Rob Mullins Dance for the
New World-1997
SPOTIFY
APPLE
AMAZON
Rob Mullins
speaks about the creative process.
Guest stars: Wilton Felder,
Brenda Russell, Alex Al, Val Watson, Eric Marienthal,
Adwin Brown
I started this project in 1995.
I've always lived for creating things, and my music
has been the primary source of my passion since I was
young. I wanted to do something different this time
around, as I noticed that the world was going through
some radical changes. My personal world was as well at
the time. I started out with the groove for "Obsession".
I
had
been sitting in with a band one night, just hanging
out with friends, and I noticed a girl sitting across
the room. One of those faces that just takes your
breath away. While I stared at her in awe, I knew a
couple of things: 1) this is the kind of beauty that
launches the thousand ships that writers write
about...and 2) she would never be mine. Sometimes, you
just go with your feelings..... "The Time Has Come" was born out of my feelings about God, and the confusion that I see in my own soul, and in the world we live in. During this period, a lot of things were bothering me: Why is so much wierd stuff happening on the planet? Why are people losing their minds? Sometimes, being an artist is a weird thing......you feel things, but you can't speak them. There was and is a lot of impending doom stuff out there.. Somehow, I was trying to balance the light and dark in my own self...and see what was going on out there. I could see that my Christian friends were of no help: most of them were struggling with their own dual natures, and failing miserably. My girlfriend was of no help, she was too worried about basic things like not having a driver's license, getting to work, etc. The church was of no help: too much hypocrisy. I just had to go inside, and find something for this one. Some of my friends who regularly visited my Friday gig were into the groove of "The Time Has Come" because I had just been playing the groove on its own at the gig. When I added the body of the song to the groove, and changed the key up to the relative major, I knew I was on to something. The melody sound was something that had been floating around in my head since an early 1995 trip to London. I wanted to add a bit of a glassy touch to the piano melody in octaves to give it a different sort of a sound. The feeling that I get from this song is one of hope and calm in the midst of inner wondering and confusion. Ah... "Island Girls". One of my favorite topics lol....This one's just a happy little ditty that makes you forget about life, and want to dance at the islands mon. Every project needs one of these. "Wednesday" is from
my days with a new found love, and copious consumption
of Samuel Adams. A few months had passed, I was in
love with someone new, had a Wednesday gig, and was
playing around with a series of four chords one day in
the studio. I had met Zachary Breaux by this
time, and was still tripping on the great musical
experience I had with Ronnie Laws on the
"Brotherhood" album, which, in my opinion,
contains his finest work since "Pressure Sensitive".
Except for "Stairway to the Stars" from "Deep Soul",
but that's a story I'll have to tell another time.
Ronnie and Zach were both fond of four chord vamps,
and I was as well. The question of course was, what
are the four chords, and how "Dance for the New World" was
actually the last song I composed for this project,
and its interesting that it became the title track. I
am still totally in love with this song, and have yet
to get tired of its melody or beat. This was actually
a summation kind of song, and for sure an ambitious
attempt at musically capturing everything that was
going on out it the world, and inside my heart. From a
musical point of view, you have a lot of different
things all combined into one song on this one. The
melody concept is kind of like a far eastern "its a
small world after all" theme, with a little
Rippingtons and Pat Metheny thrown in. The groove is
straight from Europe. The piano solo: gospel, and
floating contemporary jazz. I really like the added
touch of Mark Cargill's violin on this one....each
section of the song kind of takes you to a different
part of the world, and then brings you back with the
melody. I wanted this one to reach people of all
ages...and so far, it looks like it is working...older
folks seem to really like the piano. I've had good
comments on the groove from the Gen X'ers, and one fan
sent me a video of her four year old singing the
melody. silent "When Love Gets Deeper" is a very nice vocal song featuring Brenda Russell, who is a consummate lyricist, and a true icon in comtemporary music. The music part of this song was one great for getting busy to...and Brenda's words really sum up making it into the best phase of love: true love, whether the person is there or not. Thanks to Eric Marienthal for some nice sax on the intro to this one. "To Begin Again" Ah.....how many
times must we start over in life? Seems like many...I
see so many friends going through such nasty stuff in
real life... why is life so ugly, arrogant, and
uncontrollable at times? Personally, it does drive me
nuts. Just when I think I've got a handle on it, it
seems to take a curve in another direction. I call it
WCS...the wild card syndrome. Sometimes, that's the
only way to explain things. People change. You never
REALLY know anyone completely. You never REALLY know
what is going to happen in life. I have always loved the beach. There is something so calm and serene, yet so vast and huge about it. I tried to get the feel of a perfect California day in "Ocean Breeze". "Bustin' Out" is just straight
up good old fashioned funk. I learned about funk
when i was with the Crusaders guys. We had
lessons. It was ugly...lol. Funk is so easy, yet so
hard to get it right. The loop I made for this was
inspired by an old Wynan's song, and this one has
about the strangest bassline I've ever composed. So
many people have asked who the sax player is on this
one, and most of them are shocked to hear that it is Greg
Vail. I think I need to keep reminding people
that good musicians can change their style and sound
to fit the mood of a piece of music. When you hear a
song that you instantly know is "so and so", then you
are getting that one "thing" that that artist does.
Great artists are like chamelions..they change to fit
the situation they are in musically, which is what
Greg did on this cut. Greg's talent for playing goes
far beyond his recorded music. Byron Bordeaux added
great guitar and vocal stuff to this one. The song "Planetmullins" was a true labor of love to create. It took almost seven weeks of studio time. I realized after I got started on this one, that I had bit off way more than I could chew when I started out with the goal of capturing American History back to the fifties, pop world culture of the nineties, the future of the planet, the spiritual and mental states of folks of all ages, and my own personal style all at once. Whew, I thought I was going to die during this one, and my relationship with my girlfriend did die (sorry Nicole). It wasn't the groove of the song that was tough, it was all those darn soundbytes. If you listen carefully to this one, you will hear early American science fiction, Russian and NASA space flights, all kinds of races talking (especially afro-american and english). It has a duchess, a bugler (Tony Guererro on my grandfather's WW1 bugle), a lot of street thugs, some scientists, some idiots, some jamacans, some politicians: its got one of everything just about. I lost count at 300 samples when I was making this one, it just got to be too much to keep track of after awhile. The best part of the whole song is the "rap" done by Adwin Brown. He came to the studio after I moved it to LA, and we talked about the concept of what I was trying to achieve with the song. He spent a week writing the words to the "rap" part, and it only took about five minutes to record it. All told, this song took a lot of time...I worked on it off and on for almost a year before it was done. It never fails to put me in a good mood though: its just completely out of its mind:) "Midnite Rendezvous" just came to me one night when i was in one of those sexy, romantic kind of moods, sitting at the piano in the studio. It was a quick one, just stormed into me one night, and nearly recorded itself. Definitely THE smooth jazz track of this project IMO. I'm sure all of you have known the pain of a relationship that didn't work out. When you truly love someone, and they go away, it can be a painful experience. For me, that feeling of lonliness is captured in the last song on the album, "House of Broken Dreams". This song is mostly piano, and it still pains me to listen to it to this day. Its the favorite of many on the whole album. All in all, this album took me two and a half years to make: and it will take you an hour and one minute to listen to. Enjoy it. I hope that the music strikes a chord in you somewhere, and you will be transported to new places in your heart, your soul, and your thinking. Rob Mullins-Oct 1997 |
Copyright © 1997 RME Group, Zebra Records All rights reserved.