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At last! The REAL lyrics to Morphine.

Staffordshire Bullterrier said:
You mean from 1:35 tot 1:40??? Cause i've always wondered about that too.


[youtube]XkQd4zOLnjc[/youtube]
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Yeah, I was wondering about that too. What I think and hear is something like: You heard what the doctor said? and then the other person says something like ... what... but I think it's better ( maybe he's saying I think its better for you, but I'm not sure)..? ( I can't hear the other words, after that).
But it can be that it's totally different, lol, cause it wont be the first time I mishear a lyric :p
 
Smnth said:
Yeah, I was wondering about that too. What I think and hear is something like: You heard what the doctor said? and then the other person says something like ... what... but I think it's better ( maybe he's saying I think its better for you, but I'm not sure)..? ( I can't hear the other words, after that).
But it can be that it's totally different, lol, cause it wont be the first time I mishear a lyric :p
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It's sampled from The Elephant Man.
 
GinnyJackson said:
i wish he never wrote this song.
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What you mean is you wish those things that happened to him what lead him to writing the song,should have never happened...right? Cause the song itself is awesome, its a great song. If you mean it like that,the same could sadly be said about HIStory.Many of those songs...all based on his experiences.


This Is It said:
It's sampled from The Elephant Man.
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Really?
 
Awesome find! Michael's handwriting is absolutely atrocious, but the lyrics are so cool. =D

Morphine is one of my favourite songs. It's so powerful and heartfelt, and the lyrics are so raw, and the beat is amazing. It's just pure genius. Then again, he IS pure genius (I refuse to use the "w" word.)
 
Morphine

[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.

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.]

(Copyright by Joseph Vogel, from Man in the Music: An Album by Album Guide to Michael Jackson)
 
^ Thanks for posting that, MattyJam.

Michael Jackson Moonwalk said:
Wow, thank you! I don't really care if these are the lyrics in the actual recorded track or not...I just love seeing his handwritten lyrics...it always 'wow's' me :)
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Me too, I love reading his handwritten stuff, even though it's a bit.. difficult at times :cheeky:
 
This Is It said:
This is an early draft only.

Pompous Git posted the lyrics from the Taiwanese version of BOTDF - the only one featuring lyrics - on MaxJax and MJNO years ago.
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That I did and here they are! You will notice some are almost the same as the draft while many are not in the draft.

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!

I remember the huge discussion on MJNO about this and these lyrics settled the debate. I mean, "always a play, Daddy" and stuff like that never did mke any sense in the song.

The Elephant Man sample is "You heard what the doctor said? Go on!" from Matron Mothershead to the Merrick character played by John Hurt.
 
Wow, those lyrics are totally different than what I thought he said! This is a bit shocking for me lol, I've been singing the wrong words for years! I like this version better though :)
 
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