Winds of Heaven, Stuff of Earth

Rich Mullins "Winds of Heaven, Stuff of Earth"

by Jon Woodhams

CCM Magazine September 1988

Perhaps best described as a "musical world tour," Mullins' third release, Winds of Heaven, Stuff of Earth makes it clear that the songwriter/singer has seen, as he sings, "The Other Side of the World", and founf God there, too. In fact, the these here seems to be that of finding God in all of creation, as though Psalms 19 had been paraphrased and set to a pop oratorio.

Standing in a child-like awe of his creator and armed with an uncanny gift of communication, Mullins ushers the listener into a worship experience, succeeding where so-called "praise" albums fall.

This time around Mullins and producer Reed Arvin have tapped into the songwriter's travels in the Far East to give the album an unmistakable international fliar. Both the material and the sparkling, acoustic-flavored arrangements contribute to the global textures as does the pulsating percussion of the Miami Sound Machine's Rafael Padilla.

"Awesome God" is a praise in the vein of "Great is the Lord" and is sure to find its way into future hymnals. Other highlights include "Such A Thing As Glory," "Ready For The Storm," (remiscent of the group America) and the aforementioned "Other Side of the World."

Rich Mullins may never join the likes of Russ Taff or Matthew Ward in the "Vocal Hall of Fame," but he is an honest and remarkably effective communicator and his song writing is some of the best in the business. Winds of Heaven, Stuff of Earth accentuates these strengths and Mullins' listeners will surely find themselves singing - and worshiping - along with him.

Rich Mullins "Winds of Heaven, Stuff of Earth"

by Bob Sperlazzo

Calendar Magazine Fall/Winter 1988

Album number three from super songwriter Rich Mullins entitled Winds of Heaven, Stuff of Earth takes on a missions emphasis with songs like "On the Other Side of the World", "How Can I Keep Myself from Singing" and "One True Love". Mullins has cultivated a maturity -- accentuated by the innovative production of Reed Arvin. There's a musical amalgamation of mandoline, fiddles, hammer dulcimers and percussionist Rafael Padilla. At times the project has a style similar to Paul Simon's Graceland, born in the heart of a man travelling to far away lands with the Gospel. Best cut: "Awesome God".