Pee Wee Crayton

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Although he was certainly inexorably influenced by the pioneering electric guitar conception of T-Bone Walker (what axe-handler wasn't during the immediate postwar era?), Pee Wee Crayton brought enough daring innovation to his playing to avoid being labeled as a mere T-Bone imitator. Crayton's recorded output for Modern, Imperial, and Vee-Jay contains plenty of dazzling, marvelously imaginative guitar work, especially on stunning instrumentals such as "Texas Hop," "Pee Wee's Boogie," and "Poppa Stoppa," all far more aggressive performances than {$...[more]

 

 

As an overview of Crayton's work for Modern from 1948-51, this might not be ideal, as only about half of it appeared on singles during that time; the rest was mostly unissued until the 1980s and 1990s, some making their first appearance on this CD. It also means that some of his Modern singles, including his biggest hit for the label (the ballad "I Love You So"), aren't here, as they were saved for another Ace volume of Crayton's Modern sides. Those considerations aside, this is superio   [ read more ]

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As a companion volume to The Modern Legacy Vol. 1 (also on Ace), this wraps up the label's comprehensive overview of Crayton's stint with Modern Records. With material from the end of the 1940s and the early '50s, about half of the 25-track CD was drawn from 1949-52 singles, filled out by LP cuts and four previously unreleased items. This might not be quite as good as volume one, recycling some of the same ideas a few times (something, of course, found on many blues albums). But it's in the same   [ read more ]

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A West Coast blues guitar hero, Crayton died shortly after these sessions, done primarily with Rod and Honey Piazza's band, or with jazz pianist Llew Matthews' quartet. The two dates show Crayton could do it all. Jump blues, hard or straight blues, and boogie were all easily played. It's that unmistakable T-Bone Walker influence, a stinging, swinging single line or chunky, chortling chord progressions that made Crayton stand out among the crowded blues guitar landscape. He was a one-of-   [ read more ]

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There are much better annotated Pee Wee Crayton anthologies out there, but the dark horse import Blues After Hours offers an extremely well-rounded collection of material, compiling sides from Crayton's memorable stints at both the Modern and Imperial labels (a feat that has yet to be accomplished by any domestic single-CD reissue of Crayton's work). This is a great starting point for blues guitar fans -- especially Texas- and West Coast-style enthusiasts -- who may be unfamiliar with {   [ read more ]

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Pee Wee Crayton, a popular L.A.-based blues singer and guitarist, recorded frequently between 1947-57 but this 1970 session was his first full album and ended an eight-year drought in the studios. At 55, Crayton performed some country-flavored tunes and soul ballads but is at his best on the simpler straightahead blues such as a spirited "Let the Good Times Roll," the atmospheric instrumental "Blues After Hours," "Things I Used to Do" and "S.K. Blues" which at 6:24 is easily the longest performance   [ read more ]

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Although he is most often compared to fellow Texan guitarist T-Bone Walker, Pee Wee Crayton had a more aggressive style as a guitarist, and particularly on his incendiary instrumentals, he pushed through to a place all his own. This 25-track set collects several of Crayton's early recordings for Modern Records, which date from the late '40s, and then tacks on a few scattered sides recorded in 1960 for Kent Records. Several of those trademark instrumentals are here, including one of Crayton   [ read more ]

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