Driving -- Lightgrasp a sight of the spark of lifeBrighter -- Soundpicture waves of joy that surround you(even darkness is engulfed by the blackest night)And if youListen -- Closelyyou'll hear the silenceshe howls all around youAnd if theSunlight's -- Softermovements of the skythey yearn to caress youLet the BlueTwilight('tis the season for longer songs)As your heartLove Grows('tis the reason for open doors)Read the timeHope WordsKutastha NamastaLet the BlueTwilightLet the Blue --Let the BlueDriving -- Lightgrasp a sight of the spark of lifeBrighter -- Soundpicture waves of joy that surround you(conceive of a place where peace is the rule)Breathe --inhale all the thoughts and Breathe --exhale all emotion that bindsonewe believe in the starsplace our faith in the starsthat embracethe voidLife -- Sourcewe create as achievementsmove towardthe course --move towardthe chosen course and a predetermined outcomeDriving -- Lightgrasp a sight of the spark of lifeBrighter -- Soundpicture waves of joy that surround youas gods are trueto the reasons we livein a spectrum of huestheiridescent congregationsLet the BlueTwilight('tis the season for longer songs)As your heartLove Grows('tis the reason for open doors)Read the timeHope WordsKutastha NamastaLet the BlueTwilightLet the Blue --Let the BlueBruce Notes:One of the most challenging lyrics that Mageddon has presented me with. I wanted to do something with this one for a long time before I actually wrote it in the summer of 1980. The trouble was that I could never get past the first line. What chords do you play when you sing "Driving light"??? This was during my college days and I was working a summer job on a grounds keeping crew at a local women's university. I was raking leaves with a couple of state cases named "Shorty" and "Big Dick" (I couldn't make this stuff up) who took all of this rather menial series of tasks very seriously. At the same time, I was going through the lyric in my head, when it hit me. The result of that rather unlikely flash of inspiration is the intro section to the song. Several sections of the song are based on the intro, which appears three times. It consists of a bass line and a counterpart with a unison rhythm. The main part and counterpart combined define a harmonic progression. The counterpart is different the second time through, which results in a different harmonic progression. These progressions form the accompaniment to the verses. During the second verse, the part is played on the bells, making it obvious how the two sections are related. This song was written to accommodate two bass players (another breach of the traditional rock arrangement.) During the sections where the other instruments have rests, the bases can be heard playing counterparts in stereo. R. Mageddon Notes:I struggled with this throughout much of 1977. This piece never really came together for me until I settled on the title, which seemed to pull it all together somehow.*******************ColorX

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