445:; according to writer Keith Phipps, "hearing the same riffs and vocals looped repeatedly with the help of machines isn't worlds away from hearing the blues played straight. That's not to say it's the same thing, but it helps that Tom Rothrock's production places the emphasis on Burnside, whose vocals and guitar dominate even 'Heat,' the beat-heavy Empire track." Several tracks, like "Let My Baby Ride" and "Been Mistreated", feature a real drum set instead of electronic beats, Many of the album's beats are played by Burnside's grandson Cedric Burnside, who emphasises hi-hat, kick, and snare to deliver a
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394:,' 'remix' and 'programming' on a Delta blues album, but R.L. Burnside is no ordinary bluesman." Burnside felt the fusion was natural, saying "Adam and Eve were dancing to the blues. Blues is nothing but dance music." Throughout the album, fragmented samples of bluesy moans and hollers, wailing guitar licks and heavy
696:
felt the album was partly successful in bringing "one of
America's oldest musical forms into the 21st century," but felt that the album's "risky move" in bringing looping and sampling techniques to Delta Blues did not always pay off. He highlighted the tracks without electronic production and
237:
techniques. Burnside was originally skeptical of the idea, but enjoyed the finished product. Although the album's fusion of styles was deemed unusual by critics, it received acclaim from music journalists and showed respectable sales, becoming the best-selling album distributed by
29:
456:. "Don't Stop Honey" and "It's Bad You Know" are among the more techno-heavy tracks. The solo tracks "Come On In" and "Just Like a Woman" are the least "techno-fied" recordings, displaying Burnside playing touch riffs and lacking the
703:
agreed that the dance element to the album "hardly matches
Burnside's bluesy croonings," commenting: "Maybe blues really is nothing but dance music, but the rhythms of the Mississippi delta are not those of modern dance clubs."
325:, "that was the record companies idea. They said, 'RL, we oughta do something like we did with Jon Spencer.' And I said, 'well, I don't give a damn. Let's do it.' And we went on and did it." The album was largely produced by
652:
positively commented that the album emphasised the usage of repetition key to both blues and electronic music, and said: "More a novelty than a proper album—and lacking much of the fire
Burnside is capable of
349:." Burnside had not met Rothrock before the album was created, later saying: "I never got a chance to meet him. He just made it and sent it." Nonetheless, the pair later spoke several times after
1497:
667:
a "Spotlight" review, saying "the skill and restraint with which studio veteran Tom
Rothrock treats the music of juke-joint veteran R.L. Burnside results in a happy collision of styles."
308:
was poorly received by critics, who felt the music was uninspired. Conscious of what they perceived to be "the devaluation of their most popular artist", Fat Possum quickly commissioned
603:"brought more crowds to the blues. They love it." He reckoned that this was due to "trying to make people dance to the blues again." The album received critical acclaim according to
1108:
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concluded: "Next time out, if
Burnside gets his ass pocket o' whiskey, turns down the techno a bit and cranks those amps up, he could be onto something." David Kornhaber of
836:
Beale Dabbs (misspelled as Beal Dabbs) – production (4, 10), engineering (4, 10), mixing (4, 10), programming (4, 10), clavinet (4), organ (4), bass (10), writing (4, 10)
707:
Jaime Mather of music marketing group
Planetary Group and College Media officer Alex Ellerson both included the album among their ten favourites of 1998, as published in
676:; it's all about the hypnotic power of the groove, whether it's the droning guitars in a Mississippi roadhouse or the bonus beats buried inside groove of a hip-hop 12"."
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626:, James Lien felt that the album presented "the next evolution of blues, something much more modern than that genre tag suggests," and commented that "
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By then aged 71, Burnside was originally sceptical of the idea of a remix album, although agreed to it. He later told interviewer Ed Mabe of
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features some of the sloppiest yet funkiest drumming we've heard in a long time, so primal it's perfect. Although far from flawless,
575:
was released by Fat Possum on August 11, 1998; Rothrock's label Bong Load Custom
Records released a remix of "Rollin' Tumblin'" as a
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guitarists, and pioneer of a style known as "trance blues," R. L. Burnside did not find wide success until 1991, when he signed to
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idiom, and commenting that the two albums "are a stunning example of how blues can absorb the styles it inspired–from
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595:. By March 1999, it had become Epitaph's best-selling record, despite the label being, at its core, an outlet for
437:
Despite the fusion of blues and electronic being unusual, the music highlights how both genres emphasise hypnotic
333:, as well as "Don't Stop Honey", which was produced and engineered by Deal Babbs, who also performed programming,
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579:. The album was expected to alienate purist fans of blues, but sold strongly, and peaked at number 20 on the
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is still a compelling experiment that finds connections between old and new that aren't readily apparent."
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chains up your brain and hauls it away. If you can't groove to this, check your pulse."
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452:"Let My Baby Ride" features a heavy looped beat, which frames the guitar riffs in a
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1356:"Mississippi Remix, or how 73-year old R.L. Burnside found the hip-hop audience"
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in early 1999. The album's sound was explored by
Burnside in his later works.
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rhythms are scratched, mixed and cut with Beck-style beats and a plethora of
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827:– production (1, 3, 5–9, 11), programming (1, 3, 5, 7–9, 11), bass (11)
390:. According to writer Matthew Hilburn, "Seldom does one see the words '
599:. Burnside said that fans loved the album, feeling that both it and
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and organ on the piece, and "Heat", which was produced and mixed by
1443:. West Lafayette, Indiana, United States: Purdue University Press.
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735:." Burnside developed upon the album's B-boy and boogie sound on
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Radio Chart. In addition to significant airplay, an ensuing
960:"R. L. Burnside, 78, Master of Raw Mississippi Blues, Dies"
329:, excepting a live version of "Come On In" produced by
769:"Rollin' Tumblin' (Remix)" (Burnside, Rothrock) – 4:14
748:"Been Mistreated" (R.L. Burnside, Tom Rothrock) – 1:07
1440:
Walking Blues: Making
Americans from Emerson to Elvis
1197:"R.L. Burnside, "Wish I Was in Heaven Sitting Down,""
806:
Kenny Brown – guitar (4, 8, 11, 12), slide guitar (3)
713:
Walking Blues: Making
Americans from Emerson to Elvis
464:
style, whereas "Rollin' Tumblin' (Remix)" features a
363:, the guitarist told Mabe that he "loved" the album.
286:, and soon Burnside performed as the opening act for
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692:Among less favourable reviews, Matthew Hilburn of
416:described the album as displaying a "boogie-meets-
359:later suggesting that Burnside was indifferent to
1498:Electronic dance music albums by American artists
778:"Come On In (Part 3)" (Burnside, Rothrock) – 2:47
766:"Come On In (Part 2)" (Burnside, Rothrock) – 3:11
630:establishes the connection between a Mississippi
757:"Don't Stop Honey" (Burnside, Beal Dabbs) – 4:13
386:beats, resulting in a noisy fusion of blues and
1107:: CS1 maint: others in cite AV media (notes) (
772:"Please Don't Stay" (Burnside, Rothrock) – 2:59
760:"It's Bad You Know" (Burnside, Rothrock) – 4:58
670:
294:, with whom he recorded the 1996 collaboration
1382:"Tom Waits Joins Indie Epitaph for 'Mule' Set"
754:"Let My Baby Ride" (Burnside, Rothrock) – 3:00
545:
800:Bruce Watson – engineering (1, 3, 5, 7–9, 11)
8:
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797:Cedric Burnside – drums (tracks 1, 3, 4, 12)
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1169:"Album Review: Come On In by R.L. Burnside"
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803:Doug Boehm – engineering (1, 3, 5, 7–9, 11)
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866:– remix (12), production (12), mixing (12)
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460:style of the other tracks. "Heat" is in a
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821:Laurie Hoffma – photography (inner photo)
1388:. Vol. 111, no. 12. p. 85
1305:. Vol. 110, no. 34. p. 47
936:. Vol. 110, no. 34. p. 15
888:
886:
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812:– guitar (1–4, 6–11), vocals (1–6, 8–12)
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341:. Rothrock was best known for producing
989:Cartwright, Gareth (5 September 2005).
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818:David Barry – photography (cover photo)
1503:Dance music albums by American artists
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16:1998 remix album by R. L. Burnside
1266:The Penguin Guide to Blues Recordings
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763:"Just Like a Woman" (Burnside) – 3:32
751:"Come On In" (live) (Burnside) – 3:06
540:The Penguin Guide to Blues Recordings
488:
410:are also employed on the record. The
304:. Nonetheless, Burnside's 1997 album
7:
1380:Bambarger, Bradley (20 March 1999).
1263:Russell, Tony; Smith, Chris (2006).
1030:"AllMusic Review by Matthew Hilburn"
775:"Shuck Dub" (Burnside, Dabbs) – 4:28
1493:Trip hop albums by American artists
1063:"RL Burnside: One Bad-Ass Bluesman"
547:
14:
958:Sisario, Ben (2 September 2015).
737:Wish I Was in Heaven Sitting Down
620:In a "Best New Music" review for
509:
345:, whereas Empire was a member of
1297:Morris, Chris (22 August 1998).
790:Adapted from the liner notes of
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1167:Kornhaber, David (7 May 1999).
893:Phipps, Keith (19 April 2002).
292:the Jon Spencer Blues Explosion
1418:(601): 26, 43. 11 January 1999
1133:Lien, James (September 1998).
928:Verna, Paul (22 August 1998).
640:, between white lightning and
382:remixes Burnside's music with
1:
851:John Oreshnick – drums (7, 9)
842:Lester Butler – harmonica (5)
715:, writer Tim Parrish praises
266:Although one of the original
217:in 1998. Largely produced by
471:groove laid over Burnside's
895:"R.L. Burnside: Come On In"
845:Alejandro Rosso – organ (5)
353:had been finished. Despite
1529:
1354:Lou Friedman (Fall 1999).
1335:(594): 52. 2 November 1998
1061:Mabe, Ed (November 1999).
848:Calvin Jackson – drums (6)
1483:Fat Possum Records albums
496:
493:
161:
26:
1093:(liner). R.L. Burnside.
930:"Reviews & Previews"
815:Don C. Tylor – mastering
781:"Heat" (Burnside) – 5:08
316:of Burnside recordings.
213:, released by the label
991:"Obituary: RL Burnside"
854:Joe Ranieri – drums (8)
609:, who themselves said "
297:A Ass Pocket of Whiskey
183:My Black Name a-Ringin'
839:Joe Rameri – drums (5)
678:
376:
375:R.L. Burnside in 1998.
312:, an album containing
263:
1513:Electric blues albums
1488:R. L. Burnside albums
1437:Parrish, Tim (2001).
1412:CMJ New Music Monthly
1408:"Reader Top 10 Picks"
1329:CMJ New Music Monthly
1139:CMJ New Music Monthly
709:CMJ New Music Monthly
684:CMJ New Music Monthly
623:CMJ New Music Monthly
589:was slotted in MTV's
479:Release and reception
374:
322:Perfect Sound Forever
253:
484:Professional ratings
1103:cite AV media notes
700:The Harvard Crimson
646:." Keith Phipps of
485:
276:Oxford, Mississippi
274:, a label based in
1508:Delta blues albums
1273:. pp. 94–95.
1028:Hilburn, Matthew.
964:The New York Times
483:
396:hill country blues
377:
347:Atari Teenage Riot
264:
262:(pictured in 2012)
1478:1998 remix albums
1280:978-0-140-51384-4
1203:. 9 November 2000
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413:Los Angeles Times
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711:. In his book
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606:Modern Drummer
573:Come On Inside
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743:Track listing
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714:
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702:
701:
695:
689:
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681:—James Lien,
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649:The A.V. Club
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489:Review scores
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408:Drum machines
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331:Bob Corritore
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284:Robert Palmer
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1360:Blues Access
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1325:"Core Radio"
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1244:(1–6). 1999
1173:The Crimson
864:Alec Empire
860:– drums (8)
733:heavy metal
721:Too Bad Jim
653:generating—
643:Mellow Gold
592:120 Minutes
577:maxi-single
462:garage rock
400:disc jockey
388:dance music
367:Composition
339:Alec Empire
280:Too Bad Jim
268:Delta blues
207:Delta blues
203:remix album
145:Alec Empire
66:Delta blues
37:Remix album
1472:Categories
1456:3 February
1422:3 February
1392:3 February
1366:2015-06-16
1339:3 February
1309:3 February
1248:3 February
1207:3 February
1178:3 February
1145:3 February
1095:Fat Possum
1091:Come On In
1072:3 February
1039:3 February
1000:3 February
969:3 February
940:3 February
904:3 February
871:References
792:Come On In
719:alongside
717:Come On In
674:Come On In
665:Come On In
655:Come On In
632:juke joint
628:Come On In
615:Come On In
611:Come On In
601:Ass Pocket
587:music clip
443:repetition
384:electronic
380:Come On In
361:Come On In
351:Come On In
310:Come On In
306:Mr Wizzard
272:Fat Possum
256:Come On In
246:Background
215:Fat Possum
209:guitarist
198:Come On In
175:Come On In
157:chronology
141:Beal Dabbs
117:Fat Possum
81:electronic
22:Come On In
1386:Billboard
1303:Billboard
1234:"Reviews"
934:Billboard
899:A.V. Club
786:Personnel
660:Billboard
597:punk rock
428:Old South
1201:LA Times
1141:(61): 23
1034:AllMusic
739:(2000).
694:AllMusic
503:AllMusic
458:trip hop
454:downbeat
335:clavinet
302:theremin
231:sampling
124:Producer
86:trip hop
49:Released
39: by
1271:Penguin
1097:. 1998.
1067:Furious
449:sound.
439:grooves
404:hip hop
314:remixes
235:looping
186:(1999)
179:(1998)
170:(1997)
1447:
1277:
497:Rating
494:Source
95:Length
663:gave
469:disco
447:funky
418:B-boy
290:band
223:dance
201:is a
112:Label
76:dance
58:Genre
1458:2019
1445:ISBN
1424:2019
1394:2019
1362:(39)
1341:2019
1311:2019
1275:ISBN
1250:2019
1209:2019
1180:2019
1147:2019
1109:link
1074:2019
1041:2019
1002:2019
971:2019
942:2019
906:2019
634:and
582:Core
430:and
343:Beck
233:and
225:and
731:to
434:."
392:dub
205:by
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