfection. That optimism is quickly undercut—in the best blues tradition—by Eddie C. Campbell’s “Santa’s Messin’ with the Kid,” a sly, streetwise take that sets the tone for the hour. Christmas here is complicated, and somebody’s always getting shortchanged.

B.B. King’s “Christmas Celebration” keeps the groove moving, blending warmth with authority. When Albert King follows with “Santa Claus Needs Some Lovin’,” the message is unmistakable: even Santa’s got desires, needs, and blues of his own. These records humanize the holiday myth, pulling it out of the toy shop and into the real world.

Sonny Boy Williamson II dominates the center of the hour, and rightly so. “Sonny Boy’s Christmas Blues” and “Santa Claus” are blues storytelling at its sharpest—wry, conversational, and dripping with personality. Sonny Boy doesn’t just sing Christmas songs; he inhabits them, bending the season to his own rules and rhythms.

The mood takes a sharp left turn with Lee Jackson’s “The Christmas Song,” a reminder that not all holiday titles signal comfort. Clyde Lasley’s infamous “Santa Claus Came Home Drunk” pushes the irreverence even further, offering a blues-world version of Christmas chaos that feels more believable than any postcard-perfect scene. It’s funny, uncomfortable, and unforgettable.

From there, the hour leans hard into electric blues royalty. Robert Nighthawk’s “Merry Christmas Baby” glides with smooth menace, followed by Howlin’ Wolf’s “Howling for My Baby,” which may not be a Christmas song by title but fits perfectly by spirit. The blues doesn’t check calendars—it responds to emotion, and Wolf delivers it raw.

John Lee Hooker’s “Blues for Christmas” slows the pulse, turning inward without losing intensity. Gus Jenkins’ “Remember Last Christmas” and Lowell Fulson’s “Lonesome Christmas Blues” follow, deepening the emotional arc and reminding us that memory is often the heaviest ornament we carry into the season.

Ralph Willis’ “Christmas Blues” keeps the narrative grounded before Lightning Hopkins’ “Santa” brings Texas grit into the mix. Hopkins’ delivery is conversational, humorous, and brutally honest—Christmas filtered through lived experience rather than fantasy.

The hour closes with a run of pure holiday propulsion. Chuck Berry’s “Run Run Rudolph” explodes with urgency, Freddy King’s “I Hear Jingle Bells” keeps the guitar hot, and Clarence Garlow’s “Let Me Be Your Santa” seals the hour with swagger and suggestion. It’s a finish that doesn’t fade—it struts.

Hour Four is Christmas blues for listeners who like a little grit with their cheer. It’s electric, irreverent, sometimes funny, sometimes biting—but always honest. Santa may be present, but the blues are firmly in charge.

Playlist – Hour 4 (12/14/25)

CHRISTMAS CELEBRATION – Jesse Thomas

SANTA’S MESSIN’ WITH THE KID – Eddie C. Campbell

CHRISTMAS CELEBRATION – B.B. King

SANTA CLAUS NEEDS SOME LOVIN’ – Albert King

SONNY BOY’S CHRISTMAS BLUES – Sonny Boy Williamson II

SANTA CLAUS – Sonny Boy Williamson II

THE CHRISTMAS SONG – Lee Jackson

SANTA CLAUS CAME HOME DRUNK – Clyde Lasley

MERRY CHRISTMAS BABY – Robert Nighthawk

HOWLING FOR MY BABY – Howlin’ Wolf

BLUES FOR CHRISTMAS – John Lee Hooker

REMEMBER LAST CHRISTMAS – Gus Jenkins

LONESOME CHRISTMAS BLUES – Lowell Fulson

CHRISTMAS BLUES – Ralph Willis

SANTA – Lightning Hopkins

RUN RUN RUDOLPH – Chuck Berry

I HEAR JINGLE BELLS – Freddy King

LET ME BE YOUR SANTA – Clarence Garlow

The hour opens with Amos Milburn’s “Let’s Make Christmas Merry Baby,” setting the emotional tone immediately. Milburn doesn’t shout Christmas joy—he eases into it, offering warmth, companionship, and the promise of comfort. That intimacy carries forward as Nat King Cole follows with “The Christmas Song,” a performance so familiar it almost feels like shared memory rather than recording. It’s a reminder that some songs don’t age; they simply settle deeper into us.

From there, the hour leans into the idea that Christmas is often defined by absence as much as presence. Calvin Bostick’s “Christmas Won’t Be Christmas” makes that clear, spelling out what the season becomes when love is missing. Dinah Washington’s “Silent Night” arrives not as a hymn but as a quiet, aching meditation—reverent, restrained, and deeply human. Dan Grissom’s “Wonderful Christmas Night” keeps the mood gentle, underscoring how fragile happiness can feel at this hour.

Jimmy Smith’s “White Christmas” shifts the atmosphere slightly, bringing in a soulful, late-night instrumental perspective. It’s familiar but reframed, like seeing a well-known street after midnight. Billy Eckstine’s “Christmas Eve” and “The Night Before Christmas” continue that smooth, reflective arc, his voice perfectly suited to songs that live between romance and solitude. These aren’t songs for wrapping presents—they’re for sitting still and listening.

As the hour progresses, Charles Brown becomes the emotional center of gravity. Few artists captured Christmas melancholy like Brown, and hearing multiple sides back-to-back—“Christmas in Heaven,” “Christmas Come But Once a Year,” and “Christmas With No One to Love”—feels intentional and powerful. These songs don’t wallow; they observe. Brown sings for anyone who has ever smiled politely through the holidays while carrying something unspoken.

The mood lightens briefly with Oscar McLollie’s “Dig That Crazy Santa Claus” and Big John Greer’s “Santa Do the Mambo,” reminders that even the blues needs to laugh sometimes. These tracks bring movement back into the room, letting Santa dance and shake off the weight for a moment. Cecil Gant’s “It’s Christmas Time Again” bridges the playful and the pensive, grounding the hour once more in lived experience.

The closing stretch brings familiar energy without abandoning the late-night feel. Chuck Berry’s “Run Run Rudolph” injects urgency and drive, while Freddy King and Bill Doggett’s takes on “Jingle Bells” keep things swinging. Doggett’s “Winter Wonderland” closes the hour not with spectacle, but with style—cool, measured, and perfectly suited to the final moments before dawn.

Hour Five is Christmas stripped of tinsel and left with truth. It’s about love hoped for, love remembered, and love sometimes missing—but always felt. This is holiday music for grown-ups, played at a time of night when honesty comes easy and the blues feel right at home.

Playlist – Hour 5 (12/14/25)

LET’S MAKE CHRISTMAS MERRY BABY – Amos Milburn

THE CHRISTMAS SONG – Nat King Cole

CHRISTMAS WON’T BE CHRISTMAS – Calvin Bostick

SILENT NIGHT – Dinah Washington

WONDERFUL CHRISTMAS NIGHT – Dan Grissom

WHITE CHRISTMAS – Jimmy Smith

CHRISTMAS EVE – Billy Eckstine

THE NIGHT BEFORE CHRISTMAS – Louis Armstrong

DIG THAT CRAZY SANTA CLAUS – Oscar McLollie

SANTA DO THE MAMBO – Big John Greer

ITS CHRISTMAS TIME AGAIN – Cecil Gant

CHRISTMAS IN HEAVEN – Charles Brown

CHRISTMAS COME BUT ONCE A YEAR – Charles Brown

CHRISTMAS WITH NO ONE TO LOVE – Charles Brown

RUN RUN RUDOLPH – Chuck Berry

JINGLE BELLS – Freddy King

JINGLE BELLS – Bill Doggett

WINTER WONDERLAND – Bill Doggett

The hour begins with the Four Knights and “Wrapped Up in a Dream,” a perfect curtain-raiser. Smooth vocal harmony and romantic understatement establish a relaxed atmosphere, inviting the audience to settle in. From there, the spotlight turns to Joe Carroll, whose extended run is one of the hour’s highlights. Carroll’s voice is warm, urbane, and endlessly adaptable, whether he’s gliding through standards like “Sweet Sue” and “My Blue Heaven” or swinging harder on “Anthropology.” His phrasing feels conversational, never rushed, and always confident.

That sense of ease carries directly into the set by the King Cole Trio, whose recordings still sound startlingly modern. “Solid Potato Salad,” “Route 66,” and “It’s Only a Paper Moon” show Nat King Cole’s piano touch and vocal delivery at their most playful, while “Tain’t Me” and “Hip-Hip Hooray” keep the rhythmic momentum light on its feet. This is swing music with personality — intimate, clever, and deeply musical.

The mood shifts slightly with the Henry Mancini Choral selections, adding a cinematic sheen to the hour. These tracks feel like widescreen interludes, expanding the emotional palette without breaking the flow. Mancini’s work bridges jazz, pop, and atmosphere, suggesting the broader musical world that BBS is always willing to explore.

As the hour moves toward its close, Deek Watson’s “Satchelmouth Baby” brings vocal group swagger back into focus, followed by the rhythmic punch of “Foot Pedal Boogie” from Ammons & Johnson. The energy sharpens one last time with Eddie “Lockjaw” Davis and “Say What,” a muscular, horn-driven performance that snaps the listener to attention just before the transition into the deeper hours ahead.

Hour One doesn’t overwhelm — it welcomes. It’s the sound of the night opening its doors, reminding us that sophistication and soul have always been close companions in the blues universe. By the time this hour fades, the listener is fully engaged, ready to follow Blues Before Sunrise wherever it chooses to go.

Hour 1 Playlist

WRAPPED UP IN A DREAM – Four Knights

SWEET SUE – Joe Carroll

ROMANCE WITHOUT FINANCE – Joe Carroll

MY BLUE HEAVEN – Joe Carroll

POPS’ CONFESSION – Joe Carroll

ANTHROPOLOGY – Joe Carroll

SOLID POTATO SALAD – King Cole Trio

TAIN’T ME – King Cole Trio

ROUTE 66 – King Cole Trio

HIP-HIP HOORAY – King Cole Trio

IT’S ONLY A PAPER MOON – King Cole Trio

MR LUCKY – Henry Mancini Choral

MOSTLY FOR LOVERS – Henry Mancini Choral

MAN’S FAVORITE SPORT – Henry Mancini Choral

MONEY CAN’T BUY ME LOVE – Henry Mancini Choral

SATCHELMOUTH BABY – Deek Watson

FOOT PEDAL BOOGIE – Ammons & Johnson

SAY WHAT – Eddie “Lockjaw” Davis

The set opens with Screamin’ Jay Hawkins and “Temptation,” a performance that balances theatrical menace with genuine feeling. Hawkins’ voice doesn’t just sing the song — it inhabits it, setting a tone of unpredictability that carries through the hour. From there, Joe Liggins steps in with “Sibony” and “Loosiana,” bringing West Coast swing into focus. Liggins’ band sound is relaxed but insistent, perfectly suited for late-night listening with a pulse.

Dave Bartholomew’s “The Golden Rule” acts as a hinge between eras, its New Orleans sensibility pointing directly toward the R&B explosion that would soon follow. That forward momentum is checked — beautifully — by Cecil Gant, whose “Good Man But a Poor Man” and “Take It & Git” strip things back to piano, voice, and lived experience. Gant’s performances feel confessional, like he’s leaning across the microphone to tell you something important.

The female voices in this hour are particularly striking. Little Miss Sharecropper, Lena Gordon, Louise Williams, Thelma Lock, and Bonnie Davis each bring distinct emotional textures, from playful defiance to quiet heartbreak. These records remind us how central women were in shaping blues and R&B, even when history tried to minimize their roles.

The energy spikes again with Stump Johnson’s “Ducks Yas-Yas-Yas” and “Snitcher’s Blues,” records that combine humor, bravado, and raw honesty. Johnson’s delivery feels spontaneous and dangerous, like anything could happen next — and often did.

The hour closes in sacred territory. Ethel Waters bridges secular and spiritual worlds with elegance, while Rev. A.W. Nix, the Four Great Wonders, and the Pilgrim Travelers remind us how deeply entwined blues and gospel truly are. The line between Saturday night and Sunday morning has always been thin, and Hour Two walks it with purpose.

Hour 2 Playlist

TEMPTATION – Screamin’ Jay Hawkins

SIBONY – Joe Liggins

LOOSIANA – Joe Liggins

THE GOLDEN RULE – Dave Bartholomew

GOOD MAN BUT A POOR MAN – Cecil Gant

TAKE IT & GIT – Cecil Gant

TAKE OUT SOME TIME – Little Miss Sharecropper

DON’T TEACH ME TO MAMBO – Lena Gordon

LONELY DAYS – Louise Williams

LOVE ME TONIGHT – Thelma Lock

ANGRY – Bonnie Davis

DUCKS YAS-YAS-YAS – Stump Johnson

SNITCHER’S BLUES – Stump Johnson

WHEN YOUR LOVER HAS GONE – Ethel Waters

PLEASE DON’T TALK ABOUT ME – Ethel Waters

HE’S SWEET I KNOW – Four Great Wonders

A STRANGE THING TO ME – Rev. A.W. Nix

JESUS TRAVELS – Pilgrim Travelers

The set opens with Tampa Red, a master of elegance and emotional clarity. “Worried Devil Blues” and “If It Ain’t That Gal of Mine” showcase his ability to balance heartbreak with musical polish. Tampa Red’s guitar lines glide even when the subject matter cuts deep, setting a tone of quiet sophistication that carries through the early part of the hour.

From there, Charlie Spand takes us somewhere darker. “Fetch Your Water” and “Moanin’ the Blues” are thick with atmosphere — piano lines that feel heavy and deliberate, vocals that sound like they’ve been worn down by time. Spand’s records feel claustrophobic in the best possible way, pulling the listener directly into the room.

The energy shifts sharply with Speckled Red, whose barrelhouse style brings a manic edge. “Right String But Wrong Yo-Yo” and “Lonesome Mind Blues” are both playful and desperate, that razor-thin line where humor becomes a survival tool. It’s music that refuses to behave politely.

Kokomo Arnold’s “Shine On Moon” provides a moment of lyrical poetry before the set surges forward again with Washboard Sam. “Do the Shake Dance” and “Red River Dam Blues” swing hard, reminding us that blues was also dance music — something meant to move bodies as much as minds.

The middle of the hour belongs to powerful female voices. Rosa Henderson, Maggie Jones, Lena Wilson, and Trixie Smith each bring a distinct perspective, from Henderson’s poised delivery to Jones’ commanding presence on “Go Get ’Em Caroline.” These aren’t footnotes in blues history — they’re essential chapters.

As the hour winds down, Hocial Thomas, Charlie Jordan, Welly Trice, and Barefoot Bill take us deeper into personal territory. “Let Her Go God Bless Her” and “She’s a Fool Gal” feel like private confessions accidentally captured on disc — honest, unfiltered, and human.

Hour Three doesn’t ask for attention. It demands listening. These are voices from a time when the blues wasn’t a genre — it was a necessity.

Hour 3 Playlist

WORRIED DEVIL BLUES – Tampa Red

IF IT AIN’T THAT GAL OF MINE – Tampa Red

FETCH YOUR WATER – Charlie Spand

MOANIN’ THE BLUES – Charlie Spand

RIGHT STRING BUT WRONG YO-YO – Speckled Red

LONESOME MIND BLUES – Speckled Red

SHINE ON MOON – Kokomo Arnold

DO THE SHAKE DANCE – Washboard Sam

RED RIVER DAM BLUES – Washboard Sam

DOWN SOUTH BLUES – Rosa Henderson

GO GET ’EM CAROLINE – Maggie Jones

DECEITFUL BLUES – Lena Wilson

MESSING AROUND – Trixie Smith

GAMBLER’S DREAM – Hocial Thomas

YOUR DIRTY HANDS ON ME – Charlie Jordan

LET HER GO GOD BLESS HER – Welly Trice

SHE’S A FOOL GAL – Barefoot Bill

The set opens with an extended run of Howlin’ Wolf, and there’s no easing into it. “Chocolate Drop” announces Wolf’s authority immediately, his voice sounding less like a singer and more like a force of nature. What follows is a masterclass in Chicago blues power and pacing. Tracks like “My Baby Walked Off,” “Bluebird Blues,” and “I Got a Woman” show Wolf’s range — from menace to longing — while always keeping one foot planted firmly in the earth.

By the time we reach “The Sun Is Rising” and “Driving This Highway,” the story of urban blues is fully formed. Wolf’s recordings weren’t polished for comfort; they were designed to tell the truth loudly. His voice, phrasing, and presence feel timeless here, reminding us why nearly every major blues and rock vocalist who followed had to reckon with his influence.

The hour then shifts gears to acknowledge Steve Cropper, whose passing we note not with silence, but with sound. “The Story of Green Onions” offers context and perspective, followed by the immortal groove itself. Booker T. & the MGs’ “Green Onions” remains one of the most economical and effective recordings in American music history — a lesson in restraint, tone, and feel. “Behave Yourself” and “Ain’t It” reinforce just how deep that Memphis pocket ran.

From Memphis we slide seamlessly into the world of Phil Upchurch, a musician whose versatility made him invaluable across genres. “You Can’t Sit Down” still does exactly what the title promises, while “Love Is Strange” (with Chaka Khan) shows Upchurch’s ability to modernize without losing soul. “Black Gold” closes the tribute with authority, reminding us that Upchurch wasn’t just a sideman — he was a stylist and innovator in his own right.

Hour Four isn’t nostalgic. It’s instructive. This is music that explains itself by existing — blues as electricity, groove as legacy, and influence as something you can hear, feel, and trace forward. In the late-night flow of BBS, this hour stands tall, unapologetic, and alive.

Hour 4 Playlist

CHOCOLATE DROP – Howlin’ Wolf

MY BABY WALKED OFF – Howlin’ Wolf

BLUEBIRD BLUES – Howlin’ Wolf

I GOT A WOMAN – Howlin’ Wolf

BABY RIDE WITH ME – Howlin’ Wolf

THE SUN IS RISING – Howlin’ Wolf

MY BABY STOLE OFF – Howlin’ Wolf

DRIVING THIS HIGHWAY – Howlin’ Wolf

STORY OF GREEN ONIONS – Steve Cropper

GREEN ONIONS – Booker T. & the MGs

BEHAVE YOURSELF – Booker T. & the MGs

AIN’T IT – Booker T. & the MGs

YOU CAN’T SIT DOWN – Phil Upchurch

LOVE IS STRANGE – Phil Upchurch / Chaka Khan

BLACK GOLD – Phil Upchurch

From there, Tab Smith’s “Soft Breeze” and Arthur Prysock’s “Don’t Go to Strangers” continue the mood of intimacy and restraint. These performances don’t chase drama; they let it arrive naturally. Georgia Carr’s “I Didn’t Know Any Better” adds a world-weary honesty, reminding us how much truth could be packed into a few carefully delivered lines.

The shift into instrumental territory with Jimmy Smith’s “Sweet Georgia Brown” feels like a palate cleanser without breaking the spell. Smith’s organ swings effortlessly, bridging jazz sophistication with blues grit — a perfect pivot into the Don Gardner trio of tracks that follow. “Need Your Lovin’ Everyday,” “Dark Alley,” and “Night Wind” dig into nocturnal themes of longing and isolation, each song reinforcing the idea that the night isn’t empty — it’s crowded with feelings.

L.C. McKinley’s “Lonely” is raw and unpolished in the best way, while Lowell Fulson’s sequence — “Blues Rhumba,” “You’re Gonna Miss Me,” and “Please Don’t Go” — showcases a master who could balance elegance with bite. Fulson’s phrasing and guitar work feel conversational, as if he’s talking directly to the listener across the room.

The hour’s emotional peak belongs to B.B. King. From “Things Are Not the Same” through “Sugar Mama” and “Good Man Gone Bad,” we hear an artist fully in command of his voice, guitar, and message. These aren’t just blues songs — they’re lived experiences rendered in sound.

The closing choice, Fleetwood Mac’s “Albatross,” is inspired. Its instrumental calm provides a soft landing, letting the hour drift away rather than end abruptly. It’s the sound of the night settling — and BBS doing exactly what it does best.

Hour 5 Playlist

FOOL THAT I AM – Ravens

SOFT BREEZE – Tab Smith

DON’T GO TO STRANGERS – Arthur Prysock

I DIDN’T KNOW ANY BETTER – Georgia Carr

INTRO + SWEET GEORGIA BROWN – Jimmy Smith

NEED YOUR LOVIN’ EVERYDAY – Don Gardner

DARK ALLEY – Don Gardner

NIGHT WIND – Don Gardner

LONELY – L.C. McKinley

BLUES RHUMBA – Lowell Fulson

YOU’RE GONNA MISS ME – Lowell Fulson

PLEASE DON’T GO – Lowell Fulson

THINGS ARE NOT THE SAME – B.B. King

SUGAR MAMA – B.B. King

B.B. KING SPOT – B.B. King

GOOD MAN GONE BAD – B.B. King

ALBATROSS – Fleetwood Mac

Timmie Rogers’ “January & February” opens the hour with a wink. Rogers, usually remembered for comedy, slips easily into a musical pocket here; the tune is both playful and rhythmic, a quick reminder that comedy and musical timing often live side by side. It’s a bright curtain-raiser—just enough bounce to make you sit up and lean forward.

Then Louis Jordan takes the spotlight, and the room warms up like someone cracked open a bottle of something 90-proof. Jordan’s run of tunes in this hour—“House Party,” “I Want You to Be My Baby,” “There’s Nothing Else I Can Do,” “A Man’s Best Friend Is His Bed”—gives us a panoramic view of why he dominated jukeboxes for a solid decade. The phrasing, the horns, the showman’s grin hidden inside every line… Jordan wasn’t just a hitmaker, he was an architect. Modern R&B starts here, and you can hear him building it brick by brick.

Then Ella slips in—and when Ella appears, time kind of stops. “Preview,” “Flying Home,” and “Lullabye of Birdland” show her at different altitudes: scatting, swinging, floating. Her voice is silk and sunshine, and the interplay between her phrasing and the band’s rhythmic push makes every track feel alive. “You Won’t Be Satisfied” gives us that dialogue with the band that only Ella could manage with such ease. “It’s Better to Wait for Love” showcases her slower, tender side—just a little breath of moonlight before the horns come blazing back.

Jordan returns with “Just Like a Butterfly,” “Only Yesterday,” and “I Didn’t Know What Time It Was,” rounding out his mini-set with a reminder that he was as much an actor as a singer—every song feels like a little three-minute play. And then Johnny Hodges, the velvet-voiced alto man from the Ellington orchestra, takes us home. His tone alone can warm a room. “Rockville,” “Below the Azores,” “Love Is Here to Stay,” and “But Not for Me” are all exercises in restraint and elegance. Hodges didn’t need to shout; his horn whispered everything that mattered.

Hour One isn’t just a warm-up—it’s a guided tour of mood-setting pros. It’s the kind of hour that tells listeners, “Stick around—we’re going somewhere tonight.” And with a show centered on Robert Jr. Lockwood, the groundwork matters. We start with the artists who invented the musical vocabulary Lockwood later used, twisted, refined, and reshaped in his own unmistakable style.

PLAYLIST – HOUR #1

JANUARY & FEBRUARY – TIMMIE ROGERS

HOUSE PARTY – LOUIS JORDAN

I WANT YOU TO BE MY BABY – LOUIS JORDAN

THERE’S NOTHING ELSE I CAN DO – LOUIS JORDAN

A MAN’S BEST FRIEND IS HIS BED – LOUIS JORDAN

PREVIEW – ELLA FITZGERALD

YOU WON’T BE SATISFIED – ELLA FITZGERALD

FLYING HOME – ELLA FITZGERALD

LULLABYE OF BIRDLAND – ELLA FITZGERALD

IT’S BETTER TO WAIT FOR LOVE – LOUIS JORDAN

JUST LIKE A BUTTERFLY – LOUIS JORDAN

ONLY YESTERDAY – LOUIS JORDAN

I DIDN’T KNOW WHAT TIME IT WAS – LOUIS JORDAN

ROCKVILLE – JOHNNY HODGES

BELOW THE AZORES – JOHNNY HODGES

LOVE IS HERE TO STAY – JOHNNY HODGES

BUT NOT FOR ME – JOHNNY HODGES

We open with Charles Brown’s “Traveling Blues,” a perfect start: smooth, late-night, quietly confident. Brown could take a simple phrase and lean on it like someone leaning on a bar-post after midnight. His voice brings the temperature down a few degrees, but in a comforting way—like the night air finally settling in.

Roy Milton’s “Little Boy Blue” turns the lights up just a touch. Milton always had that tight, clean R&B groove, and this track keeps things gliding. Percy Mayfield’s “The Hunt Is On,” though—now that’s a pivot. Mayfield was the poet laureate of the melancholy blues. Even in an uptempo tune, he’s got that sideways smile and a brain working three steps ahead.

Ruth Brown comes roaring in with “I Can’t Hear a Word You Say.” Miss Rhythm doesn’t play. Her attack, her timing, the way she throws her weight into the lyric—it all hits with authority. Billy Wright’s “When the Wagon Comes” shifts us again: Wright’s showmanship is front-and-center, a reminder that he was an early blueprint for Little Richard.

Then Pigmeat Markham delivers “The Honeymooners,” sliding in some humor—because Markham never missed a chance to keep the listener grinning. Billy Mitchell, Bobby Mitchell, Donna Hightower, and Linda Hayes roll through in succession—each one a reminder of how rich and underexplored early R&B and vocal pop can be. “You’re the Only One for Me” by Hightower and Hayes’ “Snuff-Dippin’ Mama” stand out for personality: these are singers who walked into a studio knowing exactly who they were.

Then we shift gears into the guitar-driven “Fishtail Blues” and the storytelling charm of Dan Burley. “Brownsikin Girls” by Crippled Clarence is one of those rough edges that gives the hour grit—a stomp, a shout, a reminder that the blues never had to be polished to shine.

Casino Simpson comes in like a palate cleanser with “After You’ve Gone,” then we open the gospel doors. Ethel Waters brings weight and dignity; the Mitchell’s Christian Singers bring the old, resonant, shape-note-style harmony; Rev. M.E. Holmes and the Trumpeteers give us that thundering, shout-laden release.

By the time the hour closes, you’ve traveled the whole country without leaving your radio. It’s a panorama—varied, heartfelt, and grounded.

PLAYLIST – HOUR #2

TRAVELING BLUES – CHARLES BROWN

LITTLE BOY BLUE – ROY MILTON

THE HUNT IS ON – PERCY MAYFIELD

I CAN’T HEAR A WORD YOU SAY – RUTH BROWN

WHEN THE WAGON COMES – BILLY WRIGHT

THE HONEYMOONERS – PIGMEAT MARKHAM

SISTER LUCY – BILLY MITCHELL

WEDDING BELLS ARE RINGING – BOBBY MITCHELL

COOL DADDY COOL – DONNA HIGHTOWER

YOU’RE THE ONLY ONE FOR ME – LINDA HAYES

SNUFF-DIPPIN’ MAMA – GENE PHILLIPS

FISHTAIL BLUES – DAN BURLEY

BROWNSKIN GIRLS – CRIPPLED CLARENCE

AFTER YOU’VE GONE – CASINO SIMPSON

I GOT RHYTHM – ETHEL WATERS

THREE LITTLE WORDS – ETHEL WATERS

MY POOR MOTHER DIED A’SHOUTIN’ – MITCHELL’S CHRISTIAN SINGERS

HE’LL ANSWER PRAYER – REV. M.E. HOLMES

THE MIGHTY NUMBER – TRUMPETEERS

Lockwood begins by grounding listeners in the reality—not the mythology—of growing up in proximity to Robert Johnson. No ghost stories, no secondhand legends. Just a kid observing a man refining a new musical language in real time. Lockwood never bragged about that connection; he carried it like someone who knew the difference between influence and inheritance. His respect for Johnson was quiet, measured, and rooted in firsthand memory.

As the conversation travels forward, Sunnyland Slim jumps in with the occasional nudge—sometimes to jog a memory, sometimes to tease out a detail. The two men share stories from the early days of house parties, juke joints, and makeshift studios where “soundproofing” meant keeping the windows shut and hoping the neighbors didn’t call the police. The laughter between them gives the hour warmth. You feel like you’re listening to two old friends leaning on opposite ends of the same piano.

Lockwood also talks about the Chicago scene that welcomed him in the 1940s and 1950s: the fast pace, the high expectations, the fierce competition among guitarists. He describes the skill required to survive a Chess or Trumpet session—when one wrong note meant you didn’t get a callback. He reflects on accompanying Sonny Boy Williamson II, recalling the unpredictability of Sonny Boy’s musical moods: “You had to listen harder than you played,” he says—a line that feels like it ought to be carved onto a plaque somewhere.

The Little Walter stories sparkle too. Lockwood explains how Walter’s harmonica pushed guitarists to think differently—how the phrasing, the bends, the breathing all forced the band to respond in real time. Lockwood was one of the few guitarists who could meet Walter on equal footing, and he remembers those sessions with a mix of fondness and respect.

What gives this hour deeper weight is the sense that Lockwood is not just recounting events—he’s interpreting his life. He talks about arranging, about leadership, about the difference between playing blues as an art and playing blues as a job. He discusses his later years, his move into a more refined, almost jazz-like guitar voice, and how he saw his place in the lineage of the music.

It’s a rare interview that feels calm, intimate, and deeply grounded. No drama, no tall tales. Just two masters—Lockwood and Sunnyland Slim—talking through a lifetime of music like it’s the most natural thing in the world. For a show built on blues history, this is the kind of hour you dream about getting to air.

PLAYLIST – HOUR #3

ROBERT JR LOCKWOOD INTERVIEW

Homesick James gets the first swing with “Lonesome Ole Train #1,” “Whiskey Headed Woman,” and “Late Hour After Midnight.” That slide guitar of his—loose, restless, almost off the rails—sets the tone. Homesick always played like he had one foot in the past and one foot dangling off a boxcar. These tracks feel like field recordings plugged into an amplifier. Clicks, scrapes, bottleneck wail—it’s the sound of blues carved into bone.

Johnny Williams follows with “Fat Mouth,” “Silver Haired Daddy,” and “About to Lose My Mind.” Williams is all punch and polish, the kind of guitarist who can snap the beat into place with a single riff. These cuts feel almost like the antidote to Homesick James: tighter, cleaner, more urban, but still carrying that same sense of urgency. Williams always sounded like he had something to prove.

Then Big Boy Spires drops in with “Better Take It Slow,” which—ironically—never feels slow. Spires had a way of creating tension even when the tempo didn’t budge. His voice is rough-edged, weathered, perfect for the song’s message. The hour starts to gain momentum here.

Frank Frost arrives like a gust of Delta wind with “Come Here Baby” and “No Bread No Meat.” Frost, a key figure of the Mississippi blues scene, had that half-lazy, half-deadly delivery—not rushed, not dragging, but hovering in its own pocket. His harmonica and vocals blend into a swampy, humid texture that makes these tracks addictive in their simplicity.

Katie Webster shifts the atmosphere with “Mama Don’t Allow,” “Hey Mr Love,” and “Girl Fifteen.” Webster always brought fire—both on piano and behind the mic. Her voice could smile, shout, or scald depending on the moment. She injects a burst of color into the hour, a reminder that blues can be both tough and playful at the same time.

Floyd Dixon’s trio of tracks—“Too Much Jellyroll,” “Operator 210,” and “Don’t Throw Your Love on Me”—raise the temperature again. Dixon walked the line between jump blues and early R&B, and here he adds swing to the grit. The hour begins to feel like a party that might get out of hand if left unattended.

Then Johnny Morisette takes over with “You Can Run” and “I Hear Love Chimes.” Morisette brought a kind of gospel-soul dramatic flair—big voice, big emotion, big stakes. These tracks serve as a bridge to the closing artist of the hour: Syl Johnson.

Syl’s “Let Yourself Go” and “Any Way the Wind Blows” close the hour with a polished, soul-steeped finish. After nearly an hour of rough textures, Johnson feels like stepping into a room with working air-conditioning and mood lighting—but he keeps the blues edge intact.

Hour Four is dirty, lively, loud, and honest. No polish. No pretense. Just straight-line blues energy.

PLAYLIST – HOUR #4

LONESOME OLE TRAIN #1 – HOMESICK JAMES

WHISKEY HEADED WOMAN – HOMESICK JAMES

LATE HOUR AFTER MIDNIGHT – HOMESICK JAMES

FAT MOUTH – JOHNNY WILLIAMS

SILVER HAIRED DADDY – JOHNNY WILLIAMS

ABOUT TO LOSE MY MIND – BIG BOY SPIRES

BETTER TAKE IT SLOW – FRANK FROST

COME HERE BABY – FRANK FROST

NO BREAD NO MEAT – FRANK FROST

MAMA DON’T ALLOW – KATIE WEBSTER

HEY MR LOVE – KATIE WEBSTER

GIRL FIFTEEN – KATIE WEBSTER

TOO MUCH JELLYROLL – FLOYD DIXON

OPERATOR 210 – FLOYD DIXON

DON’T THROW YOUR LOVE ON ME – FLOYD DIXON

YOU CAN RUN – JOHNNY MORISETTE

I HEAR LOVE CHIMES – JOHNNY MORISETTE

LET YOURSELF GO – SYL JOHNSON

ANY WAY THE WIND BLOWS – SYL JOHNSON

The Ink Spots begin with “How Many Hearts Have You Broken,” wrapping the hour in a kind of nostalgic cotton. Their harmonies float, their phrasing dances, and even after all these years, they still create that unmistakable old-radio magic. Henry Mancini’s “Theme from Mutiny on the Bounty” extends that cinematic feel—lush, glowing, rising like a tide. It’s a small reminder that blues radio can also stretch into orchestral moods when the moment calls for it.

Joe Williams, master of the clean baritone, enters next with “I Only Want to Love You,” a track that brings both gravity and elegance. Sarah Vaughan follows with “You’re Not the Kind”—her voice like satin cut with fire. The two tracks together create an almost jazz-club-in-slow-motion effect.

Groove Holmes’ “When or Where” shifts the spotlight to the organ—a warm, enveloping sound that fills the room without ever shouting. It’s the sound of streetlights reflected on wet pavement.

Then we enter the Sam Cooke triptych: “Just for You,” “You Were Made for Me,” “Somewhere There’s a Girl.” Cooke’s voice is pure emotional gravity—gentle but undeniable. These three songs create one of the most elegant stretches of the entire night. They’re intimate, hopeful, slightly bittersweet. Cooke always sounded like he was singing directly into your living room.

Freddy King changes the texture—because he always does. “Driving Sideways,” “It Hurts to Be in Love,” and “Come On” bring the guitar front and center again. King had that razor-edge tone that could wake a room without raising the volume. He injects a needed jolt of energy into the hour, which makes the segue to Magic Sam feel inevitable.

Magic Sam’s trio—“Roll Your Moneymaker,” “Everything’s Gonna Be Alright,” and “21 Days in Jail”—is the heart of the hour’s blues content. Sam brings an optimism even when singing about trouble, a forward-motion feeling that makes everything sound like it’s headed somewhere good. He’s electric, vibrant, a perfect late-night companion.

Thunder Smith’s “Cruel Hearted Woman,” Leroy Ervin’s “Rock Island Blues,” and L.C. Williams’ “Strike Blues” bring the hour into deeper blues territory again—rawer textures, direct emotion. These tracks feel like the back end of a long night, when the party’s thinning out and conversations get real.

And then, finally, Fleetwood Mac’s “Albatross” floats in—a gentle, meditative closing. It’s a moonlit glide on open water. The perfect last note.

Hour Five is the drift-home hour—soft light, deep feeling, and just enough blues bite to keep the soul awake.

PLAYLIST – HOUR #5

HOW MANY HEARTS HAVE YOU BROKEN – INKSPOTS

THEME FROM MUTINY ON THE BOUNTY – HENRY MANCINI

I ONLY WANT TO LOVE YOU – JOE WILLIAMS

YOU’RE NOT THE KIND – SARAH VAUGHAN

WHEN OR WHERE – GROOVE HOLMES

JUST FOR YOU – SAM COOKE

YOU WERE MADE FOR ME – SAM COOKE

SOMEWHERE THERE’S A GIRL – SAM COOKE

DRIVING SIDEWAYS – FREDDY KING

IT HURTS TO BE IN LOVE – FREDDY KING

COME ON – FREDDY KING

ROLL YOUR MONEYMAKER – MAGIC SAM

EVERYTHING’S GONNA BE ALRIGHT – MAGIC SAM

21 DAYS IN JAIL – MAGIC SAM

CRUEL HEARTED WOMAN – THUNDER SMITH

ROCK ISLAND BLUES – LEROY ERVIN

STRIKE BLUES – L.C. WILLIAMS

ALBATROSS – FLEETWOOD MAC

Scatman Crothers starts things off with “I Got Rhythm,” bringing charm, bounce, and just enough showmanship to flip on the lights. Then comes the long, luxurious stretch of Joe Williams with Count Basie—five sides in a row that form a miniature concert all their own. Williams’ warm baritone and Basie’s signature swing feel blend into something smooth but never sleepy; there’s always motion under the surface, always a little sparkle at the edges.

Dinah Washington takes over the middle portion of the hour in grand fashion. Her sequence of five songs shows the range that made her undeniable—breezy charm, tender lament, polished jazz phrasing, and blues-steeped emotional punch. Few singers could shift tone so effortlessly, and stacking her sides together highlights just how much ground she could cover.

Anisteen Allen follows with a tougher R&B edge—sharp vocals, bold energy, and rhythm that leans right into the next dance step. Earl Bostic closes the hour with “Serenade,” his saxophone tone bright, melodic, and unmistakably his own. It’s a perfect final touch: graceful, confident, and full of color.

Hour One feels like walking into a club where everyone’s in good form—the singers, the band, the crowd, the whole room alive with motion. A clean, classy, deeply satisfying start to the night.

Hour 1 Playlist

• I GOT RHYTHM — Scatman Crothers
• TEACH ME TONIGHT — Joe Williams / Count Basie
• PLEASE SEND ME SOMEONE TO LOVE — Joe Williams / Count Basie
• EVERYDAY I FALL IN LOVE — Joe Williams / Count Basie
• ROLL ‘EM PETE — Joe Williams / Count Basie
• AMAZING LOVE — Joe Williams / Count Basie
• SUN FORGOT TO SHINE THIS MORNING — Dinah Washington
• IT SHOULDN’T HAPPEN TO A DREAM — Dinah Washington
• SURPRISE PARTY — Dinah Washington
• GREEN DOLPHIN STREET — Dinah Washington
• BLUE GARDENIA — Dinah Washington
• BLUES DONE GOT ME & GONE — Anisteen Allen
• HOW BIG CAN YOU GET — Anisteen Allen
• MORE MORE MORE — Anisteen Allen
• DOWN BY THE RIVER — Anisteen Allen
• FUJIYAMA MAMA — Anisteen Allen
• JUST WHISPER — Dudropper
• SERENADE — Earl Bostic

Amos Milburn gets things moving with a four-song streak—prime, piano-driven, nightlife blues. These are records made for neon lights, full bars, and jukebox glow, and they set the perfect tone. Little Willie Littlefield keeps the boogie rolling before the hour slides gracefully into powerhouse R&B voices: Ruth Brown with her effortless fire; Big Maybelle roaring through “Rambling Blues,” and Titus Turner bringing grit and swagger.

Plas Johnson’s “Bar-B-Que” is a groove break—smooth, infectious, and cool-toned—before Eddie “Cleanhead” Vinson shifts the set back into sly, urbane blues. Floyd Dixon follows, keeping that West-Coast polish alive.

Then the hour takes an unexpected and moving turn: the appearance of James P. Johnson, Ethel Waters, the Dixie Jubilee Singers, Rev. J.M. Gates, Brother Joe May, and the Original Gospel Harmonettes. It’s a whole different emotional register—blues roots giving way to sacred lift. These sides add weight and perspective, turning the second half of the hour into a small spiritual arc. By the time the Harmonettes close their performance, the transition from juke joint to gospel pulpit feels natural, earned, and deeply human.

Hour Two is a reminder that the musical world of the ’40s and ’50s wasn’t split into compartments—dance, blues, R&B, and gospel all spoke to the same audiences, often on the same nights. This hour brings that world back to life.

Hour 2 Playlist

• DOWN THE ROAD APIECE — Amos Milburn
• REAL COOL — Amos Milburn
• BYE BYE BOOGIE — Amos Milburn
• HEN PARTY — Amos Milburn
• THE MIDNIGHT WAS SHINING — Little Willie Littlefield
• 5-10-15 HOURS — Ruth Brown
• RAMBLING BLUES — Big Maybelle
• DON’T TAKE EVERYONE TO BE YOUR FRIEND — Titus Turner
• BAR-B-QUE — Plas Johnson
• KING FOR A DAY BLUES — Eddie Cleanhead Vinson
• DOIN’ THE TOWN — Floyd Dixon
• WORRIED & LONESOME BLUES — James P. Johnson
• YOU CAN’T DO WHAT MY LAST MAN DID — James P. Johnson
• YOU’RE LUCKY TO ME — Ethel Waters
• MEMORIES OF YOU — Ethel Waters
• SON DON’T RISE IN THE MORNING — Dixie Jubilee Singers
• ADAM & EVE IN THE GARDEN — Rev. J.M. Gates
• OLD SHIP OF ZION — Brother Joe May
• NO NO NOTHING CAN CHANGE ME — Original Gospel Harmonettes

Bessie Smith opens the hour with two commanding performances, accompanied by Fletcher Henderson. She is regal, grounded, unmistakable—and then Henderson steps forward himself with “Unknown Blues,” letting you hear the same hands that supported Bessie, now speaking in their own language. The pattern is set.

Eva Taylor follows, supported by Clarence Williams, whose own “Gravier Street” becomes a lively counterpoint to Taylor’s clarity and charm. Clara Smith arrives next—bold, expressive, unhurried—paired with the stride mastery of James P. Johnson. Hearing Johnson immediately after Smith is like having the curtain drawn back to reveal the engine powering the whole operation.

Ida Cox, always full of bite and emotional depth, sings over Jesse Crump’s tasteful accompaniment, and Crump’s “Golden West Blues” gives him a brief but powerful moment in the spotlight. Ma Rainey and Jimmy Blythe are matched next—her deep, earthy vocal weight contrasted with Blythe’s rolling, rhythmic brilliance.

The hour closes with Lucille Hegamin—smooth, refined, effortlessly controlled. When J. Russell Robinson follows with “Rosty Morning Blues,” it connects her elegant phrasing to a pianist who knew how to balance subtlety with strong melodic sense.

Across all six cycles, what emerges is a picture of the Classic Blues era that few listeners get to hear in such tightly arranged sequence: singers and pianists as partners, equals, and co-creators. It’s not just a radio hour—it’s a guided walk through the foundations of American vocal blues.

Hour 3 Playlist

• MAMA’S GOT THE BLUES — Bessie Smith
• OUTSIDE OF THAT — Bessie Smith
• UNKNOWN BLUES — Fletcher Henderson
• SHIMMY LIKE SISTER KATE — Eva Taylor
• BABY WON’T YOU PLEASE COME HOME — Eva Taylor
• GRAVIER STREET — Clarence Williams
• OH MR MITCHELL — Clara Smith
• WHERE IS MY MAN — Clara Smith
• SNOWY MORNING BLUES — James P. Johnson
• HARD OH LORD — Ida Cox
• MERCY BLUES — Ida Cox
• GOLDEN WEST BLUES — Jesse Crump
• MOUNTAIN JACK — Ma Rainey
• DON’T FISH IN MY SEA — Ma Rainey
• FAT MEAT & GREENS — Jimmy Blythe
• BLEEDING HEARTED BLUES — Lucille Hegamin
• WANNA GO SOUTH AGAIN — Lucille Hegamin
• ROSTY MORNING BLUES — J. Russell Robinson

Little Walter starts things exactly where they need to start—lean, tough, and blowing harp like the city is chasing him. Bo Diddley and Chuck Berry follow with two different strains of rock-and-roll DNA, both anchored in blues swagger. Elmore James then kicks the door open with slide guitar that leaves scorch marks. John Brim, Howlin’ Wolf, Billy Boy Arnold, and Junior Wells keep the momentum rolling, each adding another punch of Chicago attitude.

The set tightens around Otis Rush and a run of B.B. King—three consecutive BB sides that give the hour its emotional centerpiece. The combination of Rush’s sharp-edged tension and King’s towering, elegant firepower brings gravity to the middle of the hour.

From there, the playlist branches outward but never loses the electric charge. Guitar Slim injects raw, aching emotion; Willie B. Huff, Sticks McGhee, and Memphis Slim carry the groove forward with grit and personality; Jimmy McCracklin and Smokey Smothers add modern punch and sharp detail; and Lightnin’ Hopkins closes the hour with a deep, unhurried Texas drawl that feels like walking home long after midnight.

It’s one of the most kinetic hours of the entire show—amplified, urban, and unmistakably alive.

Hour 4 Playlist

• HATE TO SEE YOU GO — Little Walter
• CAN’T JUDGE A BOOK BY THE COVER — Bo Diddley
• TALKIN’ BOUT YOU — Chuck Berry
• WILD ABOUT YOU BABY — Elmore James
• GOT ME WHERE YOU WANT ME — John Brim
• YOU CAN’T BE BEAT — Howling Wolf
• I AIN’T GOT YOU — Billy Boy Arnold
• THINGS I’D DO FOR YOU — Jr. Wells
• I CAN’T QUIT YOU BABY — Otis Rush
• YOU KNOW I GO FOR YOU — B.B. King
• DONE LOST YOUR GOOD THING NOW — B.B. King
• I CAN’T QUIT YOU — B.B. King
• YOU GIVE ME NOTHING BUT THE BLUES — Guitar Slim
• I LOVE YOU BABY — Willie B. Huff
• MEET YOU IN THE MORNING — Sticks McGhee
• DON’T THINK YOU’RE SO SMART — Memphis Slim
• I WANNA MAKE LOVE TO YOU — Jimmy McCracklin
• I GOT MY EYES ON YOU — Smokey Smothers
• HAVE YOU EVER LOVED A WOMAN — Lightnin’ Hopkins

The Jubilaires ease the hour in with warm, velvety harmonies—an opening that feels like stepping into a quiet room after the rest of the world has gone to sleep. Stan Getz follows with cool-toned elegance, setting up a contemplative pocket for Billy Eckstine and Ernestine Anderson to deepen with their smooth, dignified vocal phrasing. Don Patterson’s organ adds a gentle jolt of soul-jazz electricity, just enough to stir the air without breaking the spell.

From there, Deek Watson’s sides return us to vocal warmth before the set tilts into its blues center of gravity. Fenton Robinson anchors the middle stretch with three consecutive performances that showcase his fluid guitar work and emotionally measured vocal style. Larry Davis and Bobby Bland pick up the thread with songs full of ache and lived-in feeling—perfectly calibrated for late-night listening. Miss LaVelle, Bonita Cole, Long John Hunter, and the Sultans keep that mood alive, each in their own way: soulful, simmering, understated, and human. Ted Taylor and Paul Perryman continue that emotional run with sharp, pleading vocals that feel cut from deep rhythm-and-blues cloth.

And then, because only BBS would dare end a blues-hour this way, the show lifts into the horizon with Fleetwood Mac’s “Albatross”—a slow-floating instrumental that feels like the room being gently carried off by a warm breeze. It’s an ending that turns the whole hour into one long exhale.

Hour 5 Playlist

• AS SUMMER TURNS TO FALL — Jubilaires
• I ONLY HAVE EYES FOR YOU — Stan Getz
• NEVER MAKE THE SAME MISTAKE AGAIN — Billy Eckstine
• THEY DIDN’T BELIEVE ME — Ernestine Anderson
• DEM NEW YORK DUES — Don Patterson
• FOR SENTIMENTAL REASONS — Deek Watson
• IT’S A PITY TO SAY GOOD NIGHT — Deek Watson
• AS THE YEARS GO PASSING BY — Fenton Robinson
• CRAZY CRAZY LOVE — Fenton Robinson
• TENNESSEE WOMAN — Fenton Robinson
• I TRIED — Larry Davis
• BUILDING FIRE WITH RAIN — Bobby Bland
• STOLEN LOVE — Miss LaVelle
• BONITA’S BLUES — Bonita Cole
• SHE USE TO BE MY WOMAN — Long John Hunter
• DON’T PUT ME DOWN — Sultans
• HOLD ME TIGHT — Ted Taylor
• WORK TO BE DONE — Paul Perryman
• ALBATROSS — Fleetwood Mac

The King Cole Trio leads the opening, beginning with “Wouldn’t You Like to Know,” “Bring Another Drink,” “Any Old Time,” and “Too Marvelous.” Nat King Cole’s trio sound—a blend of piano, bass, and guitar—was both intimate and forward-thinking, giving listeners rhythmic drive and melodic sophistication without overwhelming the ear. Their final track in this block, “Just About Knock Me Out,” perfectly balances playful charm with technical finesse.

Ella Johnson steps in next with “Stand Back & Smile” and “When My Man Comes Home,” showing her ability to swing lightly while delivering emotional punch. Her storytelling is subtle, her timing impeccable, and the band frames her voice like a polished spotlight. “Somebody’s Knockin’ on My Door” and “I Don’t Know What’s Troubling Your Mind” continue her set, blending humor, sass, and the classic blues lyricism that connects with both intimate and radio audiences.

Una Mae Carlisle takes the next turn, bringing a crisp, versatile voice to “Don’t Try Your Jive on Me,” “Now I Lay Medown to Dream,” “Walking by the River,” “You’re So Mean to Me,” and “Swinging on the Strings.” Carlisle bridges jazz phrasing and blues storytelling effortlessly, proving why she was one of the most admired performers of the era. Her numbers keep the hour lively and varied, showcasing swing-era sensibilities while staying grounded in blues themes.

The Inkspots’ “A Steady Time Special” provides a moment of harmonic perfection, their smooth, signature style offering a contrast to the energetic trio and vocal performances earlier in the hour. It’s a reminder of the range of Black popular music in this period—from playful to polished, intimate to theatrical.

Deryck Sampson’s “Tired of Eating in Restaurants” brings a touch of humor and narrative flair, a whimsical pause before the hour closes with Bert Williams’ “This Is Always” and Don Byas’ “This Is Always.” Williams’ performance, decades after his prime, reminds listeners of the theatrical and storytelling roots embedded in early blues and popular song, while Byas’ saxophone adds a lush, reflective jazz sensibility.

Hour One sets the stage for the night ahead—showcasing vocal sophistication, pianistic mastery, and a gentle nod toward both blues and jazz traditions. It’s the perfect warm-up for the deeper dives, high-energy jump blues, and Yazoo pre-war explorations to come.

HOUR #1 — PLAYLIST

TROUBLES GOOD-BYE — Jimmy Liggins

WOULDN’T YOU LIKE TO KNOW — King Cole Trio

BRING ANOTHER DRINK — King Cole Trio

ANY OLD TIME — King Cole Trio

TOO MARVEILOUS — King Cole Trio

JUST ABOUT KNOCK ME OUT — King Cole Trio

STAND BACK & SMILE — Ella Johnson

WHEN MY MAN COMES HOME — Ella Johnson

SOMEBODY’S KNOCKIN’ ON MY DOOR — Ella Johnson

I DON’T KNOW WHAT’S TROUBLING YOUR MIND — Ella Johnson

DON’T TRY YOUR JIVE ON ME — Una Mae Carlisle

NOW I LAY MEDOWN TO DREAM — Una Mae Carlisle

WALKING BY THE RIVER — Una Mae Carlisle

YOU’RE SO MEAN TO ME — Una Mae Carlisle

SWINGING ON THE STRINGS — Inkspots

A STEADY TIME SPECIAL — Deryck Sampson

TIRED OF EATING IN RESTAURANTS — Bert Williams

THIS IS ALWAYS — Don Byas

Jimmy McCracklin starts things off with “Get Tough,” a perfect mixture of West Coast snap and streetwise cool. McCracklin’s piano roll and vocal confidence set the stage for the hour’s jump-blues momentum. The Treniers pick up the torch with “Rock & Roll Call” and “Sugar Doo,” records that remind us just how early they were pushing toward rock ’n’ roll long before the term became standard. Their shout-style vocals and sharp horn charts bring an exuberance that only the Treniers could sustain.

Larry Darnell’s “Boogie Oogie” keeps the temperature up—smooth, rhythmic, and steeped in the nightclub atmosphere that made him one of the era’s biggest draws. Terry Timmons slides in with “He’s the Best in the Business,” a relaxed but subtly intense singer who knew exactly when to lean into a phrase and when to let the band carry the rhythm. Jimmy T-99 Nelson’s “Secondhand Fool” follows, one of his defining performances, full of emotional strain and that unique T-99 vocal tremble.

Roy Hawkins’ “The Thrill Is Gone” appears here in its original form—moody, perfectly phrased, and decades before B.B. King turned it into a global standard. The contrast between Hawkins’ hushed vocal and the tune’s dark harmonic shape gives this part of the hour its emotional anchor.

From there, the set turns toward the rawer, club-band feel of Don & Dewey. “S.K. Jump Pt. 2,” with Saunders King, piles energy on energy, and then Don & Dewey themselves arrive with two stompers: “Jungle Hop” and “Farmer John.” It’s teenage-dancehall energy before teenage-dancehall music even had a name—wild violin, slashing guitar, and straight-ahead rhythm.

The mood shifts toward deeper blues with Jimmy Yancy’s “Two O’Clock Blues,” a classic piece of rolling piano work from one of Chicago’s foundational boogie masters. Lil Green follows with three stellar sides: “99 Blues,” “How Come You Do Me Like You Do,” and “Romance in the Dark.” Her voice—smooth, conversational, and filled with quiet control—adds sophistication to the center of the hour. She could turn almost anything into late-night confession.

Ethel Waters continues that line with “My Kind of Man” and “You Brought a New Kind of Love,” performances that bridge swing, blues, and pop with effortless charm. The Golden Gate Quartet then shifts the tone yet again with “When They Ring the Golden Bells,” bringing a moment of gospel brilliance to the hour—a reminder of how fluidly Black popular music moved between sacred and secular spaces.

Reverend Johnny Blakey’s “From the Parlor to the Pig Pen” reintroduces grit and humor, a down-home sermon-song hybrid that leads naturally into the Dixie Hummingbirds’ “Troubles in My Way.” Their harmonies close the hour in a shining, uplifting frame, reinforcing the deep spiritual roots that ran alongside the emerging sounds of jump blues and early R&B.

Hour Two stands as a portrait of postwar Black music at its most vibrant—swinging, shouting, crooning, testifying, and constantly evolving toward what would soon become full-fledged rock ’n’ roll.

HOUR #2 — PLAYLIST

GET TOUGH — Jimmy McCracklin

ROCK & ROLL CALL — Treniers

SUGAR DOO — Treniers

BOOGIE OOGIE — Larry Darnell

HE’S THE BEST IN THE BUSINESS — Terry Timmons

SECONDHAND FOOL — Jimmy T-99 Nelson

THE THRILL IS GONE — Roy Hawkins

S.K. JUMP PT 2 — Saunders King

JUNGLE HOP — Don & Dewey

FARMER JOHN — Don & Dewey

TWO O’CLOCK BLUES — Jimmy Yancy

99 BLUES — Lil Green

HOW COME YOU DO ME LIKE YOU DO — Lil Green

ROMANCE IN THE DARK — Lil Green

MY KIND OF MAN — Ethel Waters

YOU BROUGHT A NEW KIND OF LOVE — Ethel Waters

WHEN THEY RING THE GOLDEN BELLS — Golden Gate Quartet

FROM THE PARLOR TO THE PIG PEN — Rev. Johnny Blakey

TROUBLES IN MY WAY — Dixie Hummingbirds

The hour opens with one of the most iconic: Skip James’ “Special Rider Blues.” James’ keening falsetto and hypnotic, minor-key guitar style were unlike anything recorded in the 1930s, and the Yazoo transfers preserved his eerie clarity without flattening his tone. The mood deepens with Tom Dickson’s “Death Bell Blues,” a masterpiece of dread and imagery. Together, the two songs instantly place us in the shadowed, intimate sonic world of early Delta blues.

Charlie Jordan’s “Hunkie Tunkie” lifts the energy with a danceable, rag-tinged guitar line, followed by one of the great enigmas of the era: King Solomon Hill’s “Gone Dead Train,” a performance dripping with raw tension. Blind Willie McTell’s “Mam Tain’t Long ’Fore Day” shifts the tone again—McTell’s 12-string guitar ringing like a bell, showing the Piedmont’s lighter, fleet-fingered touch.

We continue into Jaybird Coleman’s “Coffee Grinder Blues” and Charlie McCoy’s “Last Time Blues,” both essential examples of early country harmonica and string-band influence. Pearl Dickerson’s “Twelve Pound Daddy” adds the rare, commanding voice of an early blueswoman—her sides are scarce, making every surviving track a gem.

Charlie Patton’s “Devil Sent the Rain” brings the towering figure of Delta blues into the spotlight: fierce, percussive guitar and a vocal style full of shouts, bends, and guttural drive. From there, Buddy Boy Hawkins’ “Voice Throwin’ Blues” and George Carter’s “Rising River Blues” offer contrasting textures—Hawkins’ unusual phrasing and Carter’s bright, rhythmic guitar serve as reminders of just how regionally varied pre-war blues could be.

Willie Walker’s “South Carolina Rag #2” is a master class in syncopated guitar, further broadening the map. Bo Carter follows with “I Want You to Know,” showcasing the sly, melodic style that made him one of the era’s most prolific and playful musicians. William Moore’s “Ragtime Millionaire” continues the rag-blues fusion with its stately, almost parlor-room guitar approach.

The hour closes with two cornerstones: Leroy Carr’s “How About Me,” carried by his smooth, urbane piano style, and Tampa Red with “C’Mon Mama Do That Dance,” a perfectly pitched blend of bottleneck guitar and uptown polish. Carr and Red remind us that not all pre-war blues was rural—Yazoo documented the full spectrum, from Delta grit to urban sophistication.

Hour Three is not just a playlist; it’s a panorama. It’s the sound of the past resurrected through shellac, filtered through the ears of collectors, brought back to life by Yazoo, and ultimately rediscovered by generations who never held a 78 in their hands. This is the bedrock—one hour devoted to the voices and instruments that shaped everything that came after.

HOUR #3 — PLAYLIST

SPECIAL RIDER BLUES — Skip James

DEATH BELL BLUES — Tom Dickson

HUNKIE TUNKIE — Charlie Jordan

GONE DEAD TRAIN — King Solomon Hill

MAM TAIN’T LONG ’FORE DAY — Blind Willie McTell

COFFEE GRINDER BLUES — Jaybird Coleman

LAST TIME BLUES — Charlie McCoy

TWELVE POUND DADDY — Pearl Dickerson

DEVIL SENT THE RAIN — Charlie Patton

VOICE THROWIN’ BLUES — Buddy Boy Hawkins

RISING RIVER BLUES — George Carter

SOUTH CAROLINA RAG #2 — Willie Walker

I WANT YOU TO KNOW — Bo Carter

RAGTIME MILLIONAIRE — William Moore

HOW ABOUT ME — Leroy Carr

C’MON MAMA DO THAT DANCE — Tampa Red

From there we move into the remarkable run of Ray Agee sides—an artist who has never quite achieved household-name status, but who cut some of the most consistently strong and emotionally direct records of the 1950s and early ’60s. “The Wobble Lou” brings a bit of swagger; “I Gotta Have Your Love” and the duets with Wilma Jean Hill and Elly Johnson showcase Agee’s versatility and ability to create tension and tenderness in equal measure. “When the Deal Goes Down” and “You Hit Me Where It Hurts” have that unmistakable Los Angeles R&B feel—horns punchy, rhythm section lean, vocals right on top of the beat. “The Monkey on My Back” and “Mistake in Life” close out his block with a sense of lived-in regret. It’s a rare treat to feature Agee this heavily, but the hour proves just how strong a case he makes for broader recognition.

The middle stretch of the hour shifts toward the Bay Area and Central California, with Jimmy Wilson’s “Mistake in Life” sliding naturally into K.C. Douglas’ tough, unvarnished blues. “Mercury Boogie” is still one of Douglas’ signature sides—fun, loose, and anchored in the dancefloor. “Lonely Boy Blues” shows his quieter, more reflective side; “Trailing My Baby” moves with a rolling, hypnotic rhythm that reminds listeners just how deep the West Coast country blues tradition ran.

Mercy Dee Walton turns the page with “Things Ain’t What They Use to Be,” one of those perfectly phrased, deceptively simple records that reveals more emotion with each listen. James Reed’s “Big Eyes” and Little Caesar’s “Don’t Ever Leave Me Again” widen the lens, bringing in voices that bridged jump blues, early R&B, and the rising urban club sound. Each track feels like an overheard conversation from a barlit corner of a city that never quite goes to sleep.

Frank Motley’s “First Stage of the Blues” keeps the groove moving, with that horn-led drive he specialized in, before Johnny Fuller steps up with two strong cuts: “Don’t Talk About Me” and “Remember.” Fuller is another figure whose catalog reveals a deep and nimble range—blues, R&B, early rock ’n’ roll—and his presence near the end of the hour gives the final stretch a sense of propulsion.

Big Mama Thornton returns to close the hour, tying it back to the place where it began. Her voice, weathered but unstoppable, wraps the set in the electric realism that defines the hour: no frills, no polish, just the truth delivered at full volume.

Hour Four is the gritty core of this week’s show—where tough guitar lines, horn-driven arrangements, and powerhouse vocals meet the stories of working lives, midnight mistakes, and hard-earned wisdom. It’s the blues of cities, bars, and backrooms—and it fits Blues Before Sunrise like a glove.

HOUR #4 — PLAYLIST

HOUND DOG — Big Mama Thornton

JUST LIKE A DOG BARKING UP — Big Mama Thornton

THE WOBBLE LOU — Ray Agee

I GOTTA HAVE YOUR LOVE — Ray Agee / Wilma Jean Hill

MY SILENT PRAYER — Ray Agee / Elly Johnson

WHEN THE DEAL GOES DOWN — Ray Agee

YOU HIT ME WHERE IT HURTS — Ray Agee

THE MONKEY ON MY BACK — Ray Agee

MISTAKE IN LIFE — Jimmy Wilson

MERCURY BOOGIE — K.C. Douglas

LONELY BOY BLUES — K.C. Douglas

TRAILING MY BABY — Mercy Dee Walton

THINGS AIN’T WHAT THEY USE TO BE — James Reed

BIG EYES — Little Caesar

DON’T EVER LEAVE ME AGAIN — Frank Motley

FIRST STAGE OF THE BLUES — Johnny Fuller

DON’T TALK ABOUT ME — Big Mama Thornton

REMEMBER — Johnny Fuller

Ella Fitzgerald lands next with “I’m Glad There Is You,” the kind of ballad she could deliver with complete command—phrasing relaxed, tone luminous, emotion just under the surface. Lou Donaldson follows with “Misty,” a performance that brings a bluesman’s sensibility to a jazz standard: economical, soulful, never rushed.

The set then moves into a beautiful three-song run by Annie Laurie, one of the under-recognized voices of post-war R&B. “I Don’t Get My Kicks Anymore,” “I’m in the Mood for You,” and the powerful “Cryin’, Sighin’, Dyin’” form a miniature emotional arc—songs of resignation, desire, and heartache delivered with her trademark mix of clarity and soul. “I Loved Another Woman” brings her sequence to a hushed close, a smoky recording full of tension and regret.

From there, the hour shifts into a substantial blues-rock suite from the Peter Green-era Fleetwood Mac, the band’s most overtly blues-rooted period. These are the tracks where Green’s tone, phrasing, and emotional directness show how deeply he absorbed the lessons of the very pre-war artists Yazoo helped rescue. “Black Magic Woman” appears here in its original form—hypnotic, restrained, simmering. “One Sunny Day” and “Stop Messin’ Around” represent Danny Kirwan and Green working in tandem, a leaner sound with sharper attack. “Without You,” “The World Keep On Turnin’,” and the haunting instrumental “Albatross” show the range of this version of the band: from deep blues lament to airy, oceanic calm.

In the context of this week’s theme, the Fleetwood Mac sequence closes the circle. The British blues revival—Green included—was built on the very records Yazoo made accessible. Without Perls and his cohort digging up rare 78s, many future musicians might never have heard Skip James, Patton, McTell, or Bo Carter at all. Hour Five becomes a kind of echo: modern players reflecting the ghosts of the past, reshaping what they learned into something new.

It’s a fitting final stretch for this week’s show—quiet, soulful, reflective, and deeply connected to the legacy of the music at the heart of the Yazoo label. As always, Hour Five acts as the soft landing after a long night, the place where BBS settles into its final mood before slipping into morning.

HOUR #5 — PLAYLIST

DON’T BE A BABY BABY — Mills Bros

LOVE WALKED IN — Sonny Stitt

I’M GLAD THERE IS YOU — Ella Fitzgerald

MISTY — Lou Donaldson

I DON’T GET MY KICKS ANYMORE — Annie Laurie

I’M IN THE MOOD FOR YOU — Annie Laurie

CRYIN’ SIGHIN’ DYIN’ — Annie Laurie

I LOVED ANOTHER WOMAN — Fleetwood Mac

BLACK MAGIC WOMAN — Fleetwood Mac

ONE SUNNY DAY — Fleetwood Mac

STOP MESSIN’ AROUND — Fleetwood Mac

WITHOUT YOU — Fleetwood Mac

THE WORLD KEEP ON TURNIN’ — Fleetwood Mac

ALBATROSS — Fleetwood Mac

The hour opens with Bill Doggett’s “Big Boy,” a tight, organ-driven groove that sets a lively, commanding rhythm right out of the gate. Doggett’s energetic performance epitomizes the postwar R&B jump style, a sound that combined jazz sophistication with blues grit. From there, the spotlight shifts to the legendary Louis Jordan, whose string of hits on this hour demonstrates why he remains a cornerstone of swing and R&B. Tracks like “Let the Good Times Roll,” “Texas & Pacific,” “How Long Must I Wait for You,” “That Chick’s Too Young to Fry,” and “Open the Door Richard” showcase Jordan’s signature mix of witty storytelling, irresistible swing, and sax-driven arrangements that had dance floors jumping across America.

Next up is Big Joe Turner, whose larger-than-life voice and dynamic phrasing dominate tracks like “Jumpin’ Tonight,” “Story to Tell,” and “Love My Baby.” Turner’s vocals exude the kind of deep, blues-infused authority that made him a transitional figure between blues, jump R&B, and the earliest rock ’n’ roll. A collaborative track, “Blues” by Big Joe + Wynonie, adds extra punch, reminding listeners that R&B thrived on camaraderie, call-and-response energy, and theatricality.

The hour then broadens into vocal jazz sophistication with Lena Horne. Songs like “Out of This World,” “Any Place I Hang My Hat,” and “What’s Right for You” highlight her impeccable phrasing, polished tone, and commanding stage presence. Horne’s selections here serve as a bridge between the jump-heavy first half of the hour and the instrumentally dazzling pieces that follow.

The latter portion of Hour 1 features some of the era’s most accomplished jazz instrumentalists. Lionel Hampton brings unstoppable drive and flair with “Birmingham Bounce,” “Jelly Roll,” and “Cannonball Express,” showcasing the rollicking energy of his vibraphone, the tight punch of his big band, and the irresistible swing that defined his performances. Hampton’s work reminds listeners that instrumental virtuosity could be just as engaging — if not more so — than vocal showcases.

The hour concludes with classic piano and vocal harmonies. Delta Rhythm Boys’ “It Was Wonderful Then” offers elegant quartet harmonies, lush phrasing, and restrained swing, providing a sophisticated counterbalance to the jump blues brashness that dominated the first half. Finally, Meade Lux Lewis’ “Bear Cat Crawl” and Lionel Hampton’s “Easy to Love” close out the hour with playful, rhythmically compelling piano and vibraphone lines, leaving listeners energized and primed for the deeper blues and gospel explorations that follow.

Hour 1 is an electrifying introduction to the evening’s broadcast, celebrating jump blues, swing, and early R&B in all their infectious, high-energy glory. From the tight grooves of Bill Doggett to Louis Jordan’s playful wit, Big Joe Turner’s vocal power, Lena Horne’s sophistication, and Lionel Hampton’s instrumental fireworks, this hour perfectly sets the stage for the journey through blues, gospel, and R&B that makes Blues Before Sunrise a singular listening experience.

Hour 1 Playlist

BIG BOY — BILL DOGGETT

LET THE GOOD TIMES ROLL — LOUIS JORDAN

TEXAS & PACIFIC — LOUIS JORDAN

HOW LONG MUST I WAIT FOR YOU — LOUIS JORDAN

THAT CHICK’S TOO YOUNG TO FRY — LOUIS JORDAN

OPEN THE DOOR RICHARD — LOUIS JORDAN

JUMPIN’ TONIGHT — BIG JOE TURNER

STORY TO TELL — BIG JOE TURNER

LOVE MY BABY — BIG JOE TURNER

BLUES — BIG JOE + WYNONIE

OUT OF THIS WORLD — LENA HORNE

ANY PLACE I HANG MY HAT — LENA HORNE

WHAT’S RIGHT FOR YOU — LENA HORNE

BIRMINGHAM BOUNCE — LIONEL HAMPTON

JELLY ROLL — LIONEL HAMPTON

CANNONBALL EXPRESS — LIONEL HAMPTON

IT WAS WONDERFUL THEN — DELTA RHYTHM BOYS

BEAR CAT CRAWL — MEADE LUX LEWIS

EASY TO LOVE — LIONEL HAMPTON

The hour opens with the high-energy roar of Bullmoose Jackson’s “If You Ain’t Lovin’”, a perfect example of the playful, horny-toned jump-blues that defined the period. Jackson’s nimble saxophone lines and wry vocal delivery immediately set the stage for the stylistic range ahead. Lucky Millinder’s “Savoy” keeps the horns pumping, while Etta James’ “Seven Day Fool” injects the hour with her signature mix of gospel-rooted soul and bluesy attitude.

The groove deepens with Little Willie John’s “I’m Shakin’”, demonstrating the way R&B vocalists borrowed phrasing and power from gospel without crossing the line into overt sacred themes. Jack McVea’s “Don’t Let the Sun Catch You” and the Rolling Crew’s “Home on Alcatraz” bring a lighter, swinging bounce, while Lucky Thompson’s “No Good Man Blues” and “Nothing from Nothing” add saxophone-driven sophistication and melodic complexity. These tracks reveal just how fluid the period was — music could be raw and party-ready, yet musically refined at the same time.

Hour 2 also touches the playful and the eccentric. Ike Carpenter’s “Pachuko Hop” and Sam Theard’s “Bring It on Home to Granma’” reflect a theatricality in R&B that recalls vaudeville, while his follow-up, “I’m Goin’ Back & Get Some”, demonstrates the humorous storytelling that made live R&B so compelling. Sonny Boy Williams’ “Shake It But Don’t Break It” and “Jump It But Don’t Bump It” keep the dance floor moving with their irresistible rhythms.

The hour concludes with a series of vocally driven classics, pairing female and male leads with quartet-style backing. Ethel Waters delivers two standout tracks, “Porgy” and “Black & Blues,” her voice carrying a mixture of theatricality, history, and blues sensibility. Curtis Jones’ “Wrong Blues” and Rob Cooper’s “West Dallas Drag” close the set with a grounded, urban blues feel, reminding listeners that even the most upbeat R&B always contained echoes of hardship, grit, and soulful truth.

Hour 2 is the perfect bridge between the jump-blues and R&B foundation in Hours 1 and the full-throttle gospel journey of Hour 3. It’s music meant to make you move, but it also reflects the serious craftsmanship and tonal sophistication that gave early R&B its enduring power. In short, it’s a pure, irresistible slice of early ’50s Black music culture.

Hour 2 Playlist

IF YOU AIN’T LOVIN’ — BULLMOOSE JACKSON

SAVOY — LUCKY MILLINDER

SEVEN DAY FOOL — ETTA JAMES

I’M SHAKIN’ — LITTLE WILLIE JOHN

DON’T LET THE SUN CATCH YOU — JACK McVEA

HOME ON ALCATRAZ — ROLLING CREW

NO GOOD MAN BLUES — LUCKY THOMPSON

NOTHING FROM NOTHING — LUCKY THOMPSON

PACHUKO HOP — IKE CARPENTER

BRING IT ON HOME TO GRANMA’ — SAM THEARD

I’M GOIN’ BACK & GET SOME — SAM THEARD

SHAKE IT BUT DON’T BREAK IT — SONNY BOY WILLIAMS

JUMP IT BUT DON’T BUMP IT — SONNY BOY WILLIAMS

PORGY — ETHEL WATERS

BLACK & BLUES — ETHEL WATERS

WRONG BLUES — CURTIS JONES

WEST DALLAS DRAG — ROB COOPER

The hour wastes no time establishing its focus. We begin with a run of Nightingales sides that capture the group at full strength. Tracks like “Will He Welcome Me,” “I Thank You Lord,” and “God’s Word Will Never Pass” showcase Cheeks’ extraordinary vocal presence — an explosive, guttural shout balanced by moments of heartbreaking tenderness. His singing wasn’t just performance; it was testimony. Every note feels physically wrestled into existence.

As the hour moves through “Another Year,” “I’m Going On with Jesus,” “Go Where Jesus Is,” and “I’m Serving the Lord,” listeners experience the group’s trademark dynamic: the controlled precision of the harmonies beneath a lead singer who refuses to be contained. Gospel quartets often walked a tightrope between structure and fervor. The Nightingales didn’t walk that tightrope — they sprinted across it, daring anyone to keep up.

The centerpiece of this first half is the relentless emotional pull of “On the Judgement Day” and the aching intensity of “Somewhere to Lay My Head.” Here Cheeks shifts from shouting preacher to pleading penitent, demonstrating why he was one of the most influential gospel voices of the century. The cries, wails, and exhortations that later shaped soul singers like Wilson Pickett, Solomon Burke, and even James Brown all have roots in Cheeks’ delivery.

The next sequence — “Lord Have Mercy,” “See How They Done My Lord,” and “Lord Will Make a Way” — captures the moral urgency and social commentary embedded in so much gospel music of the period. These were not just Sunday songs; they were anchors for Black communities navigating segregation, migration, and the pressures of daily life. Gospel was a way of affirming identity, resilience, and hope in the face of systems designed to crush them.

The hour’s final Nightingales stretch includes “In My Mind,” “Morning Train,” and the stirring “Live Right – Die Right” performed by the Dixie Hummingbirds. The Hummingbirds’ cleaner, more polished style creates a striking contrast with the Nightingales’ stormy rawness, showing how Peacock’s roster encompassed multiple shades of the gospel spectrum. Where the Nightingales shouted, the Hummingbirds soared.

The hour concludes with three deeply moving selections from other key Peacock artists: Sister Jessie Mae Renfro, Rev. Cleophus Robinson, and the Spirit of Memphis Quartet. These tracks — emotional, grounded, and intensely devotional — serve as the hour’s closing benediction. They reaffirm that Peacock gospel wasn’t just a catalog of songs; it was a vast spiritual landscape filled with storytellers, exhorters, worship leaders, and innovators.

Hour 3 is not just a listening experience. It’s an immersion — a journey into the sound of faith under pressure, hope under fire, and the unshakable belief that music can lift spirits even in the harshest times. The Sensational Nightingales didn’t just sing gospel; they embodied it. And in this hour, you hear how their legacy — and Peacock’s — still echoes with power.

Hour 3 Playlist

WILL HE WELCOME ME — SENSATIONAL NIGHTINGALES

I THANK YOU LORD — SENSATIONAL NIGHTINGALES

GOD’S WORD WILL NEVER PASS — SENSATIONAL NIGHTINGALES

ANOTHER YEAR — SENSATIONAL NIGHTINGALES

I’M GOING ON WITH JESUS — SENSATIONAL NIGHTINGALES

GO WHERE JESUS IS — SENSATIONAL NIGHTINGALES

I’M SERVING THE LORD — SENSATIONAL NIGHTINGALES

ON THE JUDGEMENT DAY — SENSATIONAL NIGHTINGALES

SOMEWHERE TO LAY MY HEAD — SENSATIONAL NIGHTINGALES

LORD HAVE MERCY — SENSATIONAL NIGHTINGALES

SEE HOW THEY DONE MY LORD — SENSATIONAL NIGHTINGALES

LORD WILL MAKE A WAY — SENSATIONAL NIGHTINGALES

IN MY MIND — SENSATIONAL NIGHTINGALES

MORNING TRAIN — SENSATIONAL NIGHTINGALES

LIVE RIGHT – DIE RIGHT — DIXIE HUMMINGBIRDS

I WANNA BE THERE — SISTER JESSIE MA RENFRO

I’VE GOT A NEWBORN SOUL — REV. CLEOPHUS ROBINSON

IN THE GARDEN — SPIRIT OF MEMPHIS QUARTET

We open with the fierce, no-nonsense bite of Grace Brim, one of the few women of the era who grabbed a harmonica and made it snarl. Her “Mean Man Blues” sets the tone immediately — strong, direct, unafraid of confrontation. It’s a reminder that the Chicago scene wasn’t dominated by men because of a lack of female firepower; it’s because artists like Brim were rarely given enough record time. When they were, as in this track, they delivered.

From Brim we slide into a string of stark, brooding classics from the early Chess and postwar Chicago tradition. Muddy Waters’ “Burying Ground” carries that swamp-to-city authority, drawing from the Mississippi Delta while pointing toward the amplified future. Floyd Jones and John Lee Hooker follow with mood-drenched, minor-key blues — slow, severe, unyielding. This is blues as a kind of personal ritual, a way of working through hard times rather than performing them.

Hour 4 also highlights the oft-overlooked brilliance of musicians who never got the fame that matched their talent. John Brim, Moody Jones, Othum Brown, J.B. Hutto, and Little Hudson bring the kind of raw, stomping, hungry blues that Chicago clubs thrived on. These tracks represent the city’s working-class backbone — musicians who recorded a few sides at a time, held day jobs, and played with everything they had on Saturday nights. Their music is rough, but never sloppy; emotional, but never theatrical. What you hear is what they lived.

The hour continues its rugged ascent with Sunnyland Slim, Blue Smitty, and Big Boy Spires, each bringing their own sense of desperation, humor, or half-simmering rage. Sunnyland’s piano is insistent and ringing; Smitty’s vocals are wounded but proud; Spires lands somewhere between a moan and a warning. This sequence alone is one of the hour’s highlights — a portrait of Chicago’s neighborhood blues scene in the 1950s, urban but still deeply tied to Southern roots.

Then comes a heavy pivot: St. Louis Jimmy steps in with “Murder in the First Degree,” a song steeped in storyline, dread, and confession — blues as true-crime testimony long before documentaries and podcasts made the idea fashionable. The production is spare, putting every ounce of weight on his voice and piano.

And just when the hour seems as dark as it can get, the electricity rises with the unmistakable presence of Howling Wolf. “Smokestack Lightning” doesn’t just bring heat; it brings intensity that feels mythic, almost supernatural. It’s the sound of Wolf’s shadow looming over every club and every young guitarist on the South Side.

The hour closes with three stately, powerful tracks: Eddie Boyd, Robert Nighthawk, and their distinctive blend of smooth phrasing and sharp emotional detail. They’re less frantic than the earlier cuts, but no less forceful. Boyd’s “Just a Fool” is steeped in dignity and heartbreak; Nighthawk’s “The Moon Is Rising” is a slow crawl through longing and midnight loneliness — the perfect final descent.

Hour 4 paints Chicago not as a blues capital in name only, but as a living, breathing furnace of creativity. It’s the sound of a city sharpening its own musical steel.

Hour 4 Playlist

MEAN MAN BLUES — GRACE BRIM

BURYING GROUND — MUDDY WATERS

DARK ROAD — FLOYD JONES

MOANIN’ BLUES — JOHN LEE HOOKER

YOUNG & WILD — JOHN BRIM

HOSPITALITY BLUES — GRACE BRIM

WHY SHOULD I WORRY — MOODY JONES

ORA NELLE BLUES — OTHUM BROWN

THINGS ARE SO SLOW — J.B. HUTTO

JOLIET BLUES — JOHNNY SHINES

ROUGH TREATMENT — LITTLE HUDSON

HARD TIMES — SUNNYLAND SLIM

CRYIN’ — BLUE SMITTY

ONE OF THESE DAYS — BIG BOY SPIRES

MURDER IN THE FIRST DEGREE — ST. LOUIS JIMMY

SMOKESTACK LIGHTNING — HOWLING WOLF

JUST A FOOL — EDDIE BOYD

THE MOON IS RISING — ROBERT NIGHTHAWK

From there the hour pivots into the deep Louisiana groove: Lightning Slim, Arthur Gunter, Silas Hogan, Early Dranes, Lazy Lester, Lonesome Sundown, and Slim Harpo form a powerful Excello parade — hypnotic rhythms, languid tempos, and that unmistakable swampy pulse. It’s music that never hurries yet always hits.

Sprinkled throughout are gems from Billy Eckstine, Toni Harper, and Jimmy Smith, keeping the hour flexible and unpredictable — uptown one moment, juke-joint dusty the next. The set closes with the drifting, meditative beauty of Fleetwood Mac’s “Albatross,” a perfect cool-down after an hour of low-boil blues intensity.

This is one of those signature BBS hours where the grooves simmer more than they shout — and that slow burn is exactly what makes it unforgettable.

Hour 5 Playlist

HOW COULD I KNOW — RAVENS

REPETITION — CHARLIE PARKER

YOU’RE DRIVING ME CRAZY — BILLY ECKSTINE

YOU & THE NIGHT & THE MUSIC — TONI HARPER

THE PREACHER — JIMMY SMITH

I’M WARNIN’ YOU BABY — LIGHTNING SLIM

YOU’RE ALWAYS ON MY MIND — ARTHUR GUNTER

GO ON PRETTY BABY — SILAS HOGAN

I’M LEAVING THIS MORNING — EARLY DRANES

I HEAR YOU KNOCKIN’ — LAZY LESTER

DON’T SAY A WORD — LONESOME SUNDOWN

IT’S LOVE BABY — LOUIS BROOKS

LITTLE DARLIN’ — GLADIOLAS

MY MUMBLIN’ BABY — RUDY GREEN

BLUES HANGOVER — SLIM HARPO

ALBATROSS — FLEETWOOD MAC

The hour kicks off with Bobby Smith’s “Cinder Bottom,” a lively number that immediately sets the tone — sly, sharp, and filled with that unmistakable late-night swagger. Then comes a block of pure Cab Calloway, one of the most dynamic entertainers in American music. “Long About Midnight,” “There’s a Cabin in the Cotton,” “The Lady with the Fan,” “I Learned About Love from Her,” and “The Scat Song” showcase every facet of Cab’s persona — the elegant crooner, the mischievous jiver, the bandleader who could drive a room wild with a single “Hi-de-ho.”

Calloway’s music was showmanship with substance, rooted in blues phrasing and carried by swing orchestration. His blend of humor and sophistication helped bring Black vernacular culture to mainstream audiences without losing its edge — a theme that resonates throughout this week’s show and connects directly to Jim O’Neal’s lifelong respect for those who shaped the music’s early image.

Next comes a turn toward June Richmond, one of the great yet underrecognized vocalists of the swing era. Her run here — “Don’t Worry ’Bout That Mule,” “Don’t Jive Me Like That,” “Ride On – Ride On,” “Midnight Stroll,” and “Are You With It” — glows with warmth and rhythmic precision. Richmond, who sang with Duke Ellington and Jimmy Dorsey before moving to Europe, was among the first Black women to front a white orchestra. Her recordings capture the poise of jazz phrasing married to the emotion of the blues.

The program then shifts from vocal to instrumental fire with Julian Dash, the gifted tenor saxophonist best known for his work with Erskine Hawkins. “Preachin’,” “My Silent Love,” “Deacon Dash,” and “Blue Velvet” deliver an exhilarating mix of swing and sermon — the sacred meeting the secular in tone and attitude. Dash’s sound carries both Sunday morning and Saturday night in every phrase.

The Marshall Brothers’ “I Won’t Believe You” adds a harmony touch that nods toward early doo-wop, showing how vocal group style was already emerging from the big-band setting. Albert Ammons follows with “St. Louis Blues,” bringing Chicago’s boogie-woogie piano into the mix — a sound that would soon migrate directly into the urban blues Jim O’Neal would later chronicle.

A brief detour through Josephine Baker’s “Wonder Where My Baby Is Tonight” reminds listeners of the international reach of this music — Baker, the Missouri-born star who became a Parisian icon, kept one foot planted firmly in the blues tradition even as she reinvented stage performance for the modern world.

The hour closes with Eddie “Lockjaw” Davis’s “Dizzy Atmosphere,” a sleek instrumental that bridges swing and bebop. It’s a perfect closing statement: the sound of the blues evolving, stretching, and reinventing itself — the same story that runs through every hour of Blues Before Sunrise.

Hour One, then, isn’t just a warm-up — it’s the overture to the night’s theme. It shows how the glamour of the swing era and the grit of the blues share the same roots. Long before Jim O’Neal picked up a tape recorder or a pen, artists like Calloway and Richmond were already building the foundations for the world he would spend his life documenting.

Hour 1 Playlist

CINDER BOTTOM – Bobby Smith

LONG ABOUT MIDNIGHT – Cab Calloway

THERE’S A CABIN IN THE COTTON – Cab Calloway

THE LADY WITH THE FAN – Cab Calloway

I LEARNED ABOUT LOVE FROM HER – Cab Calloway

THE SCAT SONG – Cab Calloway

DON’T WORRY ’BOUT THAT MULE – June Richmond

DON’T JIVE ME LIKE THAT – June Richmond

RIDE ON – RIDE ON – June Richmond

MIDNIGHT STROLL – June Richmond

ARE YOU WITH IT – June Richmond

PREACHIN’ – Julian Dash

MY SILENT LOVE – Julian Dash

DEACON DASH – Julian Dash

BLUE VELVET – Julian Dash

I WON’T BELIEVE YOU – Marshall Brothers

ST. LOUIS BLUES – Albert Ammons

WONDER WHERE MY BABY IS TONIGHT – Josephine Baker

DIZZY ATMOSPHERE – Eddie “Lockjaw” Davis

Steve Cushing opens with Eddie “Cleanhead” Vinson’s “I Trusted You Baby,” a sly, urbane piece that blends jazz phrasing with deep blues emotion. It’s a reminder that Vinson, like so many artists of his generation, straddled the line between the two worlds effortlessly. Then come a pair of classic Wynonie Harris tracks — “Here Comes the Night” and “Keep A’Talkin’” — both showing why Harris was one of the most important transitional figures between the big-band shouters and early rock ’n’ roll. His raw, swaggering delivery and sly humor made him a model for every bluesman and rocker who followed.

Floyd Dixon’s “Wine Wine Wine” brings a looser, West Coast flavor to the mix, while Hadda Brooks’ “Feel So Good” reminds us that women were right there shaping the sound — her piano-driven sophistication radiates confidence and swing.

A burst of laughter and rhythm arrives with Pigmeat Markham’s “The Traveling Salesman,” a perfect piece of blues vaudeville, followed by Cat & Jammers’ “Where’s My Baby,” keeping the energy high. Ivory Joe Hunter, one of the smoothest vocalists of the late ’40s, turns in a double feature with “Send Me Pretty Mama” and “Where Shall I Go” — elegant, heartfelt performances that show why his crossover success into pop and R&B came so naturally.

The set then slips back to the earliest roots of the piano blues with Pinetop Smith’s “Pinetop Blues” — a piece that practically defines the term barrelhouse. The humor and bite of Frankie Half-Pint Jaxon’s “Jive Man Blues” follow close behind, a performance from the days when the line between comic and blues singer was paper thin.

The second half of the hour glides into a more classic mood. Roosevelt Sykes appears with “Lost All I Had,” rich and rolling, a reminder that the piano has always been central to the city blues. Then comes a long, luxurious stretch devoted to Ethel Waters, one of the most versatile and vital performers of the 1920s and ’30s. Her sequence — “Waiting at the End of the Road,” “Traveling All Alone,” “Long Lean Lanky Mama,” and “Keep Your Eye on Your Man” — showcases her command of both jazz phrasing and blues emotion. Waters was a bridge between eras, and her recordings never lose their immediacy.

To close the hour, Cushing turns toward the spiritual — an echo of O’Neal’s own respect for the sacred roots that run beneath the secular blues. The Bethel Quartet’s “So Glad I’ve Got the Stone” and Rev. J.M. Gates’ “Rich Man and the Needle’s Eye” remind listeners that the bluesman and the preacher often lived in the same neighborhood, and sometimes inside the same man. The final selection, The Soul Stirrers’ “I Want to Rest,” brings a sense of peace after all that motion — a quiet benediction before the conversation with Jim O’Neal begins in Hour 3.

Hour Two is a tour through the full palette of mid-century Black music — from nightclub shout to church call, from the laughter of the vaudeville stage to the solemn promise of gospel harmony. It’s the soundtrack of the world Jim O’Neal devoted his life to documenting, one record and one story at a time.

Hour 2 Playlist

I TRUSTED YOU BABY – Eddie “Cleanhead” Vinson

HERE COMES THE NIGHT – Wynonie Harris

KEEP A’TALKIN’ – Wynonie Harris

WINE WINE WINE – Floyd Dixon

FEEL SO GOOD – Hadda Brooks

THE TRAVELING SALESMAN – Pigmeat Markham

WHERE’S MY BABY – Cat & Jammers

SEND ME PRETTY MAMA – Ivory Joe Hunter

WHERE SHALL I GO – Ivory Joe Hunter

PINETOP BLUES – Pinetop Smith

JIVE MAN BLUES – Frankie Half-Pint Jaxon

LOST ALL I HAD – Roosevelt Sykes

WAITING AT THE END OF THE ROAD – Ethel Waters

TRAVELING ALL ALONE – Ethel Waters

LONG LEAN LANKY MAMA – Ethel Waters

KEEP YOUR EYE ON YOUR MAN – Ethel Waters

SO GLAD I’VE GOT THE STONE – Bethel Quartet

RICH MAN & THE NEEDLES EYE – Rev. J.M. Gates

I WANT TO REST – Soul Stirrers

O’Neal’s story begins on the Gulf Coast of Mississippi, where he grew up surrounded by the rhythms and idioms that would later shape his life’s work. He describes hearing field hollers and jukebox records as a kid, not realizing that the sounds of his hometown would eventually become the focus of his professional passion. It wasn’t until he moved north to attend Northwestern University in Evanston, Illinois, that his connection to the Blues deepened. Chicago in the late 1960s was alive with music — from Maxwell Street to the South Side clubs — and O’Neal found himself drawn not just to the sound, but to the stories behind it.

This first half of the interview captures that awakening. O’Neal talks about meeting fellow enthusiasts who shared his fascination — people like Amy Van Singel, who would become both his partner in life and in publishing. Together, they realized that the mainstream music press wasn’t covering the Blues with the respect or accuracy it deserved. Musicians like Howlin’ Wolf, Magic Sam, and Otis Spann were performing masterpieces every week, yet their work was invisible to most critics. O’Neal and Van Singel decided to change that.

From a small apartment on Chicago’s North Side, Living Blues was born — mimeographed, hand-mailed, and sustained by sheer will. O’Neal recalls the excitement of those early issues: phone calls to artists who couldn’t believe anyone cared enough to interview them, last-minute deadlines, and the scramble to find printers who understood their mission. He speaks with the modest pride of a man who knows he was in the right place at the right time, doing the right thing.

Steve Cushing, who shared many of the same stages, clubs, and musical friendships, draws out O’Neal’s insights into the Blues Revival era — the years when aging Delta musicians were rediscovered by a new generation of listeners. O’Neal describes the challenges of balancing authenticity with promotion, of trying to elevate the music without romanticizing it. His tone remains measured and respectful; for him, the Blues has always been about the people first, not the myth.

Hour Three captures the origin story — the why and how of Living Blues, and the early stirrings of a lifetime spent documenting an art form that America too often overlooked. It’s an hour filled with history, humility, and the unmistakable sense of gratitude that comes from someone who found his life’s calling among the 12-bar truths of the Blues.

As the conversation transitions into Hour Four, O’Neal begins to reflect more deeply on the fieldwork, the magazine’s growth, and his later projects like Rooster Blues Records — a natural continuation of the passion first described here.

This hour is the sound of the Blues being preserved in real time — by one of its most devoted witnesses.

Hour 3 Playlist

JIM O’NEAL INTERVIEW (Part 1)

Jim O’Neal wasn’t just a writer or collector; he was a field researcher, producer, and connector. His voice in this interview carries the same blend of curiosity and quiet intensity that filled the early issues of Living Blues. As he recounts long drives across the Delta to find forgotten musicians, or talks about the days when he and Amy Van Singel were hand-assembling each issue of the magazine, listeners hear not just nostalgia but a deep sense of purpose. For O’Neal, documentation was never an abstract act — it was a form of justice.

During this hour, O’Neal reflects on the 1970s Blues revival, describing how the scene evolved from the folk festival stages to the neighborhood clubs. He discusses the emergence of independent labels like Rooster Blues, which he co-founded to give deserving artists real studio opportunities. Through his stories, we glimpse the human side of figures like Sonny Boy Williamson II, Big Joe Williams, and Honeyboy Edwards — men who straddled eras and styles, often ignored by the mainstream until O’Neal and others brought them back into focus.

Steve Cushing’s questions draw out what makes O’Neal unique: his insistence that every record, every photograph, every interview is a fragment of a much larger mosaic — the true, unfiltered story of African American cultural history as told through the Blues. This hour feels intimate, like sitting on a back porch with two lifetimes of passion for the music spread out between them.

The conversation also turns to O’Neal’s later years in Mississippi, his ongoing research projects, and his dedication to education and historical preservation. His commitment never wavered — he continued to document obscure artists, identify uncredited session musicians, and trace recording histories long after others had moved on. In his voice, there’s the same reverence for the past that runs through every note of the Blues he loved.

As Hour Four comes to a close, Cushing lets the music take over once again — the perfect bridge from oral history to the living sound of the genre. The stories Jim O’Neal tells come full circle in the next segment, as Hour Five gives listeners the chance to hear the very kind of music he spent his life preserving.

This hour is more than an interview — it’s a portrait of devotion. Jim O’Neal reminds us that the Blues is not just a sound or a song, but a history, a map, and a mirror.

Hour 4 Playlist

JIM O’NEAL INTERVIEW (continued)

The hour opens with Robert Jr. Lockwood, one of the most intellectually and musically complex figures in Blues history. “I Am to Blame,” “Dust My Broom,” “Angel Child,” and “Little Queen of Spades” connect the dots between the rural Delta and the amplified Chicago scene. Lockwood was, of course, Robert Johnson’s stepson and protégé — a player who absorbed Johnson’s intricate chord work and reimagined it for the electric age. His phrasing, half jazz sophistication and half raw country edge, captures exactly what Jim O’Neal sought to preserve: continuity within change.

Robert Nighthawk’s “Down the Line” follows, his signature slide guitar tone smooth and mournful, a perfect counterpoint to Lockwood’s sharp elegance. Nighthawk’s sessions for United and Aristocrat Records in the late 1940s laid the groundwork for the Chicago slide style later carried by Muddy Waters and Elmore James. His music has the easy grace of someone who didn’t need to shout to make himself heard.

Memphis Slim’s “Gonna Need My Help Someday” and Big Walter Horton’s “Blues in the Morning” carry the program deeper into the South Side. Slim’s stately piano lines and Horton’s warm, fat-toned harmonica are reminders that Chicago’s urban sound always rested on rural foundations. Both men were storytellers as well as musicians, and both benefited from the kind of serious documentation that Living Blues championed.

From there, Cushing moves into a compact but potent stretch of postwar guitar heroes. Joe Hill Louis’s “We All Gotta Go Sometime” keeps the drive alive with his raw, one-man-band energy, while Johnny Young’s “Money-Takin’ Woman” reminds listeners of the mandolin’s place in electric Blues — a high, keening countervoice to the growl of the guitar.

Then come the Kings. Freddy King turns up the heat with “Now I Got a Woman” and “Man Hole,” both propelled by his ferocious picking and impeccable rhythmic sense. B.B. King follows with “Think It Over” and “Don’t Answer the Door,” two masterpieces of control and dynamics. In their very different ways, both men distilled the lessons of T-Bone Walker into new, unmistakably personal statements.

Bobby “Blue” Bland enters next with “That’s the Way Love Is” and “Queen for a Day,” his voice smoky and regal, proof that the Blues could hold its own in the world of sophisticated soul. Bland’s music represented the maturation of the Blues — the same kind of evolution O’Neal’s writing documented as the genre grew beyond its regional roots.

The set closes with Ike Turner’s “Sad as a Man Can Be” and “I’m Tore Up,” fierce and stylish performances that remind listeners how easily the Blues could cross into rock and rhythm. Turner’s bandleading discipline and drive made him both controversial and indispensable, a figure as complex as the genre itself.

Hour Five stands as a kind of living appendix to the Jim O’Neal conversation — a panorama of the very musicians whose names he spent his career writing down, recording, and preserving. Together, they tell the story of how the Delta found electricity, and how the Blues found the modern world.

Hour 5 Playlist

I AM TO BLAME – Robert Jr. Lockwood

DUST MY BROOM – Robert Jr. Lockwood

ANGEL CHILD – Robert Jr. Lockwood

LITTLE QUEEN OF SPADES – Robert Jr. Lockwood

DOWN THE LINE – Robert Nighthawk

GONNA NEED MY HELP SOMEDAY – Memphis Slim

BLUES IN THE MORNING – Big Walter Horton

WE ALL GOTTA GO SOMETIME – Joe Hill Louis

MONEY-TAKIN’ WOMAN – Johnny Young

NOW I GOT A WOMAN – Freddy King

MAN HOLE – Freddy King

THINK IT OVER – B.B. King

DON’T ANSWER THE DOOR – B.B. King

THAT’S THE WAY LOVE IS – Bobby Bland

QUEEN FOR A DAY – Bobby Bland

SAD AS A MAN CAN BE – Ike Turner

I’M TORE UP – Ike Turner

The mood begins with a nod to vocal harmony’s golden era: The Four Vagabonds’ “P.S. I Love You.” The Vagabonds were one of the most musically sophisticated of the 1940s vocal quartets—bridging barbershop technique and jazz harmony long before doo-wop and soul. Their precision and warmth perfectly set the tone for the reflective final hour.

From there, Herbie Fields’ “Gate Serene Blues” introduces a touch of swing-era modernism. Fields was a gifted tenor saxophonist whose blend of jazz phrasing and jump-blues rhythm points toward the musical world Jim O’Neal worked to preserve: musicians who could play it all, from hard-driving jive to tender midnight ballads.

The set glides into a trio of selections that showcase the meeting of soul and sophistication: Ray Charles’ “On the Other Hand Baby,” Betty Carter’s “Tell Him I Said Hello,” and Jimmy Smith’s “Absolutely Funky.” Each captures a different facet of mid-century Black American music—Charles’s mix of gospel and swing, Carter’s seamless phrasing and emotional control, and Smith’s Hammond B-3 wizardry that redefined jazz itself. These are records that trace a direct line from the church to the club, the same lineage that informed Sonny Thompson, Amos Milburn, and so many others who passed through the King and Atlantic rosters.

A romantic hush falls over the middle of the hour with a set from Ray and Betty, their paired vocals evoking the sophisticated nightclub duets of the 1950s and ’60s. “Alone Together,” “Cocktails for Two,” and “For All We Know” blend the intimacy of jazz phrasing with the tenderness of pop songwriting. These selections would have fit perfectly on the turntables of early Living Blues readers—collectors who appreciated both the raw and the refined.

The transition to T-Bone Walker returns us squarely to the Blues. “T-Bone Blues,” “Mean Old World,” and “Low Down Dirty Shame” remain textbook examples of how to combine swing sensibility with electric bite. Walker’s phrasing, both vocal and instrumental, influenced nearly every postwar guitarist—from B.B. King and Gatemouth Brown to the young Robert Jr. Lockwood. His records embody the very dialogue between Blues and jazz that Jim O’Neal spent his life documenting.

As the night deepens, Cushing lets the hour stretch out with Lloyd Glenn’s “Chica Boo”—a tune that perfectly captures the relaxed but impeccable groove of West Coast R&B. That smooth pulse continues with Johnny “Guitar” Watson’s “She Moves Me,” where showmanship meets subtlety, and then Ann Cole’s “Nobody But Me” and Lavelle White’s “Stolen Love,” two superb examples of 1950s female R&B that deserve far more recognition.

Finally, the set closes with Fleetwood Mac’s “Albatross.” Its drifting guitar lines and meditative calm are the perfect benediction for a long night of Blues, history, and conversation. The track’s serene tone feels almost cinematic—like the sun rising on the other side of the dial, bringing the Blues Before Sunrise full circle.

Hour Six reminds us that the Blues isn’t bound to any one form. It stretches and breathes through jazz, R&B, and beyond—still carrying the same emotional truth that O’Neal devoted his career to preserving.

Hour 6 Playlist

P.S. I LOVE YOU – Four Vagabonds

GATE SERENE BLUES – Herbie Fields

ON THE OTHER HAND BABY – Ray Charles

TELL HIM I SAID HELLO – Betty Carter

ABSOLUTELY FUNKY – Jimmy Smith

ALONE TOGETHER – Ray & Betty

COCKTAILS FOR TWO – Ray & Betty

FOR ALL WE KNOW – Ray & Betty

T-BONE BLUES – T-Bone Walker

MEAN OLD WORLD – T-Bone Walker

LOW DOWN DIRTY SHAME – T-Bone Walker

CHICA BOO – Lloyd Glenn

SHE MOVES ME – Johnny Guitar Watson

NOBODY BUT ME – Ann Cole

STOLEN LOVE – Lavelle White

ALBATROSS – Fleetwood Mac

The show kicks off with Louis Armstrong’s “Skeletons in the Closet,” a 1936 classic from Pennies from Heaven that gleefully winks at death itself. Armstrong’s gravelly charisma turns what could be macabre into pure entertainment — the trumpets dance, the bones rattle, and the graveyard swings. It’s the perfect overture for the hour: sinister but smiling, a Halloween where the ghosts know how to scat.

Then comes Scatman Crothers, Hollywood’s future “Shining” caretaker, in his hipper, jump-blues prime. His run of novelty gems — “The Thing,” “Dead Man Blues,” and “Ghost Riders in the Sky” — show him as one of postwar R&B’s most animated storytellers. His ghost stories swing between cowboy myth and comic terror, bridging the big band era and early rock ‘n’ roll. Crothers’ “Mr. Ghost Goes to Town” ties directly to the 1930s Five Jones Boys version, both steeped in zany wordplay and jazzy ghost parades.

From there, the Ravens deliver “Phantom Stage Coach,” an eerie vocal-group gem that drifts like fog across an abandoned highway. Then Lavaida Carter’s “JoJo the Cannibal Kid” injects some pure vaudeville horror into the mix — a reminder that before monster movies, audiences got their scares from stage acts and radio dramas full of wild sound effects and dark humor.

Cab Calloway takes center stage with “Old Man of the Mountain” and “Ghost of Smokey Joe,” both definitive examples of his ghostly charisma. Cab’s voice slithers and howls, his orchestra whooping behind him like a jazz séance. Nobody balanced menace and mirth like Calloway — his ghosts could jitterbug as easily as they could haunt your dreams.

Next, Joe Lutcher’s “Lavender Coffin” turns death into dancefloor delight, a jump blues anthem that proves the afterlife swings in 4/4 time. Julia Lee’s “Scream in the Night” follows, an earthy, seductive number where Lee’s Kansas City sass meets Halloween theatrics. When Bessie Smith steps in with “The Devil’s Gonna Get You” and “Haunted House Blues,” the mood deepens — no longer camp, but pure blues power. Bessie’s devil isn’t a costume; he’s a metaphor for sin, loss, and the trouble that haunts us all.

Then comes the undisputed king of shock and shriek — Screamin’ Jay Hawkins — whose five-song run forms the demonic heart of the hour. “I Put a Spell on You,” “Little Demon,” “Feast of the Mau-Mau,” “There’s Something Wrong with You,” and “Frenzy” are all wild, unhinged performances that redefined what it meant to be scary in song. Hawkins didn’t just sing about monsters; he became one, complete with stage coffins, capes, and a macabre sense of humor that prefigured everyone from Alice Cooper to Dr. John. His theatrical madness turned the blues into pure horror performance art — and it still chills the airwaves decades later.

Finally, the hour closes with Joe Morris’s “Ghost Train,” a 1949 instrumental that rides out of the darkness with a moaning horn section and rhythm section pulse like wheels on spectral rails. It’s a perfect closer — a train bound for the afterlife, but one you can still dance to before it disappears into the mist.

Hour One proves that the Halloween spirit has been alive in jazz and blues for nearly a century. The ghosts, devils, and skeletons were never just props — they were metaphors for the music itself: timeless, unkillable, and always ready to rise again at midnight.

Hour 1 Playlist

SKELETONS IN THE CLOSET – Louis Armstrong

THE THING – Scatman Crothers

MR. GHOST GOES TO TOWN – Five Jones Boys

DEAD MAN BLUES – Scatman Crothers

GHOST RIDERS IN THE SKY – Scatman Crothers

PHANTOM STAGE COACH – Ravens

JOJO THE CANNIBAL KID – Lavaida Carter

OLD MAN OF THE MOUNTAIN – Cab Calloway

GHOST OF SMOKEY JOE – Cab Calloway

LAVENDER COFFIN – Joe Lutcher

SCREAM IN THE NIGHT – Julia Lee

THE DEVIL’S GONNA GET YOU – Bessie Smith

HAUNTED HOUSE BLUES – Bessie Smith

I PUT A SPELL ON YOU – Screamin’ Jay Hawkins

LITTLE DEMON – Screamin’ Jay Hawkins

FEAST OF THE MAU-MAU – Screamin’ Jay Hawkins

THERE’S SOMETHING WRONG ETC – Screamin’ Jay Hawkins

FRENZY – Screamin’ Jay Hawkins

GHOST TRAIN – Joe Morris

The hour bursts open with Big T Tyler’s “King Kong,” a rollicking novelty number that sets the mood—part monster movie, part jump blues rave-up. Tyler, a fine shouter in the Louis Jordan mold, delivers the kind of oversized energy that makes even a giant ape sound like he belongs on a nightclub stage.

Johnny Fuller’s “Haunted House” keeps the humor alive but adds a hint of menace. Recorded in 1958, it’s one of the defining tracks of Halloween R&B—a tale of one man’s spooky homecoming wrapped in guitar twang and gospel call-and-response. Fuller’s delivery balances laughter and terror, proving that the blues could wear a costume and still stay true.

Then The Sly Fox slinks in with “The Dream,” a bizarre and atmospheric number built on echo and paranoia. It’s the sound of mid-century America dipping into the subconscious, where atomic anxiety met folk superstition. Chuck Berry’s “Down Bound Train” follows, his rare foray into moral storytelling. It’s a gospel-inflected nightmare where a sinner rides a flaming locomotive straight into hell—a chilling reminder that Berry could write parables as well as party anthems.

No Halloween broadcast would be complete without Bo Diddley, and he dominates the next stretch with “Mummy Walk” and “Bo Meets the Monster.” These cuts show Bo at his most playful and self-mythologizing, creating his own comic book universe of rhythm, bravado, and monsters. His trademark beat feels like bones rattling in the dark, and the songs’ primitive power reminds listeners that fear and fun often share the same groove.

The comic streak continues with Pigmeat Markham’s “The Judge,” a theatrical send-up that mixes courtroom satire and vaudeville slapstick. Markham’s booming voice and streetwise humor made him a national personality, but his roots in Black tent show comedy lend this track a haunted history of its own—one that ties performance, parody, and protest together.

Then the mood turns fiery and grim. Eugene Fox’s “Sinner’s Dream” drifts like a sermon from beyond, while Tampa Red’s “The Witching Hour” harks back to the blues’ prewar mysticism, full of midnight warnings and shadowy spirits. From there, Lightnin’ Hopkins’ “Black Ghost” and John Lee Hooker’s “Burning Hell” and “Graveyard Blues” drag the listener straight into the Delta’s infernal underworld. Hopkins’ ghost is the eternal wanderer, while Hooker’s hell burns not with flames, but with guilt and groove—each track a slow-motion descent that only he could narrate.

Sunnyland Slim’s “The Devil Is a Busy Man” brings the moral back into focus, a Chicago piano sermon delivered with all the force of Sunday conviction. Sonny Boy Williamson I follows with “Dealing with the Devil,” recorded decades earlier but thematically perfect—a cautionary tale of bargains and blues, proving that every musician eventually has to reckon with his demons.

The set closes with Morris Lane’s “Moon Ray,” an instrumental palate cleanser that floats like smoke over a graveyard—jazz horns shimmering in the twilight, suggesting both rest and resurrection. It’s the calm after an hour of dancing with devils, reminding us that the blues always circles back to beauty, no matter how dark the path.

This hour stands as a reminder that the supernatural in R&B was never just gimmickry. It was metaphor, mirror, and myth. Whether conjuring ghosts or warning of hellfire, these artists were talking about life itself—its dangers, its desires, and the thin line between laughter and fear.

Hour 2 Playlist

KING KONG – Big T Tyler

HAUNTED HOUSE – Johnny Fuller

THE DREAM – The Sly Fox

DOWN BOUND TRAIN – Chuck Berry

MUMMY WALK – Bo Diddley

BO MEETS THE MONSTER – Bo Diddley

THE JUDGE – Pigmeat Markham

SINNER’S DREAM – Eugene Fox

THE WITCHING HOUR – Tampa Red

BLACK GHOST – Lightnin’ Hopkins

BURNING HELL – John Lee Hooker

GRAVEYARD BLUES – John Lee Hooker

THE DEVIL IS A BUSY MAN – Sunnyland Slim

DEALING WITH THE DEVIL – Sonny Boy Williamson I

MOON RAY – Morris Lane

The hour opens with “Dr. Watson & Mr. Holmes” by the Spirits of Rhythm — a sly, jazzy piece that turns the famous detective story into a musical parable. It’s witty and urbane, yet it eases the listener into a world where shadows have rhythm and even the cleverest investigator might stumble upon a ghost.

From there, the mood turns darker with Walter Page’s Blue Devils and their “Blue Devil Blues.” Recorded in 1929, this was one of the earliest pieces to use the “devil” as both symbol and subject. For the Kansas City crowd that birthed swing, the “blue devils” were those late-night demons of sorrow and temptation — and they’ve been haunting the blues ever since.

As the set unfolds, we meet the ghosts themselves. George Carter’s “Ghost Woman Blues” and Walter Davis’ “Blue Ghost Blues” are classic examples of the blues as exorcism — men haunted not just by spirits, but by memories of love gone wrong. Victoria Spivey’s “Haunted by the Blues” takes that a step further; her voice trembles between sensuality and fear, as if the blues itself were chasing her.

Memphis Minnie, never one to shy away from a good scare, offers her own “Haunted House,” turning a familiar Delta trope into a sharp-edged tale of danger and defiance. Likewise, Texas Alexander revisits “Blue Devil Blues” with his moaning, preacher-like delivery, giving the devil himself a sermon. Helen Gross’s “Haunted House Blues” and Charlie McFadden’s “Lonesome Ghost Blues” add a theatrical flair — blues that could easily soundtrack an early horror film.

The hour’s eerie depth continues with Sam Montgomery’s take on “Blue Devil Blues,” and Ollie Sheppard’s “Frankenstein Blues,” a playful yet chilling riff on the idea of building the perfect lover from broken parts. Decades before rock bands turned horror into novelty, these early blues singers were already exploring the fear of what man might create — and what he couldn’t control.

Then comes the hour’s spiritual center: the haunted, mournful voice of Lonnie Johnson. Few artists have expressed sorrow and sophistication like Johnson, and here he appears repeatedly — a fitting tribute for Halloween. His “Blue Ghost Blues,” “Lonesome Ghost Blues,” “Devil’s Got the Blues,” and “The Devil’s Woman” form a suite of supernatural despair. Johnson doesn’t sing about monsters; he is the haunted man, alone with his guitar and memories that won’t die. His polished phrasing and lyrical guitar work elevate these songs beyond novelty — they are confessions whispered into the dark.

By the time the set closes, it’s clear that Hour Three isn’t just spooky fun — it’s an exploration of how the blues gave voice to the unseen. Ghosts in these songs are memories, guilt, desire, and survival. The devil is both temptation and truth. And through it all, the singers remind us that the real haunting isn’t in the graveyard — it’s in the heart.

Hour 3 Playlist

DR. WATSON & MR HOLMES – Spirits of Rhythm

BLUE DEVIL BLUES – Walter Page’s Blue Devils

BLACK GHOST BLUES – Yas-Yas Girl

GHOST WOMAN BLUES – George Carter

BLUE GHOST BLUES – Walter Davis

HAUNTED BY THE BLUES – Victoria Spivey

HAUNTED HOUSE – Memphis Minnie

BLUE DEVIL BLUES – Texas Alexander

HAUNTED HOUSE BLUES – Helen Gross

LONESOME GHOST BLUES – Charlie McFadden

BLUE DEVIL BLUES – Sam Montgomery

FRANKENSTEIN BLUES – Ollie Sheppard

BLUE GHOST BLUES – Lonnie Johnson

LONESOME GHOST BLUES – Lonnie Johnson

DEVIL’S GOT THE BLUES – Lonnie Johnson

BLUE GHOST BLUES – Lonnie Johnson

THE DEVIL’S WOMAN – Lonnie Johnson

The tone is set immediately with Junior Wells’ “Hoodoo Man,” the title track from his groundbreaking 1965 album Hoodoo Man Blues. Backed by Buddy Guy on guitar, the cut redefined the Chicago sound: gritty, moody, and irresistibly alive. Its follow-up, “Two-Headed Man,” doubles down on the mysticism, a sly nod to the duality of man — and maybe a wink toward Wells’ own trickster persona.

The spirit of the supernatural continues with Willie Mabon’s “Seventh Son,” a track rooted in one of the oldest blues superstitions. The legend of the seventh son — a man born with second sight and magical gifts — has floated through the blues canon for generations. Mabon’s version is slick and urbane, proof that voodoo lore found a home even in the postwar nightclub.

Then the great Muddy Waters takes the stage, transforming myth into Chicago electricity. His string of mojo-laced anthems — “Louisiana Blues,” “Mojo,” “My John the Conqueror Root,” and “Hoochie Coochie Man” — form a masterclass in blues sorcery. Muddy didn’t just sing about mojo bags and root doctors; he embodied them. His booming voice and slide guitar conjured the power of hoodoo into the language of modern rhythm, linking the folk beliefs of the Delta to the raw power of electric Chicago blues.

From there, Lightning Slim picks up the torch with “Hoodoo Blues,” his swampy, low-slung tone dripping with Louisiana humidity. Lonesome Sundown keeps that Louisiana feel going on “Hoodoo Woman Blues” and “Mojo Man,” weaving Creole rhythms and deep soul into his dark incantations. These are records soaked in shadow — the kind of tracks that make you believe the crossroads might really be just around the corner.

The hour continues its southern march with Whispering Smith’s “Mojo Hand,” a harmonica-driven growler that channels the raw spirit of the Delta. Then Tabby Thomas lights the candles with “Hoodoo Party,” a celebratory take on black magic that dances rather than creeps. It’s the joyous side of the supernatural — the idea that the same power that haunts you can also make you move.

Lonnie Brooks’ “Two-Headed Man” reappears in a later, funkier version, tying back to Junior Wells’ opener but with Brooks’ Louisiana-by-way-of-Chicago swagger. Wild Child Butler’s “Everybody Got a Mojo” and Big Wheeler’s “Damn Good Mojo” remind listeners that by this point in the night, everyone’s been touched by the spell. Each man’s performance is steeped in sly humor and deep groove — part street-corner sermon, part hoodoo chant.

The set closes with Lurrie Bell’s “Voodoo Whammy #2,” Hop Wilson’s “Black Cat Bone,” and Lightning Hopkins’ “Mojo Hand.” Hopkins’ tune, one of the most famous “mojo” songs in blues history, brings the hour full circle. His laconic Texas delivery — half prayer, half charm — sums up the entire Halloween theme in three chords: fear, faith, and feeling.

Hour Four of the BBS Annual Halloween Show is a roots revival séance — where electric guitars buzz like insects over swamp water and the blues itself becomes the oldest kind of magic. As the saying goes, don’t mess with someone who’s got their mojo working.

Hour 4 Playlist

HOODOO MAN – Jr. Wells

TWO-HEADED MAN – Jr. Wells

SEVENTH SON – Willie Mabon

LOUISIANA BLUES – Muddy Waters

MOJO – Muddy Waters

MY JOHN – THE CONQUEROR ROOT – Muddy Waters

HOOCHIE COOCHIE MAN – Muddy Waters

HOODOO BLUES – Lightning Slim

HOODOO WOMAN BLUES – Lonesome Sundown

MOJO HAND – Whispering Smith

MOJO MAN – Lonesome Sundown

HOODOO PARTY – Tabby Thomas

TWO-HEADED MAN – Lonnie Brooks

EVERYBODY GOT A MOJO – Wild Child Butler

DAMN GOOD MOJO – Big Wheeler

VOODOO WHAMMY #2 – Lurrie Bell

BLACK CAT BONE – Hop Wilson

MOJO HAND – Lightning Hopkins

The hour opens with the Delta Rhythm Boys and “She Believed a Gypsy,” a light-hearted slice of harmony jazz where superstition meets swing. The group’s smooth phrasing and tight vocal blend transform what could’ve been a simple novelty tune into something slyly charming — a reminder that the line between luck and love is as thin as a tarot card. From there, the mood moves to the dance floor with Erskine Hawkins, the “Twelfth Street Rag Man,” whose “A Skippin’ & A’ Hoppin’” and “So Long Goodbye Blues” bring the elegance of big band energy to the set. Hawkins’ horn-led orchestra swings effortlessly, their sophisticated polish echoing the golden era of late-night ballroom blues.

The spell deepens with Georgia Carr, whose “I Dream of You” is a satin-smooth torch song that bridges cabaret sophistication and blues-inflected yearning. Carr, an underrated vocalist of the 1950s, channels a smoky confidence that perfectly fits the hour’s reflective turn. She gives way to Houston Person’s “True Blues,” a lush instrumental with the tenor saxophone taking center stage — a sound equal parts midnight lament and soulful exhale.

No Halloween show would be complete without Dinah Washington, whose “I Wanna Cry” and “It’s Too Soon to Know” capture the aching vulnerability of love lost. Dinah’s phrasing is pure heartbreak — dramatic but human, spiritual yet grounded in the blues. Her mastery of tone makes even the simplest lyric sound haunted.

The mood continues with Jr. Parker, whose smooth Memphis delivery in “Pretty Baby” and “I’m Holding On” adds a rhythm and blues pulse to the hour. His balance of soul and restraint gives the set an intimate, late-night vibe. Little Milton follows with “That’ll Never Do” and “Operator,” both sharp examples of his St. Louis-to-Chicago blues hybrid — slick guitar, churchy vocals, and a storyteller’s edge.

The set’s grit emerges with Kid Thomas and “Wolf Pack,” a brass-fueled New Orleans cut that feels both celebratory and sinister. Dusty Brown’s “Hurry Home” keeps the city blues alive with harmonica grit, followed by Big Boy Crudup’s “That’s Alright,” a song that famously influenced Elvis Presley’s early sound but here reclaims its rightful blues authority.

Earl Gaines’ “Mercy on My Soul” serves as a confessional before the curtain falls, his pleading tone giving the hour’s emotional center. And then, as dawn approaches, the show closes with Fleetwood Mac’s “Albatross” — an instrumental ghost story in sound. Peter Green’s guitar floats like mist, echoing over the remnants of all the songs that came before it. There are no words, just the suggestion of eternity — the perfect end to a five-hour séance of blues, soul, and spirit.

Hour Five of the BBS Annual Halloween Show isn’t about jump scares or voodoo rituals. It’s about the spell that lingers when the candles burn out — the ache in a note, the sigh between lines, the quiet beauty of the blues that haunt not with fear, but with feeling.

Hour 5 Playlist

SHE BELIEVED A GYPSY – Delta Rhythm Boys

A SKIPPIN’ & A’ HOPPIN’ – Erskine Hawkins

SO LONG GOOD-BYE BLUES – Erskine Hawkins

I DREAM OF YOU – Georgia Carr

TRUE BLUES – Houston Person

I WANNA CRY – Dinah Washington

IT’S TOO SOON TO KNOW – Dinah Washington

PRETTY BABY – Jr. Parker

I’M HOLDING ON – Jr. Parker

THAT’LL NEVER DO – Little Milton

OPERATOR – Little Milton

WOLF PACK – Kid Thomas

HURRY HOME – Dusty Brown

THAT’S ALRIGHT – Big Boy Crudup

MERCY ON MY SOUL – Earl Gaines

ALBATROSS – Fleetwood Mac

We begin with Johnny Otis’s “Harlem Nocturne”, an atmospheric instrumental that sets the mood like a smoky curtain parting. Otis, the “Godfather of Rhythm and Blues,” fuses jazz sophistication with the streetwise rhythm that would define early R&B. The tune is cinematic and sultry—an invitation to settle in for the long, late-night journey ahead.

Then comes Jimmy Rushing, the great “Mr. Five by Five,” whose booming voice powered Count Basie’s band in its prime. Rushing’s performances here—“My Baby’s Business,” “Jimmy’s Round the Clock Blues,” “Good Morning Blues,” and “Thursday Blues”—show why he remains one of the most beloved blues shouters of all time. Each cut captures his trademark combination of earthy humor and deep pathos. Rushing could swing hard and still tell the blues truth, his phrasing as nimble as any horn section behind him.

Helen Humes, another Basie alum, follows with a run of powerhouse sides—“Ain’t Gonna Quit You Baby,” “Livin’ My Life My Way,” “Knockin’ Myself Out,” and “Airplane Blues.” Humes brought glamour and grit to every performance. Her voice, supple yet brassy, could glide through jazz phrasing or land a hard blues punch. By the early 1950s, she had perfected the small-combo R&B sound that bridged big-band swing and postwar blues. Each track in this set shows her fierce independence and musical sophistication—qualities that made her a defining voice for women in blues.

From there, the focus shifts to the lush arrangements of Gerald Wilson, whose Los Angeles-based orchestra carried forward the West Coast jazz tradition while keeping one foot in the blues. Tracks like “Groovin’ High,” “Got a Right to Sing the Blues,” “Synthetic Joe,” and “Dissonance in Blues” highlight Wilson’s knack for blending modern harmonies with driving swing rhythms. His work for the Excelsior label reflected a broader move toward sophistication in Black big-band music after World War II, proving that the blues could be urbane and complex without losing its soul.

The vocal harmonies of The Five Red Caps on “Gabriel’s Band” and Pete Johnson’s “Hollywood Boogie” return the listener to the jump blues scene that would soon birth rock ’n’ roll. Johnson, one of the architects of boogie-woogie piano, drives the rhythm like a locomotive, and his influence runs through every barroom pianist who followed.

Paul Robeson’s “Lord God of Abraham” provides a striking change of tone. Robeson’s magnificent bass-baritone, coupled with his commanding presence, adds a spiritual gravity that elevates the entire hour. It’s a reminder that the blues and the sacred were never far apart in the lives of the people who sang them.

Finally, Johnny Otis returns with “Sgt. Barksdale,” an exuberant closer that swings with humor and attitude. Otis’s band pulses with the rhythmic energy that would soon propel R&B into national prominence—a perfect sendoff to an hour steeped in both the elegance and electricity of midcentury Black music.

Hour One of Blues Before Sunrise is more than just a playlist; it’s a portrait of a community alive with sound. From the late-night clubs of Bronzeville to the studio sessions of Excelsior and Decca, these records embody a moment when jazz, blues, and early R&B existed side by side—feeding one another, defining one another, and creating something timeless.

HOUR #1 PLAYLIST – OCTOBER 19, 2025

HARLEM NOCTURNE – JOHNNY OTIS

MY BABY’S BUSINESS – JIMMY RUSHING

JIMMY’S ROUND THE CLOCK BLUES – JIMMY RUSHING

GOOD MORNING BLUES – JIMMY RUSHING

THURSDAY BLUES – JIMMY RUSHING

AIN’T GONNA QUIT YOU BABY – HELEN HUMES

LIVIN’ MY LIFE MY WAY – HELEN HUMES

KNOCKIN’ MYSELF OUT – HELEN HUMES

AIRPLANE BLUES – HELEN HUMES

GROOVIN’ HIGH – GERALD WILSON

GOT A RIGHT TO SING THE BLUES – GERALD WILSON

SYNTHETIC JOE – GERALD WILSON

DISSONANCE IN BLUES – GERALD WILSON

GABRIEL’S BAND – FIVE RED CAPS

HOLLYWOOD BOOGIE – PETE JOHNSON

LORD GOD OF ABRAHAM – PAUL ROBESON

SGT BARKSDALE – JOHNNY OTIS

Sammy Price’s work captures a crucial bridge between early jazz and postwar blues. Known for his years as house pianist and arranger at Decca Records, Price’s rolling left hand and rhythmic bounce infused everything from boogie-woogie instrumentals to pop-blues hits. In recordings like “Rib Joint” and “Nice and Easy,” his piano cuts through with clean precision and a strong church influence. He had a knack for turning the blues into something urbane and danceable without losing its roots—a quality that made him an in-demand session man behind artists like T-Bone Walker and Big Joe Turner.

From there, the hour turns to Ethel Waters, a performer who helped redefine what a blues vocalist could be. Waters began her career on the vaudeville stage before becoming a major recording artist in the 1920s. Her early records—like “Down Home Blues” and “My Handy Man Ain’t Handy No More”—showcase a singer capable of emotional depth, sly humor, and sophisticated phrasing. But Waters also transcended the blues; she became a celebrated Broadway performer and an early gospel interpreter whose recordings like “His Eye Is on the Sparrow” introduced sacred themes to popular audiences. Her inclusion this hour underscores the continuum between the pulpit and the nightclub, between sacred uplift and worldly storytelling.

The gospel selections that follow bring that theme home. Artists like The Soul Stirrers, The Pilgrim Travelers, and Sister Rosetta Tharpe represent the raw, ecstatic power of the gospel tradition. When the Soul Stirrers deliver “I’m a Pilgrim,” they transform an old spiritual into a modern harmony masterpiece, setting the template for groups like the Swan Silvertones and the Five Blind Boys. The Pilgrim Travelers’ “Jesus Hits Like the Atom Bomb” crackles with wartime-era urgency, using the language of the atomic age to frame the apocalypse in terms everyone could understand.

And then there’s Sister Rosetta Tharpe, whose “Strange Things Happening Every Day” remains one of the most important records in American music history. Recorded in 1944 with her electric guitar ringing like a bell, it became a hit on both gospel and R&B charts—making Tharpe, in effect, one of the first rock & roll pioneers. Her blend of sanctified joy and blues grit made her a model for everyone from Chuck Berry to Little Richard.

The hour’s final cuts—likely including spirituals by The Golden Gate Quartet or The Charioteers—bring things full circle. Both groups were masters at merging jubilee harmonies with rhythmic swing, proving that gospel didn’t have to be solemn to be profound. By the time the hour fades out, it’s clear how gospel, blues, and jazz share the same DNA: music meant to stir the soul, whether in a revival tent or a packed dancehall.

Sammy Price and Ethel Waters remind us that sophistication and spirituality are not opposites—they’re complementary forces. Their artistry, along with the gospel voices featured this hour, reveals how deep the blues runs, not just through the juke joints of America but through its churches, theaters, and hearts.

HOUR #2 PLAYLIST

PAY DAY JUMP – ROY BROWN

WORRIED LIFE BLUES – RUBBERLEGS WILLIAMS

THAT’S THE BLUES – RUBBERLEGS WILLIAMS

MY LOVE COMES TUMBLING DOWN – COUSIN JOE

BABY YOU DON’T KNOW IT ALL – COUSIN JOE

LET ME BE YOUR MAN – GATEMOUTH MOORE

GRAVEYARD DISPOSITION – GATEMOUTH MOORE

WHAT EVIL HAVE I DONE – WALTER BROWN

GONNA PLAY WITH YOUR WOMAN – WALTER BROWN

TOGETHER – EDDIE LOCKJAW DAVIS

BOOGIE WOOGIE MOAN – SAMMY PRICE

DO YOU DIG MY JIVE – SAMMY PRICE

HOW ‘BOUT THAT MESS – SAMMY PRICE

GEORGIA BLUES – ETHEL WATERS

I LIKE THE WAY HE DOES IT – ETHEL WATERS

SAID HE WOULD CALM THE OCEAN – GOLDEN GATE QUARTET

NO FEMALE ANGELS IN HEAVEN – ELDER SOLOMON MICHAUX

I’M A ROLLIN’ – WINGS OVER JORDAN

I WILL TRUST IN THE LORD – WINGS OVER JORDAN

Lonnie Johnson’s career defies simple categorization. Emerging from New Orleans in the 1920s, he brought a level of technical fluency and harmonic sophistication to the blues guitar that had never been heard before. His collaborations with Eddie Lang—an Italian-American jazz guitarist recording under the pseudonym “Blind Willie Dunn” to disguise their interracial sessions—were revolutionary. Recordings like “Two-Tone Stomp,” “Have to Change Keys,” and “Deep Minor Rhythm Stomp” capture a dialogue between two master musicians who understood each other intuitively. These tracks are more than duets—they’re early jazz-blues conversations, blending blues emotion with the rhythmic drive and melodic improvisation that would define modern jazz guitar.

With Clara Smith, Lonnie reveals another side of his musical personality. On pieces like “You’re Gettin’ Old on Your Job,” “What Makes You Act Like That,” and “Don’t Wear It Out,” Johnson supports Smith’s bold, sassy vocal delivery with subtle, empathetic phrasing. Clara Smith was among the most recorded of the classic female blues singers, known for her earthy humor and stage presence. Their pairing highlights the shift from the vaudeville blues of the 1920s toward a more personal, story-driven style—one that Lonnie’s sophisticated accompaniment helped make possible.

Moving to Spencer Williams, the set becomes looser and more playful. Williams, best known as a songwriter (“Basin Street Blues,” “I Found a New Baby”), brought a lively energy to the sessions. Tracks like “The Monkey and the Baboon,” “It Feels So Good (Pts. I & II),” and “The Dirty Dozens” find Johnson cutting loose, engaging in witty back-and-forths and sly double-entendres. These sides bridge barrelhouse humor and street-corner storytelling with a jazz musician’s command of form—a rare combination that makes them endlessly fresh.

The duets with Victoria Spivey—“New Black Snake Blues (Pts. I & II)” and “Furniture Man Blues (Pts. I & II)”—are among the most compelling of the hour. Spivey, one of the most dynamic women in blues, shared with Lonnie both a musical sophistication and a sly, knowing humor. Their voices and guitars intertwine naturally; it’s a collaboration of equals. These recordings also hint at the enduring friendship between the two—decades later, Spivey would help bring Bob Dylan into the studio for his first recording session, a testament to her long influence.

Finally, Lonnie Johnson’s duets aren’t just historical curiosities—they are essential documents in the evolution of American music. His intricate single-string solos prefigured the electric guitar work of T-Bone Walker, Charlie Christian, and B.B. King. His understanding of harmony and melody expanded the expressive vocabulary of the blues, laying the groundwork for everything from rhythm and blues to modern jazz guitar.

Hour Three is not just a tribute to Lonnie Johnson—it’s a reminder that collaboration was at the heart of his artistry. Whether sharing the stage with a jazz virtuoso or a blues powerhouse, Johnson’s sound was always refined, emotionally direct, and unmistakably his own.

HOUR #3 PLAYLIST – OCTOBER 19, 2025

TWO-TONE STOMP – LONNIE JOHNSON & EDDIE LANG

HAVE TO CHANGE KEYS – LONNIE JOHNSON & EDDIE LANG

DEEP MINOR RHYTHM STOMP – LONNIE JOHNSON & EDDIE LANG

MIDNIGHT CALL – LONNIE JOHNSON & EDDIE LANG

YOU’RE GETTIN’ OLD ON YOUR JOB – LONNIE JOHNSON & CLARA SMITH

WHAT MAKES YOU ACT LIKE THAT – LONNIE JOHNSON & CLARA SMITH

YOU HAD TOO MUCH – LONNIE JOHNSON & CLARA SMITH

DON’T WEAR IT OUT – LONNIE JOHNSON & CLARA SMITH

THE MONKEY AND THE BABOON – LONNIE JOHNSON & SPENCER WILLIAMS

ONCE OR TWICE – LONNIE JOHNSON & SPENCER WILLIAMS

IT FEELS SO GOOD (PTS. I & II) – LONNIE JOHNSON & SPENCER WILLIAMS

NEW BLACK SNAKE BLUES (PTS. I & II) – LONNIE JOHNSON & VICTORIA SPIVEY

FURNITURE MAN BLUES (PTS. I & II) – LONNIE JOHNSON & VICTORIA SPIVEY

THE DIRTY DOZENS – LONNIE JOHNSON & SPENCER WILLIAMS

The hour opens with Earl Hooker’s “Tanya”, a sterling example of his silky touch and complex phrasing. Hooker—known for his slide technique that blended blues tonality with jazz-like precision—was a musician’s musician. “Tanya,” though instrumental, speaks volumes; his phrasing tells its own story, communicating heartbreak, mischief, and defiance without a single lyric.

From there, the spotlight turns to Elmore James, the high priest of the electric slide guitar. His set—“She Just Won’t Do Right,” “Stormy Monday,” “Country Boogie,” and others—captures the full range of his style. “Stormy Monday” pays homage to T-Bone Walker’s slow-burn classic but with Elmore’s trademark metallic intensity. “Country Boogie” is one of his lesser-heard titles, full of that infectious rhythm that would shape the rock ‘n’ roll that followed. Elmore’s voice—pleading and commanding in equal measure—anchors these tracks, showing why he became the template for electric blues vocalists from Chicago to London.

Johnny Littlejohn follows with “I Had a Dream,” a deep cut that reveals his understated genius. Littlejohn came up on the same scene as Muddy Waters and Elmore, often overshadowed by bigger names, but his guitar work had a haunting, almost conversational tone. His recordings for the Argo and Checker labels in the early ‘60s stand as some of the finest examples of late-period Chicago blues before the British Invasion brought a new audience to the genre.

The Big Three Trio—featuring Willie Dixon on bass—represent a bridge between the jump blues of the 1940s and the heavier postwar style. On “If the Sea Was Whiskey” and “Cool Kind Woman,” they mix polished harmonies with sly, urbane lyrics. Dixon’s presence looms large—not just as a player but as a songwriter who would later pen anthems for Muddy Waters, Howlin’ Wolf, and Little Walter. These early Trio sides show him sharpening his wit and groove long before Chess Records made him a legend.

Smokey Smothers’ “Ain’t Gonna Be Your Monkey Man” returns things to the juke joint. Smokey—an under-recognized powerhouse on the Chicago circuit—had a grit that kept his sound grounded in the Delta even as he plugged in. He was one of the last great linkages between the acoustic postwar tradition and the full-throttle electric explosion.

As the hour rolls on, Jerry McCain lights things up with “She’s Tough,” “The Jig’s Up,” and “Turn Your Damper Down.” McCain’s harmonica style was sharp and humorous, straddling the line between blues and R&B. His output for Excello Records influenced everyone from Kim Wilson to Rick Estrin, combining a wicked groove with a wink and a smile.

Finally, the set winds down with a triple shot of Roscoe Gordon and Billy the Kid Emerson—both of whom helped define the Memphis-to-Chicago connection. Gordon’s “Real Pretty Mama” and “Do the Chicken” bring his signature offbeat shuffle, a rhythm that helped shape early reggae decades later. Billy the Kid Emerson’s “Something for Nothin’” and “Cherry Pie” close the hour on a tough, playful note, showing how blues could be both sly and sophisticated.

Hour Four is more than a sequence of records—it’s a living document of a time when Chicago was the undisputed capital of electric blues. These are the sounds that shaped modern music, from soul and rock to funk and beyond.

HOUR #4 PLAYLIST – OCTOBER 19, 2025

TANYA – EARL HOOKER

SHE JUST WON’T DO RIGHT – ELMORE JAMES

STORMY MONDAY – ELMORE JAMES

COUNTRY BOOGIE – ELMORE JAMES

I HAD A DREAM – JOHNNY LITTLEJOHN

IF THE SEA WAS WHISKEY – BIG THREE TRIO

COOL KIND WOMAN – BIG THREE TRIO

AIN’T GONNA BE YOUR MONKEY MAN – BIG THREE TRIO

AIN’T GONNA BE YOUR MONKEY MAN – SMOKEY SMOTHERS

SHE’S TOUGH – JERRY McCAIN

THE JIG’S UP – JERRY McCAIN

TURN YOUR DAMPER DOWN – JERRY McCAIN

REAL PRETTY MAMA – ROSCOE GORDON

NEW ORLEANS LA. – ROSCOE GORDON

LET’S GET HIGH – ROSCOE GORDON

DO THE CHICKEN – ROSCOE GORDON

DO THE CHICKEN – BILLY THE KID EMERSON

SOMETHING FOR NOTHIN’ – BILLY THE KID EMERSON

DON’T BE CARELESS – BILLY THE KID EMERSON

CHERRY PIE – BILLY THE KID EMERSON

The Charioteers open the hour with their rich, gospel-inflected harmonies on “For Sentimental Reasons,” a song first made famous by The Ink Spots and Nat King Cole. Their version embodies that smooth vocal blend that straddled the line between sacred and secular in the late 1940s. The group, originally formed at Wilberforce University, became one of the most polished vocal ensembles of their time, bridging jubilee gospel and the pop sensibilities that would later define doo-wop. Their take on “I’ll Be Around” later in the set carries the same combination of devotion and grace — a kind of early morning balm for the spirit.

Between those two Charioteers numbers, we glide into a jazz interlude that captures the refined edge of mid-century modernism. Stan Getz’s “Indian Summer” showcases his trademark “cool” tone — a sound so fluid it seems to float above the rhythm section. Arthur Prysock follows with “Everybody’s Somebody’s Clown,” his velvety baritone lending a touch of romantic melancholy reminiscent of the big-band era’s fading glamour. Shirley Horn’s “The Old Country” continues in that vein, bringing her signature understated phrasing and perfect timing. Horn could make any lyric sound like an intimate conversation at the edge of dawn. Shirley Scott then adds a Hammond-organ shimmer with “Secret Love,” infusing a standard with the swing and soul that made her one of jazz’s most respected organists.

The mood shifts from candlelight to juke joint as the blues take over. Willie Mabon’s “Come On Baby” kicks up the tempo — his sly piano style and urbane delivery made him one of Chess Records’ underrated talents. Eddie Boyd, another Chess alumnus, follows with “Hush Baby Don’t You Cry,” a perfect example of the Chicago blues ballad at its most restrained and soulful. Then the rhythm thickens with John Lee Hooker’s “House Rent Boogie,” one of his defining recordings — a hypnotic, driving vamp built around his spoken narrative about rent due and hard times. It’s Hooker’s world: sparse, raw, and unforgettable.

Lil’ Son Jackson’s “No Money – No Love” continues that theme with Texas grit and dry wit. His laconic phrasing and steady guitar line give voice to the everyday blues of working-class life. Big Mama Thornton’s “Yes Baby” roars with confidence — recorded during the same period that saw her release “Hound Dog,” a song that would go on to define her career. Her commanding voice reminds listeners of the unvarnished emotional power women brought to the blues, often years before male artists received similar acclaim.

Lightning Hopkins keeps the Texas current flowing with “Lonesome Home,” a spare performance that seems to echo off the walls of an empty room. His unique rhythmic phrasing — part talking, part singing — remains one of the most imitated in blues history. Big Boy Crudup, one of the earliest to plug in a guitar and point the way toward rock ‘n’ roll, offers “Mean Old World” and “Late in the Evening,” both full of his trademark country-blues swing. Crudup’s songs carried such catchy melodic drive that Elvis Presley, among others, later borrowed liberally from them.

The hour closes with Sonny Boy Williamson I’s “Mellow Chick Swing,” a track that captures the playful, urbane side of prewar harmonica blues — tight ensemble work, clever lyrics, and a smooth, danceable feel. Then, as tradition on BBS dictates, the final track brings everything full circle with Fleetwood Mac’s “Albatross.” Long before the band became a rock superpower, Peter Green’s instrumental masterpiece blended blues tone with dreamlike serenity. It’s the sound of dawn breaking after a long night of music — calm, reflective, and endlessly beautiful.

Hour #5 is less a single mood than a slow transformation — from velvet harmonies to smoke-filled blues bars, from late-night jazz to the promise of morning. It’s a reminder that the blues continuum doesn’t stop with one sound or one generation. It flows — just like this hour — from the past to the present, across every genre it ever touched.

HOUR #5 PLAYLIST – “THE SOUL BREAKFAST”

FOR SENTIMENTAL REASONS – CHARIOTEERS

INDIAN SUMMER – STAN GETZ

EVERYBODY’S SOMEBODY’S CLOWN – ARTHUR PRYSOCK

THE OLD COUNTRY – SHIRLEY HORN

SECRET LOVE – SHIRLEY SCOTT

I DIDN’T KNOW ABOUT YOU – CHARIOTEERS

I’LL BE AROUND – CHARIOTEERS

COME ON BABY – WILLIE MABON

HUSH BABY DON’T YOU CRY – EDDIE BOYD

HOUSE RENT BOOGIE – JOHN LEE HOOKER

NO MONEY – NO LOVE – LIL SON JACKSON

YES BABY – BIG MAMA THORNTON

LONESOME HOME – LIGHTNING HOPKINS

MEAN OLD WORLD – BIG BOY CRUDUP

LATE IN THE EVENING – BIG BOY CRUDUP

MELLOW CHICK SWING – SONNY BOY WILLIAMSON I

ALBATROSS – FLEETWOOD MAC

The set opens with Erskine Hawkins and his orchestra on “Tippin’ In.” Hawkins’ band was one of the few big swing outfits that kept its groove well into the R&B era. The tune’s rolling rhythm section and bluesy sax breaks laid down a blueprint for the jump blues that would soon follow. From there, we slide into the world of Joe Williams and Count Basie, the perfect marriage of baritone blues and orchestral punch. Williams’ smooth authority on tracks like “My Baby Upset Me,” “The Comeback,” and “I’ve Got a Girl” illustrates why his voice was made for Basie’s precise, propulsive swing.

The tempo cools as Dinah Washington takes the mic. Her trio of performances — “In the Rain,” “How Deep Is the Ocean,” and “Shuckin’ & Jivin’” — captures her range as a singer who could glide from smoky balladry to sly streetcorner sass. Washington never hid her blues roots, even when the arrangements leaned toward pop polish. She remains one of the great interpreters of emotion — her phrasing both sharp and unhurried, her control absolute.

The mood lifts again with The Delta Rhythm Boys, whose tight harmonies turn the ordinary into art. On numbers like “Just a Sittin’ & A Rockin’,” “One-Sided Love Affair,” and “Chilly & Cold,” they showcase how gospel precision could be reimagined for a nightclub audience. Their blend of vocal jazz and rhythm-heavy swing helped pave the way for later vocal groups like The Drifters and The Coasters.

The set continues with Wild Bill Davis, a pioneer of the Hammond organ sound in jazz. His performances on “Nice Work If You Can Get It,” “Land of Dreams,” and “Wailin’ for the Moon Dog” bring church tones and urban drive together in a way that shaped the future of both R&B and soul jazz. Davis’ rhythmic left hand and melodic right hand created an orchestra’s worth of sound from a single instrument.

Returning to the vocal side, Meade Lux Lewis rolls out his classic “Honky Tonk Train Blues,” a piece that reminds us that boogie-woogie piano was once America’s dance soundtrack. Its chugging rhythm imitates a locomotive in full steam, and Lewis rides it with joy and muscle.

The hour wraps with two unexpected delights — Josephine Baker’s “Lonesome Lovesick Blues” and Earl Bostic’s “Flamingo.” Baker, long an icon of elegance and daring, gives her performance the worldly poise of a woman who knew every shade of the blues. Bostic closes the hour with his saxophone soaring into the kind of technicolor sound that could only come from a master of tone and phrasing.

Hour One is a reminder that blues didn’t exist in isolation. It flowed through jazz clubs, dance halls, and studios alike, shaping American popular music from every direction. Each artist here — from Erskine Hawkins to Dinah Washington to Wild Bill Davis — added a piece to the puzzle. Together, they made the night swing.

Hour 1 Playlist

TIPPIN’ IN – ERSKINE HAWKINS

MY BABY UPSET ME – JOE WILLIAMS/BASIE

THE COMEBACK – JOE WILLIAMS/BASIE

I’VE GOT A GIRL – JOE WILLIAMS/BASIE

IN THE RAIN – DINAH WASHINGTON

HOW DEEP IS THE OCEAN – DINAH WASHINGTON

SHUCKIN’ & JIVIN’ – DINAH WASHINGTON

JUST A SITTIN’ & A ROCKIN’ – DELTA RHYTHM BOYS

ONE-SIDED LOVE AFFAIR – DELTA RHYTHM BOYS

CHILLY & COLD – DELTA RHYTHM BOYS

NICE WORK IF YOU CAN GET IT – WILD BILL DAVIS

LAND OF DREAMS – WILD BILL DAVIS

WAILIN’ FOR THE MOON DOG – WILD BILL DAVIS

GIMME SOME SKIN – DELTA RHYTHM BOYS

HONKY TONK TRAIN BLUES – MEADE LUX LEWIS

LONESOME LOVESICK BLUES – JOSEPHINE BAKER

FLAMINGO – EARL BOSTIC

The set begins with Ruth Brown, the woman Atlantic Records dubbed “Miss Rhythm.” Her hit “Teardrops from My Eyes” didn’t just climb the charts — it redrew the map of popular music. Brown’s sharp phrasing and gospel-informed delivery gave postwar R&B its bite, paving the way for later stars like Etta James and Aretha Franklin. LaVern Baker, another Atlantic alum, follows with “Jim Dandy.” With her sly humor and vocal agility, Baker turned a novelty song into a swaggering declaration of independence — part burlesque, part sermon, all attitude.

Then comes Big Maybelle, the woman whose voice could fill a room and stop time. On “Candy,” she turns a pop standard into a soul confession, wrapping sweetness in slow-burning intensity. Big Maybelle’s influence is hard to overstate — she bridged the rawness of postwar blues with the polish of emerging soul.

Dinah Washington’s “Baby, Get Lost” reminds listeners why she was known as the Queen. Her phrasing cuts like a scalpel, balancing elegance with unapologetic command. Dinah could swing a big band or strip a lyric to its emotional core — and she did both with the same level of mastery. Nellie Lutcher, with her playful “Fine Brown Frame,” injects wit and jazz sophistication, her piano driving the rhythm with the bounce of a late-night club.

The mood shifts as Helen Humes steps up with “Be Baba Leba,” a song that captured wartime nightlife in a single phrase. Then Mabel Scott’s “Boogie Woogie Santa Claus” brings jump energy and holiday humor — proof that these women were as comfortable swinging as they were testifying. Little Esther Phillips takes it back to the roots with “Double Crossing Blues,” her teenage voice delivering wisdom far beyond her years alongside Johnny Otis’s band.

Midway through the hour, the spotlight widens to include lesser-known names who deserve equal recognition: Camille Howard and her piano-driven “X-Temporaneous Boogie” radiate joy and technical brilliance. Faye Adams belts “Shake a Hand” with gospel conviction, a performance that turned sacred intensity into R&B’s emotional center. Annie Laurie follows with “Since I Fell for You,” a ballad that remains one of the most elegant blends of blues and jazz phrasing ever recorded.

The hour closes with two contrasting voices: Julia Lee, whose “King Size Papa” defined the risqué edge of Kansas City blues, and Varetta Dillard, whose “Mercy, Mr. Percy” bursts with rock ’n’ roll’s youthful energy before rock had even been named. Together, they remind us that women were not only part of the R&B revolution — they led it.

This hour of Blues Before Sunrise is more than nostalgia; it’s restoration. These songs reveal a generation of artists who broke barriers in sound and society alike. In the studio, they demanded respect; on record, they delivered innovation. Without these women, R&B wouldn’t have found its rhythm, and soul music might never have found its voice.

Hour 2 Playlist

TEARDROPS FROM MY EYES – RUTH BROWN

JIM DANDY – LAVERN BAKER

CANDY – BIG MAYBELLE

BABY, GET LOST – DINAH WASHINGTON

FINE BROWN FRAME – NELLIE LUTCHER

BE BABA LEBA – HELEN HUMES

BOOGIE WOOGIE SANTA CLAUS – MABEL SCOTT

DOUBLE CROSSING BLUES – LITTLE ESTHER PHILLIPS

X-TEMPORANEOUS BOOGIE – CAMILLE HOWARD

SHAKE A HAND – FAYE ADAMS

SINCE I FELL FOR YOU – ANNIE LAURIE

KING SIZE PAPA – JULIA LEE

MERCY, MR. PERCY – VARETTA DILLARD

The set begins with the syncopated snap of Blind Blake’s “Dry Bone Shuffle.” Blake was one of the most technically dazzling guitarists of the prewar era, his ragtime-infused fingerpicking so complex that later players doubted a single guitarist could have performed it. His playing sets the tone — intricate, joyful, and foundational. Blind Willie McTell follows with “Your Time to Worry,” his 12-string guitar ringing like a small orchestra. McTell’s storytelling blended street-corner realism with poetic melancholy, proving why he remains one of the most literate of all bluesmen.

Then the mood turns devotional with Blind Willie Johnson’s “Dark Was the Night, Cold Was the Ground.” There’s almost no song in American music more haunting. His wordless moans and slide guitar evoke both lament and prayer — a sound that transcends genre, race, and even time. From there, Blind Lemon Jefferson’s “Jack O’ Diamond Blues” reminds us how it all began. Jefferson was among the first blues artists to record extensively, and his success opened the doors for every artist in this hour’s lineup.

Blind Boy Fuller carries the torch with “Boots and Shoes,” his sharp Piedmont rhythm connecting ragtime to what would become rhythm and blues. His recording partner, Blind Gary Davis, contributes “Great Change in Me,” a gospel number that bursts with ecstatic picking and sanctified drive. Then Blind Roosevelt Graves takes us to church with “Rested When the Roll Is Called,” and Blind Joe Taggart continues the revival with “Handwriting on the Wall,” each blending scripture and blues in equal measure.

The parade continues: Blind Roger Hayes, Blind Bennie Paris, and Blind Willie Harris all bring the fervor of early gospel blues, while Blind Leroy Garnett and Blind Joe Reynolds return to the barrelhouse with rough, stomping energy. These players weren’t just musicians; they were historians of feeling. Blind John Davis, a piano master, adds the urbane swing of the late 1930s to the mix, while Blind Teddy Darby’s “My Laona Blues” captures the weary wisdom of the Depression years.

The hour’s closing stretch — Blind Richard Yates, Blind Norris, and Blind Mack — reminds listeners just how widespread this naming convention was, stretching from Delta country lanes to northern barrooms. The names might blur, but the music never does: each cut distinct, raw, and essential.

What unites these artists isn’t the shared prefix before their names, but the spirit they embodied — the perseverance of people who made sound their language. “The Blind Man’s Ball” isn’t a novelty concept; it’s a celebration of the roots of recorded blues. Every chord in this hour carries echoes of the streets, the sanctified church, the juke joint, and the studio. Together, these performers gave American music its most enduring foundation — one built on touch, tone, and truth.

Hour 3 Playlist

DRY BONE SHUFFLE – BLIND BLAKE

YOUR TIME TO WORRY – BLIND WILLIE McTELL

DARK WAS THE NIGHT – BLIND WILLIE JOHNSON

JACK O’ DIAMOND BLUES – BLIND LEMON JEFFERSON

BOOTS & SHOES – BLIND BOY FULLER

GREAT CHANGE IN ME – BLIND GARY DAVIS

RESTED WHEN THE ROLL IS CALLED – BLIND ROOSEVELT GRAVES

HANDWRITING ON THE WALL – BLIND JOE TAGGART

ON MY WAY TO HEAVEN – BLIND ROGER HAYES

HIDE ME IN THE BLOOD OF JESUS – BLIND BENNIE PARIS & WIFE

DOES JESUS CARE – BLIND WILLIE HARRIS

CHAIN ’EM DOWN – BLIND LEROY GARNETT

NEHI BLUES – BLIND JOE REYNOLDS

JERSEY COW BLUES – BLIND JOHN DAVIS

MY LAONA BLUES – BLIND TEDDY DARBY

GONNA MOAN MY BLUES AWAY – BLIND RICHARD YATES

SUNDOWN BLUES – BLIND NORRIS

ROOTIN’ GROUND HOG – BLIND MACK

The hour opens with Muddy Waters, still commanding, still inventive. His six selections — “You Shook Me,” “You Need Love,” “Deep Down in My Heart,” “Tiger in Your Tank,” “Read Way Back,” and “Short Dress Woman” — show a man whose confidence never dimmed. “You Shook Me” and “You Need Love,” both penned by Willie Dixon, would go on to echo through rock history — eventually reinterpreted by Led Zeppelin and countless others. Yet in Muddy’s hands, they’re earthy, sensual, and direct, pulsing with a tension no cover could quite capture. “Tiger in Your Tank” and “Short Dress Woman” reflect the renewed grit of Muddy’s early-’60s band, whose raw energy stood defiant against the growing tide of pop and rock. Even as trends shifted, Muddy’s music stayed rooted — a reminder that the electric blues was built to last.

Then the scene shifts to Howlin’ Wolf, whose growl and authority were undiminished. From “Wang Dang Doodle” to “Shake for Me,” “Killing Floor,” and “Love Me Darlin’,” Wolf’s voice cuts through with primal conviction. The 1960s found him recording some of his most powerful material under producer Willie Dixon’s pen, combining hypnotic grooves with darkly humorous storytelling. Tracks like “Pop It to Me,” “My Country Sugar Mama,” and “Mary Sue” prove that Wolf could modernize without compromise. Even as his label tried to push him toward a younger audience, he remained unmistakably himself — the blues’ eternal force of nature. There’s an almost supernatural quality in Wolf’s later sessions, a sense of wisdom and menace that no amplifier could tame.

Finally, Little Walter brings the hour to a close with a sequence of sides that reveal the complexity of his artistry in the later years of his life. “I Don’t Play,” “Just Your Fool,” “As Long As I Have You,” “Up the Line,” “You Don’t Know,” and “Southern Feeling” showcase a harmonica master confronting both personal demons and musical evolution. Walter’s tone remained molten and expressive, but by the 1960s his work also carried an undercurrent of melancholy — the cost of brilliance and survival in the hard circuit of Chicago blues. Despite health troubles and industry pressures, these recordings demonstrate why Walter’s harmonica sound would influence everyone from Paul Butterfield to Junior Wells and beyond. He remained the gold standard — sharp, inventive, and utterly singular.

Together, these three titans defined the language of electric blues and carried it into a new decade. In a world changing fast — rock rising, soul surging, and folk rediscovering the roots — Muddy, Wolf, and Walter stood as monuments of authenticity. Hour Four of Blues Before Sunrise captures that power: the grit of the South Side, the pulse of Maxwell Street, and the eternal voice of Chicago itself.

Hour 4 Playlist

YOU SHOOK ME – MUDDY WATERS

YOU NEED LOVE – MUDDY WATERS

DEEP DOWN IN MY HEART – MUDDY WATERS

TIGER IN YOUR TANK – MUDDY WATERS

READ WAY BACK – MUDDY WATERS

SHORT DRESS WOMAN – MUDDY WATERS

WANG DANG DOODLE – HOWLIN’ WOLF

SHAKE FOR ME – HOWLIN’ WOLF

KILLING FLOOR – HOWLIN’ WOLF

LOVE ME DARLIN’ – HOWLIN’ WOLF

POP IT TO ME – HOWLIN’ WOLF

MY COUNTRY SUGAR MAMA – HOWLIN’ WOLF

MARY SUE – HOWLIN’ WOLF

I DON’T PLAY – LITTLE WALTER

JUST YOUR FOOL – LITTLE WALTER

AS LONG AS I HAVE YOU – LITTLE WALTER

UP THE LINE – LITTLE WALTER

YOU DON’T KNOW – LITTLE WALTER

SOUTHERN FEELING – LITTLE WALTER

The warm-up begins with the timeless vocal blend of The Ink Spots on “I’d Climb the Highest Mountain.” Their trademark spoken interludes and tender harmonies offer an ideal dawn moment — that quiet before the day catches up. From there, Johnny Hodges slips in with “Going Out the Back Way,” his alto sax gliding like smoke, embodying the elegance of Ellington’s school of sound. Hodges’s phrasing connects jazz sophistication to blues emotion, proving why his tone remains one of the most recognizable in American music.

Then the mood turns to heartbreak and reflection with Ray Charles’s “Two Years of Torture,” a slow-burning lament that foreshadows the work we’ll hear later in the hour. Ella Fitzgerald’s “Then You’ve Never Been Blue” follows, pure and effortless as a morning breeze, before Jimmy Smith contributes a Hammond B-3 moment of soulful warmth with “My One and Only Love.”

A trio of tracks from Una Mae Carlisle — “It Ain’t Like That,” “You Mean So Much to Me,” and “It’s Sad But True” — brings us into a forgotten but essential corner of jazz-blues history. Carlisle, one of the earliest African American women to front her own radio program, was both singer and songwriter, and her recordings sit right at the intersection of swing and early R&B. Her crisp piano work and light, conversational tone add a perfect prelude to the main event: Ray Charles in the studio.

The heart of the hour is drawn from The Complete Atlantic Recordings, Disc 7 — a series of rehearsal takes, false starts, and spontaneous bursts that reveal the alchemy behind Charles’s sound. On “Heartbreaker,” we hear him not as a finished icon but as a working musician — talking to the band, adjusting the rhythm, sculpting the phrasing until it feels right. The instrumental take of “Heartbreaker” exposes his band’s deep groove, while “Sinner’s Prayer” and “Come Back Baby” are glimpses of soul in its rawest form. “Low Society,” in three separate takes, captures Charles experimenting with tempo and feel, constantly fine-tuning the emotion.

Then comes “Tell Me How Do You Feel,” a piece that demonstrates his gift for fusing blues structure with gospel fire — that call-and-response electricity that became his signature. By the time we reach “It Had to Be You,” Ray has fully transformed the standard into something personal, bittersweet, and unmistakably his own.

As a gentle epilogue, Fleetwood Mac’s “Albatross” drifts in — that instrumental seascape closing the show on a note of calm reflection. After the labor and soul of Ray’s studio, it feels like floating out of the smoke-filled studio into daylight.

Hour Five of this Blues Before Sunrise broadcast is more than a listening session — it’s a rare invitation inside the creative process. We don’t just hear Ray Charles; we hear him think, shape, and feel. It’s a closing hour that honors genius not as mystery, but as craft.

Hour 5 Playlist

I’D CLIMB THE HIGHEST MOUNTAIN – INKSPOTS

GOING OUT THE BACK WAY – JOHNNY HODGES

TWO YEARS OF TORTURE – RAY CHARLES

THEN YOU’VE NEVER BEEN BLUE – ELLA FITZGERALD

MY ONE & ONLY LOVE – JIMMY SMITH

IT AIN’T LIKE THAT – UNA MAE CARLISLE

YOU MEAN SO MUCH TO ME – UNA MAE CARLISLE

IT’S SAD BUT TRUE – UNA MAE CARLISLE

HEARTBREAKER + DIALOG – RAY CHARLES

HEARTBREAKER (INSTRUMENTAL) – RAY CHARLES

SINNER’S PRAYER – RAY CHARLES

COME BACK BABY – RAY CHARLES

LOW SOCIETY (1, 2, 3) – RAY CHARLES

TELL ME HOW DO YOU FEEL – RAY CHARLES

IT HAD TO BE YOU – RAY CHARLES

ALBATROSS – FLEETWOOD MAC

Hour One of this week’s Blues Before Sunrise sets the mood for a night of easy motion and impeccable class. Though this “No Special Theme” edition promises no single concept, it opens with a sequence that flows as smoothly as a big band chart from the height of the swing era. In this first hour, Steve Cushing draws from a deep well of jazz-infused blues and elegant vocal artistry—music that moves between sophistication and soul, where rhythm sections swing and singers shine.

The journey begins with The Charioteers and their polished “Gaucho Serenade,” a gentle reminder of the vocal harmony groups that bridged gospel and popular song. Their rich blend of tones and disciplined phrasing capture the transitional moment between the harmony quartets of the 1930s and the R&B vocal groups that would emerge in the next decade.

Then the horn-heavy brilliance of Erskine Hawkins takes center stage with a run of sides that exemplify the excitement of the big band era. “Skippin’ & A’Hoppin’,” “So Long–Goodbye,” “Please Don’t Put Me Down,” and “Downbeat” all pulse with that unmistakable swing-era vitality—tight arrangements, hot trumpet leads, and a rhythm section that seems to bounce right off the floor. Hawkins’ orchestra brought the nightclub and the dance hall together, bridging swing’s sophistication with the earthy pulse of rhythm and blues.

The tone shifts but the energy remains as Lionel Hampton steps in with his trademark combination of showmanship and precision. “Don’t Flee the Scene, Salty,” “For You My Love,” “Helpless,” and “What’s Happening Baby” showcase Hampton’s versatility—alternating between joyous energy and tender balladry. Hampton’s vibraphone shimmered like nothing else in jazz, and his vocal tracks always carried that same joyful immediacy. Together, they remind listeners that Hampton wasn’t just a virtuoso; he was a conduit of rhythm and optimism.

Ivie Anderson, the longtime vocalist for Duke Ellington’s orchestra, brings sophistication and heart in equal measure. “Your Love Has Faded,” “Five O’Clock Whistle,” “Isn’t Love the Strangest Thing,” and “Swingtime in Honolulu” are small masterpieces of phrasing and poise. Anderson’s effortless timing and emotional clarity made her one of the defining female voices of prewar jazz—a singer who could turn even a novelty tune into something radiant. Her blend of polish and intimacy connects perfectly with the hour’s smooth flow.

Next, Al Hibbler takes over, continuing that Ellingtonian thread. His baritone on “By the River St. Marie,” “Poor Butterfly,” and “Stardust” brings a lush romanticism to the set. Hibbler’s voice, with its deep vibrato and emotional richness, transcends category—equally at home in jazz, pop, and blues. Each track feels like midnight distilled into song.

To close, Cushing brings in Duke Ellington himself with “Johnny Come Lately,” completing the circle. Ellington’s orchestra, with its sophistication and swing, stands as the backbone of so much that came before and after. The piece, written by Billy Strayhorn, encapsulates the balance of melody and movement that defines the entire hour—a perfect bridge between the structure of jazz and the soul of the blues.

Hour One isn’t about fireworks; it’s about finesse. This is the blues seen through a lens of polish and precision—where emotion wears a tuxedo but still cuts deep. It’s the kind of start that invites the listener to settle in, let the rhythm wash over, and remember that elegance has always been a part of the blues’ story.

Hour 1 Playlist

GAUCHO SERENADE – CHARIOTEERS

SKIPPIN’ & A’HOPPIN’ – ERSKINE HAWKINS

SO LONG – GOOD-BYE – ERSKINE HAWKINS

PLEASE DON’T PUT ME DOWN – ERSKINE HAWKINS

DOWNBEAT – ERSKINE HAWKINS

DON’T FLEE THE SCENE SALTY – LIONEL HAMPTON

FOR YOU MY LOVE – LIONEL HAMPTON

HELPLESS – LIONEL HAMPTON

WHAT’S HAPPENING BABY – LIONEL HAMPTON

YOUR LOVE HAS FADED – IVIE ANDERSON

FIVE O’CLOCK WHISTLE – IVIE ANDERSON

ISN’T LOVE THE STRANGEST THING – IVIE ANDERSON

SWINGTIME IN HONOLULU – IVIE ANDERSON

BY THE RIVER ST MARIE – AL HIBBLER

POOR BUTTERFLY – AL HIBBLER

STARDUST – AL HIBBLER

JOHNNY COME LATELY – DUKE ELLINGTON

The hour opens with Charles Brown’s “Rocks in My Bed,” an aching ballad that exemplifies Brown’s quiet mastery. His delivery is as smooth as silk and twice as deep, blending blues with cocktail jazz in a way that made him one of the postwar era’s most sophisticated stylists. Brown’s restrained emotion contrasts perfectly with the earthy energy that follows from Tiny Bradshaw’s “Bodie Green,” a swinging slice of R&B grit that shows the jump blues spirit still alive and kicking.

Paul Gayten’s “Oo-Lala” and Annie Laurie’s “I’ll Never Be Free” capture the New Orleans flavor that defined much of early rhythm and blues. Gayten’s piano-driven grooves radiate warmth, while Laurie’s voice brings emotional authority and a touch of gospel phrasing to a love song tinged with resignation. Their partnership—both musical and professional—helped bridge the sound of wartime swing to the dawn of rock ’n’ roll.

Then comes the poet laureate of postwar blues, Percy Mayfield, with a double dose of introspection in “You Don’t Exist Anymore” and “Look the Whole World Over.” Mayfield’s lyrics read like short stories—haunted, literate, and deeply human. His smooth phrasing and melancholy wit offer a different kind of blues, one that whispers rather than shouts. Each line feels like it was lived before it was sung.

Pigmeat Markham’s “Go Ahead & Sing” injects levity and charm. Markham, a pioneering African American comedian and performer, uses humor to underscore the spirit of endurance in Black entertainment—a theme that runs parallel to the blues itself. That blend of laughter and lament feels like a hinge in the hour’s mood, leading naturally to the rich female soul of Tina Dixon’s “What I Say,” Sarah McLawler’s “I’m Just Another One,” Margie Day’s “That’s the Way Love Goes,” and Mildred Anderson’s “I’m Free.”

Each of these performances captures a different shade of womanhood in mid-century rhythm and blues—bold, tender, defiant, and reflective. Anderson’s “I’m Free” in particular stands out: a declaration of independence wrapped in sultry phrasing, as if she’s singing herself into liberation.

From there, the set glides back in time to Leroy Carr, one of the original architects of the urban blues sound. “Court Room Blues” and “My Woman’s Gone Wrong” show Carr’s conversational tone and effortless sophistication. His easy piano style and lyrical realism laid the groundwork for the smooth phrasing later perfected by Brown and Mayfield, tying this hour’s narrative full circle.

The final stretch takes us into the realm of spirit. Ethel Waters’s “Second Handed Man” adds theatrical flair and subtle bite before the transition to gospel proper with the Belmont Silvertone Singers on “Brother My Way Seems Cloudy.” Their harmonies, both yearning and serene, mark a shift from human heartache to heavenly hope. Reverend P.W. Williams’s “Testifying Meeting, Parts I & II” captures the unfiltered fervor of a live service—voices lifted, congregation shouting, faith in full swing. The hour closes with the Spirit of Memphis on “Everytime I Feel the Spirit,” sealing the journey with a burst of joy and devotion.

This hour’s emotional arc—from the nightclub to the pulpit—embodies the blues’ full spectrum. It’s not just music for sadness or celebration; it’s the soundtrack of survival.

Hour 2 Playlist

ROCKS IN MY BED – CHARLES BROWN

BODIE GREEN – TINY BRADSHAW

OO-LALA – PAUL GAYTEN

I’LL NEVER BE FREE – ANNIE LAURIE

YOU DON’T EXIST ANYMORE – PERCY MAYFIELD

LOOK THE WHOLE WORLD OVER – PERCY MAYFIELD

GO AHEAD & SING – PIGMEAT MARKHAM

WHAT I SAY – TINA DIXON

I’M JUST ANOTHER ONE – SARAH McLAWLER

THAT’S THE WAY LOVE GOES – MARGIE DAY

I’M FREE – MILDRED ANDERSON

COURT ROOM BLUES – LEROY CARR

MY WOMAN’S GONE WRONG – LEROY CARR

SECOND HANDED MAN – ETHEL WATERS

BROTHER MY WAY SEEMS CLOUDY – BELMONT SILVERTONES

TESTIFYING MEETING PTS I & II – REV. P.W. WILLIAMS

EVERYTIME I FEEL THE SPIRIT – SPIRIT OF MEMPHIS

The hour opens on sacred ground with Skip James and his haunting “I’m So Glad.” The song’s ethereal falsetto and hypnotic guitar lines remain a cornerstone of early blues—both mournful and transcendent. James’s sound feels less like performance than possession, a direct line to the spiritual intensity that defined the Delta.

From there, Kokomo Arnold’s “Paddlin’ Madelyn Home” brings in a sly rhythmic confidence. Arnold’s bottleneck guitar style was fierce and modern even in the 1930s, and his trademark vocal attack—sharp, urgent, almost percussive—gives the song its edge. Freddy Spruell’s “4A Highway” continues that restless momentum; Spruell was among the first to record in the Delta style, and his road imagery foreshadows the migratory blues narratives that would shape postwar Chicago.

Then comes Tampa Red, the man who bridged the rural and the urban with smooth precision. “Mr. Rhythm Man” captures his blend of polish and soul—showing how a slide guitar could sing as eloquently as a trumpet. That balance between sophistication and streetwise realism was his trademark, and it’s a tone that still resonates.

Walter Davis follows with “Talk’s All Over Town,” his piano-based melancholy shading into confession. Davis was never a showman but a chronicler; his songs were small dramas of regret and endurance. Lillian Glinn’s “Shreveport Blues” and Clara Smith’s “Tired of the Way You Do” add the female voice back into the mix—reminders that the blues’ emotional vocabulary was shaped as much by women as by men. Glinn’s low, resonant delivery drips with bittersweet experience, while Smith’s phrasing turns complaint into power.

Mary Stafford’s “Gonna Jazz My Way Straight” shifts the focus to the early crossover years, when vaudeville and blues coexisted on the same stage. Stafford’s command of phrasing and rhythm shows how easily the blues adapted to changing musical trends without losing its emotional truth. Likewise, Callie Vassar’s “Original Stomps” celebrates the music’s danceable energy, a lively reminder that not all blues were about sorrow—some were built to make the night move.

The set continues with Lee Brown’s “Jeff Davis Highway,” a road song with a storyteller’s twist, and the Sparks Brothers’ “Chicago’s Too Much for Me,” which captures the growing tension between the South’s rural blues and the urban sound of the North. Curtis Jones adds two standout cuts—“Mistake in Life” and “Roll Me Mama”—full of aching piano and plaintive vocals. His writing always balanced sophistication and vulnerability, his phrasing suggesting a jazzman’s sense of timing.

George Hannah’s “Alley Rat” dives into the darker corners of city life, while Bob Robinson’s take on “Sittin’ on Top of the World” returns the set to a universal refrain of endurance. Finally, the Hokum Boys close the hour with “Somebody’s Been Using That Thing,” a classic blend of humor and innuendo that perfectly captures the bawdy wit of the 1930s.

Hour Three is a time capsule—a conversation across generations of musicians who may never have met but whose recordings form a living dialogue. These songs remind us that the blues wasn’t built in studios or shaped by marketing—it was lived, shouted, whispered, and prayed into existence.

Hour 3 Playlist

I’M SO GLAD – SKIP JAMES

PADDLIN’ MADELYN HOME – KOKOMO ARNOLD

4A HIGHWAY – FREDDY SPRUELL

MR RHYTHM MAN – TAMPA RED

TALK’S ALL OVER TOWN – WALTER DAVIS

SHREVEPORT BLUES – LILLIAN GLINN

TIRED OF THE WAY YOU DO – CLARA SMITH

GONNA JAZZ MY WAY STRAIGHT etc – MARY STAFFORD

ORIGINAL STOMPS – CALLIE VASSAR

JEFF DAVIS HIGHWAY – LEE BROWN

CHICAGO’S TOO MUCH FOR ME – SPARKS BROS

MISTAKE IN LIFE – CURTIS JONES

ROLL ME MAMA – CURTIS JONES

ALLEY RAT – GEORGE HANNAH

SITTIN’ ON TOP OF THE WORLD – BOB ROBINSON

SOMEBODY’S BEEN USING THAT THING – HOKUM BOYS

The set kicks off with a quadruple blast from Freddy King, whose instrumental mastery defines the transition from jump-blues flash to modern guitar heroics. “Surf Monkey,” “Sen-Sa-Shun,” “Freddy’s Midnight Dream,” and “Low Tide” all show why King’s tone and phrasing still stand unmatched. There’s an irresistible swing beneath the power—tight band arrangements, crisp breaks, and that signature bite that made him a cornerstone of the Texas-meets-Chicago sound. When “Hide Away” hits, the groove feels timeless: an anthem for every bar band that ever dreamed of capturing lightning in three minutes of 12-bar perfection.

From there, the baton passes naturally to Otis Rush, one of the true architects of the West Side style. His cuts—“So Many Roads,” “I’m Satisfied,” “All Your Love,” and “You Know My Love”—reveal the emotional complexity behind the electricity. Rush’s voice trembles with controlled tension, while his guitar lines hover on the edge of despair and transcendence. No other player could make pain sound so elegant. Each solo builds like a storm, a mix of precision and abandon that influenced everyone from Buddy Guy to Eric Clapton.

The spotlight then turns to Magic Sam, another West Side giant whose tone radiated warmth and urgency in equal measure. “Just Like a Fish” and “I’ve Been Down So Long” show his mastery of rhythm and his ability to inject gospel-infused emotion into electric settings. His “Backstroke” instrumental proves he could swing as hard as he could sing, while his version of “All Your Love” (distinct from Rush’s) serves as a companion piece—two artists interpreting the same emotional terrain through different shades of fire. Sam’s blend of soul, shuffle, and raw sincerity gave Chicago blues a heartbeat that still echoes today.

Finally, Earl Hooker takes the closing slot, and there’s no more fitting choice. Known as a musician’s musician, Hooker was a technician and innovator whose guitar seemed to speak every dialect of the blues. “Dust My Broom,” “The Moon Is Rising,” and “Swinging at Theresa’s” are pure demonstrations of skill and feeling intertwined. His use of slide and phrasing is melodic but muscular, and the live energy captured on “Swinging at Theresa’s” puts the listener right in the South Side club scene—late night, crowded floor, smoke hanging thick, the crowd swaying in time.

Hour Four captures an era when the electric blues was not just evolving—it was defining American music’s next chapter. These musicians turned amplification into art, crafting a sound that would ripple through rock, soul, and funk. There’s no nostalgia here, only momentum. Even without a “special theme,” this hour becomes its own statement: that the blues, in the hands of masters, is endlessly new.

Hour 4 Playlist

SURF MONKEY – FREDDY KING

SEN-SA-SHUN – FREDDY KING

FREDDY’S MIDNIGHT DREAM – FREDDY KING

LOW TIDE – FREDDY KING

HIDE AWAY – FREDDY KING

SO MANY ROADS – OTIS RUSH

I’M SATISFIED – OTIS RUSH

ALL YOUR LOVE – OTIS RUSH

YOU KNOW MY LOVE – OTIS RUSH

JUST LIKE A FISH – MAGIC SAM

I’VE BEEN DOWN SO LONG – MAGIC SAM

BACKSTROKE – MAGIC SAM

ALL YOUR LOVE – MAGIC SAM

DUST MY BROOM – EARL HOOKER

THE MOON IS RISING – EARL HOOKER

SWINGING AT THERESA’S – EARL HOOKER

The hour opens in velvety harmony with the Mills Brothers, whose “Sweet & Slow” sets a relaxed, unhurried pace. Few vocal groups could blend swing and sentiment the way the Mills Brothers did; their harmonies move like brushstrokes on a painting, effortlessly smooth yet emotionally direct. The tone continues with Lester Young’s “These Foolish Things,” a timeless meditation where Pres’s tenor sax breathes a wistful melancholy—each phrase a sigh between memory and desire.

Johnny Hartman follows with “Why Was I Born,” his warm baritone unspooling across the melody with unmatched control. Hartman’s ability to turn vulnerability into strength gives the hour a deep emotional anchor. Then Sarah Vaughan’s “After Hours” shifts the energy toward the shadows—smoky, subtle, and full of quiet tension. Vaughan’s phrasing transforms a simple tune into a small drama, and in her hands, the blues finds its most refined form.

Brother Jack McDuff’s “Thirty Three Ninety Six” brings a burst of Hammond B3 heat, breaking up the slow burn with organ-driven swing. It’s the perfect pivot into the vocal interplay of Ella Fitzgerald and the Mills Brothers on “Dedicated to You.” Their chemistry is playful but sincere, steeped in the language of jazz and blues devotion. The duet’s follow-up, “Big Boy Blues,” offers a sly nod to the tradition—both reverent and mischievous, reminding listeners that blues can wink while it aches.

From here, the mood turns raw. Lowell Fulson takes over with a run of sides that define postwar electric refinement. “Reconsider Baby,” “Rock ’Em Dead,” and “Head Hung Down” all display Fulson’s relaxed phrasing and deep tone—every note deliberate, every vocal phrase tinged with quiet frustration and pride. “I Believe I’ll Give It Up” feels like a crossroads song, halfway between resignation and renewal. In Fulson’s understated delivery, the blues remains a language of dignity, even in heartbreak.

Bo Diddley follows, shaking things loose with “Heart-O-Matic Love” and “Rock & Roll,” his signature rhythm pulsing like an engine. Bo’s primal beat reminds us that sophistication and simplicity can share the same stage. Then John Lee Hooker’s “We Might As Well Call It Thru” strips it all back down—just Hooker, his voice, and that hypnotic stomp. The contrast between Fulson’s polish and Hooker’s rawness encapsulates the dual spirit of the blues: refined but never tamed.

As the night fades, André Williams’ “Put a Chain on It” delivers a sly, funky close to the vocal portion, bridging into modern groove without breaking continuity. Then, in a gesture of pure serenity, the set closes with Fleetwood Mac’s “Albatross.” The gentle guitar lines of Peter Green glide like calm water under moonlight—a perfect, wordless coda to a night of musical emotion. It’s as if all the stories, sorrows, and triumphs heard throughout the show have dissolved into pure sound.

Hour Five of this “no theme” broadcast ends where the blues always returns: to feeling. No gimmicks, no grand design—just music, perfectly sequenced to remind us that emotion is the only thread that ever really matters.

Hour 5 Playlist

SWEET & SLOW – MILLS BROS

THESE FOOLISH THINGS – LESTER YOUNG

WHY WAS I BORN – JOHNNY HARTMAN

AFTER HOURS – SARAH VAUGHAN

THIRTY THREE NINETY SIX – BRO JACK MCDUFF

DEDICATED TO YOU – ELLA & MILLS BROS

BIG BOY BLUES – ELLA & MILLS BROS

RECONSIDER BABY – LOWELL FULSON

I BELIEVE I’LL GIVE IT UP – LOWELL FULSON

ROCK ’EM DEAD – LOWELL FULSON

HEAD HUNG DOWN – LOWELL FULSON

HEART-O-MATIC LOVE – BO DIDDLEY

ROCK & ROLL – BO DIDDLEY

WE MIGHT AS WELL CALL IT THRU – JOHN LEE HOOKER

PUT A CHAIN ON IT – ANDRÉ WILLIAMS

ALBATROSS – FLEETWOOD MAC

The hour opens with Cecil Gant’s “Fare Thee Well My Baby,” a smoky, late-night number that bridges wartime blues with the smoother style of the late 1940s. Gant’s relaxed phrasing and rolling piano rhythms anticipate the subtle sophistication that Thompson would later bring to the King label sessions. That mood deepens with three cuts from Jimmy Witherspoon—“Blue Monday Blues,” “Froggy Bottom,” and “It’s All in the Game.” Each one highlights Witherspoon’s command of timing and tone, a skill that demanded equally skillful piano support. While Thompson isn’t behind the keys on these particular tracks, the spirit of his approach—restrained, rhythmic, and blues-drenched—runs through every note.

Cushing transitions from barroom blues to the urbane world of Ray Charles, spinning “Don’t Set Me Free,” “At the Club,” and “You Don’t Know Me.” These selections represent the maturing of the blues idiom into something more refined and emotionally layered. Charles’ mixture of gospel phrasing and jazz structure reflects the kind of musical duality Thompson understood perfectly—rooted in the church, fluent in the club.

Next, the spotlight moves to June Richmond, a vocalist whose vibrant tone and playful phrasing defined the jazz-blues crossover of the 1940s. Her versions of “Darktown Strutter’s Ball” and “After You’ve Gone” shimmer with swing-era sophistication. The hour then dips into the vocal harmony tradition with the Mills Brothers’ “Ain’t Misbehavin’” and Cats & the Fiddle’s “I’m Singing,” both offering snapshots of pre-R&B smoothness and close-harmony precision. These vocal groups were key influences on the sound of early King Records—artists who relied on accompanists like Thompson to hold rhythmic structure beneath intricate vocal lines.

Cushing widens the scope further with Albert Ammons’ “Baltimore Breakdown,” a stride-inflected instrumental that celebrates the barrelhouse roots of urban piano blues. It’s easy to imagine a young Thompson listening and absorbing Ammons’ left-hand drive and right-hand sparkle. That same energy reappears in the early female blues stylings of Lucille Hegamin’s “Sam Jones Blues,” Inez Wallace’s “Kissing Daddy,” and Mamie Smith’s “Keep a Song in Your Soul.” Each of these tracks ties the prewar vaudeville and classic blues traditions to the modern piano-driven sound Thompson would help define in postwar R&B.

The hour closes with Earl Bostic’s “From Russia with Love,” a sleek, saxophone-led number that hints at the crossover between jazz and R&B that became a hallmark of King’s catalog. Bostic, like Thompson, was a consummate craftsman—someone who could straddle multiple genres without losing his musical identity.

By the end of Hour One, listeners have traveled from the smoky clubs of the 1940s to the polished studios where musicians like Sonny Thompson turned rhythm and harmony into art. The groundwork is laid for the deeper exploration to come—a journey through the accompanist’s ear, the subtle architecture of postwar blues, and the Chicago pianist who made the King Records sound swing.

Hour 1 Playlist

FARE THEE WELL MY BABY – Cecil Gant

BLUE MONDAY BLUES – Jimmy Witherspoon

FROGGY BOTTOM – Jimmy Witherspoon

IT’S ALL IN THE GAME – Jimmy Witherspoon

DON’T SET ME FREE – Ray Charles

AT THE CLUB – Ray Charles

YOU DON’T KNOW ME – Ray Charles

DARKTOWN STRUTTER’S BALL – June Richmond

AFTER YOU’VE GONE – June Richmond

AIN’T MISBEHAVIN’ – Mills Brothers

I’M SINGING – Cats & The Fiddle

BALTIMORE BREAKDOWN – Albert Ammons

SAM JONES BLUES – Lucille Hegamin

KISSING DADDY – Inez Wallace

KEEP A SONG IN YOUR SOUL – Mamie Smith

FROM RUSSIA WITH LOVE – Earl Bostic

The set opens with The Five Royales’ “Laundromat Blues,” an ideal starting point for this hour’s exploration. The group began as a gospel quintet before transitioning to rhythm & blues, and their raw harmonies and spiritual phrasing clearly show that lineage. The piano undercurrent—syncopated and soulful—could easily have come from Sonny Thompson’s playbook. That groove leads naturally into Wynonie Harris’ “Good Morning Judge,” a hard-swinging party record driven by piano triplets and brass stabs. Harris may have been the self-proclaimed “Mr. Blues,” but the subtle architecture behind his shouting came from players like Thompson, whose sense of balance kept the music tight but never stiff.

Roy Brown’s “Love Don’t Love Nobody” follows, showcasing a crooner’s phrasing that would later influence Bobby Bland and Little Milton. The slow tempo gives space for the piano to breathe—each chord placed with purpose, bridging blues emotion and pop sophistication. Then comes Camille Howard’s “Money Blues,” an overlooked gem of postwar piano blues. A former member of Roy Milton’s Solid Senders, Howard brought a woman’s touch to the male-dominated R&B scene, and her playing shares the same rolling precision that Thompson used to anchor bandstand and studio sessions alike.

The gospel thread returns with The Pilgrim Travelers’ “I’m Standing on the Highway,” a track that reminds listeners how gospel quartets shaped modern rhythm. Their rhythmic clapping, dynamic call-and-response, and restrained accompaniment all point forward to the rhythmic discipline of Thompson’s work with King Records vocalists. The spiritual momentum carries into Brother Joe May’s “Search Me Lord” and Sister Rosetta Tharpe’s “That’s All,” both fiery performances where gospel intensity meets blues rhythm head-on.

Then, the program slides smoothly back toward the club floor with Jimmy Witherspoon’s “Ain’t Nobody’s Business” and Eddie “Cleanhead” Vinson’s “Kidney Stew Blues.” Both men were masters of phrasing—each syllable perfectly timed, each pause filled by a pianist who understood the art of restraint. These are the kinds of records where Thompson’s sensibility shines even when his name isn’t on the label: accompaniment that supports without overpowering.

From there, Steve Cushing steers the set into a jump-blues segment that highlights the studio-band brilliance Thompson helped shape. Lucky Millinder’s “Apollo Jump” and Bullmoose Jackson’s “I Love You, Yes I Do” capture the swing-band energy of the late 1940s, where jazz phrasing met blues storytelling. Thompson’s fingerprints are all over this sound—tight horn writing, pulsing basslines, and that essential piano riff that ties everything together.

The hour closes on a spiritual note with The Soul Stirrers’ “By and By,” featuring the young Sam Cooke. It’s a reminder of where this story begins and ends—with the dialogue between sacred fire and secular rhythm. By the time Thompson was crafting hits in the 1950s, the same gospel phrasing had migrated into pop and soul, proving that the accompanist’s role was both musical and cultural.

Hour Two captures that full spectrum. It’s not just about the blues—it’s about the bridge between Sunday morning and Saturday night, and the piano man who understood them both.

Hour 2 Playlist

LAUNDROMAT BLUES – The Five Royales

GOOD MORNING JUDGE – Wynonie Harris

LOVE DON’T LOVE NOBODY – Roy Brown

MONEY BLUES – Camille Howard

I’M STANDING ON THE HIGHWAY – The Pilgrim Travelers

SEARCH ME LORD – Brother Joe May

THAT’S ALL – Sister Rosetta Tharpe

AIN’T NOBODY’S BUSINESS – Jimmy Witherspoon

KIDNEY STEW BLUES – Eddie “Cleanhead” Vinson

APOLLO JUMP – Lucky Millinder

I LOVE YOU, YES I DO – Bullmoose Jackson

BY AND BY – The Soul Stirrers

The set opens with Joe Pullum’s “Married Woman Blues,” a record that captures the theatricality of early Texas blues. Pullum’s sly vocal phrasing and urban storytelling set the tone for what follows—a deep dive into the world of self-contained artists who carried their own rhythm sections in their hands. Blind Willie Johnson anchors the early part of the hour with two sanctified classics: “Nobody’s Fault But Mine” and “Keep Your Lamp Trimmed and Burning.” His National steel guitar and gruff, sermon-like delivery bridge the sacred and the secular, a sound that would later seep into the phrasing of electric bluesmen like Robert Nighthawk and Otis Rush.

Next comes Yas Yas Girl, one of the forgotten pioneers of the bawdy, blues-woman tradition. Her “Blues Everywhere” and “About My Time to Check” are brash, witty, and filled with confidence—proof that female singers in the prewar years weren’t merely interpreters but authors of their own narratives. They remind listeners that the accompanist’s role, whether at a piano or guitar, has always been to lift the voice, to follow and frame the story.

The hour then moves through a sequence of pianists and songsters who shaped the early sound of blues accompaniment. Walter Roland’s “Early This Morning” and “Back Door Blues” feature rolling left-hand figures and chord patterns that later became cornerstones of urban blues piano. Robert Nighthawk’s “Don’t Mistreat Your Woman” brings slide guitar into the picture, while Monkey Joe Coleman lightens the mood with “Ever Dream You Was Lucky,” a perfect snapshot of 1930s Chicago, where blues and vaudeville rubbed shoulders.

From there, the set gathers steam with Sonny Boy Williamson I’s “Up the Country” and “Jackson Blues.” These early sides capture the harmonica’s transition from novelty instrument to emotional lead voice. Sonny Boy’s interplay between voice and harp became a template for the postwar Chicago sound that Sonny Thompson would later help define.

As the hour unfolds, the focus shifts to barrelhouse and boogie stylists whose rhythmic attack directly foreshadowed Thompson’s approach. Speckled Red’s “Wilkens Street Stomp” and Georgia White’s “Strewing Your Mess” swing with that raw, percussive drive—piano as percussion, rhythm, and melody all at once. Bill Gaither’s “Bad Luck Child” and Yank Rachel’s “She Loves Just Who She Pleases” bring the mandolin and guitar back into the mix, each line bristling with the interplay that defines blues ensemble work.

The hour closes with a stunning two-part performance from Mooche Richardson, “Low Down Barrelhouse Blues, Parts I & II.” It’s a reminder that accompaniment isn’t just background—it’s dialogue. Richardson’s left hand drives the groove while the right spins flourishes that sound both playful and defiant. His work anticipates the rhythmic discipline and harmonic sophistication that Sonny Thompson would later bring to the R&B stage.