It is a slow twelve-bar blues performed in the West Coast blues-style that features Walker's smooth, plaintive vocal and distinctive guitar work.

His version also incorrectly used the title "Stormy Monday Blues", which was copied and resulted in royalties being paid to songwriters other than Walker.

The song is included in the Grammy, Rock and Roll, and Blues Foundation halls of fame as well as the U.S. Library of Congress' National Recording Registry.

[2] After moving to Los Angeles around 1936, he began performing regularly in the clubs along Central Avenue, then the center of the city's jazz and blues music scene.

[3] He started as a singer and dancer with jazz and early jump-blues bands, such as Les Hite and his orchestra, but by 1940 was playing electric guitar and singing in his own small combos.

Although there is conflicting information regarding the recording date, "Call It Stormy Monday (But Tuesday Is Just as Bad)" was released as a single in November 1947.

[7] Credited to Eckstine, Hines, and Bob Crowder, the composition features a big band arrangement with different lyrics and does not include the words "stormy" or "Monday".

[10] Accompanying Walker is pianist Lloyd Glenn, bassist Arthur Edwards, drummer Oscar Lee Bradley, and horn players John "Teddy" Bruckner (trumpet) and Hubert "Bumps" Myers (tenor saxophone).

Author Aaron Stang explained: "The real sound of this riff is based on starting each 9th chord a whole step (2 frets) above and sliding down.

'[13] Walker also plays twelve bars of single-string guitar solo, which writer Lenny Carlson has described as "remain[ing] largely in the middle register, but it contains some gems, particularly in the use of space, phrasing, and melodic development".

[14] Walker uses a standard I-IV-V twelve-bar blues structure for the song and it has been notated in 12/8 time in the key of G with a tempo of 66 beats per minute.

[1] It entered Billboard's Most Played Juke Box Race Records chart on January 24, 1948, and reached number five during a six-week stay.

[25] A later recording of the song, which uses chord substitutions similar to Bobby Bland's 1961 rendition, was included on The Sounds of American Culture series on NPR in 2008.

[30] Singer and writer Billy Vera noted "if T-Bone had done nothing more in his career than write and record this one tune, his esteemed place in the history of American music would be guaranteed".

[30]According to music journalist Charles Shaar Murray, other musicians similarly inspired to take up the electric guitar upon hearing Walker's song include Clarence "Gatemouth" Brown, Lowell Fulson, and Albert King.

Confusingly, it is also sometimes referred to as "Stormy Monday Blues", the same title as the 1942 song by Billy Eckstine and Earl Hines.

Walker blamed Duke Records owner Don Robey for giving it the wrong title for his artists, including Bobby Bland's 1962 rendition, which appeared as "Stormy Monday Blues".

[8] As a result, Walker lost out on royalties when his song was misnamed "Stormy Monday Blues" and the payments were forwarded to Eckstine, Hines, and Crowder.

[26] Even though Latimore's 1973 hit version of the song was titled "Stormy Monday", the single incorrectly listed "Hines-Eckstine" as the composers.

[34] Most notably, his version features chord substitutions in bars seven through ten:[35] This minor-chord progression had been used in several of Bland's songs, including his 1957 breakthrough number "Farther Up the Road", and is found in many subsequent renditions of "Stormy Monday".

[34] Additionally, "Stormy Monday" went to number 43 on the pop chart and Bland made his fourth appearance on the music variety television program American Bandstand, where he performed it to dancing teenagers.

[36] By means of a careful tape edit, a harmonica solo by Thom Doucette was omitted from the issued version in 1971; it was restored to the song in the 1992 release of the Fillmore Concerts.

[36] At Fillmore East became one of the Allman Brothers Band's most popular and enduring albums; for rock audiences, their "Stormy Monday" became the definitive version of the song.

[39] However, according to music writer David Whiteis, "its propulsive, pop-tinged groove and Latimore's own jubilant vocal directness made this incarnation of the classic entirely his own".