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|Travis Edward Pike: Rhythm Guitar, Recorder and Vocals|
Marian Petrocelli: Keyboards and Vocals
Melodie Bryant: Keyboards, Recorder and Vocals
Ann Sanders: Vocals
Steve Pugliesi: Keyboards
Greg Bischoff: Lead Guitar
Phil Cataldo: Electric Bass
Ken Park: Drums and Percussion
Special Guest David Pinto: Emulator Pipe Organ
|Harlequin's Carnival (Opening)|
|The Peerless Goth|
|The Fool - Dog, Roebuck and Lapwing|
|Mad About You|
|Dance of the Nymphs and Gnomes|
|The Tomb of Every Hope--The Witch|
|Dialogue with the Goddess|
|Reprise of the Fool|
|Harlequin's Carnival Closing Theme|
“THE FOOL – DOG, ROEBUCK, AND LAPWING”
In the “theater of the absurd” stage version of Changeling, “Harlequin’s Carnival” was the curtain opener. The setting was a public park, but the Fool did not wear the black and white costume of a Harlequin, but rather the colorful attire of a Renaissance Fair Fool. He performed his rhyme, “The Peerless Goth” for passersby, but when he passed his hat, except for one shy child who dropped in a coin, the crowd rudely dispersed, leaving only the Fool and his three “hippy chick” followers on stage. Pleased by the single coin, the Fool danced around the park benches, singing “The Fool” (his credentials), accompanied by his worshipful followers, who, when he exited wistfully sang “Dog Roebuck and Lapwing.” END OF SCENE I.
In Morningstone, although the medley remains, the accompanying visuals are entirely different, and the Fool’s credentials are revealed only after he sips from the Cauldron of Inspiration and realizes who he is, or has become. Changeling’s “Tomb of Every Hope” was not re-recorded for Morningstone, but is the music that starts Morgen crawling down a stone slab corridor into that underground location where he is ultimately granted a sip from the Cauldron of Inspiration. More importantly, he exits the tomb of every hope singing what remains of the spoken word Changeling “Epilog” in his introduction to “The Fool.”
Once outside, greeted and borne aloft by the Morningstone villagers, he is ceremonially thrown from a bridge into their sacred pool, and when he strips off his soaked clothes, is wrapped in a buckskin cloak and crowned with an antlered headdress. He then leads the joyful procession back toward the megalithic shrine, where his enlightenment began.
Elsewhere, set in an underground grotto, “Dog, Roebuck and Lapwing” is sung by three teenage village girls as they decorate a pony’s “unicorn bridle” with flowers. Nearby, the goddess bathes, and when she emerges from her bath, her very long hair is combed, modestly held in place by a heavy golden fishnet, and she is crowned with a floral tiara.
In Morningstone, the song is introduced in the opening sequence, a televised May-eve rock concert, and ultimately becomes the hypnotic spell that puts Morgen to sleep behind the wheel of his new sports car and thus carries him across the threshold to Morningstone, a quaint village nestled in a mysterious precinct of Otherworld where Furies challenge him, Muses inspire him, and Fates still weave Man’s destiny. In the more “Faustian” version of Changeling, “The Stranger” cast its hypnotic spell later in the story, and in aid of an anticipated seduction.
Travis’ “Morningstone” enjoyed a relatively long and mysterious history before it became the title for his musical screenplay. He’d awakened one morning in 1967 with the song fully formed in his head, but its unusual melody took longer than usual to figure out, and by the time he did, he’d forgotten the hook – a word that was also the title to the song. All he remembered was “something” stone. Finally, one of the Travis Pike’s Tea Party band members suggested “Cherrystone.” It made no sense, but back in the sixties, nonsense words in band names and song lyrics were not particularly unusual, so they learned the song and played it a few times, until they realized “Cherrystone” was a variety of clam. Far too cool to be playing an ode to a clam, the song was dropped from their repertoire.
Three years later, Travis remembered the hook, and its reference. Morningstone was the solitary stone associated with stone circles, over which the sun rose, as if lighting a candle, declaring the start of the solstices and equinoxes, when observed from an appropriate position within the stone circle.
In the Faustian Changeling, an occult metaphor for the popular fascination with mind-altering drugs, “Morningstone’s” invitation offered a beacon of hope to both characters, lost in nightmarish mental trips brought on by occult experimentation that neither had believed would have any effect. In the Morningstone screenplay, the song offers hope for a reconciliation between modern civilization and the natural world, through a return to honoring nature, and attuning oneself to it. Its message was timely in 1975, more timely in 1988, and now, in 2019, with the ongoing destruction and alteration of natural habitats, and capricious experimentation with laboratory-made substances that never existed in nature, and often prove harmful to the environment, if not yet too late, most timely.
Although “Sweet Mystery” was introduced in Changeling, the addition of “The Mystery,” sung by the Morningstone choir at the interrupted marriage of Man and Nature, makes Morningstone’s version of “Sweet Mystery,” now a song Morgen composed as an invocation to his goddess and sings with his chorus in rock counterpoint to the contemporary choir version of “The Mystery,” more musically and emotionally powerful than ever.
"THE REST OF THE CHANGELING LEGACY"
The Dialogue with the Goddess was abandoned in favor of the trial within the Tomb of Every Hope. The rest of the Changeling Troupe 1975 recording found their way into other productions. “Harlequin’s Carnival” provided music for the rhythmic gymnasts “Ball Dance” in Travis’ 1997 world premiere performance of Grumpuss at Blenheim Palace, in Woodstock, Oxfordshire, England, and is heard in the soundtracks for his Odd Tales and Wonders Stories in Rhyme CD on “Santa’s Magic.” A less theatrical version of “The Peerless Goth,” and music from “The Dance of the Nymphs and Gnomes” are heard in "The “Lori" on that CD as well. “Mad About You” about you inspired “Screamin’ Caretaker Blues” on the Odd Tales and Wonders Stories in Song CD, and the Outside the Box CD features “Pscychedelic Meltdown,” from “Phantoms,” a new recording of “Witch,” “Otherworld March,” from “Majick Opener,” and “Flying Snakes,” based on that last minute scratch track then called simply “Thoughts,” although “Afterthoughts” would probably have been more accurate.