page_title: Come On In (album)
section_title: Composition
hierarchical_section_title: Come On In (album) / Composition
caption_attribution_description: English: Blues musician R.L. Burnside at the Double Door Inn in Charlotte, N.C. (1998)
context_page_description: Come On In is a remix album by Delta blues guitarist R. L. Burnside, released by the label Fat Possum in 1998. Largely produced by Tom Rothrock, the album was a departure for Burnside in that it fuses his blues guitar work with dance and electronic music, incorporating sampling and looping 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 Epitaph Records in early 1999. The album's sound was explored by Burnside in his later works.
context_section_description: Come On In remixes Burnside's music with electronic beats, resulting in a noisy fusion of blues and dance music. According to writer Matthew Hilburn, "Seldom does one see the words 'dub,' '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 hill country blues rhythms are scratched, mixed and cut with Beck-style beats and a plethora of disc jockey samples and hip hop techniques. Drum machines are also employed on the record. The Los Angeles Times described the album as displaying a "boogie-meets-B-boy sound," whereas Modern Drummer felt the album was a "weird fusion of Old South and East Village."
  Despite the fusion of blues and electronic being unusual, the music highlights how both genres emphasise hypnotic grooves, and usage of repetition; 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 funky sound. 
  "Let My Baby Ride" features a heavy looped beat, which frames the guitar riffs in a downbeat. "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 trip hop style of the other tracks. "Heat" is in a garage rock style, whereas "Rollin' Tumblin' (Remix)" features a four-on-the-floor disco groove laid over Burnside's twelve-bar blues.
caption: R.L. Burnside in 1998.
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