Track Listing

1. Been Mistreated
2. Come On In (1)
3. Let My Baby Ride
4. Don't Stop Honey
5. It's Bad You Know
6. Just Like A Woman
7. Come On In (2)
8. Rollin' Tumblin
9. Please Don't Stay
10. Shuck Dub
11. Come On In (3)
12. Heat

Product Details

• Amazon Sales Rank: #71594 in Music
• Released on: 2005-07-01
• Number of discs: 1
• Dimensions: .16 pounds

CD Description
Along with labelmate Junior Kimbrough, Burnside can be credited with bringing back real, gutbucket blues to a public numbed by the Kenny Wayne Sheperds of the world. His raw, electric style fuses Chicago and Delta blues into an arresting, often hypnotic swirl. COME ON IN represents a summit betweenBurnside's traditionalism and the high-tech primitivism of the electronica generation. Essentially, it's Beck in reverse; instead of a post-modern electronics-tinged artists incorporating traditional blues influences, COME ON IN is a case of a hardcore bluesman allowing '90s technological advances to enter and even expand his musical world.
The simple, hard-hitting rhythms and hooky, repetitive guitar riffs that are the cornerstones of Burnside's style lend themselves quite naturally to the looping and sampling techniques that give COME ON IN it's eccentric, wild-card feel. Everything elsein the pop world has been put through its remixing paces, why not blues? Ultimately, Burnsides vision is so singular and insistent, it dominates even the most loop-heavy tracks here, and the electronically altered structures of COME ON IN provide a fresh look at the tradition Burnside has been making his own for his whole life.

Customer Reviews

12 TRACKS TO RAISE A SMILE
Hearing 'It's Bad You Know' on a late night radio show was the catalyst for me to seek out this cd. Proir to that R L Burnside was unknown to me. R L Burnside mixes some unlikely cocktails blending as he does elements of traditional southern blues with contemporary urban black american styles yet the results are always engaging and energetic. R L Burnside must have a strong affinity for youth culture. It's the energy and diversity of this collection that are it's biggest assets. 'Come On In (Live)' features Burnside unaccompanied picking his axe and on vocal, 'Just Like A Woman' takes you to his roots in the style of a twelve bar blues, and 'Rumblin Tumblin' features some catchy slide guitar. Five different drummers are credited on the sleeve and their range ensures that the listener is never bored. Cedric Burnside is credited with drums on four tracks and his earthy, in your face, funky style complements Burnsides' take on contemporary styles. My personal favourite is 'It's Bad You Know'. Burnside lays down his axe for Lester Butler to take the lead on harmonica. There's a cracking vibe in the backbeat (Joe Rameri on drums) and hooks in the harmonica, organ, and vocal guarenteed to grab you and reel you into this modestly presented gem of a track.

Jukejoint jams for the MTV generation
OK... forget the whining trad. blues purists - this album is great. All those people who think that Robert Johnson and Muddy Waters are the be all and end all of the blues have clearly missed something every important about their favourite musical genre... blues reflects life. In 1996, when this album was released, 'Come On In' reflected life and modern music. Surely the huge underground college radio following which it accumulated proves this. It was a unique idea by Fat Possum records and not one to be quickly dismissed as the exploitation of some blues legend by a bunch of Johnny Comelatelys.
R.L. Burnside by all accounts was, well, difficult to say the least. I always got the impression that he'd trust a guy as far as he could throw him, so not at all really. It's fairly well known that he wasn't a great fan of it himself until the paycheques started rolling in. This record helped him a lot. It got him into the mainstream by updating his slightly off-the-wall jukejoint blues (which was really about 45 years out of its sell by date) to its natural conclusion. The beats put behind the recordings, on the whole, worked really well and the album also includes a great live cut of 'Come On In' as well as some non-remixed small combo work ('Just Like A Woman').
The whole point behind R.L.'s juke-joint sound is that it's hard-driving, loud and raucous. Unfortunately, sometimes hearing that sort of material on a record won't do it justice to an ever increasingly impatient youth audience. An album like this captures the spirit of the tunes while giving a younger MTV listener something to relate to...

A little bit of something different?
Another very good piece of work from R L.
Great blues mixed with a modern twist.
You WILL like it!