Ghost of a Living Twilight
Per Jensen Vocals, Bass, Guitar
AAA Marrz Vocals, Guitar
Syl O. Syben
Harmonica on "Picture"
Saxaphone on "Daydream"
Keys on "Little Neutrino"
Per Jensen is one of those who usually takes his time to compose. Some songs have taken years to ferment, while "Drifting" was one of the fastest. The 'twilight' theme had been in mind for a while when one day Per sat down for rehearsal, and out it came. In a short time, probably no more than the length of an afternoon, almost the entire body of the song was in place. The next day Per recorded a demo version of it, which is exactly how it was done for the CD version except for the addition of Cy's keyboards. "Drifting" - the song that best represents "Ghost of a Living Twilight".
Was the last song recorded for the album. It had been written several years previously, but for an unkown reason was unused until the 'twilight' idea was developed. The lyrics are especially good. They speak eloquently of moments in thought, like what might happen if you were to spend an evening experiencing twilight. There was also the inclusion of Enna Fell, an excellent Sax player from the Minneapolis area, who provided the sexy, flowing solo.
Track: Crying Inside
All of us fantasize about dreams coming true. A thought comes along from experiences with people, places, or things, and it grabs our attention. We think of it often because it won't let go. We know it'll never happen, but there's nothing wrong with using our imagination and hoping that even a glimpse of our dream is real.
Track: Dark the Day
Was a rare song in which lyrics came first. Per got an impromptu day off once, during the summer months, and it rained all day. It was one of the most fun days he'd had in a long while. Bothered by the illusion of Blues and Rainy Days he wrote this song, later able to match it with the music you hear now. This one always seemed to be a favorite.
Track: Yeti's Mingling
A long time ago, Per was the bass player for a New Wave group known for trying different things. One was an odd amalgam of sounds called "Yeti's Mingling", which they didn't keep long because audiences thought it was just too weird. This version sounds much more literal! Almost as though microphones were planted in the trees to hear this 'conversation' between Bigfoot! Derek once commented, "Are they trying to decide where to go fishing?"
Track: Season of Life
The time between Per's aneurysm surgeries was terrifying because the result was literally do or die. He was to remain as calm as possible throughout this period, but he suddenly wanted to record in case he didn't make it. It turned out to be one of their best. For one thing, Ellis' drum track had been prepared for a completely different song. For another, as each track was added it changed from the direction they thought it was going. Per wrote the lyrics while this was happening, saying what he really wished to say and they happened to fit the song perfectly. It was by accident that the song finished with the word "Life..."
Track: Twin Faces
Another strange situation in which the song developed on its own. Per had been stuck on the idea of contradiction (for various reasons) and the song had started in a certain format. Somehow, the song changes direction midway through, giving the clear message of twin faces. Per never understood how it came together so well. Plus, he was happy that the song had a slight melancholy feel, yet still exhibited an excitement. What else but hope could be felt for such an afflicted person or predicament?
Was the last song written for the album but wasn't intended to be used. Somebody overheard Per playing it (trying to for hand practice) and said, "Great campfire song". Suddenly eveyone thought it was a great idea. Since 'campfire' was mentioned, Per made sure there was plenty of campfire sounds to give it ambience. Also, Per's neighbor was a harmonica player (which is the ultimate campfire instrument) so he was invited to play. He did and the song was completed.
Track: The Love We Lost
Was a song full of history, according to Per. A few know the whole story but rarely speak of it. The mellow approach indicates a 'thoughtful study' of such anguish, whereas another group might have used psycho rock to express the anger many would feel. When asked about the dream-like sound of the song Per replied, "All of life is history. It's remembered like a dream. The only thing to do is to consider it, understand it, learn from it, and make sure it never happens again".
Track: Days End
When Per wrote "Drifting" this song was partially written as well. He didn't want to use it necessarily, but as time went on the similarity to "Drifting" wasn't as noticeable. The band had a really good time recording it too. Numerous takes were re-done because of too much laughter. When the tune was complete it felt like an 'ender', which it was to be until it was changed at the last moment. And just to be safe, it was subtitled "Drifting reprise" to pay homage in an honest way.
Was chosen as the final song because it sounded like staring into the majesty of a starry night sky. This has always been an intrigue for Per, because the night sky is literally a look back in time. The immense distances and unusual occurances are so awesome that words can't accurately describe it. This is what Per and the others felt when they listened, besides giving Cy confidence that he'll be with Magellan for a long time.
Track: Everybody Took A Holiday
The first of two bonus tracks, this was the song featured on a Klaatu tribute CD released in 1999. Per was always a big Klaatu fan, and the chance to pay tribute was exciting. This was one of the best songs on that album, and one that Per was determined to feature on "Ghost of a Living Twilight". Most fans like the originals best, but Magellan's smooth, flowing version versus Klaatu's syncopated, choppy sound was nicely different.
Track: Little Neutrino
Was the first song recorded for the Twilight project, one of two provided for the Klaatu tribute CD. Magellan favored it over "...Holiday" because it's such an intimidating song to reproduce, hopefully to be more impressive, and they did an amazing job. However, due to it's length and un-editability it wasn't used. But for "Ghost..." it was necessary. Few groups would even attempt such a difficult song but it turned out to be the perfect closer on such an excellent CD.
The making of "Ghost of a Living Twilight" began in 1996 before "A Strange Traffic of Dreams" was even released. It had been about 1992 when Magellan developed the habit of preparing for their next album even before their current one was finished. In the old days music and albums were happening so fast they would name them afterward, based partly on their frame of mind or whatever image they wanted to project. But now, being a studio band, recording by mail, having to take much more time and take more care in their work, developing the 'theme' of upcoming projects seemed cogent. Per Jensen once commented, "Since we weren't actually together during a recording, knowing the point of it before making it was very comfortable. It gave us a unity, a goal, that otherwise wouldn't be there. Felt very good".
It had been during sessions for "A Strange Traffic of Dreams" that the strange occurance of the entire band being together took place. They spent some time at a resort in northern Minnesota, enjoying plenty of R & R and each others company having the rare chance. One evening they noticed a spectacular sunset take place. Each member watched in silence as the unmatched beauty poured over them, each unaware that such a sight thrust them into endlessly thoughtful repose. It was at this moment that "Ghost of a Living Twilight" came to life.
When the hubbub of "A Strange Traffic of Dreams" began to fade work began on "Ghost...". Initial work was for a Klaatu tribute CD based out of Canada. Magellan recorded two songs, one called "Everybody Took A Holiday" being the song that was included. Quickly afterward Per moved forward with brand new Magellan material. Work on "Twin Faces", "Crying Inside", and "Yeti's Mingling" happened almost simultaneously. However, it was a song called "Drifting" that had the most effect on the remainder of the band. Magellan had never achieved such an unusual sound before. Each agreed that it could have been a soundtrack for that day when they had watched a glorious sunset dip behind the pines overlooking a serene lake. Suddenly there was no doubt that "Ghost of a Living Twilight" was soon to be.
It was in August of '99 that Per finally acquired an excellent studio, the best he'd ever used. It was named 'Studio One', and work continued on the album in a distinctly up mood. Later, an associate given the name "Cy Kadellick" joined the band on keyboards, giving an important lift since the day Amariah Hession left to form his own band. It turned out that Cy's work was very much 'in tune' with Magellan's frame of mind. He had to go back and work with several songs which didn't take nearly as long as was expected. With the inclusion of Cy's work, the album yet again took on a new dimension. "Ghost..." had been developing with a noticably ethereal sound, more so than any other Magellan album, but Cy's keyboards made it even more so. Per and the band were excited! As the year 2000 was celebrated, Magellan too celebrated the coming of perhaps the most significant album the band had ever done.
Unfortunately, disaster struck in late January - Per was struck down by a Brain Aneurysm. He made it to the hospital, but had to wait for necessary surgery. Such a deadly threat could not be more difficult. The unexpected nature of it, the lack of cause and effect, no ability to defend - a virtual lightning bolt of God - defies in every way the logic of Nature. Worse, Per's situation was still worse than expected. It took not one, but two surgeries to properly repair the aneurysm because it was so unusual. Per also suffered a stroke mere days after a successful surgery, damaging his right side and including his playing hand. This was a major blow. Later he was to develop a seizure syndrome as strange as the aneurysm, of which his doctors are still unable to fully explain, and they will probably occur for life.
"Ghost of a Living Twilight" was on hold for several months. Even when Per was ready to play again it was very difficult because of the internal damage to his hand. Nevertheless he was able to finish in late October. That's when the real work on the extraordinary cover began. Becky Waldoch was that person, doing such amazing work on the original photo that you wouldn't recognize it, and in early January Magellan's "Ghost of a Living Twilight" was finally a reality. It was put up on MP3 at that time and did well. The 'street' version wasn't ready until recently because of excess problems in other areas, but when it appeared a joyous noise arose from the Magellan camp! After so many unthinkable problems for so long, to finally be released seemed equal to the Paris flight by Charles Lindbergh. Never had the band so proud of a CD. Many fans felt immediately that it was their best ever. The lush, ethereal feel, the smoothness of play, the philosophical lyrics - the ultimate example of surmounting the worst to achieve the best....
All songs written, performed & produced by Magellan, except *n. All songs © & (p) 2001 by MagellanMusic, except *. Administered by BMI. All Rights Reserved *"Everybody Took A Holiday" by Dee Long ©1978 Magentalane Music/Magnetic Movements (SOCAN/ASCAP), "Little Neutrino" by Dee Long of Klaatu ©1976 Capitol Records Sony/ATV Publishing, 8 Music Square West Nashville, TN 37203
BACK TO TOP