Music

Shawn Mullins Returns With New Electric and Acoustic Renditions of #1 Hit "Lullaby" (premiere)

Jedd Beaudoin
Photo: David McLister / Courtesy of Conqueroo

Shawn Mullins celebrates the 20th anniversary of album Soul's Core with new two-disc set featuring acoustic and electric renditions of old favorites and some new insights as well.

Shawn Mullins is celebrating an important milestone this fall. Or a few, actually. It's the 20th anniversary of his #1 song, "Lullaby". Additionally, he's recently completed two studio versions of his 1998 LP, Soul's Core. Titled Soul's Core Revival, the two-disc set features an acoustic version and a full-band take on the LP. The set arrives 16 November via his own Carnival Records and may be ordered here.

Rather than merely reissue the album, Mullins opted to recreate it, providing a fresh take on the songs, allowing the intervening years to inform the new performances for himself and his audience.

The initial album served as the Atlanta singer-songwriter's major label debut, placed well on the album charts and introduced him to a wider, international audience. It also, of course, featured "Lullaby".

On the acoustic set, the singer-songwriter introduces each of the tracks, providing insights into their compositions and more.

On crafting "Lullaby" Mullins describes: "I was listening to a lot of Joni Mitchell and I was trying to figure out her tunings. Somehow I ended up with kind of an open G tuning, but it has two low Gs. Which doesn't really make a lot of sense. Kinda like a dulcimer, that's the sound I was going for because a lot of the songs on that Blue album I was listening to, she was playing the dulcimer. I think that where the guitar part came from even though I ended up playing it very different than what she would do.

"I had just seen Ani (DiFranco) play for the first time, and it blew my mind. I had never seen anyone play a guitar like that. It was unbelievable. She was playing guitar with all five fingers on her right hand. It was like Punk-Flamenco —unbelievable; it just blew my mind -- I was either gonna quit right then and there at the end of the night, or I was gonna get better. It really inspired me.

"So, it ended up, in a way, somewhere between Joni Mitchell and Ani DiFranco."

As for the writing of the song Mullins remembers it this way: "The story is a whole 'another thing: the story is really told in the song. Although, I made up a lot of stuff to make it probably a little more dramatic. Because the real person in the song, Jodi, she's got it together pretty good. She's hangin' in the there; she's doing just fine. And, she's a great storyteller too."

The acoustic version spotlights Mullins' emotive lyrics and vulnerable vocals, further cementing his reputation as a world-class troubadour capable of speaking to the hearts of the lonely and those who will be. The electric take lacks none of the vulnerability or emotions, and yet the recasting is a remarkable feat, its chorus lifting the listener to soaring heights, the dynamics becoming not more pronounced but pronounced with a different accent. More than that, the story remains familiar and fresh.

For the band-centered set, Mullins worked with multi-instrumentalist Randall Bramblett (Bonnie Raitt, Steve Winwood) as well as singer-songwriter Michelle Malone and drummer/producer Gerry "Gator" Hansen. Radoslav Lorkovic ( accordion and keys), Davis Causey and Patrick Blanchard (guitars), Tom Ryan (bass and sax), and Wayne Postell (trumpet) also joined in. Soul Core's original engineer Glenn Matullo returned, and engineer/mixer John Keane (R.E.M., Indigo Girls, Widespread Panic) joined in on recordings that took place at Keane's studio in Athens, Georgia.

Music


Books


Film


Recent
Music

The Charlatans' 'Between 10th and 11th' Gets a Deluxe Edition

Not even a "deluxe" version of Between 10th and 11th from the Charlatans can quite set the record straight about the maligned-but-brilliant 1992 sophomore album.

Reviews

'High Cotton' Is Culturally Astute and Progressive

Kristie Robin Johnson's collection of essays in High Cotton dismantle linear thinking with shrewdness and empathy.

Reviews

Lianne La Havas Is Reborn After a Long Layoff

British soul artist Lianne La Havas rediscovers herself on her self-titled new album. It's a mesmerizing mix of spirituality and sensuality.

Reviews

PC Nackt Deconstructs the Classics with 'Plunderphonia'

PC Nackt kicks off a unique series of recordings dedicated to creating new music by "plundering" unexpected historical sources such as classical piano pieces or chamber orchestra music.

Music

Counterbalance 24: The Doors - 'The Doors'

Before you slip into unconsciousness, Counterbalance has put together a few thoughts on the Doors' 1967 debut album. It's number 24 on the Big List.

Reading Pandemics

Parable Pandemics: Octavia E. Butler and Racialized Labor

Octavia Butler's Parable of the Sower, informed by a deep understanding of the intersectionality of dying ecologies, disease, and structural racism, exposes the ways capitalism's insatiable hunger for profit eclipses humanitarian responses to pandemics.

Television

'Tiger King' and the Post-Truth Culture War

Tiger King -- released during and dominating the streaming-in-lockdown era -- exemplifies in real-time the feedback loop between entertainment and ideology.

Books

Ivy Mix's 'Spirits of Latin America' Evokes the Ancestors

A common thread unites Ivy Mix's engaging Spirits of Latin America; "the chaotic intermixture between indigenous and European traditions" is still an inextricable facet of life for everyone who inhabits the "New World".

Film

Contemporary Urbanity and Blackness in 'New Jack City'

Hood films are a jarring eviction notice for traditional Civil Rights rhetoric and, possibly, leadership -- in other words, "What has the Civil Rights movement done for me lately?"

Books

'How to Handle a Crowd' Goes to the Moderators

Anika Gupta's How to Handle a Crowd casts a long-overdue spotlight on the work that goes into making online communities enjoyable and rewarding.

Music

Regis' New LP Reaffirms His Gift for Grinding Industrial Terror

Regis' music often feels so distorted, so twisted out of shape, even the most human moments feel modular. Voices become indistinguishable from machines on Hidden in This Is the Light That You Miss.

Reviews

DMA's Go for BritElectroPop on 'The Glow'

Aussie Britpoppers the DMA's enlist Stuart Price to try their hand at electropop on The Glow. It's not their best look.

Reviews
Collapse Expand Reviews

Features
Collapse Expand Features
PM Picks
Collapse Expand Pm Picks

© 1999-2020 PopMatters.com. All rights reserved.
PopMatters is wholly independent, women-owned and operated.