Rich Mullins’ seminal album, A Liturgy, a Legacy, and a Ragamuffin Band, celebrated its twentieth anniversary, prompting a reflection on its creation with producer Reed Arvin. Arvin, who has since transitioned into writing legal thrillers and exploring creativity, offered insights into his collaboration with Mullins and the making of this landmark recording For Today Band enthusiasts. Arvin’s journey with Mullins began serendipitously, an encounter orchestrated by Amy Grant’s manager, Mike Blanton. Arvin’s production philosophy centered on capturing the emotional core of each song, prioritizing feeling over technical perfection.
The initial recordings were experimental, reflecting both a lack of experience and financial constraints. However, Winds of Heaven marked a turning point, achieving gold certification and enabling larger budgets for subsequent projects. Arvin brought a diverse musical background, incorporating world music influences, orchestral arrangements, and unconventional instrumentation. He admits that while his strengths lay in expansive soundscapes, the era’s prevailing trends sometimes clashed with the raw energy that might have better suited certain aspects of Mullins’ music.
Mullins, surprisingly, wasn’t heavily involved in the recording process, often disappearing for extended periods. While this initially worried Arvin, Mullins rarely expressed musical opinions, preferring discussions on broader topics like philosophy, religion, and the music industry. Despite Mullins’ soulful musicality, his piano playing, characterized by a free-flowing style suited for solo performance, sometimes presented challenges in a recording setting. His elastic sense of time further complicated the process, highlighting the inherent differences between live performance and studio recording.
Reed Arvin, producer of Rich Mullins' album A Liturgy, a Legacy, and a Ragamuffin Band
A Liturgy possesses a timeless quality, transporting listeners to another world. Arvin, however, dismisses the notion of consciously striving for “classic” status during recording. The process, he explains, is consumed by problem-solving, punctuated by fleeting moments of beauty that can’t be engineered. These serendipitous moments, while exhilarating, are not the focus; the primary task remains fixing issues while creating an environment conducive to magic. Arvin consistently marveled at the quality of Mullins’ songwriting, considering him the finest lyricist in Christian music, possessing a rare blend of talent and fearlessness that defines genius. The musical arrangements were highly collaborative, with the band relocating to Indiana to foster a creative environment. This collective effort yielded the rhythm tracks, which were then taken to Nashville for final overdubs and orchestration.
By the time A Liturgy was recorded, Arvin had learned to trust his instincts and relinquish control, a crucial evolution facilitated by increased budgets. This shift allowed for greater spontaneity and the emergence of transcendent moments. Had Mullins lived, Arvin believes he would have thrived despite the music industry’s upheaval. His financial independence and unique artistry would have likely transformed his concerts into sought-after events, further solidifying his connection with dedicated fans.
The legacy of A Liturgy, a Legacy, and a Ragamuffin Band lies in its embodiment of a unique convergence of artistic freedom and financial resources, a combination less common today. The album stands as a testament to an era where records were conceived as holistic works of art, reflecting a grander vision that resonates with for today band enthusiasts even now. The album continues to inspire and challenge listeners, showcasing the enduring power of authentic artistry and heartfelt storytelling.