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Hi everyone. I've decided to create some pieces of writing in which I try to interpret Michael's music and look at the different possibilities of what he meant in his songs. I would love for people to reply and give their own opinions and just generally create a discussion! I felt it was time for me to do something productive with Michael's music.
The first one (Someone put your hand out) I have already posted here before- last year, but I'll post it again just as a starting thread. I'm just putting the finishing touches to The Lost Children, so will hopefully have it up in a few days..many thanks. (I apologise for the length!)
Someone Put Your Hand Out</SPAN></SPAN>
The piece begins with a simple melody, so simple in fact, it seems almost amateurish. It’s easy to imagine the chords played by a novice. Yet, the simplicity is the beauty of it. Gentle, tender and pure, it is a melody full of sweetness and romance, one that gives no hint of the desperate longing the singer intends to evoke.</SPAN></SPAN>
As the stunning music builds up with instrumentation, a soft whisper can be detected amongst the chords. The words are somewhat unclear upon first listen and still ambiguous upon closer inspection. This is intriguing as the voice is soft enough to be overtaken by the music, yet this doesn’t happen. It sits among the composition, its blurred words intertwined in the melody.</SPAN></SPAN>
The introduction speaks almost like a prologue. Its beauty is so divine and lovely, one wonders how the singer will ever live up to it. Almost any voice threatens to kill the breathtakingly gorgeous sound.</SPAN></SPAN>
However, once the vocals kick in, the dilemma turns on its head. At once, how easy it is to forget the music! It becomes near impossible to ignore the voice. Sung completely in falsetto, the voice is full of power and depth, yet soft and passionate at the same time. Again, the voice is at one with the sound. The high register makes for an unusual song and whilst Michael has performed vocals in this range many a time before, it is rare for him to do so for an entire piece. Perhaps this speaks volumes as to how he views the track and its significance in his countless works. </SPAN></SPAN>
Indeed the lyrical content could hardly be more personal. He doesn’t appear to be addressing a particular person initially and instead speaks to the audience as a whole. The result does not seem impersonal however. One thing becomes clear from the first note: this is Michael speaking from the soul.</SPAN></SPAN>
His description of himself as “so undemanding” makes for an unusual first line, but effectively sets the tone for the rest of the lyrics. He suggests that the depth of his loneliness is such that he doesn’t want anything else from anyone other than to be loved. He has no requests, no demands, nothing.</SPAN></SPAN>
I’ve lived this life pretending</SPAN></SPAN>
I can bear this hurt deep inside</SPAN></SPAN>
I find these two lines to be the most telling and honest. It emphasises the “mask of life” he mentions in “Stranger in Moscow” that hides his soul. As he is a symbol of the fickle world of celebrity, this resonates highly. As a dynamic and modern people, how easy to bury our intense desires and mask them with our images. Indeed, Michael speaks of the hurt being “deep inside”. He pretends he can bear it, but is fully aware of this facade, which highlights his self awareness.</SPAN></SPAN>
He then proceeds to tell us “the truth”. He confesses that “I’m longing... For love that’s so divine”. An interesting adjective to use (“divine”). This suggests that not just any love will do, but one sacred and pure. Perhaps he means someone to love him for HIM, not for his fame and talent? Also, note his use of “longing”, as opposed to any other interchangeable lyric, like “wanting” or “wishing”. To long for something shows us the intensity of him wanting this and just how “long” it’s been missing. </SPAN></SPAN>
But he’s been actively searching! In fact, he’s “searched this whole world”. Not just the world, but the whole world. If this is honestly the case, one wonders why he has failed at every hurdle. Is it that no love has matched his expectations? He appears to want someone who’ll be there for him and never tire of his constant need for support. </SPAN></SPAN>
She’ll be there time after time(s)</SPAN></SPAN>
The lyric reads “time after time”, but upon playing the track, the last word can clearly be detected as “times”. This use of plural where it is not necessarily needed or even grammatically correct, effectively conveys his wish for her to be there forever. To stand by him, no matter what. </SPAN></SPAN>
Someone put your hand out</SPAN></SPAN>
Begging for your love</SPAN></SPAN>
All I do is hand out</SPAN></SPAN>
A heart that needs your love</SPAN></SPAN>
The chorus layers multiple harmonies and vocals to build up the ethereal and sweet sound. Whilst he speaks about a certain woman in the first verse and what he wants from her, he changes to “Someone” in the chorus. </SPAN></SPAN>
“Someone put your hand out”. </SPAN>Someone. Anyone. </SPAN></SPAN>
This brings to mind the image of people who are waiting for a bus and as it arrives, they put out their hand to make it stop and allow them to get on. This analogy is not dissimilar to the song. Countless “someones” go past us every day, and it’s only when you take that brave step and ask for help or love or friendship (“put your hand out”), that the person notices you and allows you to build a connection. However, Michael seems to have turned it around. He doesn’t have his hand out; he’s asking someone else to put out their hand. Perhaps this is the only way for him to accept their help and love. He needs someone to show him they care about him, without him having to ask. </SPAN></SPAN>
Alternatively, when you think of people with their hands out, you automatically think of beggars. They are at the depths of despair in needing our help that the only way to express it is to literally put their hand out. I wouldn’t have thought this could apply to this song, had it not been for the next line (“begging for your love”).</SPAN></SPAN>
He’s literally “begging” and re-visits a theme that was present way back in the “Destiny era”. He’s given away so much of his heart, handed out so much love, but he still has to wait for it to be returned to him.</SPAN></SPAN>
I’ve lived my life the lonely</SPAN></SPAN>
A soul that cries of shame</SPAN></SPAN>
In handicapped emotions</SPAN></SPAN>
Save me now, of what still remains</SPAN></SPAN>
Searingly honest and heart breaking. The alliteration of the “l” sound draws attention to the loneliness that has become his life. It’s almost as if his life and loneliness just simply belong together. Suspecting he was speaking from the soul, he confirms this with his self description of “a soul that cries of shame”. To me, this says that the innermost core of his being is dictated by broken, “handicapped” emotions. He’s been hurt and alone for so long, he’s ashamed to let anyone see his soul and the crying child that screams out in pain. As much as he craves love, this here is the explanation for his failure. The pain is so intense, he’s crying out to be loved, but is terrified of letting anyone get too close to see the person he really is. The person that he doesn’t see as beautiful and wonderful, the way we do, but the person he probably regards as a total failure. Someone not good enough. Hence, the “shame”. </SPAN></SPAN>
I’ll be your story hero</SPAN></SPAN>
I’ll serenade in rhyme</SPAN></SPAN>
I’m just needing that someone</SPAN></SPAN>
A quick switch in tactics now. In that perfect and sweet voice, he decides he’ll change himself for her. He’ll give her whatever she wants. He’ll be her “story hero”, something he’s done throughout his life. Hasn’t he been a hero to his fans, his audience? Hasn’t he saved so many lives, literally and metaphorically? Furthermore, has he not “serenaded” us all with his singing and made us fall in love with him? Ultimately, this is him accepting that he may have to use his talents to win her love. It seems unfair that he should have to do so. Is it really impossible for any woman to love him as just plain “Michael?”</SPAN></SPAN>
But he’s willing to do all these things, because he’s just “needing that someone”. Needing, not wanting. </SPAN></SPAN>
Save me now or I’m out of my mind</SPAN></SPAN>
He repeats the “Save me now” lyric. First he sings of needing to be saved “of what still remains” and then follows this up with “or I’m out of my mind”. The implication here is that before long, he’s going to lose himself through yearning and isolation. Or perhaps he’s given away his heart so much, there’s not much left for himself?</SPAN></SPAN>
When you say we will dance until the light of day </SPAN></SPAN>
It’s just like the children of Earth’s joy</SPAN></SPAN>
When we play</SPAN></SPAN>
The inclusion of the soprano backing vocals on the bridge fits brilliantly with the lyrics. The song takes on a more mystical and sacred tone. He compares their imagined love to the “children of Earth’s joy”. No other simile can convey the purity and spirituality of it so well. It brings to mind the image of two innocents playing together in a sort of paradise, untouched by the real world. “Will you promise me you’ll always stay?” </SPAN></SPAN>
It’s because I’m needing that someone </SPAN></SPAN>
For the first and only time in the song, he drops the falsetto for a strained, rough voice. This to me is the most significant moment. He’s dropped his sweet, seducing and “perfect” crooning. This is the real him now. Desperate and naked with pleading. Everything else stripped away, all control, all pretence, his entire image. So much emotion conveyed in just one line. </SPAN></SPAN>
The song plays itself out with a mournful trumpet, perfectly adding to the sorrow. The chorus picks up with the falsetto again, as if he’s back to his control. The adlibs speak of his heart being on the line and “hanging”. Well, he certainly bore his soul and is now at the mercy of what that “someone” makes of him.</SPAN></SPAN>
The close of the song features again the piano chords and ends almost as it began. Perhaps it’s too much to hope anything has changed? Will anyone reach out and put out their hand to save him?</SPAN></SPAN>
The first one (Someone put your hand out) I have already posted here before- last year, but I'll post it again just as a starting thread. I'm just putting the finishing touches to The Lost Children, so will hopefully have it up in a few days..many thanks. (I apologise for the length!)
Someone Put Your Hand Out</SPAN></SPAN>
The piece begins with a simple melody, so simple in fact, it seems almost amateurish. It’s easy to imagine the chords played by a novice. Yet, the simplicity is the beauty of it. Gentle, tender and pure, it is a melody full of sweetness and romance, one that gives no hint of the desperate longing the singer intends to evoke.</SPAN></SPAN>
As the stunning music builds up with instrumentation, a soft whisper can be detected amongst the chords. The words are somewhat unclear upon first listen and still ambiguous upon closer inspection. This is intriguing as the voice is soft enough to be overtaken by the music, yet this doesn’t happen. It sits among the composition, its blurred words intertwined in the melody.</SPAN></SPAN>
The introduction speaks almost like a prologue. Its beauty is so divine and lovely, one wonders how the singer will ever live up to it. Almost any voice threatens to kill the breathtakingly gorgeous sound.</SPAN></SPAN>
However, once the vocals kick in, the dilemma turns on its head. At once, how easy it is to forget the music! It becomes near impossible to ignore the voice. Sung completely in falsetto, the voice is full of power and depth, yet soft and passionate at the same time. Again, the voice is at one with the sound. The high register makes for an unusual song and whilst Michael has performed vocals in this range many a time before, it is rare for him to do so for an entire piece. Perhaps this speaks volumes as to how he views the track and its significance in his countless works. </SPAN></SPAN>
Indeed the lyrical content could hardly be more personal. He doesn’t appear to be addressing a particular person initially and instead speaks to the audience as a whole. The result does not seem impersonal however. One thing becomes clear from the first note: this is Michael speaking from the soul.</SPAN></SPAN>
His description of himself as “so undemanding” makes for an unusual first line, but effectively sets the tone for the rest of the lyrics. He suggests that the depth of his loneliness is such that he doesn’t want anything else from anyone other than to be loved. He has no requests, no demands, nothing.</SPAN></SPAN>
I’ve lived this life pretending</SPAN></SPAN>
I can bear this hurt deep inside</SPAN></SPAN>
I find these two lines to be the most telling and honest. It emphasises the “mask of life” he mentions in “Stranger in Moscow” that hides his soul. As he is a symbol of the fickle world of celebrity, this resonates highly. As a dynamic and modern people, how easy to bury our intense desires and mask them with our images. Indeed, Michael speaks of the hurt being “deep inside”. He pretends he can bear it, but is fully aware of this facade, which highlights his self awareness.</SPAN></SPAN>
He then proceeds to tell us “the truth”. He confesses that “I’m longing... For love that’s so divine”. An interesting adjective to use (“divine”). This suggests that not just any love will do, but one sacred and pure. Perhaps he means someone to love him for HIM, not for his fame and talent? Also, note his use of “longing”, as opposed to any other interchangeable lyric, like “wanting” or “wishing”. To long for something shows us the intensity of him wanting this and just how “long” it’s been missing. </SPAN></SPAN>
But he’s been actively searching! In fact, he’s “searched this whole world”. Not just the world, but the whole world. If this is honestly the case, one wonders why he has failed at every hurdle. Is it that no love has matched his expectations? He appears to want someone who’ll be there for him and never tire of his constant need for support. </SPAN></SPAN>
She’ll be there time after time(s)</SPAN></SPAN>
The lyric reads “time after time”, but upon playing the track, the last word can clearly be detected as “times”. This use of plural where it is not necessarily needed or even grammatically correct, effectively conveys his wish for her to be there forever. To stand by him, no matter what. </SPAN></SPAN>
Someone put your hand out</SPAN></SPAN>
Begging for your love</SPAN></SPAN>
All I do is hand out</SPAN></SPAN>
A heart that needs your love</SPAN></SPAN>
The chorus layers multiple harmonies and vocals to build up the ethereal and sweet sound. Whilst he speaks about a certain woman in the first verse and what he wants from her, he changes to “Someone” in the chorus. </SPAN></SPAN>
“Someone put your hand out”. </SPAN>Someone. Anyone. </SPAN></SPAN>
This brings to mind the image of people who are waiting for a bus and as it arrives, they put out their hand to make it stop and allow them to get on. This analogy is not dissimilar to the song. Countless “someones” go past us every day, and it’s only when you take that brave step and ask for help or love or friendship (“put your hand out”), that the person notices you and allows you to build a connection. However, Michael seems to have turned it around. He doesn’t have his hand out; he’s asking someone else to put out their hand. Perhaps this is the only way for him to accept their help and love. He needs someone to show him they care about him, without him having to ask. </SPAN></SPAN>
Alternatively, when you think of people with their hands out, you automatically think of beggars. They are at the depths of despair in needing our help that the only way to express it is to literally put their hand out. I wouldn’t have thought this could apply to this song, had it not been for the next line (“begging for your love”).</SPAN></SPAN>
He’s literally “begging” and re-visits a theme that was present way back in the “Destiny era”. He’s given away so much of his heart, handed out so much love, but he still has to wait for it to be returned to him.</SPAN></SPAN>
I’ve lived my life the lonely</SPAN></SPAN>
A soul that cries of shame</SPAN></SPAN>
In handicapped emotions</SPAN></SPAN>
Save me now, of what still remains</SPAN></SPAN>
Searingly honest and heart breaking. The alliteration of the “l” sound draws attention to the loneliness that has become his life. It’s almost as if his life and loneliness just simply belong together. Suspecting he was speaking from the soul, he confirms this with his self description of “a soul that cries of shame”. To me, this says that the innermost core of his being is dictated by broken, “handicapped” emotions. He’s been hurt and alone for so long, he’s ashamed to let anyone see his soul and the crying child that screams out in pain. As much as he craves love, this here is the explanation for his failure. The pain is so intense, he’s crying out to be loved, but is terrified of letting anyone get too close to see the person he really is. The person that he doesn’t see as beautiful and wonderful, the way we do, but the person he probably regards as a total failure. Someone not good enough. Hence, the “shame”. </SPAN></SPAN>
I’ll be your story hero</SPAN></SPAN>
I’ll serenade in rhyme</SPAN></SPAN>
I’m just needing that someone</SPAN></SPAN>
A quick switch in tactics now. In that perfect and sweet voice, he decides he’ll change himself for her. He’ll give her whatever she wants. He’ll be her “story hero”, something he’s done throughout his life. Hasn’t he been a hero to his fans, his audience? Hasn’t he saved so many lives, literally and metaphorically? Furthermore, has he not “serenaded” us all with his singing and made us fall in love with him? Ultimately, this is him accepting that he may have to use his talents to win her love. It seems unfair that he should have to do so. Is it really impossible for any woman to love him as just plain “Michael?”</SPAN></SPAN>
But he’s willing to do all these things, because he’s just “needing that someone”. Needing, not wanting. </SPAN></SPAN>
Save me now or I’m out of my mind</SPAN></SPAN>
He repeats the “Save me now” lyric. First he sings of needing to be saved “of what still remains” and then follows this up with “or I’m out of my mind”. The implication here is that before long, he’s going to lose himself through yearning and isolation. Or perhaps he’s given away his heart so much, there’s not much left for himself?</SPAN></SPAN>
When you say we will dance until the light of day </SPAN></SPAN>
It’s just like the children of Earth’s joy</SPAN></SPAN>
When we play</SPAN></SPAN>
The inclusion of the soprano backing vocals on the bridge fits brilliantly with the lyrics. The song takes on a more mystical and sacred tone. He compares their imagined love to the “children of Earth’s joy”. No other simile can convey the purity and spirituality of it so well. It brings to mind the image of two innocents playing together in a sort of paradise, untouched by the real world. “Will you promise me you’ll always stay?” </SPAN></SPAN>
It’s because I’m needing that someone </SPAN></SPAN>
For the first and only time in the song, he drops the falsetto for a strained, rough voice. This to me is the most significant moment. He’s dropped his sweet, seducing and “perfect” crooning. This is the real him now. Desperate and naked with pleading. Everything else stripped away, all control, all pretence, his entire image. So much emotion conveyed in just one line. </SPAN></SPAN>
The song plays itself out with a mournful trumpet, perfectly adding to the sorrow. The chorus picks up with the falsetto again, as if he’s back to his control. The adlibs speak of his heart being on the line and “hanging”. Well, he certainly bore his soul and is now at the mercy of what that “someone” makes of him.</SPAN></SPAN>
The close of the song features again the piano chords and ends almost as it began. Perhaps it’s too much to hope anything has changed? Will anyone reach out and put out their hand to save him?</SPAN></SPAN>
