A. Armageddon

(Lyrics & Music: Ian McLeish)

1.
Promised dawn is breaking quickly -
The awaited trumpet finally blows;
The crowds make way for Jesus -
Judas cries "Here comes the show!"
In the throng, the blind man stands - his life's achievements in his hands-
His premium, he prays, will now be paid;
And as the angels read the list - Jesus blows a final kiss -
And geatures for the start of the tirade...

2.
Judas has got his alibi -
"Mis-information" he protests;
"Mistakes are made in trying times -
A man only does what seems the best."
And the blind man shakes his head,
And trusts his sight instead -
Covering up his ears to block the sound;
He knows he shouldn't see - but he knows he wants to be -
Finally christened in his saviour's lost and found...
 

B.  Blind Man's Bluff

(Music by: Chuck Kerr, Sandy Hastings, Ian McLeish & John Millest)
 

C. Armageddon (Part 2)

3.
Pagan shadows, edged in corners
Block all sound from Jesus' sighs;
As he tries to hide his feelings -
Judas reads his silent eyes;
And the ghosts of ages past - are making known at last -
The price they paid, waiting for their debts;
They surely meant no harm - and if they caused alarm -
They'll make amends the next chance that they get...

4.
Broken arrows from loosened bows
Fly flaming trails into the night -
The hands that send them skyward
Dutifully ignore their final flight;
And the blind man holds his own, crying bravely, all alone -
Does he realize his labours were in vain?
Judas laughs a final laugh - and quickly covers up his path -
Leaving Jesus, crying softly, through his pain...
 

Copyright: 1975 Ian McLeish
Published: 1975 McMusic Ltd. CAPAC
Renewed: 1994 Mousehole Music SOCAN
 
 
 

CHUCK: Drums
IAN: Acoustic guitar, vocals, synthesizer & strings
JOHN: Electric guitar

CORK GREENE: Bass
SANDY HASTINGS: Organ, synthesizer
 
 

Armageddon - Ottawa, Summer 1975.
I'm not sure just where this lyric came from - it certainly wasn't my normal writing style, then or now. And, not being an avid Bible reader, it really doesn't conform to the standard account of the final days. Poetic licence allowed, it is an interesting narrative, with music clearly inspired by the early 70's progressive movement. Part of a yet unrecorded suite that I'm still trying to convince the boys to tackle.