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Literature Text
Song's from "The Morgue"
Song #1:
We've got a morgue run by
Lunatics, drug addicts, cannibals, and animals--
anything or person that should not exist.
We have nervous wrecks, derelicts--all of which unclean;
the kinda scum that only haunt your dreams.
("da da da" melody following the melody of the verses)
Oh...some would say our sanity is slim to none at best
but the dead can't tell the difference from the rest.
And some suppose the world knows that our lives are lived in sick, sad ways.
Why should one end without its due decay?
And we believe we should receive what is our due through due deceit,
and do it through whatever means that we believe
will be effective toward our defects to defend our own fair share--
the beauty being that the corpses do not care!
("da da da" melody, faster.)
And so we see what seems to me to be the seemingly insane,
the seams that stitch the structure in our brains.
And yet what is life but lies alike that lie under the skin?
The truth be told, the madmen are our kin,
and thus we must discuss our dear disgust disguising deeper flaws
that rot away the decoys of our cause.
Oh, just learn to embrace death today and kill your better side,
for the best is still quite rotten when we die!
("da da da" melody, but even faster.)
You see it's time to face your destiny, you're destined to become
good or bad, a blackened, heartless, filthy scum.
And indeed the deeds that lead to bleeding for the greater good
will grate away the grateful, as they should.
And so the guilt of obligation gets the better of ourselves,
but it's a kinder kind of kindred in our Hell.
You see, the lowly are the only saints the saints will ever need.
Give up the ghost of those strict scruples, let them bleed!
("da da da" as fast as can possibly be sung.)
"Another "da da da"...twice as fast as that.)
END SONG.
Song #2 (Love song between stripper and a cannibal)
Cannibal: And I want you to be here with me
because I'm--I'M alone you see
I wasn't wanted, then suddenly
you stepped right out of the gutter and straight into my life.
And now I need you to be needing me.
Feeling sleazy, but feeling free
because I'm so sick of subtlety.
I got my mind in the gutter and the gutter's my life,
Well, alright.
Well, alright.
So come on, baby, let's slide.
So come on, baby, let's doo-doo-doo.
I said I wanna get next to you.
Tonight, let's use and be used.
Come on, there's nothing to hide.
Come on, darlin', let's die die die
the little dead with the dead and let's--ah, don't be
don't be shy. We'll take it slowly
(repeat first and second verses, then slow down for "well, alright.)
Stripper: I don't know you, but I
want to show you
what I'm wanting for you, and what you
want in me.
And while it's hard to follow,
truth is hard to swallow, baby
baby, tell me everything.
You see, I'M not the type
who likes to WANder at night,
so come on, come over here and lay down next to me--ooh, but baby
I'M not the type who will just SCREW any guy...
but if I make an exception...
I won't do it for free.
Cannibal: (Dramatic sigh) Well, alright.
You see, I'm just an animal.
I'm just a cannibal.
And when they leave me to try to piece them back up,
I always take a small piece for myself and good luck.
Maybe an ear or two, I'll hide them
inside my briefcase 'til night when I can fry them,
saute or side them with a glass of reh-eh-ed wine.
Oh, no reason to be scared dear.
They were DEAD BE-fore, dear.
I'm just taking a piece before the worms take mine.
Does it BO-ther YOU, dear?
Should I EAT YOU, TOO, dear?
Oh, don't make me dine all alone tonight.
Stripper: (regaining composure) W...well, alright.
We're all just animals.
You're just a cannibal.
If the world were kind, we wouldn't be in this place.
Why not use a good body that's just going to waste?
(both break into first and second verses twice.
On the second time, much faster. Think jazz hands.)
END SONG.
Song #1:
We've got a morgue run by
Lunatics, drug addicts, cannibals, and animals--
anything or person that should not exist.
We have nervous wrecks, derelicts--all of which unclean;
the kinda scum that only haunt your dreams.
("da da da" melody following the melody of the verses)
Oh...some would say our sanity is slim to none at best
but the dead can't tell the difference from the rest.
And some suppose the world knows that our lives are lived in sick, sad ways.
Why should one end without its due decay?
And we believe we should receive what is our due through due deceit,
and do it through whatever means that we believe
will be effective toward our defects to defend our own fair share--
the beauty being that the corpses do not care!
("da da da" melody, faster.)
And so we see what seems to me to be the seemingly insane,
the seams that stitch the structure in our brains.
And yet what is life but lies alike that lie under the skin?
The truth be told, the madmen are our kin,
and thus we must discuss our dear disgust disguising deeper flaws
that rot away the decoys of our cause.
Oh, just learn to embrace death today and kill your better side,
for the best is still quite rotten when we die!
("da da da" melody, but even faster.)
You see it's time to face your destiny, you're destined to become
good or bad, a blackened, heartless, filthy scum.
And indeed the deeds that lead to bleeding for the greater good
will grate away the grateful, as they should.
And so the guilt of obligation gets the better of ourselves,
but it's a kinder kind of kindred in our Hell.
You see, the lowly are the only saints the saints will ever need.
Give up the ghost of those strict scruples, let them bleed!
("da da da" as fast as can possibly be sung.)
"Another "da da da"...twice as fast as that.)
END SONG.
Song #2 (Love song between stripper and a cannibal)
Cannibal: And I want you to be here with me
because I'm--I'M alone you see
I wasn't wanted, then suddenly
you stepped right out of the gutter and straight into my life.
And now I need you to be needing me.
Feeling sleazy, but feeling free
because I'm so sick of subtlety.
I got my mind in the gutter and the gutter's my life,
Well, alright.
Well, alright.
So come on, baby, let's slide.
So come on, baby, let's doo-doo-doo.
I said I wanna get next to you.
Tonight, let's use and be used.
Come on, there's nothing to hide.
Come on, darlin', let's die die die
the little dead with the dead and let's--ah, don't be
don't be shy. We'll take it slowly
(repeat first and second verses, then slow down for "well, alright.)
Stripper: I don't know you, but I
want to show you
what I'm wanting for you, and what you
want in me.
And while it's hard to follow,
truth is hard to swallow, baby
baby, tell me everything.
You see, I'M not the type
who likes to WANder at night,
so come on, come over here and lay down next to me--ooh, but baby
I'M not the type who will just SCREW any guy...
but if I make an exception...
I won't do it for free.
Cannibal: (Dramatic sigh) Well, alright.
You see, I'm just an animal.
I'm just a cannibal.
And when they leave me to try to piece them back up,
I always take a small piece for myself and good luck.
Maybe an ear or two, I'll hide them
inside my briefcase 'til night when I can fry them,
saute or side them with a glass of reh-eh-ed wine.
Oh, no reason to be scared dear.
They were DEAD BE-fore, dear.
I'm just taking a piece before the worms take mine.
Does it BO-ther YOU, dear?
Should I EAT YOU, TOO, dear?
Oh, don't make me dine all alone tonight.
Stripper: (regaining composure) W...well, alright.
We're all just animals.
You're just a cannibal.
If the world were kind, we wouldn't be in this place.
Why not use a good body that's just going to waste?
(both break into first and second verses twice.
On the second time, much faster. Think jazz hands.)
END SONG.
This work is copyright- and royalty-free.
Copyright and related rights waived via CC0
---
Okay, so another oldie, but this one's pretty good.
It's from when I was 17, way back in 2007. And yes, just like many of the other things I've been posting recently, I've been guarding it for four years. I'm very, very happy with the lyrics and always have been, but I really wanted you guys to hear the melodies, too. Though seeing as I'm learning guitar an' all, maybe that won't be too far off, and I can show this to you now. Either way, the lyrics are still pretty great.
Anyway, I'd just seen/heard Sweeney Todd (heard the musical about a week before I found out that Tim Burton was working on it), and I loved it. It made musicals so much more interesting to me, because I loved the idea that you could take something graphic and put it to song, and instead of being cheesy or "edgy" or anything like that, you could do it subtly, and with cacophonous instrumentation, and have a bitter, biting sarcasm running throughout.
So, with that in mind, I decided I'd try to find a way to top it and make a better musical, combining the darker side of Sweeney with the surreal characterization of Little Shop of Horrors over top of some sleazy lounge and jazz tunes. And I made this.
Here's the brief snippet I wrote in '07 about the general point of it all: "The Morgue in the story is used for two reasons. The first is to create an underlying morbidity throughout, and the second is to emphasize the irony: that while each employee works around the dead, they have yet to value their lives. While the overall plot and setting are surreal to the point of absurdity, [they] are used with artistic license to show--even laugh at--the world around us now."
The story starts off with a man in a room giving the pitch for the musical the audience is about to watch. As he reveals elements of the setting and certain characters through song, the setting changes and the room breaks away, pulling the audience into the world. He also gives little snippets as to some of the things that will be in the musical ("there's a love song...between a stripper...and a cannibal. NO NO! WAIT! DON'T RUN!")
When the song is finished, we're shown a dead man in a morgue who wakes up, discovering to his horror that he's a walking corpse. He throws on a pair of clothes and is greeted by a lady who's drinking from a coffee pot and commenting on how she's been feeling like a zombie all day long.
The man, confused, walks around the building and finds that everyone greets him as if he's some sort of guest, and no one's really making very much eye contact. After a short while of this, he meets Dr. Adam, a shady character later revealed to be a cannibal. He greets the newcomer as if he's a new employee, and tells him that if he knows what's good for him, he'd keep things on the down-low, keep the business running smooth. Slowly, he eases into the fact that this particular morgue is pretty much the most unscrupulous place you could possibly work, and sings a little song about it.
The dead dude starts to feel a little uneasy about this, and soon discovers that the whole place is run by a unique breed of sociopathic crazies. Soon, it becomes a bit of a detective story as the dead guy tries to get to the bottom of where it all went wrong and why. Meanwhile, he begins to hear voices, which he assumes is because people are slipping him drugs (the fact that he can't eat or sleep somehow not mattering.)
The voices get louder and louder, until he hears it coming from the little body cabinets. Eventually, all the bodies burst out on their gurneys and sing to him, telling him he's dead. He cuts the song short, because he already knew that. He tells them this place is crazy, and they start to sing about that. He stops it and says he already knows. He then asks what's up, and thy tell him...through an eerie little song.
Lots of details there, but long story short, he has no identity and can't report anyone, yet has only a small amount of time before they look for his corpse and realize there isn't one, or ship him off to the funeral home.
He goes about his little adventures and eventually cracks a way of getting everything taken care of, and the morgue winds up preparing for a criminal case where it will most likely be shut down. In the meantime, all the corpses gather over their friend and wish him farewell as he is embalmed and prepared, ready to sleep soundly in the afterlife (if there is one, and people aren't all just very mild-mannered decomposing zombies.)
After that, there's a brief epilogue where the scene switches back to the room from the very beginning. The pitch man asks the potential buyer what he thinks. He hates it.
THE END.
Aaaaand...that's the general story I came up with. I'd add a bit more, but these comments are getting even longer than usual, and there's no point, since you can't hear the music and I need to write more songs, and I haven't a proper script yet.
But there it all is. Cool story, yeah? That would totally be a hit on Broadway. Or off-Broadway. Probably the latter.
Anyway, hope y'all enjoyed.
Copyright and related rights waived via CC0
---
Okay, so another oldie, but this one's pretty good.
It's from when I was 17, way back in 2007. And yes, just like many of the other things I've been posting recently, I've been guarding it for four years. I'm very, very happy with the lyrics and always have been, but I really wanted you guys to hear the melodies, too. Though seeing as I'm learning guitar an' all, maybe that won't be too far off, and I can show this to you now. Either way, the lyrics are still pretty great.
Anyway, I'd just seen/heard Sweeney Todd (heard the musical about a week before I found out that Tim Burton was working on it), and I loved it. It made musicals so much more interesting to me, because I loved the idea that you could take something graphic and put it to song, and instead of being cheesy or "edgy" or anything like that, you could do it subtly, and with cacophonous instrumentation, and have a bitter, biting sarcasm running throughout.
So, with that in mind, I decided I'd try to find a way to top it and make a better musical, combining the darker side of Sweeney with the surreal characterization of Little Shop of Horrors over top of some sleazy lounge and jazz tunes. And I made this.
Here's the brief snippet I wrote in '07 about the general point of it all: "The Morgue in the story is used for two reasons. The first is to create an underlying morbidity throughout, and the second is to emphasize the irony: that while each employee works around the dead, they have yet to value their lives. While the overall plot and setting are surreal to the point of absurdity, [they] are used with artistic license to show--even laugh at--the world around us now."
The story starts off with a man in a room giving the pitch for the musical the audience is about to watch. As he reveals elements of the setting and certain characters through song, the setting changes and the room breaks away, pulling the audience into the world. He also gives little snippets as to some of the things that will be in the musical ("there's a love song...between a stripper...and a cannibal. NO NO! WAIT! DON'T RUN!")
When the song is finished, we're shown a dead man in a morgue who wakes up, discovering to his horror that he's a walking corpse. He throws on a pair of clothes and is greeted by a lady who's drinking from a coffee pot and commenting on how she's been feeling like a zombie all day long.
The man, confused, walks around the building and finds that everyone greets him as if he's some sort of guest, and no one's really making very much eye contact. After a short while of this, he meets Dr. Adam, a shady character later revealed to be a cannibal. He greets the newcomer as if he's a new employee, and tells him that if he knows what's good for him, he'd keep things on the down-low, keep the business running smooth. Slowly, he eases into the fact that this particular morgue is pretty much the most unscrupulous place you could possibly work, and sings a little song about it.
The dead dude starts to feel a little uneasy about this, and soon discovers that the whole place is run by a unique breed of sociopathic crazies. Soon, it becomes a bit of a detective story as the dead guy tries to get to the bottom of where it all went wrong and why. Meanwhile, he begins to hear voices, which he assumes is because people are slipping him drugs (the fact that he can't eat or sleep somehow not mattering.)
The voices get louder and louder, until he hears it coming from the little body cabinets. Eventually, all the bodies burst out on their gurneys and sing to him, telling him he's dead. He cuts the song short, because he already knew that. He tells them this place is crazy, and they start to sing about that. He stops it and says he already knows. He then asks what's up, and thy tell him...through an eerie little song.
Lots of details there, but long story short, he has no identity and can't report anyone, yet has only a small amount of time before they look for his corpse and realize there isn't one, or ship him off to the funeral home.
He goes about his little adventures and eventually cracks a way of getting everything taken care of, and the morgue winds up preparing for a criminal case where it will most likely be shut down. In the meantime, all the corpses gather over their friend and wish him farewell as he is embalmed and prepared, ready to sleep soundly in the afterlife (if there is one, and people aren't all just very mild-mannered decomposing zombies.)
After that, there's a brief epilogue where the scene switches back to the room from the very beginning. The pitch man asks the potential buyer what he thinks. He hates it.
THE END.
Aaaaand...that's the general story I came up with. I'd add a bit more, but these comments are getting even longer than usual, and there's no point, since you can't hear the music and I need to write more songs, and I haven't a proper script yet.
But there it all is. Cool story, yeah? That would totally be a hit on Broadway. Or off-Broadway. Probably the latter.
Anyway, hope y'all enjoyed.
© 2011 - 2024 niedec
Comments3
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This is cool. It's hard to picture without the music; then again, maybe it wouldn't be if I were a musician. I love music but I've never had the knack.
I love the whole surreal aspect to these, though. For the longest time I've been wanting to make a musical in the style of Repo: The Genetic Opera, because it has an interesting plot and an edgier style of music. Although, every time I watch it I'm ultimately frustrated, because the writer seemed to get too caught up in subplots rather than developing the main storyline more, and the ending left too much up in the air.
Still, in the broadest sense, this reminds me of that. I could totally see this becoming an Off-Broadway hit turned cult-musical-film.
I love the whole surreal aspect to these, though. For the longest time I've been wanting to make a musical in the style of Repo: The Genetic Opera, because it has an interesting plot and an edgier style of music. Although, every time I watch it I'm ultimately frustrated, because the writer seemed to get too caught up in subplots rather than developing the main storyline more, and the ending left too much up in the air.
Still, in the broadest sense, this reminds me of that. I could totally see this becoming an Off-Broadway hit turned cult-musical-film.