If you want to make the world a better place
I'm asking him to change his waysĪnd no message could have been any clearer They follow each other on the wind ya' know Pretending not to see their needsĪ summer disregard, a broken bottle top 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).Michael Jackson - Man In The Mirror (Official Video) Lyrics (.LRC) "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). "Is truth a game daddy," he screams out at one point. To a relentless, industrial funk beat, the singer lashes out in visceral bursts of anger, aggression, and pain. In the gritty, haunting " Morphine," Jackson tackles a subject he never had before: drug addiction. Creatively, Jackson has entered a new realm." With beats crashing like metal sheets and synthesizer sounds hissing like pressurized gas, this is industrial funk. In keeping with Jackson's darker mood, the music has grown more angry and indignant. In many of them, Jackson seems like the elephant man, screaming that he is a human being. 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. 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. "'Blood on the Dancefloor' has the vitality of an intelligence that refuses to be placated. "His singing on the first five tracks of new material has never been so tormented, or audacious," wrote Armond White of Village Voice. Containing just five new songs, the album is considered an artistic breakthrough by some.
Still, for those who gave Blood on the Dancefloor: HIStory in the Mix a serious listen, it was an impressive record indeed.
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