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Throughout his musical career, Michael Jackson wrote and/or composed songs, - as well as in collaboration with other musicians or his siblings - material in tune with his other related endeavors exposing and/or tackling critical world issues and concerns, and the peaceful, unified means and solutions through which they can be alleviated or solved.

Here are some of them – the list including songs from the Jackson 5 earlier albums:

"We Are The World"; "Heal The World"; "I’ll Be There"; "Beat It"; "Black Or White"; "Be Not Always"; "Hallelujah Day" ("about bringing the boys back from Vietnam); "Man of War"; "Man In The Mirror"; "The Lost Children"; "Cry"; "We Are Here To Change The World"; "We Can Change The World"; "Will You Be There"; "HIStory"; "Money"; "Earth Song"; "Keep The Faith"; "Shout"; "What More Can I Give"; "Will You Be There"; "Can You Feel It"; "Another Part Of Me"; "We’ve Had Enough"; "Living Together"; "The Eternal Light"; "Children’s Holiday" and "People of the World" (written and composed by Michael Jackson for a Japanese group); "Bless His Soul"; "Jam"; "Why You Wanna Trip On Me"; "Black Or White"; "Little Susie"; "On The Line", "Hold My Hand", or songs yet unreleased, such as "A Baby Smiles"; "To The World"; "Little Girls"; "Lonely Man"; "Lonely Bird"; "There Must Be More To Life Than This" (a leaked duet with singer Freddie Mercury); "Crack Kills"; "I Don't Live Anymore"; "I Forgive You"; "He Who Makes The Sky To Grey (written in 2005 by Jermaine Jackson and Prince Sheik Abdullah of Bahrain);  "Do You Know Where Your Children Are?", "All My Children"; "Children's Hour"; "I Love You More"; "Adore You"; 'Days In Gloucestershire"; "I Am A Loser",  'I Was The Loser"; "Thank Heaven", ""Pray For Peace", "The Innocent Man" (most likely reworked on); "Light The Day" or "The World Is No Church" (written by Jackson and Grammy-Award winning record producer and songwriter, Walter Afanassief ) . The last nine mentioned songs are said to have been worked upon with songwriter Bradley Buxer just months before the entertainer's passing and have been transferred to Michael Jackson's Estate.

Jackson's videos (i.e.: "Beat It"; "Can You Feel It" (with the Jacksons); "Beat It"; "Man In The Mirror"; "Heal The World", "Earth Song", "Childhood" or "Cry") come in support of the lyrical themes, and are renowned for their potent visual message and effects.


Here is what the singer-songwriter has to say with reference to some of his most memorable songs.

* "Moon Walk" Autobiography (1988) Excerpts:

On single “Ben”:

’Ben’ meant a lot to me. Nothing had ever excited me as much as going to the studio to put my voice on film. I had a great time. Later, when the movie came out, I'd go to the theater and wait until the end when the credits would flash on, and it would say, "'Ben' sung by Michael Jackson." I was really impressed by that. I loved the song and loved the story. Actually, the story was a lot like E.T. It was about a boy who befriended a rat. People didn't understand the boy's love for this little creature. He was dying of some disease and his only true friend was Ben, the leader of the rats in the city where they lived. A lot of people thought the movie was a bit odd, but I was not one of them. The song went to number one and is still a favorite of mine. I have always loved animals and I enjoy reading about them and seeing movies in which they're featured.”

On song “Blues Away”:

"Blues Away" was one of my first songs, and though I don't sing it any more, I'm not embarrassed to hear it. I couldn't have gone on in this business if I had ended up hating my own records after all that work. It's a light song about overcoming a deep depression - I was going for the Jackie Wilson "Lonely Teardrops" way of laughing on the outside to stop the churning inside.

On song “Living Together” (with The Jacksons):

“Though we couldn't spell it out, we kind of hinted about our situation in a song called "Living Together," which Kenny and Leon chose with us in mind. "If we're going to stick together, we've got to be a family. Have yourself a real good time, but don't you know it's getting late." The strings pointed and thrust like they did in "Backstabbers," but that was a Jacksons' message, even if it wasn't in the Jacksons' style - yet.”

On song “That’s What You Get For Being Polite” (with The Jacksons):

‘That's What You Get for Being Polite’ was my way of letting on that I knew I wasn't living in an ivory tower and that I had insecurities and doubts just as all older teenagers do. I was worried that the world and all it had to offer could be passing me by even as I tried to get on top of my field.”

On song “You Can’t Win”:

“My character (the Scarecrow from movie The Wiz’)) had plenty to say and to learn. I was propped up on my pole with a bunch of crows laughing at me, while I sang "You Can't Win." The song was about humiliation and helplessness - something that so many people have felt at one time or another - and the feeling that there are people out there who don't actively hold you back as much as they work quietly on your insecurities so that you hold yourself back. The script was clever and showed me pulling bits of information and quotations out of my straw while not really knowing how to use them. My straw contained all the answers, but I didn't know the questions.”

On single “She’s Out Of My Life”:

"She's Out of My Life" is about knowing that the barriers that have separated me from others are temptingly low and seemingly easy to jump over and yet they remain standing while what I really desire disappears from my sight. Tom Bahler composed a beautiful bridge, which seemed right out of an old Broadway musical. In reality, such problems are not so easily resolved and the song presents this fact, that the problem is not overcome. We couldn't put this cut at the beginning or the end of the record, because it would have been such a downer. That's why when Stevie's song comes on afterward, so gently and tentatively, as if it was opening a door that had been bolted shut, I still go, "Whew." […] But I got too wrapped up in "She's Out of My Life." In this case, the story's true - I cried at the end of a take, because the words suddenly had such a strong effect on me. I had been letting so much build up inside me. I was twenty-one years old, and I was so rich in some experiences while being poor in moments of true joy. Sometimes I imagine that my life experience is like an image in one of those trick mirrors in the circus, fat in one part and thin to the point of disappearing in another. I was worried that would show up on "She's Out of My Life," but if it touched people's heartstrings, knowing that would make me feel less lonely. When I got emotional after that take, the only people with me were Q and Bruce Swedien. I remember burying my face in my hands and hearing only the hum of the machinery as my sobs echoed in the room. Later I apologised, but they said there was no need.”

On single "Can You Feel It" (with The Jacksons):

“Right after we finished Off the Wall, I plunged into making the Triumph album with my brothers. We wanted to combine the best of both albums for our tour. "Can You Feel It?" was the first cut on the album, and it had the closest thing to a rock feel that the Jacksons had ever done. It wasn't really dance music either. We had it in mind for the video that opened our tour, kind of like our own Also Sprach Zarathrustra, the 2001 theme. Jackie and I had thought of combining the band sound with a gospel/children's choir feel. That was a nod at Gamble and Huff, in a way, because the song was a celebration of love taking over, cleansing the sins of the world.”

On single “This Place Hotel” (originally titled “Heartbreak Hotel”) – with The Jacksons:

“’Heartbreak Hotel’ was the most ambitious song I had composed. I think I worked on a number of levels: You could dance to it, sing along with it, get scared by it, and just listen. I had to tack on a slow piano and cello coda that ended on a positive note to reassure the listener; there's no point in trying to scare someone if there isn't something to bring the person back safe and sound from where you've taken them. "Heartbreak Hotel" had revenge in it and I am fascinated by the concept of revenge. It's something I can't understand. The idea of making someone "pay" for something they've done to you or that you imagine they've done to you is totally alien to me. The setup showed my own fears and for the first time being helped quell them. There were so many sharks in this business looking for blood in the water. If this song, and later "Billie Jean," seemed to cast women in an unfavorable light, it was not meant to be taken as a personal statement. Needless to say, I love the interaction between the sexes; it is a natural part of life and I love women. I just think that when sex is used as a form of blackmail or power, it's a repugnant use of one of God's gifts.”

On single “Billie Jean”:

"Not My Lover" was a title we almost used for "Billie Jean", because Q [Quincy Jones] had some objections to calling the song "Billie Jean," my original title. He felt people might immediately think of Billie Jean King, the tennis player. A lot of people have asked me about that song, and the answer is very simple. It's just a case of a girl who says that I'm the father of her child and I'm pleading my innocence because "the kid is not my son." There was never a real "Billie Jean." (Except for the ones who came after the song.) The girl in the song is a composite of people we've been plagued by over the years. This kind of thing has happened to some of my brothers and I used to be really amazed by it. I couldn't understand how these girls could say they were carrying someone's child when it wasn't true. I can't imagine lying about something like that. Even today there are girls who come to the gate at our house and say the strangest things, like, "Oh, I'm Michael's wife," or "I'm just dropping off the keys to our apartment." I remember one girl who used to drive us completely crazy. I really think that she believed in her mind that she belonged with me. There was another girl who claimed I had gone to bed with her, and she made threats. There've been a couple of serious scuffles at the gate on Hayvenhurst, and they can get dangerous. People yell into the intercom that Jesus sent them to speak with me and God told them to come - unusual and unsettling things.”

On single "Beat It":

"Beat It" was written with school kids in mind. I've always loved creating pieces that will appeal to kids. It's fun to write for them and know what they like because they're a very demanding audience. You can't fool them. They are still the audience that's most important to me, because I really care about them. If they like it, it's a hit, no matter what the charts say. The lyrics of "Beat It" express something I would do if I were in trouble. Its message - that we should abhor violence - is something I believe deeply. It tells kids to be smart and avoid trouble. I don't mean to say you should turn the other cheek while someone kicks in your teeth, but, unless your back is against the wall and you have absolutely no choice, just get away before violence breaks out. If you fight and get killed, you've gained nothing and lost everything. You're the loser, and so are the people who love you. That's what "Beat It" is supposed to get across. To me true bravery is settling differences without a fight and having the wisdom to make that solution possible. […] I felt "Beat It" should be interpreted literally, the way it was written, one gang against another on tough urban streets. It had to be rough. That's what "Beat It" was about. […] The truth of that experience came out on the screen. The "Beat It" video was menacing, and you could feel those people's emotions. You felt the experience of the streets and the reality of their lives. You look at "Beat It" and know those kids are tough. They were being themselves, and it came across. It was nothing like actors acting; it was as far from that as possible. They were being themselves; that feeling you got was their spirit. I've always wondered if they got the same message from the song that I did.”

On charity single "We Are The World":

"I think that "We Are the World" is a very spiritual song, but spiritual in a special sense. I was proud to be a part of that song and to be one of the musicians there that night. We were united by our desire to make a difference. It made the world a better place for us and it made a difference to the starving people we wanted to help."

"We collected some Grammy Awards and began to hear easy-listening versions of "We Are the World" in elevators along with "Billie Jean." Since first writing it, I had thought that song should be sung by children. When I finally heard children singing it on producer George Duke's version, I almost cried. It's the best version I've heard."


On single “Bad”:

“’Bad’" is a song about the street. It's about this kid from a bad neighborhood who gets to go away to a private school. He comes back to the old neighborhood when he's on a break from school and the kids from the neighborhood start giving him trouble. He sings, "I'm bad, you're bad, who's bad, who's the best?" He's saying when you're strong and good, then you're bad.”

On single "Man In The Mirror":

"Man in the Mirror" is a great message. I love that song. If John Lennon was alive, he could really relate to that song because it says that if you want to make the world a better place, you have to work on yourself and change first. It's the same thing Kennedy was talking about when he said, "Ask not what your country can do for you; ask what you can do for your country." If you want to make the world a better place, take a look at yourself and make a change. Start with the man in the mirror. Start with yourself. Don't be looking at all the other things. Start with you. That's the truth. That's what Martin Luther King meant and Gandhi too. That's what I believe."

On single “Leave Me Alone”:

"Leave Me Alone" is a track that appears only on the compact disc of Bad. I worked hard on the song, stacking vocals on top of each other like layers of clouds. I'm sending a simple message here: "Leave me alone." The song is about a relationship between a guy and a girl. But what I'm really saying to people who are bothering me is: "Leave me alone."”

* Excerpts From An Audio Recording - cca 1995:

On single “Billie Jean”:

"When I was very little, around 10 years old, I used to go on these tours with my brothers, The Jackson Five, and I'd hear these crazy stories that these girls would claim my brothers hand relationships with them - which they didn't, and that they were going to have their children. And I thought that to be so strange and so crazy. And then, a couple of years later, there was this girl, named Billie Jean, who used to stand outside my gate. And I would drive outside the gate and she would say "Here's the keys to our car", and she would say "Here's the keys to the front door". She would say that I am actually the father of her child, which never ever happened... And that inspired the song, ‘cause the chorus goes "Billie Jean is not my lover, she's just the one who claims that I am the one, but the kid is not my son". So, I guess that's how that happened."

On single “The Girl is Mine”:

"One of my favorite songs to record of all of my recordings as a solo artist is probably "The Girl is Mine", because working with Paul McCartney was pretty exciting. And we just literally had fun. It was like lots of kibitzing and playing and throwing stuff at each other and making jokes. It was just a lot of fun, and we actually recorded the track and the vocals pretty much live at the same time, and we do have footage of it, but it's never been shown. Maybe one day we'll give you a sneak preview of it."

On single "Heal The World":

"Heal The World is one of my favorites of everything I’ve ever recorded, because it’s a public awareness song, and it’s something that I think that would live in the hearts of people for a long time; because it’s about something that is very special, and something that is very innocent, and something that is very important: literally, healing our planet of its wounds and its suffering. And it’s one of my favorite things to do when we’re on tour, because on stage we blow up this giant, inflatable Planet Earth, right on stage, and we have all these children from all different countries and they dress in a different national attire, and we sing this song. And it’s amazing to look out in the audience, and you literally see like two hundred thousand people holding up candles and singing the song. It’s a very spiritual experience and I really enjoy it."

On single "Earth Song":

"I remember writing Earth Song when I was in Austria, in a hotel. And I was feeling so much pain and so much suffering of the plight of the Planet Earth. And for me, this is Earth's Song, because I think nature is trying so hard to compensate for man's mismanagement of the Earth. And with the ecological unbalance going on, and a lot of the problems in the environment, I think earth feels the pain, and she has wounds, and it's about some of the joys of the planet as well. But this is my chance to pretty much let people hear the voice of the planet. And this is "Earth Song". And that's what inspired it. And it just suddenly dropped into my lap when I was in - on tour in Austria."

On single “Childhood”:

"Our personal history begins in childhood and the song "Childhood" is a reflection of my life, years ago, when I was much younger. And it's about the pain, some of the joys, some of the dreaming, some of the mental adventures I took because of the different lifestyle that I had being a child performer. I was born on the stage and "Childhood" - it is my mirror - it is my story."

On single “Stranger in Moscow”:

"Stranger in Moscow was written when I was in Moscow on the Dangerous Tour. And it was just a strange, eerie, lonely time for me. Outside my hotel was just a sea of faces of... of fans chanting and screaming. But I was inside my room and I felt so all alone, like I was the last person on the planet. And in the song I say "How does it feel when you're alone and you're cold inside?" I say "It's like a stranger in Moscow", and that's pretty much how I felt. And the people were some of the nicest people I've ever met. And the concert was very successful, but that day, especially that day, I just felt this different feeling and the song "Stranger in Moscow" came to me. So, that's how it was written."

On “Stranger in Moscow” – excerpts from “Smash Hits” interview with Adrian Grant (1995)

“I actually wrote it in September 1993 when I was in Moscow on the Dangerous World Tour. It was when all the allegations were coming out. It was at a time when I was very lonely, very cold…”

On “Stranger in Moscow” – excerpts from his interview with VH-1 (1996):

"I wrote that in Moscow. The lyrics are totally autobiographical. When you hear lines like 'Here abandoned in my fame.. Armageddon of the brain' -- at the time, on the last tour when we were in Moscow--that's really how I felt. It kinda created itself; it fell into my lap, because that's how I was feeling at the time. Just all alone in my hotel and it was raining and I just started writing it."


On single "They Don't Care About Us" - excerpt from "Making HIStory" photobook (1995):

"[...] It's a public awareness song. It’s a protest kind of song […]"

On single “Dirty Diana” – excerpts from ABC’s ‘20/20’ interview with Barbara Walters (1997)

“I wrote a song called “Dirty Diana”. It was not about Lady Diana. It was about a certain kind of girls that hang around concerts or clubs, you know, they call them groupies. […] I've lived in that all my life. These girls… they do everything with the band, you know, everything you could imagine. So I wrote a song called ‘Dirty Diana’. […]”

On song “Unbreakable” – excerpt from “T.V. Guide” magazine interview (2001):

“[The message of “Unbreakable” is] that (I’m) invincible, that I’ve been through it all. You can’t hurt me. Knock me down. [To Prince, who begins to bang his Snapple lemonade on the coffee table] See the noise you’re making? You’ve got to be nice and quiet.” .

On song “Unbreakable” – excerpts from an online audio chat through Anthony DeCurtis (2001):

“Unbreakable” [is the song I personally relate to the most.] […] 'Cause, I'm one of the few people, probably in show business, that have been through the ins and outs, you know, of so many different things. I've been through hell and back. I have, to be honest, and still I'm able to do what I do and nothing can stop me. No one can stop me, no matter what. I stop when I'm ready to stop. You know, and I'm just saying, you know, I will continue to move forward, no matter what.”

On song "The Lost Children" - excerpt from "News Of The World" (2001):

"I'm saying there are souls out there that are lost. People who have disappeared and have never been found again. I remember when I was a little kid, I was in a department store with my mother. I was no more than five, I think. I turned around and she was gone. I’ll never forget the feeling. I felt my world was ending. So, imagine really, really being lost. It’s like Armageddon of the brain."

On charity song "What More Can I Give", consequently to the 2001 terrorist attacks - excerpt from "Rolling Stones" magazine:

"I’m not one to sit back and point the finger and say, 'Oh I feel bad for what happened to them'. I want to do something, to give, to help those who lost their parents, who lost their mothers and their fathers. Those are our people. Those are our children. Those are our parents. I want the whole world to sing ("What More Can I Give"), to bring us together as a world, because a song is a mantra, something you repeat over and over. And we need peace, we need giving, we need love, we need unity."


* "Can You Feel It" video - (1981) (spoken intro): „In the beginning, the land was pure. Even in the early morning light, you could see the beauty in the forms of Nature, so all men and women of every color and shape would be here too. And they would find it all too easy sometimes not to see the colors and to ignore the beauty in each other. But they would never lose sight of the dream for the better world that they could unite and build together in triumph.”

* "Heal The World" video (1992) (spoken version bit):

„Heal The World organization is formulated to heal..really, be it the children, the ecology, people in general, and it’s a non-profit organization and it’s something I’ve always wanted to do; it’s what inspired the song ‚Heal The World’. Our goal is to change the world and change world consciousness about children, the ecology and the planet, to make it a better place for everybody, starting with the children. That’s the future we live, and I’ll stick with it forever until it’s done. It’s forever. It’s not a publicity stunt, it’s not something trying to use as a vehicle to launch a single or an album, it’s something that’s directly from my heart; I’m doing it as I sincerely care and love them and want to help out. I really feel bad for these kids. I guess you feel the pain just hearing about the things we see on television or on the radio, you know, the statistics about the kids…I mean, I’ve heard about this year, 2,6 million children die from preventable diseases and millions of children die from child abuse, just violence which it doesn’t have to be and I just feel so bad from things like that. You know, sometime (sic) I feel so guilty when I have dinner or breakfast, because I realize how so many people don’t have those simple things that we so much take for granted. And people, they sit at the table and they pray and all that, which is beautiful, but to do something is the thing, you know, you have to act, so I think it’s important to help out as much as you can. If one person just helped one child…just helped one child…they’d done so much. You can do that, it would be beautiful, just to help one person would be a lot, it’s a big step forward, because it’s a lot to be done, and children all over the world are in such need. I feel so pure when I can do this, I feel God applauding, I really do; I feel that I’ve done what I’m supposed to do and I’m compelled to do these things, I feel. And kids are the best; they are wonderful.”


Below are lyrics of some of the afore-listed songs, the titles and lyrics of which being self-explanatory:

"Beat It"

"Be Not Always"

"Black or White"

"Can You Feel It"


"Earth Song"

"Hallelujah Day"

"Heal The World"


"Living Together"

"Man In The Mirror"

"Man Of War"


"The Eternal Light"

"The Lost Children"

"There Must Be More To Life Than This"

"We Are The World"

"We’ve Had Enough"

"What More Can I Give"

"Why You Wanna Trip On Me"

"Will You Be There"

"With A Child’s Heart"

"You Are So Beautiful"


More Song Excerpts (autobiographical, cathartic & motivational):

“Here I am reaching out for ya,/But there's nothing to reach for,/'Cause my mind don't believe what my eyes have seen,/The blames you gave../You know (You know),/And I know nobody wants you with your wishy-washy ways,/Your mama raised you from a child,/Spent no time worth while/And I feel you really come to nothing, no./You've got to change your style of life./[…]/Ohh, there you go, saying "I think I love ya,/But it's a matter of time."/[…]/You and me, baby,/Haven't been together but so long,/Now you're acting like you own me,/Hey, baby, that's so wrong./You...hate to suffer for what you get;/My love don't come easy./Why don't you change, baby please, please…/[…]/Turn around! […]”

[“Style of Life” (with the Jacksons)]

“Do what you wanna,/And do it,/I got to convince you,/You gotta stick to it./Keep on striving/Towards your goals,/If it's right/Don't let it go,/[…]/Don't be phony,/Just be real;/People, be yourself../Don't be nobody - nobody else./[…]/Don't let nobody/Fool you around,/Tryin' to turn your life/Upside down,/Just be strong in your field/[…]/People, be yourself.”

[“Do What You Wanna” (with the Jacksons)]

“People all over the world are the same everywhere I go./ I give in to this, I give in to that,/ Every day it bothers me so./ Am I in a bad situation?/ People taking me to the extreme,/Am I being used?/I just need a clue,/I don't know which way to go. […] Five minutes later, I started to understand,/But I started screaming and shouting and acting mad,/No one could help me but myself,/But I gave everything I had./ It's things I do for you,/In return do the same for me./[...]/Always wanting something for nothing,/Especially what they don't deserve,/Reaching in my pocket,/I just got to stop it,/Don’t they got a lot of nerve?/Am I in a bad situation?/People taking me to the extreme,/They don't use rejection,/So I need protection,/To keep my equity.”

[“Things I Do For You” ( with the Jacksons)]

“In this world there's so much confusion,/And I taste the city life and it's not for me;/Now I do dream of distant places,/Where? I don't know now, but it's Destiny;/If it's the rich life, I don't want it,/Happiness ain't always material things/I want Destiny,/It's the place for me,/Give me the simple life,/I'm getting away from here,/Let me be me, come on, let me feel free../Now I'm a man that's for all seasons/And what the city offers me ain't naturally,/I look to greet the stars,/But there's no stars to see,/I’m gonna search this world until I find my Destiny./[…]/I wanna get far from here,/Or should I up and fly away so fancy free?/Nobody can change my mind,/The words of destiny are calling me wild time./I want destiny,/It’s the place for me, yeah,/Ah destiny, you and me,/Should we fly away/So fancy free? […]”

[“Destiny” (with the Jacksons)]

“[…] He want to do this, he want to do that,/You want to be kind, but ends up flat for love,/For love;/He tries so hard to give a lot,/He wants to be what he is not,/[…] Something deep inside of him,/Eating up the pride of him,/That makes him buy things for the girls,/(That's what you get for being polite)/For being polite./[…]/He lives the world that is his own,/He's lost in thought of who to be,/I wish to God that he would see just love,/Give him love;/[…]/(Jack still) Tryin' to make you happy, but.../[…]) Tryin' to make you happy, but he's not, but he's not;/(Jack still) Tryin' to make you, but don't you know he cries?/(Jack still) Don't you know he's scared?/(Jack still) It's often for his love, it's for his love;/Don't you know he often cries about you?/He cries about me,/He cries about you (You) and me (And me)/And every little thing that's in his way,/He cries about me,/He cries about you (You) and me, (And me)/Know that he deserves to cry!/[…]/ Don't you know, don't you know, don't you know?/Don't you know?/He cries, he cries because there is a lack of love…”

[“That’s What You Get For Being Polite” (with the Jacksons)]

“I try to do what's right for me,/But no one sees the way I see,/And then I try to please them so,/But how far can this pleasing go?/Something's soon to come over you,/You just can't please the world and yourself,/You gotta start doing what's right for you,/'Cause life is being happy yourself;/Then you should bless his soul (…)/Sometimes I cry ‘cause I'm confused,/Is this a fact of being used?/There is no life for me at all,/'Cause I give myself at beck and call;/[…]/The life you're leading is dangerous,/It's so dangerous, dangerous, all!/The life you're leading is dangerous,/Doggone dangerous (…)!/People will cry,/If rain or sun,/Try to please all/And you've pleased none.”

[“Bless His Soul” (with the Jacksons)]

“You can't say that I don't love you,/Nights cryin' thinkin' of ya,/I don't understand your ways.../They say love is forever gladness,/All that I feel is sadness./[...] You break my heart,/[...]/But it's okay./[...]/What have I done to deserve this madness?/All that I feel is sadness,/I don't understand your ways.../[…] No more believin'/In every word you say,/Persuasions deceiving,/But I'm wise in every way./And I know 'bout your playin'/With every guy in town,/So this time I'm sayin'/You won't fool me around./[…] But it's okay,/You're no good,/ I don't understand your ways.../One more fool just to love and groove ya,/That's all that he want to do to ya,/I don't understand your ways.”

["Your Ways” ( with the Jacksons) ]

“[...] As we walked into the room,/There were faces staring,/Glaring, tearing through me,/Someone said 'Welcome to your doom',/Then they smiled with eyes/That looked as if they knew me./This is scaring me. […] This is Heartbreak Hotel,/Welcome to Heartbreak Hotel./[…] Hope is dead,/She thought that I had cheated for another lover,/I turn my back to see that I'm undercover,/Now I can't convince this girl there ain't no other./Someone's evil to hurt my soul,/Every smile's a trial thought in beguile to hurt me,/This is scaring me./Then the man next door had told/He's been here in tears for fifteen years,/This is scaring me!.../We came to this place/Where the vicious dwelt,/Found that wicked women/(Run this strange hotel) […] This is Heartbreak Hotel/Welcome to Heartbreak Hotel,/So evil/(Heartbreak Hotel) […] Someone's stabbin' my heart,/[…] Hurting my mind./You break my baby's heart.”

[“This Place Hotel” ( with the Jacksons)]

“Here, when all my work is done,/She calls and she says 'Dear, can I come?'/I say to her that 'You know our love is gone',/But agressive heart, you're really not the one./She comes to the door,/Guilt shining in her eyes/As she slowly sinks in deep/You know our love couldn't last forever/Persuade your way, but you ain't clever,/I close the door and I say never!/I don't care, what you're sayin',/Walk right now, I ain't playin',/Love elsewhere, for you I'm prayin'/Don't look back, you ain't stayin'./Here I'm crying, I can't sleep,/I sigh, 'cause I thought this would never be/ I say ooh, I'm screaming out for someone,/And now she's knocking on the door for me,/She just won't leave me alone!/She wants to speak with me and persuade me in her arms,/And how she's calling on the phone for me/Oh, just won't leave me alone./Deep down inside she's trying to be clever,/To love once more,than leave me forever,/I close the door and I say never!/[...]/I try so hard to cope with you,/I can't bear with the things you put me through,/To love as friends, I wish that we could see,/But persuasive heart, you just won't let pure friendship be. […]”

[“Walk Right Now" (with the Jacksons)]

“[…] And you say that's impossible,/That's not impossible to do, oh,/And you digest what I can see,/The taste of you can be./I don’t wanna get eaten alive/’Cause you’re so dangerous,/No more hearts I can trust, you see/I don’t wanna get eaten alive./Eaten alive, eaten alive,/I don't ever wanna be eaten alive. […]”

[“Eaten Alive” (with Diana Ross & Bee Gees)]

“There's a man/Who plays the game of life so well,/There's such a man,/His thoughts you can never tell;/And it’s just the way he thought it would be,/'Cause the day has come for him to be free,/Then he laughs, he kicks and rolls up his sleeves./[…]/This is the man./There's a man/Everybody thought they knew,/There's such a man,/He's not like me and you;/And it’s just the way she thought it would be,/As he says, something has happened to me,/Then he laughs, he kicks and rolls up his sleeves./[…]/This is the man./[…]/Did you know/This man can do anything?/There's such a man,/I wish that we could bring. […]”

[“The Man” (with Paul McCartney)]

“[…] You know you really hurt me so,/[...]/You got me crying in my sleep,/[...]/My hurt is strong deep in my soul,/It hurts my head down to my toes,/[…] Oh, no, no, no, no, no,/Lord help us,/You hurt me so,/You leave me,/How can you leave me here?/No place to go,/Lord help us,/You hurt me so,/You left me here/And I can't - I can't get away, babe. […]”

[“The Hurt" (with the Jacksons)]

"[…] I took my baby to the doctor/With a fever, but nothing he found,/By the time this hit the street,/They said she sad a breakdown!/Someone's always tryin' to start my baby cryin'/,Talkin', squealin', lyin',/Sayin' 'You just wanna be startin' somethin' '/[…]/You love to pretend that you're good,/When you're always up to no good/You really can't make him hate her,/So your tongue became a razor./Someone's always tryin' to keep my baby cryin'/Treacherous, cunnin', declinin',/You got my baby cryin'./[…]/You're a vegetable,/(You're a vegetable)[...]/Still they hate you, (Still they hate you),/[...]/You're just a buffet/(You're just a buffet)/[...]/They eat off of you, (They eat off of you).[…]/Billie Jean is always talkin'/When nobody else is talkin'/,Tellin' lies and rubbin' shoulders/,So they called her mouth a motor/Someone's always tryin' to start my baby cryin'/Talkin', squealin', spyin',/Sayin' 'You just wanna be startin' somethin'.[…]/If you can't feed your baby/Then don't have a baby,/And don't think maybe,/If you can't feed your baby/You'll be always Tryin'/To stop that child from cryin',/Hustlin', stealin', lyin',/Now baby's slowly dyin'../[…]/Lift your head up high/And scream out to the world:/I know I am someone/And let the truth unfurl,/No one can hurt you now/Because you know what's true,/Yes, I believe in me,/So you believe in you! [...]”

[“Wanna Be Startin’ Something”]

“She was more like a beauty queen from a movie scene,/I said 'Don't mind, but what do you mean I am the one/Who will dance on the floor in the round?/She said I am the one, who will dance on the floor in the round./She told me her name was Billie Jean, as she caused a scene,/Then every head turned with eyes that dreamed of being the one/Who will dance on the floor in the round./[…] Billie Jean is not my lover,/She's just a girl who claims that I am the one,/But the kid is not my son.[…]/For forty days and for forty nights/The law was on her side,/But who can stand when she's in demand,/Her schemes and plans../'Cause we danced on the floor in the round,/So take my strong advice, just remember to always think twice (Do think twice!)/Do think twice!/[…]/You're breaking my heart, babe!.. [...]”

[“Billie Jean”]

“Stone shaker, she’s looking fine,/She's a heartbreaker every time,/She never seems to realize/That someday she'll be crying too./A street walker when there's time to spare,/Big spenders holding their share,/A heart of gold, but no one cares/(No one seems to care) Within their eyes. [...]"

[“Hot Street” (unreleased remastered demo)]

“Alone she lies waiting,/Surrounded by gloom,/Invaded by shadows/Painting the room;/The light from the window/Cuts through the air/And pins the child lying there/Scared of the moon./She pulls up the covers/And shivers in fright/She hides from the color/That rides on the night;/The light through the window/That lights up the sky/And causes her mournful cry,/Scared of the moon../’There’s nothing wrong,/Don’t be bothered’, they said,/’It’s just childish fantasies turning your head,/No need to worry,/It’s really too soon’,/But there she lies shivering…/Scared of the moon./[…]/The years go by swiftly/And soon childhood ends,/But life is still fearful/When evening descends;/The fear of the child/Still intrude the night,/Returning on beams of light…/Scared of the moon;/The feeling of terror/She felt as a youth/Has turned from a fantasy/Into a truth,/The moon is the enemy/Twisting her soul/And taking its fearful toll../Scared of the moon./But now there are others who sit in their room/And wait for the sunlight to brighten their gloom;/Together they gather,/Their lunacy shared,/But knowing just why they’re scared…/Scared of the moon. […]”

[“Scared Of The Moon”]

“All along I had to talk about it,/But like a two edged sword/It cuts you and it stabs me;/All along I knew you were a phony girl,/You sit behind the mask/And you control your world;/You sit around and I watch your face,/I try to find the truth, but that's your hiding place;/You say you love me, but it's hard to see,/'Cause when he's in your arms, you're throwing rocks at me./Who do you love?[ ...] /There is nothing in your eyes,/But that's the way you cry, girl,/All is grand, all is bright,/You're just studying my mind)./I walk around, I'm suffering in my doom,/When I come to you, you're sitting in your room;/You sit around in the strangest place,/So take off the mask, so I can see your face. […] Heaven must be wary,/(Your smile is scary) You got me spinnin', girl,/(Insincere, empty tears)[…] (Where's your soul?) (Where'd it go?)/You got me scared, girl. […]”

[“Behind The Mask” (posthumously released demo)]

“Your butt is mine,/Gonna take you right,/Just show your face/In broad daylight;/I'm telling you on how I feel,/Gonna hurt your mind,/Don't shoot to kill./Shamone, Shamone,/Lay it on me, all right.../I'm giving you/On count of three,/To show your stuff/Or let it be;/I'm telling you/Just watch your mouth,/I know your game,/What you're about./Well, they say the sky's the limit/And to me that's really true,/But, my friend, you have seen nothing,/Just wait 'til I get through/,Because I'm bad, I'm bad, you know it! […] The word is out/You're doin' wrong,/Gonna lock you up/Before too Long,/Your lyin' eyes/Gonna take you right,/So listen up,/Don't make a fight;/Your talk is cheap,/You're not a man,/You're throwin' stones/To hide your hands./We can change the world tomorrow,/This could be a better place,/If you don't like what I'm sayin',/Then won't you slap my face.?/[…]/And the whole world has to answer right now/Just to tell you once again/Who's bad?”


“As he came into the window,/It was the sound of a crescendo,/He came into her apartment/,He left the bloodstains on the carpet,/She ran underneath the table,/He could see she was unable,/So she ran into the bedroom,/She was struck down, it was her doom./Annie, are you OK? /[...]/(Will you tell us that you're OK?)/(There's a sign in the window,)/(That he struck you - a crescendo,Annie)/(He came into your apartment)/(He left the bloodstains on the carpet)/(Then you ran into the bedroom)/(You were struck down)/(It was your doom) […]/You've been hit by a smooth criminal./So they came into the outway,/It was Sunday - what a black day,/Mouth to mouth resuscitation,/Sounding heartbeats - intimidations […]/You've been hit by - you've been struck by a smooth criminal."

[“Smooth Criminal”]

“You'll never make me stay,/So take your weight off of me,/I know your every move,/So won't you just let me be?/[…]/That you seduce every man,/This time you won't seduce me./She's saying 'That's okay,/Hey, baby, do what you please,/I have the stuff that you want,/I am the thing that you need',/[...]/She says there's no turning back,/[...]/Dirty Diana, No,/Dirty Diana,/Let Me Be! […] She likes the boys in the band/She knows when they come to town,/Every musician fan/After the curtain comes down,/She waits at backstage doors/For those who have prestige,/Who promise fortune and fame, a life that's so carefree;/She's Saying 'That's Ok,/Hey, baby, do what you want,/I'll be your night loving thing,/I'll be the freak you can taunt,/And I don't care what you say,/I wanna go too far,/I'll be your everything/If you make me a star!/[…]/Dirty Diana, no..[...]"

[“Dirty Diana”]

“[...] Mind is like a compass,/I'm stoppin' at nothing./[...]/Ain't nothing gonna stop me,/Ain't no stop and go,/[...]/Speed demon, you're the very same one/Who said 'The future's in your hands,/The life you save may be your own',/You're preachin' 'bout my life like you're the law,/Gonna live each day and hour /Like for me there's no tomorrow!/[...]/Got fire in my pocket,/I just lit a rocket. [...]”

[“Speed Demon”]

“[…] Don’t point your finger,/Not dangerous,/This is our planet,/You’re one of us./[…]/A rather nation,/Fulfill the truth,/The final message/We’re bringing you,/There is no danger,/Fulfill the truth,/So come together,/We’re meaning you./[…]/We’re taking over,/This is the truth, baby,/Another part of me.”

[“Another Part Of Me”]

“I don´t care what you talkin´’bout, baby,/I don´t care what you say,/Don´t you come walkin’,/Beggin´ back, mama,/I don´t care anyway;/Time after time I gave you all of my money,/No excuses to make,/Ain´t no mountain that I can´t climb, baby,/All is going my way./(´Cause there´s a time when you´re right)/(And you know you must fight)/Who´s laughing, baby, don´t you know?/(And there´s the choice that we make) /(And there´s the choice you will take)/Who´s laughing, baby?/ So just leave me alone, girl, […] Leave me alone, stop it,/Just stop doggin´ me around! (Just stop doggin´ me)/[…] You really hurt, you used to take and deceive me/,Now who is sorry now?/You got a way of making me feel so sorry,/I found out right away,/Don´t you come walkin´, beggin, I ain´t lovin´ you,/Don´t you get in my way./[...]/So just leave me alone!/[...]/Don't come beggin',/Don't come lovin' me. [...]”

[“Leave Me Alone”]

“Well, Lord, have mercy,/Well, Lord, have mercy,/This ain't no good for me,/This ain't no good for me, babe,/Well, Lord, have mercy,/Well, Lord ,have mercy,/Ain't no good for me, babe/,Tell me what's goin' down, babe?/Every time I wanna say it, it is/Just too much for me,/I don't ever wanna say it 'cause of/All the blasphemy,/Everybody's doin' it to somebody's love/In sight of me/,I might tell on you,/Don't you start no stuff with me...!/Your brother's got kids with your mother in law,/I might drop dead about what I saw,/I caught your mother, she doin' a dude,/You can't like it that I'm lookin' right at you,/Stop it, it's too much,/Monkey business goin' down.../[…]/Don't be callin' out "Mercy me",/Don't be callin' down, babe../[…] I just can't believe the things I'm seein'/,So just let it be,/I might tell on you,/So don't you start no stuff with me./[…]/I read the paper and I can't believe what's goin' round,/Somebody's doin' it to somebody's up, somebody's down;/The government won't pay my taxes and I'm really mad,/My mouth might let it be,/So don't you monkey shy with me. ./[…]Your brother's gone and kissed/The mother in law,/I might tell Dad about what I saw,/Your brother didn't make a nickle, or dime too,/ Sittin' around tellin' how he did it to you,/Stop it, it's too much!/Monkey business goin' down...[...]”

[“Monkey Business" (demo)]

“[…] I gotta feeling/Of giving you, I/Won't jump back,/She won't let it;/I got a feeling/Like nothing around/And I'm so damn - /So damn glad about it;/[...]/She don't smoke,/She don't breathe it,/She don't hash it,/She don't dope,/But she's a liar,/I gotta feeling/Like nothing around/And I'm so damn - /So damn glad about it./Serious effect on me, baby../ […]”

[“Serious Effect” (leaked, unreleased demo)]

“You know I work too hard for this kinda play,/I wrote a letter for the ghetto of the CIA;/I don't care a jack, or about whatcha' do,/Just put ya dime on the line, baby, ‘cos I own you./Somebody said, 'Give up instead on how you feel,/One blow to the head is all you need.'/(I aint takin it..ya,)/Cheater ....[…]/Now you better go and get yourself some attitude!/I know ya name and the game is "I own you";/Ya tellin' me that ya comin’ to a compromise,/Ya smilin' at me while ya stealin' right before my eyes./[…]/I dont care a jack, or about what you do,/Just sign your name on the line, baby, I own you. (Daggone it)/(You are a...) Cheater!..../[…]/Life is an aggravator,/Sometimes I part it up,/[...]/I broke my radiator,/I'm indestructible/[...]/Don't you ever call!/[...]/Cheatin' baby,/(You are a...) Cheater... ”

[“Cheater” (demo)]

“Nation to nation,/The world must come together,/Face the problems that we see,/Then maybe somehow we can work it out,/I asked my neighbor/For a favor,/She said 'Later',/What has come of all the people,/Have we lost love of what it's about?/I have to find my peace,/'Cause no one seems to let me be,/False prophets cry of doom,/What are the possibilities?/I told my brother/There'll be problems, tears for fears,/We must live each day like it's the last,/Go with it!/Go with it!/ Jam!/[...]/The world keeps changing,/Rearranging minds and thoughts./ Predictions fly of doom/The baby boom/Has come of age,/We'll work it out,/I told my brothers ’Don't you ask me/For no favors,/I'm conditioned by the system,/Don't you talk to me,/Don't scream and shout’;/She pray to God, to Buddha/Then she sings a Talmud song/Confusions, contradict the self/Do we know right/From wrong?/[...]/You can't hurt me,/I found peace within myself,.Go with it,/Go with it!/Jam!/[…]/ It ain't too much for me/To get on it,/[...] Got to give it.”


“Father comes home from work, and he’s scared to death,/Mother cries for the kid and a note she read,/Father runs to the table, he said, 'What’s going on?'/Mother cries desperately: 'Our little baby is gone!'/Do you know where your children are?/Because it's now 12 o'clock,/If they're somewhere out on the street,/Just imagine how scared they are;/[…]/She wrote that she is tired of step daddy using her,/Saying that he'll buy her things, (…),/Just think that she's all alone somewhere out on the street,/How will this girl survive? She ain't got nothing to eat!/[…]/(Save me) from this living hell,/(Save me) ‘cause I don't wanna go,/(Save me) I'm tired of Dad,/(Save me) ‘cause this is enough,/(Save me) ‘cause I'm on the verge,/(Save me) ‘cause I don't wanna go,/(Save me) ‘cause terror is rising,/(Save me)/Now she’s on the mood, she’s off to Hollywood,/She says she wanna be a star, she heard the money’s good;/She gets off from a train station, a man is waiting there,/'I’ll show you where the money is, girl, just let down your hair';/He’s taking her on the streets of Sunset Boulevard,/She's selling her body half, ‘Girl, that will take you far’,/The police come around the corner, somebody there had told,/He’s arresting this little girl that's only 12 years old!/Do you know where your children are?/[…]/Do you know where’s your baby, where’s your baby?/[…]”

[“Do You Know Where Your Children Are?” (leaked, unreleased demo)]

“They say I'm different./They don't understand./But there's a bigger problem/That's much more in demand./You got world hunger,/Not enough to eat./So there's really no time/To be trippin' on me./You got school teachers/Who don't wanna teach./You got grown people/Who can't write or read./You got strange diseases,/But there's no cure./You got many doctors/That aren't so sure,/So tell me/Why you wanna trip on me?/(Why, why, why) (Why you wanna) Why you wanna trip on me?/Stop trippin'!/We've got more problems/Than we'll ever need./You got gang violence/And bloodshed on the street./You got homeless people/With no food to eat,/With no clothes on their back/And no shoes for their feet./We've got drug addiction/In the minds of the weak./We've got so much corruption,/Police brutality./We've got streetwalkers/Walkin' in the darkness./Tell me what are we doing/To try to stop this?/[…]”

[“Why You Wanna Trip On Me?”]

“I thought she had to have it/Since the first time she came,/Who knows the situation?/Mysteries do remain;/And now I wonder why/I breakdown when I cry?/is it something I said/Or is it just a lie?/(Is it just a lie?)/I try so hard to love you,/Some things take time and shame,/I think the whole world of you,/Your thoughts of me remain./[…]/I tried to mastermind it/By saying ‘Let it be’,/But every time I did it,/The hurt came back at me,/I told you that I need you/A thousand times and why/I played the fool for you/And still you said goodbye?/(Still you said goodbye).. […]”

[“Can’t Let Her Get Away”]

“I took my baby on a Saturday date,/'Boy, is that girl with you?'/Yes, we're one and the same;/Now I believe in miracles/And a miracle has happened tonight./If you're thinkin' about my baby,/It don't matter if you're black or white./They print my message /In the Saturday Sun/I had to tell them/I ain't second to none,/And I told about equality,/And it's true either you're wrong or you're right/[…]/I am tired of this devil,/I am tired of this stuff,/I am tired of this business,/So when the going gets rough;/I ain't scared of your brother;/I ain't scared of no sheets;/I ain't scared of nobody,/Girl, when the goin' gets mean./[…]/Don't tell me you agree with me/When I saw you kicking dirt in my eye./[…]/It's black, it's white,/It's tough for you/To get by. [...]”

[“Black Or White”]

“I gave her money,/I gave her time,/I gave her everything/Inside one heart could find,/I gave her passion my very soul,/I gave her promises/And secrets so untold./[…]/And it doesn't seem to matter/And it doesn't seem right,/'Cause the will has brought no fortune,/Still I cry alone at night,/Don't you judge of my composure,/'Cause I'm lying to myself,/And the reason why she left me/Did she find in someone else??/(Who is it?)/Is it a friend of mine?/(Who is it?) Is it my brother?/(Who is it?)/Somebody hurt my soul, now,/(Who is it?)/I can't take this stuff no more./[…] This is injustice,/Woe unto thee,/I pray this punishment would have a mercy on me./[…]/I need to find the truth,/But see, what will I do?/[...]/Don't you judge of my composure,/'Cause I'm bothered every day,/And she didn't leave a letter,/She just upped an ran away. [...]”

[“Who Is It?”]

“If you call out loud,/Will it get inside/Through the heart of your surrender/To your alibis?.../And you can say the words/Like you understand,/But the power's in believing,/So give yourself a chance./’Cause you can limb the highest mountain,/Swim the deepest sea,/All you need is the will to want it/And a little self-esteem./So keep the faith,/Don't let nobody turn you round,/You got to know when it's good to go/To get your dreams up off the ground/So keep the faith, baby, yeah,/Because it's just a matter of time/Before your confidence will win out,/Believe in yourself no matter what it's gonna take,/You can be a winner, but you gotta keep the faith!/Gon' keep it, brother,/You got…/And when you think of trust,/Does it lead you home,/To a place that you only dream of/When you're all alone?.../And you can go by feel/'Stead of circumstance,/But the power's in believing,/So give yourself a chance./I know that you can sail across the water,/Float across the sky,/Any road that you take will get you there/If you only try./So keep the faith,/Don't let nobody take you down, brother,/Just keep your eyes on the prize,/Feet flat on the ground./[…]/I told my brother how to do the thing right,/Lift up your head and show the world you got pride,/Go for what you want,/Don't let them get in your way,/You can be a winner, but you gotta keep the faith!/[…]/I know that keepin’ the faith/Means never givin’ up on love,/But the power that love has/Has to make it right,/Makes it - makes it right!/[…]/Don't let nobody turn you round, brother,/You got to know when it's good to go,/Get your dreams up off of the ground;/[…]/Better stand up and act like you wanna do it right,/Don't play the fool for the rest of your life,/Work on it, brother, and you'll make it someday,/Go for what you want and don't forget the faith!/Look at yourself and what you’re doin’ right now,/Stand back a minute, just to check yourself out!/Straighten up your life and how you’re livin’ each day,/Get yourself together ‘cause you gotta keep the faith!/[…]/Lift up your mind before your mind gets blown,/Some things in life you're best just leave them alone,/Go for what you want,/Don't let it get in your way,/You can make it happen, but you gotta keep the faith!/Gon' keep it, brother,/[…]/Gon' keep it, sista’;/[…]/Straighten out yourself and get your mind on track,/Dust off your butt and get your self-respect back!/You've known me long enough to know that I don't play!/Take it like you want it, but you got to keep the faith! […]”

[“Keep The Faith”]

“She always takes it with a heart of stone,/'Cause all she does is throw it back to me,/I've spent a lifetime looking for someone,/Don't try to understand me,/Just simply do the things I say./[…]/You always knew just how to make me cry,/And never did I ask you questions why,/It seems you get your kicks from hurting me,/Don't try to understand me,/Because your words just aren't enough. […] You and your friends were laughing at me in town,/But it's okay,/And it's okay;/You wont be laughing, girl, when I'm not around./I'll be okay. […]”

[“Give In To Me”]

“[…] As she stalked the room,/I could feel the aura of her presence,/Every head turned feeling passion and lust;/The girl was persuasive,/The girl I could not trust,/The girl was bad,/The girl was dangerous./I never knew, but I was walking the line,/'Come go with me',/I said I have no time, [...]/My baby cried and left me standing alone./She's so dangerous,/The girl is dangerous,/Take away my money,/Throw away my time,/You can call me honey,/But you're no damn good for me! […] /[…] I have to pray to God,/'Cause I know how lust can blind,/ It's a passion in my soul,/But you're no damn lover friend of mine!/[…]/I cannot sleep alone tonight,/My baby left me here tonight,/I cannot cope 'til it's alright,/You and your manipulation,/You hurt my baby! [...]”


Never try to talk about it../It's got to sound good to me inside../I just think about it…/I'm so undemanding,/'Cause they say love is blind,/I've lived this life pretending/I can bear this hurt deep inside;/The truth is that I'm longing/For love that's so divine,/I've searched this whole world wishing/She'll be there time after time./So someone put your hand out,/I'm begging for your love,/All I do is hand out/A heart that needs your love./I've lived my life the lonely,/A soul that cries of shame/With handicapped emotions,/Save me now from what still remains;/I'll be your story hero,/I'll serenade in rhyme,/I'm just needing that someone,/Save me now from the path I'm on.../[…]/When you say we will dance 'til the light of day,/It's just like the children in earth's joy,/When we pray, will you promise me you'll always stay?/It's because I'm needing that someone!/[…]/All I do is hand out…/Love...”

[“Someone Put Your Hand Out”]


“[…] I never thought she'd leave me here forever,/But who knows just what the future brings?/[…]/Take away this never ending sorrow,/Take this lonely feeling from my soul,/If only I knew what things bring tomorrow,/She'd be sitting here beside me/And my heart would fill with gold./[…]/I hope to make a change now for the better,/Never letting fate control my soul;/And hoping that my prayers will see/The day that you'll come back to me,/But I guess I learned my lesson much too soon. […]”

[“Much Too Soon” (posthumously released)]

“Skin head, dead head,/Everybody gone bad,/Situation, aggravation,/Everybody allegation,/In the suite, on the news,/Everybody dog food,/Bang bang, shot dead,/Everybody's gone mad./All I wanna say is that/They don't really care about us./All I wanna say is that/They don't really care about us./Beat me, hate me,/You can never break me,/Will me, thrill me,/You can never kill me,/Jew me, sue me,/Everybody do me,/Kick me, kike me,/Don't you black or white me. […] Tell me what has become of my life,/I have a wife and two children who love me,/I am the victim of police brutality, now./I'm tired of bein' the victim of hate,/You're rapin' me off my pride,/Oh, for God's sake,/I look to Heaven to fulfill its prophecy... Set me free!/Skin head, dead head/,Everybody gone bad/,Trepidation, speculation,/Everybody allegation,/In the suite, on the news,/Everybody dog food/,Black male, black mail,/Throw your brother in jail. […] Tell me what has become of my rights,/Am I invisible because you ignore me?/Your proclamation promised me free liberty, now.../I'm tired of bein' the victim of shame,/They're throwing me in a class with a bad name,/I can't believe this is the land from which I came!/You know I do really hate to say it,/The government don't wanna see,/But if Roosevelt was livin',/He wouldn't let this be, no, no!../Skin head, dead head,/Everybody gone bad/,Situation, speculation,/Everybody litigation,/Beat me, bash me,/You can never trash me,/Hit me, kick me/,You can never get me. [...]”

["They Don't Care About Us" ]

“This time around I'll never get bit,/Though you really wanna fix me;/This time around you're making me sick,/Though you really wanna get me;/Somebody's out,/Somebody's out to get me,/They really wanna fix me, hit me;/But this time around I'm taking no s.../Though you really wanna get me../You really wanna get me./He really thought he really had/A hold on me,/He really thought he really had,/They thought they really had control of me./[…]/ Somebody's out/Somebody's out to use me,/They really want to use me/And then falsely accuse me;/This time around they'll take it like spit/'Cause you really can't control me. [...]”

[“This Time Around”]

“[…] Told me that you're doin' wrong,/Word out shockin' all alone,/Cryin' wolf ain't like a man,/Throwin' rocks to hide your hands./You ain't done enough for me,/You are disgustin' me, (yeah, yeah)./You're aiming just for me,/You are disgustin' me,/Just want your cut from me,/But too bad, too bad…/Look who just walked in the place-/Dead and stuffy in the face;/Look who's standing, if you please,/Though you try to bring me to my knees./Too bad, too bad about it,/Why don't you scream and shout it?/[...]/Hell all up in Hollywood,/Seeing that she's nothing good./Creepin' from another hole,/Tellin' what somebody told./What do you want from me?/What do you want from me?/Tired of you haunting me, (yeah yeah...)/You're aiming just for me,/You are disgustin' me,/You got blood lust from me,/But too bad, too bad./Look who got slapped in the face,/It's dead and stuffy in the place,/I'm right back where I wanna be,/I'm standin' though you're kickin' me. [...]”

[“2 Bad”]

“Money.../Lie for it…/Spy for it…/Kill for it…/Die for it…/So you call it trust,/But I say it's just/In the devil's game/Of greed and lust./They don't care,/They'd do me for the money,/They don't care,/They use me for the money./So you go to church,/Read the Holy Word,/In the scheme of life/It's all absurd./They don't care,/They'd kill for the money,/Do or dare,/The thrill for the money./You're saluting the flag,/Your country trusts you,/Now you're wearing a badge,/You're called the "Just Few",/And you're fighting the wars/A soldier must do,/I'll never betray or deceive you, my friend, but.../If you show me the cash,/Then I will take it,/If you tell me to cry,/Then I will fake it,/If you give me a hand,/Then I will shake it./You'll do anything for money.../Anything, (Anything)/Anything for money,/Would lie for you,/Would die for you,/Even sell my soul to the devil./[…]Insurance?/Where do your loyalties lie?/Is that your alibi?/I don't think so./You don't care,/You'd do her for the money,/Say it's fair,/You sue her for the money./Want your pot of gold,/Need the Midas touch,/Bet you sell your soul,/’Cuz your god is such./You don't care,/You kill for the money,/Do or dare,/The thrill for the money./Are you infected with the same disease/Of lust, gluttoney and greed?/Then watch the ones/With the biggest smiles,/The idle jabbers.../‘Cuz they're the backstabbers./If you know it's a lie,/Then you will swear it,/If you give it with guilt,/Then you will bear it,/If it's taking a chance,/Then you will dare it./You'll do anything for money.../[…]/You say you wouldn't do it/For all the money in the world…/I don't think so!.../If you show me the man,/Then I will sell him,/If you ask me to lie,/Then I will tell him,/If you're dealing with God,/Then you will hell Him./You'll do anything for money./[…]/If you want it, you earn it with dignity!/Vanderbilt;/Morgan;/Trump;/Rockefeller;/Carnegie... [...]”


“Have you seen my childhood?/I'm searching for the world that I come from,/'Cause I've been looking around/In the lost and found of my heart../No one understands me,/They view it as such strange eccentricities,/'Cause I keep kidding around/Like a child, but pardon me.../People say I'm not okay/'Cause I love such elementary things,/It's been my fate to compensate/For the childhood I've never known./[…]/I'm searching for that wonder in my youth,/Like pirates in adventurous dreams,/Of conquest and kings on the throne./Before you judge me, try hard to love me,/Look within your heart, then ask,/Have you seen my Childhood?/[…]/Like fantastical stories to share,/The dreams I would dare,/Watch me fly.../Before you judge me, try hard to love me,/The painful youth I've had...”


”Speculate to break the one you hate,/Circulate the lie you confiscate,/Assassinate and mutilate/As the hounding media in hysteria;/Who's the next for you to resurrect?/JFK exposed the CIA,/Truth be told the grassy knoll/As the blackmail story in all your glory./It's slander,/You say it's not a sword/,But with your pen you torture men,/You'd crucify the Lord,/And you don't have to read it, (read it)/And you don't have to eat it, (eat it)/To buy it is to feed it, (feed it/)So why do we keep foolin' ourselves?/Just because you read it in a magazine/Or see it on the TV screen,/Don't make it factual,/Though everybody wants to read all about it../Just because you read it in a magazine/Or see it on the TV screen,/Don't make it factual, actual/They say he's homosexual./In the hood/Frame him if you could,/Shoot to kill,/To blame him, if you will;/If he dies,sympathize/,Such false witnesses,/Damn self righteousness;/In the black/Stab me in the back,/In the face,/To lie and shame the race,/Heroine and Marilyn/As the headline stories of/All your glory./It's slander,/With the words you use,/You're a parasite in black and white,/Do anything for news,/And you don't go and buy it, (buy it)/And they won't glorify it, ('fy it)/To read it sanctifies it, '(fies it)/Then why do we keep foolin' ourselves?/[…]/See, but everybody wants to believe all about it/[...]/Don't make it factual, actual/ She's blonde and she's bisexual./Scandal/With the words you use,/You're a parasite in black and white,/Do anything for news,/And you don't go and buy it, (buy it)/And they won't glorify it, ('fy it)/To read it sanctifies it, ('fies it)/Why do we keep foolin' ourselves?/Slander!/You say it's not a sin,/But with your pen you torture men/[…]/You're so damn disrespectable.”

["Tabloid Junkie"]

”Tired of injustice,/Tired of the schemes,/The lies are disgusting,/So what does it mean?/Kicking me down,/I got to get up,/As jacked as it sounds,/The whole system sucks./Peek in the shadow,/Come into the light,/You tell me I’m wrong,/Then you better prove you’re right/,You’re sellin’ out souls, but/I care about mine,/I’ve got to get stronger/And I won’t give up the fight./With such confusions don’t it make you wanna scream?/Your bash abusin’ victimize within the scheme./You try to cope with every lie they scrutinize,/Somebody please have mercy,/’Cause I just can’t take it./[...]/Stop pressurin’ me,/Make me wanna scream./[…]/Tired of you tellin’ the story your way,/It’s causin’ confusion,/You think it’s okay, baby./[…]/You find your pleasure scandalizin’ every lie,/Oh, Father, please have mercy,/’Cause I just can’t take it. […]/(Janet) Oh, my God, can’t believe what I saw/As I turned on the TV this evening,/I was disgusted by all the injustice./(Michael) All the injustice...”

[“Scream” (with Janet Jackson)

“I was wondering in the rain,/Mask of life feeling insane,/Swift and sudden fall from grace,/Sunny days seem far away;/Kremlin's shadow belittlin' me,/Stalin's tomb won't let me be,/On and on and on it came,/Wish the rain would just let me../How does it feel/[…]/When you're alone/And you're cold inside?.../Here abandoned in my fame,/Armageddon of the brain,/KGB was stalkin' me,/Take my name and just let me be./Then a beggar boy called my name/Happy days will drown the pain./[...]/Lord, have mercy!../We're talkin' danger!/We're talkin' danger, baby,/Like stranger in Moscow..”

[“Stranger In Moscow”]

“They wanna get my a**/Dead or alive,/You know he really tried to take me/Down by surprise;/I bet he missioned with the CIA,/He don't do half what he say./Dom Sneddon is a cold man./[…] He out shock in every single way,/He'll stop at nothing just to get his political say,/He think he hot cause he's BSTA,/I bet he never had a social life anyway./You think he brother with the KKK?/I bet his mother never taught him right anyway,/He want your vote just to remain TA./He don't do half what he say./ […] Does he send letters to the FBI?/ Did he say to either do it or die? […]”


“Somebody killed little Susie,/The girl with the tune,/Who sings in the daytime at noon./She was there screaming,/Beating her voice in her doom,/But nobody came to her soon./A fall down the stairs,/Her dress torn,/Oh, the blood in her hair,/A mystery so sullen in air./She lie there so tenderly,/Fashioned so slenderly,/Lift her with care,/Oh, the blood in her hair./Everyone came to see/The girl that now is dead./So blind stare the eyes in her head./And suddenly a voice from the crowd said/This girl lived in vain./Her face bear such agony, such strain./But only the man from next door/Knew Little Susie and, oh, he cried,/As he reached down/To close Susie's eyes./[…]/[…]/She knew no one cared./Father left home, poor mother died/Leaving Susie alone,/Grandfather's soul too had flown./No one to care,/Just to love her./[…]/Rejecting the needs in her prayers./Neglection can kill/Like a knife in your soul,/[…]/But Susie fought so hard to live./[…] Lift her with care,/So young and so fair..”

[“Little Susie”]

“She got your number,/She know your game,/She put you under,/It's so insane;/Since you seduced her,/How does it feel/To know that woman/Is out to kill?/Every night stance is like taking a chance,/It's not about love and romance/And now you're gonna get it./Every hot man is out taking a chance,/It's not about love and romance/And now you do regret it./[...]/She seemed sincere like it was love and true romance,/And now she's out to get me/And I just can't take it/,Just can't break it./Susie got your number,/And Susie ain't your friend,/Look who took you under/With seven inches in;/Blood is on the dance floor,/Blood is on the knife,/Susie's got your number/And Susie says it's right./She got your number,/How does it feel/To know this stranger is out to kill?/She got your baby,/It happened fast,/If you could only erase the past. [...]”

[“Blood On The Dancefloor”]

“Love ain't what it used to be,/That is what they're tellin' me,/Push it in, stick it out/,That ain't what it's all about./He wanna do something keen to you,/He wanna wrap his arms all around you, girl,/[...]/He wanna shake it up, shake it down,/Moving round, ha, ha;/[…]/Susie like to agigtate,/Get the boy and make him wait./[...]/Sister marries to a hood,/Sayin' that she got it good,/Holy Mary, mercy me,/I can't believe the things I see,/Thinkin' that they got it made,/They doin' what they used to hate,/[...]/Mother's preaching Abraham,/Brothers, they don't give a damn./ […] You're doin' it,/You're dirty,/Keep doin' it,/You're dirty,/Keep nasty,/You're nasty./[…]/Keep dirty,/You really want it./[...]/She's dirty.[...]”

[“Superfly Sister”]

”There's a ghost down in the hall,/There's a ghoul upon the bed,/There's something in the walls,/There's blood up on the stairs,/And it's floating through the room,/And there's nothing I can see,/And I know that that's the truth/,Because now it's onto me./I don't understand it,/Hey, I don't understand it!/There's a tappin' in the floor,/There's a creak behind the door,/There's a rocking in the chair,/But there's no one sitting there,/There's a ghostly smell around,/But nobody to be found,/And a coughin' and a yawnin'/Where a restless soul is going./[…]/And who gave you the right to shake my family?/And who gave you the right to shake my baby, she needs me,/And who gave you the right to shake my family tree?/You put a knife in my back,/Shot an arrow at me!/Tell me,are you the ghost of jealousy?/[…]/You're just a dog gone!/And who gave you the right to scare my family?/[…]/And who gave you the right to take intrusion, to see me?/[…] And who gave you the right to hurt my baby, she needs me,/[…] Tell me, are you the ghost of jealousy?/A suckin' ghost of jealousy?/[…]/But there's no doubt about it, piece of mind,/Tell me, are you the ghost of jealousy?”


“There's a ghost out in the hall,/There's a ghoul beneath the bed,/Now it's coming through the walls,/Now it's coming down the stairs,/Then there's screaming in the dark,/Hear the beatiing of his heart,/Can you feel it in the air?/Ghosts be hiding everywhere./I'm gonna be/Exactly what you wanna see,/It's you whose haunting me,/Your warning me/To be the stranger/In your life;/Am I amusing you/Or just confusing you?/Am I the beast/You visualized?/And if you wanna to see/Eccentric oddities,/I'll be grotesque/Before your eyes/[…]/I'm gonna be/Exactly what you gonna see,/So did you come to me/To see your fantasies/Performed before your very eyes?/A haunting ghostly treat,/The foolish trickery/And spirits dancing/In the light?/But if you came to see/The truth, the purity-/It's here inside/A lonely heart…/So let the performance start.../[…]/Masquerade the heart,/Is the height of haunting souls,/Just not what you seek of me,/Can the heart reveal the proof/Like a mirror reveals the truth,/See, the evil one is you!/[...]/So tell me is it scary for you, baby?/So tell me, is it crazy for you, baby ?/Am I scary for you?/You know the stranger is you./[…] I'm tired of being abused!/You know, you're scaring me too! I see the evil is you!/Is it scary for you, baby?...”

[“Is It Scary”]

“No sense pretending it’s over,/Hard times just don't go away,/You gotta take that chip off your shoulder,/It's time you open up,/Have some faith…/Nothing good ever comes easy,/All good things come in due time,/Yes, it does;/You gotta have something to believe in,/I'm telling you to open your mind./Gotta put your heart on the line/If you wanna make it right,/You've got to reach out and try;/Gotta put your heart on the line/If you wanna make it right,/Gotta put it all on the line./You see yourself in the mirror/And you don't like what you see,/And things aren't getting much clearer,/Don't you think it's time you go for a change?/Don't waste your time on the past, no, no,/It's time you look to the future,/It's all right there if you ask,/This time if you try much harder,/You'll be the best that could can be./[…]/If you wanna do it now,/You gotta learn to try,/You can make it right somehow,/Let love come free/And that's just so easy now;/You gotta go for what you want,/You gotta do what you got to do!/[…]”

[On The Line”]

“Everywhere I turn, no matter where I look,/The systems in control, it's all ran by the book./ I've got to get away so I can clear my mind,/Escape is what I need, away from electric eyes/[…] No matter where I am, I see my face around,/They pin lies on my name, and push them from town to town;/Don't have a place to run, but there's no need to hide,/ I've got to find a place./[…]/Why is it I can't do whatever I want to?/Went in my personal life and I don't live for you,/So don't you try to tell me what is right for me,/You be concerned about you,/I can do what I want to./Escape, got to get away from a system loose in the world today,/Escape, the pressure that I face from relationships that go away,/Escape, the man with the pen that writes the lies that have no face,/Escape, I do what I wanna cause I gotta face nobody but me./[…]/When I go, this problem world won't bother me no more/(This problem world won't bother me no more)/(Problem world, bother me, yeah, oh, yeah!)[…]”

[“Escape” (leaked, unreleased)]

“Now I'm just wondering why you think,/That you can get to me with anything?/Seems like you'd know by now/When and how I get down,/And with all that I've been through,/I'm still around./Don't you ever make no mistake,/Baby I've got what it takes,/And there's no way you'll ever get to me./Why can't you see that you'll never ever hurt me?/'Cause I won't let it be, see I'm too much for you, baby./You can't believe it, you can't conceive it,/And you can't touch me, 'cause I'm untouchable,/And I know you hate it, and you can't take it,/You'll never break me, 'cause I'm unbreakable./Now you can't stop me even thought you think,/That if you block me, you've done your thing,/And when you bury me underneath all your pain,/I´m steady laughin', while surfacing./[…] You can try to stop me, but it won’t do a thing,/No matter what you do, I'm still gonna be here,/Through all your lies and silly games,/I'm'a still remain the same, I'm un-break-a-ble! [...]”


“Deceitful eyes, she's got those come get me thighs,/She only knows how low that she can go ,/She speaks the lines that can control my mind,/[…]/She blew a kiss, I swear that it was meant/Only for me, then spoke with her body,/Her only goal is just to take control/[…]/That girl, I can't take her,/Should have known she was a heartbreaker,/[…]/Should have seen right through her she's a heartbreaker./[…]/Should have seen it coming, heartbreaker./[…]/She plays a game with such an innocent face,/I didn't know heartbreaking was her case,/Her actions confess and put me through the test,/I was surprised that I was caught inside;/Now she's thinking that I will never know/And she'll keep playing until I let her go,/But I hope in time that she will finally realize/I'm onto her game (…)/[…]/But I'll find a way to go and start doin' without you/And stop talkin' about you,/And what will she say?/She will say I was the man that got away. […]”


“Ain’t the pictures enough?/Why do you go through so much/To get the stories you need,/So you can bury me?/You got the people confused,/You tell the stories you choose,/You try to get me to lose/The man I really am./You keep on stalking me,/Invading my privacy,/Won’t you just let me be?/'Cause your cameras can’t control/The minds of those who know/That you’ll even sell your soul/Just to get your story sold./I need my privacy, (yeah, yeah), (...)/So, paparazzi, get away from me.../Some of you still wonder why/One of my friends had to die,/To get the message across/That yet you haven’t heard;/My friend was chased and confused/Like many others I knew/But o that cold winter night my pride was snatched away./She get no second chance,/She ridiculed and harassed,/Please tell my why? (Oh, no..)/Now there’s a lesson to learn:/Respects not given, it’s earned,/Stop maliciously attacking my integrity!/I need my privacy...”


“Lipstick in hand,/Tahitian tanned/In her painted on jeans;/She dreams of fame,/She changed her name/To one that fits the movie screen,/She's headed for the big time, that means/She's going Hollywood,/She's going Hollywood tonight,/[…] It's true that you/May never ever have that chance again./[…]/West bound Greyhound/To Tinsel Town/Just to pursue her movie star dreams;/She's giving hot tricks to men/Just to get in,/When she was taught that that's not clean,/She's headed for the big time, that means/She's going Hollywood./[…] [original spoken bridge:] She doesn’t even have a ticket,/She doesn’t even have a way back home,/She’s lost and she’s alone,/There’s no place for her to go,/She is young and she is cold,/Just like her father told her so. […]”

["Hollywood Tonight" (posthumously released demo)]

“What you're gonna do?/You ain't no friend of mine,/Look what you've put me through,/Now that I'm the blue gangsta./[…]/What you're gonna do, cause I'm gonna get you,/No way to run, no way to hide,/All the things you've said, everything you've done to me/,You can no longer make me cry./Look what you've done to me, baby,/I can no longer smile, baby,/And I've waited so long, just to carry on,/I'm the blue gangsta.../What you're gonna do?/You ain't no friend of mine/,Look what you've put me through,/Now that I'm the blue gangsta,/[…]/You've tricked me nine to five, left and you said crime,/People telling me you've got another guy;/I've been abused, watch me light in fuse,/Said you'd be my wife, nothing but big lies;/Don't know what I've done, everything you've got,/Things you've done to me, are coming back to you,/You know just what I've done, the things you've done to me,/I'm the blue gangsta.../[…]/See, I am so amused to the things you've said/And the things you have done to me,/There is nothing in this world make me change. [...]”

[“Blue Gangster” (leaked, unreleased demo)]

“Ignorance of people purchasing diamonds and necklaces/And barely able to keep the payments up on their lessons,/And enrolled in a class and don't know who the professor is./How low people go for the dough and make a mess of things?/Kids are murdering other kids for the fun of it,/Instead of using their mind or their fist, they put a gun in it,/Wanna be a part of a clique, don't know who's running it,/Tragedy on top of tragedy, you know it's killing me./So many people in agony, this shouldn't have to be,/Too busy focusing on ourselves and not His Majesty,/There has to be some type of change for this day and age,/We gotta rearrange and flip the page,/Living encaged like animals and cannibals,/Eating each other alive just to survive the nine to five,/Every single day is trouble while we struggle and strive,/Peace of mind's so hard to find./I wanna shout, throw my hands up and shout,/What's this madness all about?/All this makes me wanna shout,/You know it makes me wanna shout./[…]/Problems, complications and accusations/Dividing the nations and races of empty faces,/A war is taking place./No substitution for restitution, the only solution for peace/Is increasing the height of your spirituality./Masses of minds are shrouded, clouded visions/Deceptions and indecision, no faith or religion, how we're living./The clock is ticking, the end is coming, there'll be no warning,/But we live to see the dawn./[…]/How can we preach, when all we make this world to be/Is a living hell torturing our minds../We all must unite, to turn darkness to light,/And the love in our hearts will shine./We're disconnected from love, we're disrespecting each other,/Whatever happened to protecting each other?/Poisoned your body and your soul for a minute of pleasure,/But the damage that you've done is gonna last forever./Babies being born in the world already drug addicted and afflicted,/Family values are contradicted./Ashes to ashes and dust to dust, the pressure is building and I've had enough./I wanna shout! (...)”


“You're just preaching the Bible/And they still speakin’, the liar(s),/And you still deal with the fires that they make…/Why you wanna get me…?/Dreams don’t last foreve…/Why you wanna fix me?/See, if the police don’t take it,/God forsake it,/I can’t take it,/Why you stab me in the back?/We’re so gonna lose it/And she knows that is the way (…)/Why you wanna get me?/This dude won’t last forever…/Why you wanna hit me?/If the police don’t take it,/God forsake it,/I can’t take it,/[…]/Why you stab me in the back? […]”

[“In The Back”]

“Love was taken from a young life,/And no one told her why,/Her direction has a dim light/From one more violent crime./She innocently questioned why/Why her father had to die,/She asked the men in blue/How is it that you get to choose?/Who will live and who will die,/Did God say that you could decide?/You saw he didn't run,/And that my daddy had no gun..?/In the middle of a village,Way in a distant land,/Lies a poor boy with his broken toy,/Too young to understand,/He's awaken, ground is shakin’/His father grabs his hand,/Screaming, crying, his wife's dying,/Now he's left to explain./He innocently questioned why,/Why his mother had to die,/What did these soldiers come here for?/If they're for peace, why is there war?/[…]/We're innocently standing by/Watching people lose their lives,/It seems as if we have no voice,/It's time for us to make a choice./How is it that you get to choose,/Who will live and who will die?/Did God say that you could decide?/[...]/We're innocently standing by,/Watching people lose their lives./It seems as if we have no voice,/It's time for us to make a choice./Only God could decide/Who will live and who will die./There's nothing that can't be done,/If we raise our voice as one./They've gotta hear it from me!/They've gotta hear it from you!/They've gotta hear it from us!/We can't take it,/We've already had enough! […]/Deep in my soul baby,/Deep in your soul and let God decide,/[…] It's going down, baby!/Just let God decide,/It's going on, baby,/Just let God decide!/[…]/Why did you do it?.. Oh, no, oh, no.. yeah..”

[“We’ve Had Enough”]