Shawn Mullins Albums (10)
'Live at the Variety Playhouse'
Release Date 10/28/2008
Tracks 16
Label Vanguard
See Album Tracklist and Review
What The Critics Say
Perhaps it's tempting to dismiss Shawn Mullins as a one-hit wonder, as the artist enjoyed one chart-topping single (1998's "Lullaby") before fading away into the ether of forgotten singer/songwriters. On this engaging live release, however, Mullins emphasizes the strengths that have maintained his moderate fan base for years: a rich, worn-in baritone; a knack for spinning tuneful narratives; and reverence for his red clay, roots rock predecessors. This is music for Southern highways and Georgia fields, dotted with the characters that occupy both locations, and Mullins receives an appropriately warm response following his hometown performances of "Anchored in You," "Sante Fe," and others. He's a veteran frontman, cracking an audible smile during some of his wryest lyrics ("She was buzzing like a battlefield tracer/She was grinding like the gears on a Pacer") and piloting his band through a mix of alt-country and heartland rock & roll. When presented in this element, playing to his fellow Atlanta natives with an ace band behind him, Shawn Mullins throws off that one-hit wonder stigma with little trouble. "Lullaby" does make an appearance on this disc, but it shows up late in the set, long after Mullins establishes himself as a competent, underrated songwriter. ~ Andrew Leahey, All Music Guide
What The Critics Say
Call it a comeback or just a continuation. After a five-year sabbatical, Shawn Mullins' 2006 release was a somewhat unexpected gem that even yielded a minor hit in "Beautiful Wreck." That album not only coalesced all Mullins' strengths as a sharp lyricist, a winning composer, and a distinctive vocalist, but revived a career most would have left for dead, and was one of his finest collections. The 2008 follow-up titled honeydew, inexplicably spelled with a lower case "h," shows that the previous platter was no fluke. This dozen-song set kicks off with another should-be hit single in the ringing mid-tempo "All in My Head" that boasts an impossibly catchy, strangely familiar melody. Its "na na" hook is perfect for crowd singalongs, making the song as commercial and crossover worthy as any he has written. Although composed in 2002 and left to languish on the Scrubs soundtrack, this is timeless folk-pop given a fresh arrangement and a new lease on life. There's nothing as immediate on the rest of honeydew, but that's not a problem since Mullins' character studies, which dominate the track list, are wonderfully fleshed out pieces. The forlorn old black woman who dies alone in "The Ballad of Kathryn Johnson," the confirmed bachelor mama's boy named Harry of "Fraction of a Man," and the rest of the "Nameless Faces" are intricate, vividly detailed portraits of the forgotten folks who populate Mullins' work here. Musically he shifts from acoustic performances, some with just unplugged guitar, to slightly larger yet still rootsy band productions that change moods while keeping the project from settling into any specific groove. "See That Train" rattles through Tom Waits' styled huff-clanging percussion only to lead into the lovely yet chilling, mandolin driven, anti-Iraq war ballad "For America." Contributions from guitarist Peter Stroud (Sheryl Crow), who returns from Mullins' last album, and longtime Atlanta friends Clay Cook, soul-blues singer Francine Reed (Lyle Lovett), and drummer Gerry Hanson (Randall Bramblett) help create the warmth that courses through the proceedings. Some of these mini-dramas such as "Cabbagetown" tell of Mullins' family and upbringing in Atlanta, and although this can't be considered Southern rock, there is a definable red clay roots approach that lovingly swathes these compositions. Hanson recorded and mixed the session in his Georgia studio creating a vibe that's loose, homey, and enticing. Songs such as the personal reminiscence of "Now That You're Gone" are intimate reflections that could easily deteriorate into schmaltz but are rescued by Mullins' heartfelt vocals and the band's clean, honest approach. That makes the song a tearful and totally believable excursion into the loss of an old love you almost wish would never end. It closes out a terrific folk-rock project that shows Mullins is not just here to stay, but on top of his always impressive game. ~ Hal Horowitz, All Music Guide
'9th Ward Pickin' Parlor'
Release Date 2/14/2006
Tracks 13
Label Vanguard
See Album Tracklist and Review
What The Critics Say
Not surprisingly, Shawn Mullins' association with Sony didn't last long. His sophomore release for the label never found its audience, and with eclectic singer/songwriters not exactly in vogue in 2005, he found a more comfortable and logical home at Vanguard. Here was a company that thrived on, and had a successful history, promoting other artists with idiosyncratic folk and folk-rock styles similar to Mullins. The feeling was obviously mutual, since he delivers a gem of a debut, 9th Ward Pickin' Parlor, for the legendary imprint. With acoustic tracks recorded at the titular New Orleans studio, pre-Hurricane Katrina, Mullins has crafted a diverse offering that encompasses folk, rock, Celtic, and country, often interlocking in the same tune. He aims for early Black Crowes territory on the gospel-laced "Faith," and gives a personal spin to a self-penned murder ballad "Cold Black Heart," which is dominated by his work on charango, an Andean mandolin. The mandolin also plays a prominent role in "Homemade Wine," a moody story-song ballad about leaving a town and a life behind that takes advantage of Mullins' deep, expressive voice. "All Fall Down" finds its rocking heart in the Beatles' "I Want You," especially as it builds in intensity as circular chords accentuate the melody. The disc's first single, the harder-edged "Beautiful Wreck" is also better than anything on the short-lived Thorns' project, a band where Mullins shared the stage with Matthew Sweet and Pete Droge (Droge helped co-write the track). Mullins goes traditional religious on the waltz-timed "Lay Down Your Swords, Boys" that gradually intensifies from solo mandolin by slowly adding instruments until it culminates in full Salvation-Army-band mode with backing vocals. Mullins taps into his inner James Taylor on the bluesy "Solitaire," and closes out the album with a moving version of "House of the Rising Sun" that also builds from acoustic to electric as the singer interestingly takes the original female voice of the protagonist. The song seems to be his tribute to New Orleans, a city whose dusky atmosphere has subtly contributed to Shawn Mullins' most poignant, cohesive, and diverse album. ~ Hal Horowitz, All Music Guide
'Beneath the Velvet Sun'
Release Date 10/24/2000
Tracks 13
Label Columbia
See Album Tracklist and Review
What The Critics Say
"Lullaby" was more than just a one-off novelty hit that unexpectedly established the career of longtime indie singer/songwriter Shawn Mullins in 1998-1999 (though it was that, too). It was a song that encapsulated both of Mullins' strongest traits. In its semi-spoken verses, he revealed his eye for detail and his sardonic outlook; in its choruses, he demonstrated his ability to craft a pop hook. On Beneath the Velvet Sun, his first real major-label album (its predecessor, Soul's Core, was picked up by Columbia after release on his own SMG label), Mullins leans more to the latter tendency, but he provides enough of the former to pacify the audience he earned with "Lullaby." The album's first single, "Everywhere I Go," is a good example of Mullins' pop talent, a catchy but somewhat weightless effort with a bland love lyric. But the song Columbia really should have released as the first single is the lead-off track, "Up All Night," a story song about a lowlife rock & roll couple full of Mullins' wry observations and the album's only song to be half-spoken in the style of "Lullaby." A bigger budget allows the artist to indulge in string and horn sections here and there, demonstrating the breadth of his stylistic reach. But the fans he earned with "Lullaby" are more likely to respond to more conventional pop/rock songs like "Amy's Eyes," not only because of its catchiness but also because of its name-dropping third-person description. Another good song is "Santa Fe," a driving song with a twangy guitar hook and more of Mullins' individual characterizations. If one of these songs takes off, it may not matter (at least to the bottom line) that there are too many simpleminded, vague love songs among the other tracks. But Beneath the Velvet Sun is the uneven work of a talented artist who doesn't seem to trust the idiosyncratic approach that brought him to national attention enough to really let himself go. You can hardly blame him for trying to play it safe, given his one-hit wonder status, but the album's very bow to commercialism may keep it from being the hit it might have been. ~ William Ruhlmann, All Music Guide
What The Critics Say
From the opening chords of "Canyons & Caverns," the talent of Shawn Mullins is apparent. Spending the two years after 1992's Better Days on the road building a strong fan base in the southeast United States and his hometown of Atlanta, Shawn Mullins found his voice, becoming a more mature writer and natural performer. His strengths as a singer, songwriter, and guitar player are reminiscent of Shawn Colvin and James Taylor, and standout tracks such as "In Her Eyes," "Another Look," and the haunting "Evolution Man mark his place in history amongst these acoustic heroes. As the painfully honest and touching "Baby Blue," "For Shari," and "Telling You" show, this is an artist exorcising personal demons through his craft, not afraid to confront and confess his past to heal his present. Big Blue Sky was the fourth release on Shawn Mullins' own SMG Records and it caught the ear of a Los Angeles promoter who brought him westward to the club that would eventually inspire his 1998 breakout hit "Lullaby." The tastefully sparse production provided by Don McCollister (Indigo Girls, Michelle Malone) and guest appearances by friends Kristen Hall, Kristian Bush of Billy Pilgrim, and Michael Lorant of Big Fish Ensemble prove that Atlanta is a hotbed of musical hotshots, and Shawn Mullins is one of the hottest. ~ Kelly McCartney, All Music Guide
What The Critics Say
Coming on the heels of the fairly fabulous Big Blue Sky is a tall order for any album, and Eggshells does its best to be a strong follow-up. Most of the moments of it clear the bar, but others fall the slightest bit shy. The title track finds Shawn Mullins in a haunting, soulful mood, and to great effect. "Drumming Clown," "Cycle of Our Souls," "Song to the Self," "Bitter Tears," and "Shimmer" all match its introspective beauty. Mullins and his deep, emotive voice really lend themselves well to these darker compositions. That's not to say the other stuff is bad. No sir. "Where's Johnny," "Joshua," and "She" are also fine tunes. Then there's "Salt Lake City 1973," a brilliant spoken word/editorial piece detailing a family vacation into Mormon country, as told from the eyes of a five-year old Mullins. Interspersed between some of the songs are spoken introductions by Mullins serving as signposts, if you will, to guide the listener through the album and create a sweet intimacy. To trace the roots of an artist can be very telling. Take "Shimmer," for example, as it's a Mullins favorite. The acoustic rendering of it found here shines with simplicity, but was only a precursor to the fully produced version that appears on his 1998 Soul's Core, the album that brought Mullins' breakthrough success. A great song is a great song, no matter the production. ~ Kelly McCartney, All Music Guide
What The Critics Say
Sincere, subdued, and seriously lackluster, Shawn Mullins' 1992 self-release, Better Days, is a promising effort dampened by unremarkable material. Mullins performs with confidence and emotion, but without a single memorable melody, the singer/songwriter can only struggle with his own creations. None of Better Days' 12 tracks generate any kind of lyrical spark, as the same old lovelorn, world-weary images and testimonies to artistic temperament clog up the passageways out of tavern-singer obscurity. Fans of Mullins' fine late-'90s work might enjoy "Just Like Me" and "Locked in My Room," two numbers that barely rise above the other ten slices of soft rock/folk mediocrity. The only legitimate bright spot is Mullins' strong vocals, which ring with purpose and clarity despite some rather flat production. To the Atlanta artist's credit, his vocals shine enough to make Better Days a credible outing, but one that only the most devoted fans will be able to appreciate. ~ Vincent Jeffries, All Music Guide
'Jeff's Last Dance, Vol. 2'
Release Date 9/8/1998
Tracks 12
Label SMG
See Album Tracklist and Review
'Jeff's Last Dance, Vol. 1'
Release Date 1/1/1995
Tracks 12
Label Dreamcatcher
See Album Tracklist and Review
What The Critics Say
Spontaneous, vibrant, and lyrically stimulating, Shawn Mullins scores big with his passionate messages and his flair for natural storytelling that touches the core of the listener's soul. Mullins brings together ten years of hard work and a respected musician's ethic for the release of the aptly entitled Soul's Core, his first record on a major label. The Columbia release is ethereal, rich in narrative, and, though overly produced at times, filled with expressive instrumental work. Mullins lets his scratchy and deeply resonating voice blend in smoothly with his six-string guitar and fellow bandmates. The opening track, "Anchored in You," takes off with an uplifting message of newfound love and fresh hope, raising the listener to clear skies. Singing "I'm stoned in San Francisco with you on my mind" may have been the net to catch this song away from radio airplay, though the melody feels free in a euphoric sense. The radio airplay hit "Lullaby" mentions a girl who is feeling depressed, crying out for a life away from her upbringing, a life full of Hollywood days and movie star-filled nights. Other tunes carry stories filled with strength lying in the lyrics' character development, such as "Gulf of Mexico." Singing about liquor stores, deserted boardwalks, holy waterfalls, and lost highways, Mullins makes no excuses not to touch on very human circumstances. "I heard a voice from my soul's core, saying freedom's just a metaphor" is certainly a lyric deemed powerful and meaningful in scope. "September in Seattle" is a driving tune branded with a gospel finish, polished with joyous melodic vocal statements. The story of a man of 37 who's been riding trains for 15 years -- lost in his journey to find the ocean and smell the salt of the sea -- encompasses the tune "Twin Rocks, Oregon." On a perilous journey to be found and to find one's self, the man -- though offered a ride to the San Francisco Bay -- decides to stay and catch the next train and "dream his life away." Other bright spots on this record deserve an attentive listen, including the dreamy, haunting "On a Rainy Night," the soulful "Soul Child," and the heartwarming "You Mean Everything to Me." "Shimmer," a song of optimism and encouragement, will always bring delight and joy to the suffering listener, encouraging everyone human to realize we were born to shimmer and shine, born to radiate. A touching song in a more personal way is the letter dedicated to friend Patrick Cosgrove. Fans of Mullins will be sure to capture the moment and seize this time, while wrapping their arms and ears around the record for a listen. ~ Shawn M. Haney, All Music Guide
