Although he was certainly inexorably influenced with the pioneering guitar conception of T-Bone Walker (what axe-handler wasn’t through the immediate postwar era?), Pee Wee Crayton brought more than enough daring technology to his playing in order to avoid getting labeled as only T-Bone imitator. Crayton’s documented output for Contemporary, Imperial, and Vee-Jay includes plenty of amazing, marvelously imaginative electric guitar work, specifically on spectacular instrumentals such as for example “Tx Hop,” “Pee Wee’s Boogie,” and “Poppa Stoppa,” all a lot more intense shows than Walker generally indulged in. Like Walker, Connie Crayton was a transplanted Texan. He relocated to LA in 1935, afterwards moving north towards the Bay Region. He signed using the Bihari brothers’ L.A.-structured Contemporary logo in 1948, quickly hitting pay dirt and grime using the lowdown instrumental “Blues Following Hours” (a kissin’ cousin to Erskine Hawkins’ anthem “Following Hours”), which topped the R&B charts in past due 1948. The steaming “Tx Hop” trailed it up the lists quickly thereafter, followed another calendar year by “I REALLY LIKE You Therefore.” But Crayton’s short hitmaking reign was over, through no problem of his personal. After documenting prolifically at Contemporary to no more industrial avail, Crayton shifted to Aladdin and, in 1954, Imperial. Under Dave Bartholomew’s savvy creation, Crayton made a few of his greatest waxings in New Orleans: “Every Pet Has His Day time,” “YOU UNDERSTAND Yeah,” and “Runnin’ Crazy” discovered Crayton’s guitar resulted in towards the boiling stage over the extra fat cushioning of saxes characterizing the Crescent Town sound. Following that, Crayton attempted to regain his momentum at Vee-Jay in Chicago; 1957’s “I CAME ACROSS My Satisfaction,” a Ray Charles-tinged jewel, should have performed the secret, but no dice. After one-off 45s for Jamie, Guyden, and Smash through the early ’60s, Crayton generally faded from watch until Vanguard unleashed his LP, Stuff I I did so, in 1971. From then on, Pee Wee Crayton’s profile grew up relatively; he toured and produced some more albums ahead of his transferring in 1985.