Artist: Shawn Mullins
Album: Soul’s Core Revival
Label: Soul Carnival
Release Date: 11.16.2018
Twenty swift years have passed since Shawn Mullins released Soul’s Core, his sixth album (of now twelve), and his breakthrough debut on Columbia Records. Featuring arty yarns amid a tantalizing mix of folk and rock music, the record capped a stretch of busking across America for the Atlanta singer/songwriter, and his absorbing the life as such. His hard work and sharp eyes paid off, because the ultra-catchy “Lullaby” was an instant hit. Apparently, the entire album’s remained special to Mullins. So much so that he recorded it anew in both solo acoustic and electric band formats. What a brilliant idea.
Mullins wears the two decades well, his fractured tenor now seasoned, and thus all the more moving, and wide in range. The different presentations rise and shine like night and day, together distinctly luxurious. Each song on the acoustic album gets set up with a monologue, Mullins witty and engaging as if on stage in front of an audience. That the guitar figure in “Lullaby” was inspired by Joni Mitchell’s Blue album as much as his first encounter with Ani DeFranco in concert bears out, just one of the curious tidbits revealed. The songs then resonate with the raw nature of a truly great storyteller at work. “Lullaby” sounds vulnerable before the hook and the exhilaration grab hold.
On the electric album, Mullins and the band imbed themselves exquisitely within that song’s multifaceted, finger-snappin’ groove. The large roster of players centers around Randall Bramblett on keys and sax, guitarist Davis Causey, and drummer/producer Gerry Hansen, all from the Randall Bramblett Band, and all in possession of monumental talent and musical understanding. For “The Gulf of Mexico,” they saunter with class, Mullins breathing out the panoramic tale dreamily, but eagerly. Expressive, smoking guitar solos close it down. On acoustic guitar, the song’s Florida experience ironically calls to mind the old West. In “Twin Rocks, Oregon,” the story of a character “Drawing portraits to keep his belly full of beers” unfurls. In the final refrain on the electric version, Mullins belts out the words in mean, classic soul singer fashion.
Sean Mullins can sure paint a portrait, and then sing it. The arrangements are rich, and the productions deep and clear. Soul’s Core was one heck of an album. But tough to beat may have been beaten, twice, on these Revivals.
—Tom Clarke
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