01. River's Invitation (Percy Mayfield) - 2:41
02. Honest I Do (Jimmy Reed, Edward Gladstone Abner Jr.) - 2:48
03. Got To Get You Off My Mind (Dolores Burke, Josephine Burke Moore) - 2:03
04. Coast Blues (James Cotton, Wayne Talbert) - 7:18
05. Next Time You See Me (William Harvey, Earl Forest) - 2:44
06. Cut You Loose - 2:54
07. Ain't Nobody's Business (Richard Henry Grisham) - 3:23
08. Set A Date (Memphis Minnie) - 2:15
09. Slippin' And Slidin' (Amos Milburn) - 4:29
10. Negative Ten-Four (Wayne Talbert) - 6:48

- James Cotton - vocals, harmonica
- Wayne Talbert - piano, organ
- Martin Fierro - saxophones
- Mike Fender - bass trumpet
- Eddie Adams - string bass
- Joe Rodriguez - drums
- James Cook - guitar
- Guitar Junior (Lee Baker Jr.) - guitar (05,08)
- Jeremiah Jenkins - organ (05)
- Peter Malick - guitar (09)
- Michael Tschudin - piano (09)

This is an extraordinary album in the discography of James Cotton. It is the only album that is nearly as much jazz as it is blues. The ensemble playing is marvelous. While Cotton went on make many fine blues discs, he would never again assemble a band as versatile as this, nor would he work with arrangements this intelligent or elaborate. This is an essential album. ---Jerome Blue, allmusic.com

Excellent performance and well recorded by Vanguard Records in April 1968 at Coast Recording, San Francisco and remixed at Vanguard's 23rd Street Studio, New York City. Some tasteful guitar by Junior (a.k.a Lonnie Brooks), a tune by Wayne Talbert which sounds like he's channeling Vince Guaraldi, and a big helping of Chicago Blues. ---Vitaly Shukin, allmusic.com

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1 	Soul Survivor 	2:25
2 	I Remember 	4:24
3 	Worried Life Blues 	3:06
4 	Fallin' Rain 	4:22
5 	Heart Attack 	5:04
6 	Lovin' Cup 	3:56
7 	She's Murder 	2:32
8 	Somethin' You Got 	3:25
9 	Who's Afraid Of Little Red Riding Hood? 	4:18
10 	The Creeper 	6:10
11 	Down At Your Buryin' 	4:35

Bass – Robert Anderson
Drums – Francis Clay
Guitar – Luther Tucker
Harmonica, Vocals – James Cotton
Keyboards – Alberto Gianquinto
Tambourine – John Court
Vocals – Robert Anderson (tracks: 8), Luther Tucker (tracks: 4) 

The James Cotton Blues Band's sophomore effort continues in the direction set by their debut and deliver a satisfying mixture of blues and R&B that feature not only James Cotton's vocals and harp playing but also gives guitarist Luther Tucker and pianist Alberto Gianquinto the chance to shine as well. The instrumental "The Creeper," which was a featured number in concert for many years, is the highlight of this album, but to anyone who enjoyed the first album, "Pure Cotton" will deliver the goods and is an enjoyable listen. ---Jerry Micco, allmusic.com

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A1 	Don't Start Me Talkin' 	2:40
A2 	Soul Survivor 	2:25
A3 	Heart Attack 	5:04
A4 	Off The Wall 	2:40
A5 	(Please) Tell Me Partner 	4:30
A6 	Lovin' Cup 	3:56
B1 	Jelly Jelly 	5:42
B2 	She's Murder 	2:25
B3 	Down At Your Buryin' 	4:35
B4 	Blues In My Sleep 	5:20
B5 	Back To St. Louis 	6:50

Baritone Saxophone – Delber L. Hill (A1, A4, B1, B4), McKinley Easton (A1, A4, B1, B4)
Bass Guitar – Robert Anderson
Drums – Barry Smith (A5, B5), Francis Clay (A2, A3, A6, B2, B3), Samual Lay (A1, A4, B1, B4)
Electric Guitar – Luther Tucker
Harmonica – James Cotton
Lead Vocals – James Cotton
Piano – Alberto Gianquinto (except A5, B5), Mark Naftalin (A5, B5)
Tenor Saxophone – Bill "Stumuk" Nugent (A5, B5), James F. Barge (A1, A4, B1, B4)
Trombone – Garnett Brown (A5, B5), Louis E. Saherfield (A1, A4, B1, B4)
Trumpet – Joe Newman (A5, B5), Paul Serrano (A1, A4, B1, B4)

Originally recorded for the Verve label in:
1967 A2, A3, A6, B2, B3
1968 All other songs

Cotton, also known as “Mr. Superharp,” started his blues journey playing in Howlin’ Wolf’s band in the early 1950’s. His initial recordings were laid down at the Sam Phillips institution Sun Records in Memphis. In the mid-1950’s Cotton joined Muddy Waters’ band, eventually becoming his bandleader. In the mid 1960’s he formed the Jimmy Cotton Blues Quartet and he played with them when he wasn’t touring/playing with Muddy’s band.

Cotton recorded his first complete solo album, The James Cotton Blues Band on Verve Records, and it was produced by Mike Bloomfield and Nick Gravenites. --- americanbluesscene.com

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01 – Cotton Mouth Man
02 – Midnight Train
03 – Mississippi Mud
04 – He Was There
05 – Something For Me
06 – Wrapped Around My Heart
07 – Saint On Sunday
08 – Hard Sometimes
09 – Young Bold Women
10 – Bird Nest On The Ground
11 – Wasn’t My Time To Go
12 – Blues Is Good For You
13 – Bonnie Blue

Musicians:
James Cotton - Harmonica
Tom Hambridge - Drums, Background Vocals
Joe Bonamassa - Lead Guitar
Rob McNelley - Rhythm Guitar
Tommy MacDonald - Bass
Darrell Nulisch – Vocals
Chuck Leavell - Wurlitzer Piano
Tom Holland - Guitar
Noel Neal - Bass
Gregg Allman – Vocals
Glenn Worf - Upright Bass
Keb Mo – Vocals
Tom Holland - Guitar
Warren Haynes - Guitar, Vocals
Ruthie Foster – Vocals
Delbert McClinton – Vocals
Colin Linden - Resonator Guitar

Blues harp maestro James Cotton was 77 at the time of this album's release. He can barely sing anymore, and the years of playing and touring have left his voice a hoarse croak, but make no mistake, he can still play the harp, and his stunning, overdriven blasts on the instrument are as powerful and as immediate as ever. He's the living embodiment of the Chicago blues, and one of the genre's last surviving founders of it, having mentored with the great Sonny Boy Williamson, and he recorded, played, and toured with Howlin' Wolf and Muddy Waters, cutting his first sides at the age of 19 for Chess Records. He's done this a long time, and as this delightful, joyous, stomping, and vibrant set shows, he doesn't need to sing to command the stage. Cotton wrote or co-wrote most of the songs here with the album's producer, Tom Hambridge, and the vocals are handled by guest artists, most of them by Darrell Nulisch, the former Texas Heat and Anson Funderburgh & the Rockets vocalist who has been handling the singing duties for Cotton's band for some time now, but Gregg Allman, Warren Haynes, Ruthie Foster, Delbert McClinton, and Keb' Mo' are also featured singers. But this isn't one of those duets albums that artists make in the twilight of their careers by any shot -- Cotton is amazing on these cuts, his harp blasts full of passion, power, and enough pure energy to light up the night sky. Cotton may not do somersaults on stage anymore, but his harp lines do, weaving in and out of these songs like a charging Chicago freight train. There isn't a single lame cut here, but the closer, "Bonnie Blue," with Cotton croaking out a moving vocal accompanied only by his harp and the resonator guitar playing of Colin Linden, is particularly poignant. Cotton may be cruising in on 80 years of age, but he's just released one of the best albums of his career. ---Steve Leggett, allmusic.com

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1. Diggin' My Potatoes
2. Ying Yang
3. 23 Hours Too Long
4. No More Doggin'
5. No Cuttin' Loose
6. Ain't Doin' Too Bad
7. Sunny Road
8. Superharp
9. Easy Loving
10. High Compression

James Cotton (vocals, harmonica); 
Magic Slim, Michael Coleman (guitar); 
Douglas Fagen (tenor saxophone); 
Danny Fields (trumpet); 
Johnny Cotton (trombone); 
Pinetop Perkins (piano); 
Eddie Harsch (keyboards); 
Robert Covington, Ray Allison (drums).

This is the best contemporary James Cotton album gracing the shelves, thanks to its ingenious formatting: half the set places Cotton in a traditional setting beside guitarist Magic Slim, pianist Pinetop Perkins, and a solid rhythm section; the other half pairs him with a contemporary combo featuring guitarist Michael Coleman's swift licks and a three-piece horn section. Both combinations click on all burners. High Compression includes the scorching theme song "Superharp." ---Bill Dahl, allmusic.com

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1 Down At Your Buryin' 4:312 All Walks of Life 3:32
3 You Got My Nose Open 4:16
4 Dealin' With the Devil 3:32
5 Strange Things Happen 4:17
6 Country Boy 3:19
7 Vineyard Blues 3:28
8 Worried Life Blues 4:03
9 Two Trains Runnin' 4:53
10 Ozark Mountain Railroad 3:47
11 Sad Letter 4:12
12 Play With Your Poodle 3:37
13 Blues In My Sleep 6:08
14 Everybody's Fishin'

James Cotton (vocals, harmonica); 
Joe Louis Walker (vocals, acoustic & National Steel guitars); 
Dave Maxwell (piano); 
Charlie Haden (acoustic bass).

Deep in the Blues is a fascinating jam session between James Cotton, guitarist Joe Louis Walker, and jazz bassist Charlie Haden. The trio runs through a number of classic blues songs written by Muddy Waters, Percy Mayfield, and Sonny Boy Williamson and a few originals by Walker and Cotton. The sound is intimate and raw, which is a welcome change from Cotton's usual overproduced records. –Thom Owens, allmusic.com

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1. Intro / Cut You Loose
2. Fallin' Rain
3. Heart Attack
4. Knock On Wood
5. Nine Below Zero
6. Dust My Broom
7. The Creeper
8. Turn On Your Lovelight
9. Please Please Please

James Cotton - vocals, harmonica, 
Luther Tucker - guitar,
Bill Nugent - sax, 
Anderson - bass, 
Barry Smith – drums.

Dallas International Motor Speedway, 
Lewisville, Texas, August 30, 1969

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1. It Was A Very Good Year
2. Mystery Train
3. She's My Baby             play
4. One More Mile             play
5. How Sweet It Is (To Be Loved By You)
6. I Can't Quit You Baby
7. Sweet Sixteen
8. Midnight Creeper
9. Hoochie Coochie Man
10. You're So Fine

Personnel includes: 
James Cotton (vocals, harmonica); 
Luther Tucker (guitar); 
Albert Gianquinto (piano); 
Bobby Anderson (bass); 
Francis Clay (drums).

Recorded live at the New Penelope Cafe, Montreal, Canada on September 28, 1967.

James Cotton's It Was a Very Good Year is a tribute CD that has been restored from its "live" performance in Montreal's the New Penelope Cafe in the late '60s. The benefit of today's technology has assisted in capturing the chomaticism inherent in the harmonica playing of James Cotton, excitement of Albert Gianquito's piano (you may remember him from his stints with Santana), Bobby Anderson on bass, Francis Clay on drums, and Luther Tucker on guitar. This blues band features a broad selection of tunes that range from the opener, "It Was a Very Good Year," in a sultry Latinized version to "The Midnight Creeper," a number loosely based on Little Walter Jacobs' "Juke." Cotton performs excellent covers of Muddy Waters' famous "Hoochie Coochie Man" and Otis Rush's big hit, "I Can't Quit You Baby." The highlight of this great set is the Paul Butterfield Blues Band hit "One More Mile," written by Cotton and featuring a dark elemental blues, which is a stark contrast to Cotton's well-known style. This is a great find for those that may have thrown out their Cotton LPs, and this newly restored CD is a nice treasure for blues fans. ~ Paula Edelstein

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1. Good Time Charlie 
2. Turn on Your Love Light 
3. Something on Your Mind 
4. Don't Start Me Talkin' 
5. Jelly, Jelly 
6. Off the Wall 
7. Feelin' Good 
8. Sweet Sixteen 
9. Knock on Wood 
10. Oh, Why? 
11. Blues in My Sleep 
12. Soul Survivor 
13. Fallin' Rain 
14. Heart Attack 
15. Lovin' Cup 
16. She's Murder (AKA "Murder in the First Degree") 
17. The Creeper 
18. Down at Your Buryin' 
19. Back to St. Louis 
20. The Coach's Better Days

James Cotton (vocals, harmonica); 
Robert Anderson (vocals, electric bass); 
Michael Bloomfield (guitar); 
Luther Tucker, Bill Nugent (alto saxophone); 
James F. "Gene" Barge (tenor saxophone); 
McKinley Easton, Delbert L. Hill (baritone saxophone); 
David "Fathead" Newman (saxophone); 
Paul Serrano (trumpet); 
Louis E. Satterfield, John M. Watson (trombone); 
Alberto Gianquinto, Mark Naftalin (piano, organ); 
Sam Lay, Francis Clay (drums).

After serving as front man and harpist for the legendary Muddy Waters band for 12 years, blues harp legend James Cotton's debut at Verve Records in 1967-1968 is generally conceded to be his most fertile period artistically, and this intelligently chosen best-of does little to dispel that impression. This CD covers all the music from Cotton's first classic LP on Verve, plus nine tracks from his next two Verve releases. A total of 20 awesome cuts in all. It remains one of the crucial artifacts of the '60s blues revival.

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01. Good Time Charlie
02. There Is Something On Your Mind
03. Turn Your Lovelight
04. Jelly, Jelly
05. South Side Boogie
06. So Glad So Glad You’re Mine
07. Diggin’ My Potatoes
08. V-8 Ford Blues
09. Polly Put The Kettle On

Vocals, Harmonica – James Cotton
Side 2 features Mike Bloomfield, Elvin Bishop, Wm. Arnold, and Paul Butterfield

At his high-energy, 1970s peak as a bandleader, James Cotton was a bouncing, sweaty, whirling dervish of a bluesman, roaring his vocals and all but sucking the reeds right out of his defenseless little harmonicas with his prodigious lung power. Due to throat problems during his latter years, Cotton's vocals were no longer what they used to be, but he remained a masterful instrumentalist for decades. Cotton had some gargantuan shoes to fill when he stepped into Little Walter's slot as Muddy Waters' harp ace in 1954, but for the next dozen years, the young Mississippian filled the integral role beside Chicago's blues king with power and precision. Of course, Cotton had been preparing for such a career move for a long time, having learned how to wail on harp from none other than Sonny Boy Williamson himself.

Cotton was only a child when he first heard Williamson's fabled radio broadcasts for King Biscuit Time over KFFA out of Helena, Arkansas. So sure was Cotton of his future that he ended up moving into Williamson's home at age nine, soaking up the intricacies of blues harpdom from one of its reigning masters. Six years later, Cotton was ready to unleash a sound of his own.

Gigging with area notables Joe Willie Wilkins and Willie Nix, Cotton built a sterling reputation around West Memphis, following in his mentor's footsteps by landing his own radio show in 1952 over KWEM. Sam Phillips, whose Sun label was still a fledgling operation, invited Cotton to record for him, and two singles commenced: "Straighten Up Baby" in 1953 and "Cotton Crop Blues" the next year. Legend has it Cotton played drums instead of harp on the first platter.

When Waters rolled through Memphis minus his latest harpist (Junior Wells), Cotton hired on with the legend and went to Chicago. Unfortunately for the youngster, Chess Records insisted on using Little Walter on the great majority of Waters' waxings until 1958, when Cotton blew behind Waters on "She's Nineteen Years Old" and "Close to You." At Cotton's suggestion, Waters had added an Ann Cole tune called "Got My Mojo Working" to his repertoire. Walter played on Muddy Waters' first studio crack at it, but that's Cotton wailing on the definitive 1960 reading (cut live at the Newport Jazz Festival).

By 1966, Cotton was primed to make it on his own. Waxings for Vanguard, Prestige, and Loma preceded his official full-length album debut for Verve Records in 1967. His own unit then included fleet-fingered guitarist Luther Tucker and hard-hitting drummer Sam Lay. Throwing a touch of soul into his eponymous debut set, Cotton ventured into the burgeoning blues-rock field as he remained with Verve through the end of the decade.

In 1974, Cotton signed with Buddah and released 100% Cotton, one of his most relentless LPs, with Matt "Guitar" Murphy sizzling on backup. A decade later, Alligator issued another standout Cotton LP, High Compression, which was split evenly between traditional-style Chicago blues and funkier, horn-driven material. Harp Attack!, a 1990 summit meeting on Alligator, paired Cotton with three exalted peers: Wells, Carey Bell, and comparative newcomer Billy Branch. Antone's Records was responsible for a pair of gems: a live 1988 set reuniting the harpist with Murphy and Tucker, and a stellar 1991 studio project, Mighty Long Time. Cotton moved into the 21st century as one of the last surviving originators of the Chicago blues sound, and didn't slow his pace, releasing a series of fine albums, including Fire Down Under the Hill (2000) and Baby, Don't You Tear My Clothes (2004), both for Telarc Records, and Giant (2010) and Cotton Mouth Man (2013), both on Alligator Records. A Best Blues Album nominee at the 2014 Grammy Awards, Cotton Mouth Man proved to be Cotton's last album released during his lifetime; the blues harp giant died of pneumonia in March 2017 at the age of 81. ---Bill Dahl, allmusic.com

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