What a great title for an album – it conjures up so many images. This Yellow Dog debut was recorded, intentionally loosely, during a two day jam session and is an album that covers most of southern America's musical history.

Opening track, Morgan City Mississippi has a good time feeling and is the first of three self-penned songs. Cotton has an 'authentic' feel to his music, with excellent guitar and distinctive vocal. The gentle, finger-picking acoustic blues of Come On follows complete with sleepy vocal. The title track is almost ragtime until the vocal kicks in and Cotton gets rockin'.

The first cover is Blind Willie McTell's Dying Crapshooter's Blues – traditional blues played in a traditional style. That's It is a Mississippi Sheiks song and Hamilton Rott adds some serious fiddle on this instrumental slice of Americana. I'm So Glad is a Skip James song and Cotton's guitar playing comes into its own here and he produces a flurry of notes. This is just guitar and voice and you can hear the vocal effort as he stretches himself to the limit.

Was It Low? takes us back to the self written songs and is gentle, acoustic and world weary. Black Night, like the rest of the album, was recorded in one take. It features Big Jack Johnson on slide guitar and is Delta blues with a backbeat. Louis Collins is a simple, beautifully played piece of music. Its strained, emotion-filled lyric is almost spiritual and I defy you not to be moved. Blues For Big Bill, dedicated to his hero Big Bill Broonzy, has Cotton serving up a classy country blues and the fiddle sets it off brilliantly.

The traditional Bill Bailey is given the Cotton treatment and you won't recognise it until he starts singing. He really sounds as if he is having a good time here. The album finishes with the gentle, world weary Goin' Back Home which highlights Cotton's unique style.

As a debut album for his new label this must have his backers drooling for more. As a bonus, if you buy from Yellow Dog quickly enough then they'll send you their excellent sampler, Inspired Explorations of America's Musical Roots. It features their complete roster, the jug band style of the Bluff City Backsliders on Boll Weevil Blues and bottleneck blues on Mark Lemhouse's What's The Matter With Papa's Little Angel Child, contemporary blues Americana from William Lee Ellis (son of Tony Ellis, ex-Bill Monroe's Blue Grass Boys) on She Conquered The Conqueroo. If you add in The Bo-Keys classic R&B Under The Table, Billy Joe Duskin's blues and boogie-woogie piano, Betty & Dupree, Chris Cotton's aforementioned That's It, Calvin Newborn's blues/jazz on Ubiquity and Terry Robb's acoustic ragtime blues of Lucky Labrador then you have as good a slice of American music history as can be found.