R.L. Burnside – Come On In

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Tracklist

A1		Been Mistreated
A2		Come On In (Live) Producer – Bob Corritore
A3		Let My Baby Ride Percussion – John Oreshnick
A4		Don't Stop Honey Producer, Engineer, Mixed By, Programmed By, Keyboards – Beal Dabbs
A5		It's Bad You Know Drums – Joe Ranieri Harmonica – Lester Butler Organ – Alejandro Rosso
A6		Just Like A Woman Drums – Calvin Jackson (3)
B7		Come On In (Part 2) Percussion – John Oreshnick
B8		Rollin' Tumblin' (Remix) Drums – Joe Ranieri, Joey Waronker
B9		Please Don't Stay Drums – John Oreshnick
B10		Shuck Dub Producer, Engineer, Mixed By, Bass, Programmed By – Beal Dabbs
B11		Come On In (Part 3)
B12		Heat Producer, Remix – Alec Empire

Drums – Cedric Burnside (tracks: A1 to A4, B12)
Guitar – Kenny Brown (2) (tracks: A3, A4, B8, B11, B12)
Lacquer Cut By – KPG*
Mastered By – Don C. Tyler
Producer, Engineer, Mixed By – Tom Rothrock (tracks: A1, A3, A5, A6, B7 to B9, B11)
Programmed By – Tom Rothrock (tracks: A1, A3, A5, B7 to B9, B11)

Tracks are listed sequentially on release.
©&℗ 1998 Fat Possum Records/Epitaph.

Runouts are etched.

	Title (Format)	Label	Cat#	Country	Year
Recently Edited	Come On In (CD, Album, Digipak)	Fat Possum Records, Epitaph	80317-2	US	1998
Recently Edited	Come On In (CD, Album, Digipack )	Fat Possum Records, Epitaph	0317-2	Europe	1998
New Submission	Come On In (CD, Album)	Fat Possum Records, Epitaph	E80317-2	Australia	1998
	Come On In (CD, Album, Stereo, Digipak)	Fat Possum Records, Epitaph	80317-2	US	1998
	Come On In (CD, Album, Digipak)	Fat Possum Records	80317-2	US	1998

115volts Jul 13, 2024
Production/mastering is all over the map on the original vinyl. Track volume levels and transitions are odd.
Adam_A Oct 18, 2021
Edited 3 years ago
While I don't think the production on this has aged very well (it's very much an album of its time), on a personal note this is pretty much the most significant album in my course of musical appreciation that I've ever come across. In the late '90s I was listening to electronica, bad metal, and radio schlock. Because of my love for electronica, I of course found myself listening to Moby's "Play". A curious thing happened: I realized that I enjoyed the samples (blues, gospel, etc.) as much as the beats. I told a friend about Play and he recommended "Come on In". This exposure absolutely fuelled my love for blues, and I spent the next many years learning about all the greats from the 20th century, which then expanded my love for rock, jazz, and beyond. As I said, Come On In is an album for its time. But it was the perfect album for me and it came at the best time for where I was at the moment.

Even though some of it is a little cringy today, the track "It's Bad You Know" still stands out as an absolute highlight, with overblown, echoey harmonica over a rather trancy base track.