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Witchvox Chapter: Pagan Music
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Twilight Calling
(words & music by Christopher BIngham)Twilight Calling
Taste the sorrow
Drink it up
Chase another distraction
and quietly refill the cup
Come tommorrow
Come the dawn
Will you dance in their circle
and wake up a hundred years gone?
If you hear them call will you go?
Find the voice
If it’s Twilight calling
Oh would you go if you could?
Deep in some night touch the face
Is that Twilight calling?
Follow the light in the wood…
Back in “real life”
Day to day
All the hours seem the same
Till a voice in your darkness is
Quietly calling your name
If you hear them call will you go?
Find the voice
If it’s Twilight calling
Oh would you go if you could?
Deep in some night touch the face
Is that Twilight calling?
Follow the light in the wood…
Climb the ladder?
Or seek the Fey?
Does it matter what you’re paid?
Will you dream at your last breath
Of passions or the profits you made?
If you hear them call will you go?
Find the voice
If it’s Twilight calling
Oh would you go if you could?
Deep in some night
Touch the face is that Twilight calling?
Follow the light in the wood…
Snohomish 12/23/2005
copyright 2005 Christopher Bingham
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Bardic Circle Featuring...
Gaia Consort [a Witchvox Sponsor] ...
Twilight Calling
(by Christopher BIngham)
Audience Count: 5,732
The Story...
 "Twilight Calling" came out of the wonderful energy we encountered in the realm of Faerieworlds Festival in Eugene OR. The sprit of the Fey is expressed everywhere there during the festival and is something we carry home with us every year.
"Twilight Calling" pretty much asks the question: If you saw the light in the wood, would you follow it? Could you give yourself over to the realm or continue to straddle the line between the mundane and the magickal?
The Twilight theme is well known to anyone involved in the community. I'm re-using the title from a lesser tune I wrote 25 years ago about a different kind of twilight.
The opening line "Taste the sorrow. Drink it up. Chase another distraction and quietly re-fill the cup." come from a devastating break-up between our lover at the time just before we left for our first Faerieworlds - and then morphed into something different as the rest of the song came into being. I felt like it described that place of sorrow and longing that is reminiscent of living between the worlds. Once I saw it, the rest of the words came pretty quickly.
I wanted the arrangement to speak to the idea of following a light through the wood and coming upon what could suddenly become an entirely new life, should you choose after finding the source. The string parts were all written out (which is semi-standard to Gaia Consort tunes) but the hammond solo is all Jay and I love what he did with it. I also fell in love with the Mellotron sound on this tune and you'll find it all through the rest of the album when we release it this spring.
You can hear all Gaia Consort's music for free at our website, and of course the cds are available through us or your favorite Pagan Bookstore.
Recorded: Audio Logic, Seattle, . WA
Guests/Players: Christopher Bingham: vocals and guitar, Sue Tinney, ; vocals, Jay Kenney: keyboards, Dan Mohler; bass, TJ Morris; drums, Larry Golding; violin, Sunnie Reed; viola, Betsy Tinney; cello
Technical Notes: Gaia Consort is an 8 piece psychedelic folk rock band with a string trio. W use large amounts if technology. Most of the stuff is pretty standard: vocals, acoustic guitar, fretless bass, drums, violin, viola, cello and keyboards / hammond. The cool string sound in the back of this peice is a synthesized Mellotron.
Artist Profile: Gaia Consort
Gaia (Gaea) 'guy-uh': 1) The Greek Earth Goddess and Mother of the Titans 2) The autopoietic superorganism that is the living biosphere
consort:'kan-soert: 1) one who shares a common lot 2) a ship accompanying another
3) spouse / lover 4) to make harmony
5) a group of singers or instrumentalists performing together
Gaia Consort sounds like a movie sound track for the gathering of the tribes. Add 1000 drums and percussion, some intelligent lyrics about evolution, sensuality, engaging the natural world, and then throw in a string trio. Imagine Ian Anderson dropping acid with Peter Gabriel and doing a mash-up between So and Thick as a Brick.
Christopher Bingham and Sue Tinney got themselves booked into Nudestock 97 and announced the new name, played some of the new stuff, and the crowd was on it’s feet when they finished playing. In 1999 and 2001 the Consort released Gaia Circles and Secret Voices to critical acclaim in all the major Pagan magazines and a fair number of “mainstream” music journals as well.
Their next CD, Evolve, was released in April 2004 and it continues Bingham’s musical and philosphical explorations within the framework of an expanding Gaian Culture. Friends and fans donated over $17, 000 by “adopting” songs to help Gaia Consort record the disc. Evolve is as much a product of a supportive community as it an individual vision.
Backing Bingham and Tinney are some of the Pacific Northwest’s finest musicians. Gaia Consort’s current line up includes Larry Golding violin, Sunnie Reed viola, Dan Ochipinti drums, TJ Morris on hand percussion, Jay Kenney, keyboards, Betsy Tinney, cello, and Dan Mohler on bass.
Gaia Consort has never been about making it big in the music “industry.” Eschewing the usual venues of clubs and coffee houses, Gaia Consort has managed to quietly build an audience that fills rooms, playing house concerts and self-produced shows in halls around the Pacific Northwest. They’ve built enough of a following to have been invited to play a variety of festivals and events, including headlining the long running Heartland Pagan Festival (2000) in Kansas, and Canada’s Wic Can Fest (2002) outside Toronto. Their January concert celebrating “Evolve” filled the 400 seat Meydenbauer Center.
Christopher Bingham’s crystal clear tenor used to get compared to David Crosby but lately it's been Bare Naked Ladies and Dave Matthews. And watch out for his guitar work – think Bruce Cockburn meets Ian Anderson, fluid from one rhythm to the next.
Bingham left his hometown of St. Louis to study jazz at The Evergreen State College in Olympia in 1979, fell in love with the Pacific Northwest and stayed. Before starting Gaia Consort he released Always the Sirens (cassette, 1987) The Burning (1993) and Angel and the Hanged Man (1995) Several cuts on all CDs have received airplay on a number of college and commercial radio stations across the US and in Europe.
Sue Tinney's voice is like a lover's soft lips nibbling your earlobe while telling you the bed is on fire and what are you going to do about it? She has a special gift for picking out the perfect harmony line. She’s been singing alto parts all her life and it shows. She’s also co-produced four of Bingham’s Suddenly Naked releases. Growing up literally in the Olympic National park, (Kalaloch and the Hoh river valley) the spirit of the rainforest is imbued in all her work.
Website: http://www.gaiaconsort.com
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