Reflections on Revelation #269

‘Day 269

They were singing the song of Moses, the servant of God, and the song of the Lamb: Great and marvellous are your works,  O Lord God, the Almighty. Just and true are your ways, O King of the nations.  REV.15:3.NLT

In relation to the problem and origin of evil God’s vindication is complete. The great controversy has run its course and God is revealed before the universe as being fair, righteous and just. In Rev.4 & 5 the ascending crescendo of music had proclaimed the divinity of the lamb. Here, after God has “had his day in court” (Rom.3:4NLT) the redeemed proclaim the vindication of His character.

The sound of singing breaks into this scene completely unexpected. Rivers of blood anticipate even further plagues (Rev.14:19 -15:2). It would seem like a time to ban music and rejoicing. But sometimes the most powerful singing occurs when nobody plans on it. 
In his search for a new kind of sound, Sam Phillips had run nearly every singer in Memphis through his Sun Records studio; on that summer evening, the day after the Fourth of July, 1954, the 19-year-old Elvis was merely the next in line.

Elvis knew only a few songs, and most of those he couldn’t play from start to finish. Somehow the backup group fumbled through Harbour Lights, which had been a 1950 hit song for Bing Crosby. Elvis sounded boring and mechanical. Phillips called for a break. 
With the formalities suspended, Elvis picked up a guitar and began goofing around, playing an old blues song by Arthur (Big Boy) Crudup called ‘That’s All Right.’ Except that Elvis was not singing the blues. He sounded almost euphoric, and the rhythm was all wrong – far too chaotic, almost wild. Phillips knew immediately. He stuck his head out of the control room and told the threesome to pick a place to start and keep playing. Two nights later, ‘That’s All Right’ was played on Memphis radio. Phillips had his new sound and the era of rock and roll had begun.

If Elvis Presley had not been recorded in an informal session, no one might ever have heard about him. But music is most powerful when it reflects the depth of a person’s unique experience. That’s the kind of song the redeemed will unexpectedly sing after the plagues, the spontaneous song of deep experience.

This chapter is based on Israel’s deliverance in the past from both Egypt and Babylon. It foretells spiritual Israel’s deliverance from the evils of the last days and the new song they will sing.

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