Mose Allison certainly recognized the uncommon brilliance of pianist Mercy Dee Walton. The young, jazz-based Allison faithfully covered Walton's downtrodden "One Room Country Shack" in 1957, four years after Walton had waxed the original for Los Angeles-based Specialty Records (his original was a huge R&B smash). Walton was a Texas émigré, like so many other postwar California R&B pioneers, who had played piano around Waco from the age of 13 before hitting the coast in 1938. Once there, the pianist gigged up and down the length of the Golden State before debuting on record in 1949 with "Lonesome Cabin Blues" for the tiny Spire logo, which became a national R&B hit. Those sides were cut in Fresno, but Los Angeles hosted some of the pianist's best sessions for Imperial in 1950 and Specialty in 1952-1953.
Walton, who usually recorded under the handle of Mercy Dee, was a talented songsmith whose compositions ran the gamut from lowdown blues to jumping R&B items. A half-dozen tracks for the Bihari brothers' Flair imprint in 1955 included "Come Back Maybellene," a rocking sequel to Chuck Berry's then-current hit. After a lengthy layoff, Walton returned to the studio in a big way in 1961, recording prolifically for Chris Strachwitz's Arhoolie label with his northern California compatriots: K.C. Douglas on guitar, harpist Sidney Maiden, and drummer Otis Cherry (some of this material ended up on Prestige's Bluesville subsidiary). It's very fortunate that Strachwitz took an interest in documenting Walton's versatilit in December of 1962, the pianist died.