After a series of indie record releases, Shawn Mullins’ critical breakthrough came when 1998 Soul’s Core
album shot him to fame on the strength of its Grammy-nominated No. 1 hit, “Lullaby” followed by
AAA/Americana No. 1 “Beautiful Wreck” from 2006’s 9th Ward Pickin Parlor. His song, “Shimmer” was used in
promotion of the 2000 Summer Olympics in Sydney and was included on the Dawson’s Creek soundtrack. He
co-wrote “All in My Head” which was featured in episode one of the hit TV sitcom “Scrubs.” Mullins also co-
wrote the Zac Brown Band’s No. 1 country tune “Toes.” In early 2002, he formed super group The Thorns with
Matthew Sweet and Peter Droge. Mullins’ most recent album My Stupid Heart, was released in 2015, the
theme of which, Mullins says, can be summed up most succinctly by the song title, “It All Comes Down To
Love,” the guiding force behind just about every song on the album.
Mullins is currently embarking on a recording project in conjunction with the 20th anniversary of the release of
his album Soul’s Core, which came out July 17, 1998!
He always performs songs from Soul’s Core in his live sets including “Lullaby” (Rockabye), “Gulf of Mexico,”
“Twin Rocks Oregon,” “Shimmer” and “Anchored in You”. The song arrangements have evolved through the
years as he continues to perform them live and grow as an artist.
For the 20th anniversary, Shawn will revisit the music on Soul’s Core and record two new versions of the
album. He is calling this Soul’s Core Revival. This is not a remix or a remaster of the original, but rather brand
new recordings with new arrangements of the songs – one album will be new stripped down solo
performances, some on guitar, some on piano and maybe one a cappella and the second will be a new studio
recording with his full band, Soul Carnival.
Mullins has partnered with PledgeMusic to reach out to fans to join him in the process of making these records.
Supporters of the project can take part by pre-ordering a download of the records, signed CDs, high-quality
vinyl, a live guitar or vocal lesson online with Shawn, Soul’s Core Revival swag – t-shirts, caps, mugs and
sweatshirts, a visit to the studio while he records the albums, a personalized Platinum record plaque of Soul’s
Core, handwritten lyrics to “Lullaby” – these and many more options to participate in the making of these
records are available on the Shawn Mullins PledgeMusic page at www.pledgemusic.com/projects/shawn- mullins.
Multi-instrumentalist-singer-songwriter Larry Campbell and singer-guitarist Teresa Williams’ acclaimed eponymous 2015 debut, released after seven years of playing in Levon Helm’s band – and frequent guesting with Phil Lesh, Little Feat, Jorma Kaukonen and Jack Casady, brought to the stage the crackling creative energy of a decades-long offstage union. A whirlwind of touring and promo followed, and when the dust cleared, the duo was ready to do it all again. Which brings us to Contraband Love, a riskier slice of Americana.
Larry, who produced Contraband Love, says, “I wanted this record to be a progression, bigger than the first one. That’s all I knew. I wanted the songwriting to be deeper, the arrangements more interesting, the performances more dynamic. Specifically how to get there, I didn’t know. I did know the songs were different. The subject matter was darker than anything else I’ve written.”
“More painful!” Teresa says, and laughs.
“Yeah,” Larry says with a smile. “I’m proud of our debut, but I felt like the songs were lighter than what I’m capable of doing. As a songwriter, I aspire to a sense of uniqueness: this is a great song and it could only have been written by me. I want to get there. It’s a journey, a goal, a pursuit. The mechanics of that pursuit are figuring out what you need to do to surpass your last body of work.”
Although it was not his conscious intent, three of the eight tunes Campbell penned for Contraband Love deal either obliquely or directly with various emotions surrounding addiction. For the blues rocking “Three Days in A Row,” he authoritatively delves into the crucial first seventy-two hours directly following an addict going cold turkey in an effort to get clean. “I was thinking about the things I’ve quit in my life,” he says. “The last time was cigarettes. I remembered the dreams I had in withdrawal.” Vintage-sounding country nugget “Save Me from Myself” (featuring Little Feat’s Bill Payne on piano) explores a troubled soul’s heartrending knowledge that they are hard to love. “I’ve certainly felt both sides of that situation,” Larry says, “and observed it many times.” Delicate waltz “Contraband Love,” a captivating vocal showcase for Teresa, takes on the other side of the story, when a parent (or spouse, or friend, etc.) realizes their only recourse for dealing with an addict is merely to stand “with arms wide open.” Of this remarkable piece, Larry says, “That melody would not leave me alone. It’s one of the more unique songs I’ve ever written.”
“Larry’s writing this stuff,” Teresa says, “and we’re naming off all the people in our lives who are currently going through this (addiction and loss) with a loved one, not to mention the family members and friends we’ve lost in the past from this affliction. That may have driven him. One of my oldest, most intimate friends – a functioning substance abuser since he was a teenager – died on the street in New York while we were in the studio. We dedicated the album to him.”
“The stuff of loss resonates,” Larry says.
Musically, Contraband Love revisits the Americana textures of the duo’s debut, deftly channeling Memphis, Chicago, the Delta, and Appalachia with equal assurance. Larry’s world-famous guitar work – scorching here, funky there, stellar always – punctuates the proceedings with riveting emotion, often like a third voice weighing in on a myriad of emotional states.
The barnburner leadoff single, “Hit and Run Driver,” is a harrowing-but-rocking survivor’s tale, showcasing longtime drummer and engineer/mixer Justin Guip.
To leaven out the darker tunes, Larry and Teresa added a recording of the reassuring Carl Perkins country classic “Turn Around,” with old friend and mentor Levon Helm, captured on drums shortly before his passing. Jaunty folk blues “My Sweetie Went Away,” features new bass player Jesse Murphy doubling on tuba for a distinctly New Orleans feel; traditional gutbucket country blues “Delta Slide,” is spiced with irresistible, harmonized yodeling.
“Stylistically, there’s a lot of different things going on,” Larry says. “So the sequencing was difficult. But I think I got it right.”
Indeed. Contraband Love stands as a new, bolder chapter in a story that arose triumphantly joyous from loss. “When Levon died,” Teresa says, “that put Larry into high gear. He’d already had his head set about making a record, but then it felt like a train took off! We just said, ‘life is short.’”
Another motivator for creating Contraband Love was the experience of taking the Larry Campbell and Teresa Williams show out on the road, as a duo, with a band, and opening for Jackson Browne (who loaned them his band). “It felt fabulous and fantastic,” Larry says. “After I met Teresa (in the mid 80s), I’d be out with Bob Dylan [Larry toured with the Nobel laureate for eight years] and something was missing. I gotta gig, and it’s what I always wanted, but it’s not my stuff, and it’s not with the person I want to be with. And then, when we got a taste of being a performing duo at the Rambles with Levon, the idea that we could expand on that was completely alluring.
“So virtually everything we’ve done musically since I left Dylan’s band, we’ve been asked to do together: Levon, Phil and Friends, Jorma and Jack, Little Feat; we’ve done it all as a unit, a duo, and it’s great. It’s rewarding on a lot of levels. The way I see it, when Teresa and I are together, doing our material for people who come to see us, then everything I ever wanted out of life is pretty well complete.”
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