Eddie Cotton - Here I Come (2014)

Contemporary Mississippi blues musician Eddie Cotton, Jr. has combined university training with service in his father’s church and a love of the blues to produce commanding music of fiery intensity and power.

Following his spectacular 2000 debut Live at the Alamo Theater and Extra in 2002, Here I Come shows the triple threat singer, songwriter and guitarist breaking out and up to establish serious credibility as a major new star demanding and deserving to be heard.

Cotton performs 10 uniquely original tracks backed by Myron Bennett (bass), Samuel Scott, Jr. (drums) and guest artists Grady Champion (harmonica), Carlos Russell (harmonica) and Sam Brady (organ). The minor key soul funk of the title track functions as a mini-bio as Cotton sings in his satiny soul voice “Sometimes in a fight, you know you get knocked down, but when the dust clears, I’ll still be around, here I come, better have some.” The mesmerizing slow blues “A Woman’s Love” finds Cotton in tender “call and response” with his sweetly sensuous guitar as he declares his love with the simmering passion of “Every day is such a trial, sometimes it’s so hard to smile. But just to know she’s depending on me, I’m determined to go the last mile,” his voice rising and falling dramatically and dynamically throughout. “Pay to Play” swings with graceful propulsion in an ironic take on “love” with “I’m not going to tell my real name, I know to you that seems such a shame. But your kind of love has caused me so much pain, now ice water flowing all through my veins,” his guitar “talking” sass in a remarkable instrumental rebuke.

Gorgeous, jazzy guitar chords and melodic fills underpin the gentle R&B ballad “Friend to the End” about the value of friendship and peaking with the glorious chorus “I need a friend that will understand that I make mistakes, and I’m just a man, and if I’m wrong, trust I’ll make it right. But I’ll never leave you alone, alone in a fight.” Back-snapping funk drives the dance friendly uplift of “Get Your Own,” confirming Cotton as the new torch-bearer of classic soul music via “In this game of life, sometimes you just can’t win. Sometimes you may fail, but get up and try again. You’ll get ran over, if you stay down on the ground. Get yourself up and fight another round” and the exuberant chorus “Get your own (2x) and move right along.” Sexy, funky cross rhythms insistently propel the monochord vamp under the hip slang of “My Boo” as Cotton contributes to the traditional amorous boast category.

Fellow rising star Grady Champion honks harmonica on the exuberant monochord boogie shuffle “Leave Love Alone” containing a memorable hook while Cotton explains “Don’t judge me, one day you’ll see. When love gets a-hold of you, ain’t nothing you can do.” Blues harper Carlos Russell gets “down home” on the easy loping “Back in a Bit,” Cotton’s lusty pitch “Hey little darling, answer your telephone. Well, I’m feeling kind of good and I was wondering are you all alone. My heart’s on fire and you’re the one I desire” getting the ardor cooling response “Well look a-here fool, you called too late. I got a little something started, you know, he said he couldn’t wait. You see, I’m not alone, I’ll call you when my man is gone.” A limber Reggae beat bubbles under the gospelly “No Love Back,” Cotton preaching “Love don’t come, with no love that’s guaranteed. It will make no exceptions now, for you or me. If you give love long enough, and then you’ll see. Love will come, with no love that’s guaranteed.” The exceptionally creative and street erudite songwriter closes with the toe-tapping Chicago blues shuffle “Berry So Black.” Addressing race metaphorically, Cotton fesses up “Well, I can’t stay away from that blackberry vine. Well, I must admit that there was a time. Well, I keep coming back to those berries so black” as Champion celebrates solidarity with long, sustained, imploring lines.

Eddie Cotton has accomplished a near miraculous feat. He has brought total commitment and extraordinary talent to bear on a total reinvigoration of soul-blues, spreading rapturous joy for all.

Review by BluesMagazine.nl

Stylish guitarist-songwriter Eddie Cotton has been somewhat of a stranger to the recording studio since making major waves in the blues community with two releases – Live At The Alamo Theater and Extra – a decade ago, but he returns with a vengeance with this simply stated, but powerful collection of all-original material, the first release on Grady Champion’s new DeChamp Records label.

A minister’s son, Cotton grew up singing and playing gospel at church and studying the stylings of B.B. King and other blues artists at home. His single-note technique on the six-string developed while taking lessons from King Edward Antoine. Known as “The Blues Picking King,” Antoine is a Mississippi Blues Trail honoree who has toured internationally with his brother Nolan Struck and McKinley Mitchell.

Cotton studied music theory at Jackson State University before serving a stint as minister of music at his father’s church. He uses blues, funk, boogie and R&B to produce a melodic, straightforward, yet fiery brand of soul-blues that speaks directly to the listener. Eddie handles all guitar and vocal work, assisted by Myron Bennett (bass), Samuel Scott Jr. (drums and percussion), Champion and Carlos Russell (harmonica), and Sam Brady (organ).

Eddie’s stinging attack, which might remind you a little of Otis Rush, is on display from the jump as he announces his return in the deliberate slow blues, “Here I Come.” Like the music, the message is simple, but deep: “Here I am/Still on a mission/So determined/To complete my mission./Here I come/You better have some.” The line’s delivered with a sly chuckle. The strong guitar break shows that he means business.

The song “A Woman’s Love” continues Cotton’s unrushed, slightly-behind-the-beat approach that drives the tune forward. It’s a grinding tribute to the empowerment and encouragement he receives with a good lady at his side while facing the roadblocks life presents along the way. The pace quickens dramatically for “Pay To Play,” a rapid-paced shuffle that takes a different view of romance. In this one, Cotton recognizes that the woman is pure trouble: “I’m not going to tell you my real name/I know to you that seems such a shame./But your kind of love has caused me so much pain.”

Platonic love’s the subject of “Friend To The End,” an R&B pleaser in which Cotton testifies that “I’m just a man/And if I’m wrong/Trust I’ll make it right.” Next up, the funky “Get Your Own” will have you heading to the dance floor as Eddie delivers an inspirational message about not giving up until you succeed at whatever it is you’re after.

Cotton adds a big heaping of funk to the monotonic slow blues “My Boo,” which carries forward the blues tradition of a boast in song form. This time, the artist isn’t crooning about being Jody slipping out the back door or making claims about his sexual prowess. Instead, he’s delivering a sweet song of praise for lady whose magic simply won’t quit. That tune’s followed by “Leave Love Alone,” a harmonica-driven warning about the pitfalls of romance set atop a steady driving beat.

The love theme takes another turn with the loping “Back In A Bit.” This time, the singer calls his lady, only to find he’s phoned too late and she’s hooked up with another man. The message continues with “No Love Back,” a reggae-flavored romp that states: “If you give love long enough/And then you’ll see/Love will come/With no love that’s guaranteed.” The disc concludes with the Chicago-style shuffle “Berry So Black,” which delivers a subtle message about race.

Pick this one up. If you have an affinity for straight-ahead blues with a heaping helping of soul, you definitely won’t be disappointed.

Review by Marty Gunther, BluesBlastMagazine.com