Crystal Gayle is an American country music singer best known for her hit song "Don't It Make My Brown Eyes Blue". However, one of her other notable songs is "We Must Believe in Magic". This song, released in 1977, captures the essence of Gayle's ethereal voice and showcases her ability to convey emotion through her music. "We Must Believe in Magic" is a song that resonates with listeners due to its lyrical content and Gayle's heartfelt delivery. The song speaks to the power of love and the need to believe in its magic. It emphasizes the importance of maintaining faith in love, even during difficult times.
A Wiccan altar, with protection symbol | Courtesy of Wikimedia commons
After moving to New Forest, England in 1938, Gardner joined the Fellowship of Crotona , which was led by Old Dorothy a very prim and seemingly conservative lady who was born in India. Wicca has developed and changed immensely since Gardner created it, with traditions being added or taken away as people continue to research and learn more about the history of witchcraft.
It emphasizes the importance of maintaining faith in love, even during difficult times. Gayle's voice adds a sense of vulnerability and sincerity to the song. Her gentle yet powerful vocal delivery draws listeners in, making them connect with the emotions conveyed in the lyrics.
Gerald Gardener: The Founder of Wicca
Gerald Gardner, the founder of Wicca, retired in 1936 with his wife to England and settled in the London area. He joined a nudist club and lived a relatively calm and uneventful life. Being retired allowed him to get away from the bitter cold of England, which aggravated his asthma. After an immensely spiritual trip to the warm, Mediterranean island of Cyprus, Gardner felt positive that he had lived there in a past life, claiming that he had seen the island in his dreams. This led to a fascination with all things occult and mystical. In 1938, he moved from the London area to New Forest, a quaint place in southern England. When he realized that New Forest had deep roots in witchcraft, Gardner began researching its history and the groups who practiced there. He spent the rest of his life learning about witchcraft and the occult, and he subsequently developed his own belief system. This belief system was dubbed Wicca or “cult of the wise people” by Gardner in 1954. 1 His belief system of Wicca has since spread across the globe and despite the circumstances surrounding its origins, Wicca has evolved into a “legitimate religious movement in its own right” according to authors Russel and Magliocco. 2 So, how, exactly, did Gerald Gardner create Wicca?
Gardner was born June 13, 1884, in Great Crosby, Lancashire, England to busy and relatively inattentive parents. He was raised almost solely by his nursemaid and felt little connection to his parents. When Gardner was sixteen, his nursemaid got married and moved to Sri Lanka. Gardner went with her. At sixteen, when he got to Sri Lanka, he began working on a rubber plantation as a planter. He worked there for nineteen years before moving to Borneo. Once in Borneo, he worked as a rubber tree plantation inspector, a customs official, and an inspector of opium for the next thirteen years. Gardner had an interest in history and other cultures his entire life, but after moving away from London, he began to study the culture, histories, and practices of the people around him in his spare time. His research ability, and focused knowledge of many of the spiritual and religious beliefs of that area, would come in handy once he retired and started to learn about witchcraft. Eventually, this knowledge would become a part of Wicca as a whole, because Gardner would use it in his own practice. 3
A Wiccan altar, with protection symbol | Courtesy of Wikimedia commons
After moving to New Forest, England in 1938, Gardner joined the Fellowship of Crotona, which was led by “Old Dorothy” a “very prim and seemingly conservative lady” who was born in India. 4 The members of the Fellowship of Crotona claimed to be hereditary witches, whose knowledge had been passed down for hundreds of years. Modern research shows that these claims were false and that the group had existed for only twenty years prior to Gardner joining them. Gardner stayed with the Fellowship of Crotona for a little while, learning their beliefs and practices, helping them put on plays about the occult at their theater, and meeting many people. One of the people he met at the Fellowship of Crotona swore that they recognized him from the island of Cyprus and that they must have known each other in their past lives. Feeling that he had learned everything he could from the Fellowship of Crotona Gardner decided it was time to look for inspiration elsewhere. 5
After moving on from the Fellowship of Crotona, Gardner continued to study witchcraft. He published the novel High Magics Aid in 1949. This novel was a work of fiction, a fantasy story with action and fighting. However, Gardner used all of his knowledge about actual witchcraft for the magic in his story. This allowed people to have insight into witchcraft at a time when witchcraft was illegal. Had Gardner attempted to publish a nonfiction book about his study of witchcraft, he would have put himself in danger; so High Magics Aid came into being. 6
Gardner met Aleister Crowley sometime after he left the Fellowship of Crotona, just before Crowley’s death in December of 1947. Aleister Crowley was an infamous name in both Europe and the United States due to his heavy involvement in the occult. He was known as “the wickedest man in the world.” 7 Crowley introduced Gardner to the Ordo Templi Orientis, which practiced Tantrism, an East Asian form of magic. According to the World Religions Reference Library, “Tantrism is a spiritual movement, which involves mantras (verbal formulas), symbolic body postures and hand motions, and sexual rituals”; when Gardner learned about this spiritual movement from Crowley he decided to open his own chapter. 8 Gardner opened his chapter of the Ordo Templi Orientis at his London home, which resided on the grounds of a nudist club he belonged to. His chapter was almost all men, and often the number of women in the group was so low that the group had to hire prostitutes in order to carry out the Great Rite, which was a ritual where the high priestess had to have sexual intercourse with all the male members of the chapter. 9 It’s unclear what happened to Gardner’s chapter of the Ordo Templi Orientis, but eventually, he moved on.
In 1951, laws against witchcraft were eliminated in England, allowing Gardner to practice witchcraft openly and publish his books on witchcraft as non-fiction. He moved to the Isle of Man and bought the Museum of Magic and Witchcraft from an acquaintance. He established this as the base of his first coven, which would practice Gardner’s form of witchcraft for the first time. This practice would spread across the globe, and eventually become modern Wicca. In 1953, Gardner invited Doreen Valiente, who eventually became the high priestess, into his coven. Together they worked on Gardner’s Book of Shadows, collecting and writing down all of Gardner’s teachings. 10 A “Book of Shadows” is a journal or notebook that contains all the information someone practicing witchcraft has learned in order to ensure nothing is forgotten or lost. These books can be passed down in a coven, ensuring that the teachings of the coven stay in the coven. 11
Gerald Gardners Book of Shadows which he worked on with Doreen Valiente. Provided by Wikimedia commons.
In 1954, Gardner published Witchcraft Today, a nonfiction book about Gardner’s thoughts on modern witchcraft. Gardner believed that the end of witchcraft was coming, stating: “I think we must say good-bye to the witch. The cult is doomed, I am afraid, partly because of modern conditions, housing shortage, the smallness of families, and chiefly by education. The modern child is not interested. He knows witches are all bunk.” 12 However, the publication of this book actually brought a resurgence of witchcraft in England. He became known as “Britain’s chief witch” after the publication of his book. 13
A collection of Wiccan symbols. Provided by Wikimedia Commons.
Gerald Gardner passed away of a heart attack on a return trip from Lebanon on February 12, 1964. His papers were released to the public after his death, and they revealed that Gardner essentially made up his personal practice. It was an amalgamation of what he learned from the many covens and spiritual groups he joined, as well as what he learned while living in the Middle East and on archeological trips. Gardner has been given the credit for bringing witchcraft to the United States, even though he never actually went there. He initiated Raymond Buckley into his practice in 1963. While Buckley was born in London, he went to the United States and spread Gardner’s teachings across the country. This developed into the Wiccan movement and it had more than fifty thousand practitioners by the early twenty-first century. 14
Witchcraft is still practiced around the world in many different forms, including Wicca. Wicca has developed and changed immensely since Gardner created it, with traditions being added or taken away as people continue to research and learn more about the history of witchcraft. People still practice to this day, and it seems the numbers are only growing. Despite the fact that Gardner’s personal practice was mostly uncredited cultural appropriation, his work brought about a resurgence of interest in old witchcraft and allowed for the practice to be somewhat normalized. 15
- Encyclopedia of Occultism and Parapsychology, 2001, s.v. Witchcraft.” ↵
- Encyclopedia of Religion, 2005, s.v. “Witchcraft: Concepts of Witchcraft,” by Jeffrey Burton Russell and Sabina Magliocco. ↵
- World Religions Reference Library, 2007, s.v. “Gardner, Gerald Brousseau.” ↵
- Encyclopedia of World Biography, 2010, s.v. “Gardner, Gerald.” ↵
- World Religions Reference Library, 2007, s.v. “Gardner, Gerald Brousseau.” ↵
- World Religions Reference Library, 2007, s.v. “Gardner, Gerald Brousseau.” ↵
- Encyclopedia of Religion, 2005, s.v. Crowley, Aleister. ↵
- World Religions Reference Library, 2007, s.v. “Gardner, Gerald Brousseau.” ↵
- World Religions Reference Library, 2007, s.v. “Gardner, Gerald Brousseau.” ↵
- Encyclopedia of World Biography, 2010, s.v. “Gardner, Gerald.” ↵
- Encyclopedia of Occultism and Parapsychology, 2001, s.v. “Book of Shadows.” ↵
- World Religions Reference Library, 2007, s.v. “Gardner, Gerald Brousseau.” ↵
- World Religions Reference Library, 2007, s.v. “Gardner, Gerald Brousseau.” ↵
- World Religions Reference Library, 2007, s.v. “Gardner, Gerald Brousseau.” ↵
- Encyclopedia of Occultism and Parapsychology, 2001, s.v. Witchcraft.” ↵
After moving to New Forest, England in 1938, Gardner joined the Fellowship of Crotona, which was led by “Old Dorothy” a “very prim and seemingly conservative lady” who was born in India. 4 The members of the Fellowship of Crotona claimed to be hereditary witches, whose knowledge had been passed down for hundreds of years. Modern research shows that these claims were false and that the group had existed for only twenty years prior to Gardner joining them. Gardner stayed with the Fellowship of Crotona for a little while, learning their beliefs and practices, helping them put on plays about the occult at their theater, and meeting many people. One of the people he met at the Fellowship of Crotona swore that they recognized him from the island of Cyprus and that they must have known each other in their past lives. Feeling that he had learned everything he could from the Fellowship of Crotona Gardner decided it was time to look for inspiration elsewhere. 5
Her ability to convey both strength and vulnerability simultaneously creates a beautifully balanced performance. The melody of "We Must Believe in Magic" is both enchanting and soothing. The soft instrumental accompaniment complements Gayle's voice and allows the song's lyrics to shine through. The overall effect is a captivating and memorable musical experience. The song's message of hope and belief in love's power is timeless and continues to resonate with audiences today. Its universal themes make it a relatable and comforting anthem for anyone going through difficulties in their relationships. The song encourages listeners to hold onto faith and trust in the magic of love. In conclusion, Crystal Gayle's song "We Must Believe in Magic" is a beautiful and poignant piece of music that encapsulates her talent as a country music singer. The combination of Gayle's ethereal voice, heartfelt lyrics, and enchanting melody create a captivating song that continues to touch the hearts of listeners. "We Must Believe in Magic" serves as a reminder that love is a powerful force, and by believing in its magic, we can overcome any obstacle..
Reviews for "The Whimsical World of Crystal Gayle's Songs"
1. John - 1 star
As a fan of Crystal Gayle's previous work, I was disappointed with "We Must Believe in Magic". The album lacked the depth and emotion that I have come to expect from her. The songs felt generic and lacked originality. Overall, it was a forgettable album that failed to leave a lasting impression.
2. Sarah - 2 stars
"We Must Believe in Magic" was a letdown for me. The production felt dated, with an overuse of cheesy synth sounds that detracted from the overall listening experience. While Crystal Gayle's vocals were still beautiful, the song selection left much to be desired. The album lacked memorable hooks and meaningful lyrics, making it a forgettable addition to Gayle's discography.
3. Mark - 2 stars
I found "We Must Believe in Magic" to be underwhelming. The songs blended together and failed to stand out. The arrangements were overly simplistic and lacked any real innovation. Crystal Gayle's voice is undoubtedly stunning, but it felt wasted on this lackluster collection of songs. Overall, the album left me feeling unsatisfied and longing for more substance.
4. Emily - 1 star
"We Must Believe in Magic" was a disappointment for me. The songs lacked any real depth or meaning, relying on cliché lyrics and predictable melodies. It felt like a cash grab rather than a genuine artistic expression. Crystal Gayle's talent was overshadowed by the mediocre song choices and lackluster production. I would not recommend this album to anyone looking for a meaningful listening experience.
5. Michael - 2 stars
As a long-time fan of Crystal Gayle, I was expecting greatness from "We Must Believe in Magic" and unfortunately, it fell short. The songs lacked the infectious melodies and emotional impact that Gayle is capable of delivering. The production felt over-polished, making the album feel too commercial and devoid of real substance. While there were a few standout tracks, overall, it left me wanting more from an artist of Gayle's caliber.