#r.l burnside

[sonicandvisualsurprises]

I found this video while browsing through @spilladabalia's liked posts.

A raw and captivating piece of history and a hypnotic, one-of-a-kind performance! Truly excellent.

R.L. Burnside’s wood-chopping holler (1978)

“R.L. Burnside chops wood and sings a holler at his farm in Independence, Mississippi. Shot by Alan Lomax, Worth Long, and John Bishop, August 28, 1978.“ 

[musickickztoo]

R. L. Burnside

November 23, 1926 – September 1, 2005

[jernostrapig]

R.L. Burnside - It's Bad You Know (Official Audio)

[e317y]

R.L. Burnside & Junior Kimbrough at Kimbrough's juke joint

[dirtylowdown2]

R.L. Burnside: When My First Wife Left Me (1978)

"R.L. Burnside at home in Independence, Mississippi, shot by Alan Lomax, Worth Long, and John Bishop in August, 1978."

[rastronomicals]

5:01 PM EST January 2, 2025:

R.L. Burnside - "Miss Maybelle" From the album   The Black Keys Present The Hill Country Blues (May 2021)

Last song scrobbled from iTunes at Last.fm

Giveaway with the July 2021 issue, the one with Joni Mitchell on the cover, and the Troggs story inside.

[mudwerks]

(via R.L. Burnside - It's Bad You Know (1998)

[allmusic]

AllMusic Staff Pick R.L. Burnside A Ass Pocket of Whiskey

Mississippi bluesman R.L. Burnside recorded this album in a single afternoon, with some help from a good stash of liquor and the accompaniment of the Jon Spencer Blues Explosion. A Ass Pocket of Whiskey was controversial upon release for the surreal vigor of Spencer's vocal interjections and the band's muscular noise, but ultimately what they do is give Burnside license to hit these songs hard, and the results are explosive and satisfying.

- Mark Deming

[kosmik-signals]

R.L. Burnside: See My Jumper Hanging On the Line (1978)

[mywifeleftme]

309: Junior Kimbrough // All Night Long

All Night Long Junior Kimbrough 1993, Demon Records (Bandcamp)

“Crawling around in the dirt. Crawling around in the dirt between the rows of blooming, blinding white cotton in the field to the side of Junior’s old country juke, and this woman, Lord she must have been sixty, she was out there crawling around in the dirt, with me, I’m not lyin’! Both of us out there in the sun, drunk on white lightnin’ in the middle of the day! And it was a Sunday! Amps turned up all the way inside the shack, drums making the floorboards boom, you could hear it fine. Yeah out there in the dirt.”

That’s how Robert Palmer, an eminent rock critic turned filmmaker and music producer whose 1992 documentary Deep Blues sped along the rediscovery of Junior Kimbrough, opens his liner notes for All Night Long. It reads like a white New York Times writer trying to summarize a scene from True Detective in the voice of Toni Morrison, but there’s nearly always some degree of authenticity fetishism in prose about the blues. Palmer describes Kimbrough’s juke joint performances as orgiastic rituals, a head full of voodoo and a belly full of moonshine, sweaty, droning, folks drawn to the shack like moths to a light that could destroy them. It’s that thing that whites have found alluring and repellant about Black music since they first encountered it, the way it seems to provide something people desire in their gut without asking moral permission to do so.

Not having been by Junior’s place, I can’t really speak to Palmer’s assessment of the scenes (maybe he’d’ve described a college club in Provincetown called Hedonism in similar terms, who knows), but he made the right decision “producing” these recordings as little as possible. Kimbrough’s music does feel like something completely unreconstructed, these endless trudging jams with their reptilian pulses closer to African trance music than the tidy verse-chorus structures imposed by physical singles. He plays at ear-bleeding volume, unmindful of feedback, with a bone-dry tone that wouldn’t be out of place on a noise rock record. These are horny moan-songs about feeling good (often in the near-abstract way you get to drinking right before the spins hit) and staying out, though there’s a throbbing vein of violence and despair at the bottom of it.

Chances are my local Blues Society parents would have some trouble with his “You Better Run,” a bleak-humoured seven-and-a-half-minute nightmare about a woman pursued by a knife-wielding rapist. Kimbrough delivers it like one of those brimstone sermons about the perils of sin, only here there’s no sin implied, no God or Devil present, just this stalking, inevitable wraith, this thing that desires you as hungrily as a yawning grave. Kimbrough rescues the woman in his car towards the end of the song, but as he drives her home he drily warns her he might decide to rape her himself, only for her to reply that he won’t have to because she loves him. It’s a grim joke, but one that no doubt got a huge reaction from his regulars the same way the nastiest shit talk in a diss track gets people going—it’s the daring they applaud, the swagger of being badder than a bad world.

309/365

[musickickztoo]

R. L. Burnside  † September 1, 2005

[dustedmagazine]

Listed: See Jazz

See Jazz, the recording project of Brooklyn-based songwriter Aaron Pfannebecker, uses drum machines and synthesizers to construct warped bedroom collage pop guitars and earworm vocals. Jennifer Kelly liked the single “1982” from Pfannebecker’s Is This Anything? a whole lot, noting its “vertiginous balance between tremulous, astral ideality and wounded, grounded vulnerability, the same contrast between ragged doubt and heavenly solace.”

Some songs that stick to me lately

Cyndi Lauper — The Goonies ‘R’ Good Enough

I’ve always loved this song and I recently rediscovered it on a dive into Lauper’s music again and it always puts me in a great mood. It just makes me happy like a lot of Motown does especially The Jackson 5. It bops.

The The — This Is the Day

This is a top 3 song of the 1980s and probably was the biggest influence on this record I just made whether I knew it or not. I could listen to this on repeat forever and never give sick of it.

The Osmonds — Denim

No one’s written a better song about a decade.

Minnie Ripperton — Les Fleurs

One of my favorite songs. It has the biggest chorus that hits like 20 “Smells Like Teen Spirit’s.“ It’s epic. It’s holy. Minnie Ripperton’s voice is one the most beautiful I’ve ever heard. Maya Rudolph is her daughter and Ripperton died way too young.

Jeff the Brotherhood — Camel Swallowed Whole

Jake and Jamin have always made great music, but this is by far my favorite thing they’ve ever done. It’s great. Everyone should hear it. Kunal Prakash also plays on this I think, and you couldn’t ask for more awesome people to be making great art together.

Bob Dylan — Precious Angel (Live at the Warfield Theatre)

One of the things I think we all take for credit is Bob Dylan’s ability to always evolve and change a song. People use to slam him for not being able to recognize classic songs they wanted to hear because he plays them entirely differently than their record versions. I think people are coming around now and we all should. Its’s rare and it’s brave and no one owes anyone anything especially in art. This take isn’t too different than the recorded version except for one thing. It’s got 100x more soul.

New Order — Regret

This is probably my favorite song by New Order. Although that could change. It’s got everything I love about them. Incredible drums over great drum programming. Peter Hook’s the best melodic bass player from the UK. He shines here. The tones of the keyboards fit perfectly and Bernard Sumner’s guitar is perfect. His direct lyrics are perfect.

Haruomi Hosono — Sports Men

Philharmony is a record I keep coming back to. It’s dense and still open and very much a vision of one person. YMO is great but this one hits me harder and “Sports Men” is the poppiest song on the record. It’s straight ahead in an unusual way or unusual in a straightforward way. Whatever you want it to be, it is.

Discovery Zone — Dance II

This is the last new song I’ve heard that’s still my favorite new song I’ve heard. It’s been a couple years and it’s still my favorite new song. It’s the perfect pop song. Discovery Zone is the recording project of JJ Weihl. She’s brilliant.

R.L. Burnside — Let My Baby Ride

This is a great genre collision. 1 + 1 = 3. It’s still new and it’s evolution. It’s got a very early Beck feel. I love everything about it.

[dj-bouto]

01. The Orb "Little fluffy clouds" 02. Chriss Joss Orchestra "By night" 03. Wamdue Project "Neburu" 04. Stone Roses / Rabbit in the moon "Fools gold" 05. Acid Rain / UR "Cyberwolf" 06. R.L. Burnside "Don't stop honey" 07. R.L. Burnside "Shuck dun" 08. Dj Guitar "Fill me with cotton" 09. J.B. Hutto "Leave your love in greater hands" 10. XXX "Red wine" 11. Yush 2K "Outlaw robot" 12. Earnest Honest "Scratch mass" 13. 9 Lazy 9 "Big six" 14. Wamdue Project "XXX" Stories mother never told me #02 : mixed by Dj Bouto #triphop #house #dub #blues #chillmusic

[radiophd]

r.l. burnside -- see what my buddy done

[rastronomicals]

3:29 AM EST December 13, 2024:

R.L. Burnside - "Shake 'Em On Down" From the album Too Bad Jim (1994)

Last song scrobbled from iTunes at Last.fm

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