Hi.. :waving:
Here is some infomation on "Morphine" the lyrics and audio and the "Elephant Man" loop - A great insight about the meaning as well. This is a song by Michael Jackson that I was always intrested in as well and have researched it so much esp. after his passing even more since the media wanted to present it as only being about drugs in which it is not only about drugs.
Those are the official lyrics. Also, if you look at Michael's hand written lyrics in the first hand written lyrics pic.,you can see where he wrote "Go dig your ditch,baby" & "Your dogs a B.itch" I felt the same way (note sure) back when I read first heard the lyrics & years after...but when I got a hold of the lyrics sheet with these lyrics and listened they are the correct lyrics.
Lyrics 100% confirmed from the Taiwanese lyrics sheet. It's all correct while every other site still has the incorrect ones that make little sense.
Although the You v/s Ya maybe be 'different' as in it could be You,Ya, or sometimes He, She,
But these are in fact the correct lyrics. Yes.. It's just how MJ sings - his pronounces have always been somewhat 'hard' to understand.but if you Listen closely you'll see that it's correct.
I think that I've provided in this thread a lot of information & insight to this song. :flowers:
You can find the information I provided on this subject posted here:
http://www.mjjcommunity.com/forum/threads/116691-Morphine-finding-out-about-it
As well.
Official lyrics for Morphine
He got flack, baby
Kicked in the back, baby
A heart attack, baby
I ain't your rival!
A hot fix, honey
He dug the ditch, baby
Ya make me sick, baby
So unbeloved!
I felt the swine, baby
All down the line, darling
Uncage your God, baby
So unbeloved!
A hot fuss, baby
He want the buzz, baby
Another drug, baby
You're so deserving!
Chorus:
Trust in me
Trust in me
Put all your trust in me
You're doing Morphine!
You got a place, baby
Kicked in the face, baby
He hate your race, baby
You're not the liar!
Just ad lib, baby
Your dog's a b.itch, baby
You make me sick, baby
You talk survival!
She never cook for me
She never bump, baby
I've gotten what, baby?
You're just a rival!
A razor blade, Daddy
Right up your leg, baby
You're throwing shade, Daddy
So undeserving!
Chorus:
Trust in me
Trust in me
Put all your trust in me
You're doing Morphine!
Relax, this won't hurt you
Before I put it in
Close your eyes and count to ten
Don't cry, I won't convert you
There's no need to dismay
Close your eyes and drift away
Demerol, demerol
Oh god, he's taking demerol
Demerol, demerol
Oh god, he's taking demerol
He's trying hard to convince her
To give him more of what he had
Today he wants it twice as bad
Don't cry, I won't resent you
Yesterday you had distrust
Today he's taking twice as much
Demerol, demerol
Oh god, he's taking demerol
Demerol, demerol
Oh my, his god is demerol
Oh...
Ya got s.hit, baby
Your dog's a b.itch, baby
Ya make me sick, baby
You are a liar
You shoot the game, Daddy
Deep in the vein, baby
You're called a Saint, baby
You're so beloved!
Chorus:
Trust in me
Trust in me
Put all your trust in me
You're doing Morphine!
You just sit around
Just talking about it
You're taking Morphine!
You just sit around
Just talking about it
You're taking Morphine!
You just sit around
Just talkin' nothin' about it
You just sit around
Just talking about it
You're taking Morphine!
You just sit around
Just talkin' nothin'
And taking Morphine!
You're talking Morphine!
Morphine!
You're taking Morphine!
Morphine!
Morphine!
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Alternative lyrics before MJ changed some lines:
Morphine
(Backgrounds)
[mp3]http://www.box.net/shared/static/kxll8zy09c.mp3[/mp3]
http://www.box.net/shared/static/kxll8zy09c.mp3
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[mp3]http://www.box.net/shared/static/c3u9akhu5q.mp3[/mp3]
http://www.box.net/shared/static/c3u9akhu5q.mp3
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An article with insightful perspective on the meaning of "Morphine"
Michael Jackson: Man in the Music, Part 2 (Morphine)
[This is Part 2 of a series exploring Michael Jackson the artist through his albums and songs. The following excerpt is taken from Chapter 5 of Man in the Music: An Album by Album Guide to Michael Jackson]
People often struggle with allowing artists to grow and evolve. For Bob Dylan it was considered sacrilege by many to pick up an electric guitar; for the Beatles, the shift from sentimental love songs to social statements and psychedelia caused them to lose, in some people's minds, their initial charm and mass appeal. For Michael Jackson, the conventional wisdom meant every album post-Thriller that didn't sound or sell like Thriller was considered a failure; this, in spite of the fact that some of his most significant and challenging work came later. Call it the curse of expectational stasis.
Still, for those who gave Blood on the Dancefloor: HIStory in the Mix a serious listen, it was an impressive record indeed. Containing just five new songs, the album is considered an artistic breakthrough by some. "His singing on the first five tracks of new material has never been so tormented, or audacious," wrote Armond White of Village Voice. "'Blood on the Dancefloor' has the vitality of an intelligence that refuses to be placated. . .[It] is a throwdown, a dare to the concept of innocuous Black pop." In a 1997 review, The New York Times' Neil Strauss concurred: "There is real pain and pathos in these new songs... Jackson's pain is often the world's merriment, and this is probably true of his new songs, which fret about painkillers, sexual promiscuity and public image. In many of them, Jackson seems like the elephant man, screaming that he is a human being... In keeping with Jackson's darker mood, the music has grown more angry and indignant. With beats crashing like metal sheets and synthesizer sounds hissing like pressurized gas, this is industrial funk... Creatively, Jackson has entered a new realm."
In the gritty, haunting "Morphine," Jackson tackles a subject he never had before: drug addiction. To a relentless, industrial funk beat, the singer lashes out in visceral bursts of anger, aggression, and pain. "Is truth a game daddy," he screams out at one point. "To win the fame baby/It's all the same baby/You're so reliable." The rage and disappointment, combined with its ear-assaulting sound (music critic Tom Sinclair described it as "alternating Trent Reznor-style sturm und clang with Bacharachian orchestral pomp"), make for a jarring listening experience, particularly for those accustomed to the breezier melodic pop of Off the Wall and Thriller (though it should be noted that songs like "Wanna Be Startin' Somethin'" and "Billie Jean" were already beginning to uncover the complexity, paranoia and pain represented in these later tracks). But "Morphine" is best viewed as an experiment -- both sonically and lyrically -- in representing the experience of physical/psychological pain as well as its temporary release via narcotic pain relievers like demerol and morphine (both of which Jackson has been reportedly addicted to, on and off, since the early Nineties).
This experience is also brilliantly conveyed in the song's form: About mid-way through the track, the grating beat subsides, symbolically representing the pacifying effect of the drug. "Relax, this won't hurt you," Jackson sings soothingly from the perspective of the drug.
[Click here and scroll down to "Morphine" to listen. The interlude begins at approximately the 2:48 mark]
http://myplay.com/audio_player/michael_jackson/195/288993/288994?allowBrowsing=1
Before I put it in
Close your eyes and count to ten
Don't cry
I won't convert you
There's no need to dismay
Close your eyes and drift away
Demerol
Demerol
Oh God he's taking demerol
Demerol
Demerol
Oh God he's taking demerol
He's tried
Hard to convince her
To be over what he had
Today he wants it twice as bad
Don't cry
I won't resent you
Yesterday you had his trust
Today he's taking twice as much
Demerol
Demerol
Oh God he's taking demerol
Demerol
Demerol
Oh God he's taking demerol
These verses are perhaps some of the most poignant (and tragic) Jackson has ever sung. Beyond the literalness of the drug itself is Jackson's persistent yearning to escape from pain, loneliness, confusion, and relentless pressure. In this brief interlude he beautifully conveys the soothing, seductive, but temporary release from reality. There is a sense of pleading, of desperation, before the high abruptly ends, and the listener is slammed back into the harsh world of accusations and anguish. Sputnik Music described this musical sequence as a "moment of absolute genius." The song, written and composed entirely by Jackson, is one of his most experimental and brilliant creations. It is a confession, a personal intervention, a witness, and a warning.
[Note: This analysis of "Morphine" was written before Michael Jackson's death. It becomes all the more tragic given reports that narcotics like demerol and morphine may have contributed to his passing.]
http://www.huffingtonpost.com/joe-vogel/michael-jackson-man-in-th_b_221797.html
(Copyright by Joseph Vogel, from Man in the Music: An Album by Album Guide to Michael Jackson)
More of MJ's hand written lyrics of "Morphine"
Some thoughts on "Morphine"
The fan versions all over the internet are wrong on several lines. These make more sense, lyrically. These lyrics reveal his battle with drug addiction and how he feels he shouldn't be an addict as he's so beloved which he sings. He's sarcastic in parts and is personifying the Mythical God of Sleep, Morpheus whose name is known as Morphine today. That's why the orchestral part is in the middle and the oohhh represents another drug induced hit followed by the inner world battles between being human and being the unrealistic star. It's not really a call for help, but subtly about the dangers of fame, addiction and stigmas.
The 'Morphine' shout is the choir. The Andrae Crouch singers don't appear anywhere else in the song, I don't think.
Heres the explaining of the meaning of Morpheus...
Morpheus (Greek: Μορφέας, Μορφεύς, "he who forms, shapes, moulds", from the Greek morphe) is the Greek god of dreams.
Morpheus has the ability to take any human's form and appear in dreams. He is the son or brother of Hypnos, the god of sleep. Nyx (the goddess of night) is his mother/grandmother. The servants of Hypnos — the Oneiroi — are rulers of visions, and also include Phobetor (also known as Icelus), and Phantasos.
Morpheus is spoken of in the Metamorphoses of Ovid. It is also believed that in the iliad he is spoken of as "Dream." He is also referred to in Edmund Spenser's The Faerie Queene (1590). He sleeps on an ebony bed in a dimly lit cave, surrounded by poppy flowers. According to Ovid, Morpheus concentrated on the human elements of dreams, his brothers Phobetor and Phantasos being responsible for animals and inanimate objects, respectively.
Morpheus sends images of humans in dreams or visions, and is responsible for shaping dreams, or giving shape to the beings which inhabit dreams. Phobetor made fearsome dreams (etymologically related to "phobia" from the Greek φόβος "fear"). Phantasos produced tricky and unreal dreams (hence "fantasy", "phantasmagoria", etc.). Together these attendants of Hypnos rule the realm of dreams. Morpheus also had special responsibility for the dreams of kings and heroes. For these reasons Morpheus is often referred to as "Morpheus the Greek god of dreams" in superiority to his brothers.
The drug morphine (once "morphium") derives its name from Morpheus based on its dream-inducing power.
the line "Uncage your god" is meant as in the sense that the drug Morphine is teh user's god and dictates their every mood or action. In this sense, Morpheus controls them and sends them into a dream-like state which is very potent. The pull of the drug is emphasised which if you saw such a scene with your eyes would create mixed feelings for you - literally.
Michael is basically stressing Mankind has no dignity when under the unfluence of a drug that is now your god. That's not all he says as all the put downs throughout the track belong to a judgemental society that has no sense of dignity either because they love to strip others of their own humanity.
The 1980 film The Elephant Man directed by David Lynch explores this in depth - I love this movie for it's undeniable depth. The Elephant Man fights back against society - "I am not an elephant...I...AM...A...MAN!"
A similar sense is conveyed in Morphine - society must stop seeing drug junkies as something inhuman if we are to hope to eradicate any need for people to abuse any kind of drug, prescription or illegal.
There is real pain and pathos in these new songs... Jackson's pain is often the world's merriment, and this is probably true of his new songs, which fret about painkillers, sexual promiscuity and public image. In many of them, Jackson seems like the elephant man, screaming that he is a human being... In keeping with Jackson's darker mood, the music has grown more angry and indignant. With beats crashing like metal sheets and synthesizer sounds hissing like pressurized gas, this is industrial funk... Creatively, Jackson has entered a new realm.
:heart:
souldreamer7