In The Morning – The Labyrinth of Longing and Liberation


You can view the lyrics, alternate interprations and sheet music for Norah Jones's In The Morning at Lyrics.org.
Article Contents:
  1. Music Video
  2. Lyrics
  3. Song Meaning
  4. A Dawning Realization: The Struggle with Inevitability
  5. Sensory Metaphors and the Intimacy of Influence
  6. Tea, Sympathy, and Shattered Solace
  7. The Tactile Ghosts of Yesterday
  8. The Chorus of the Conquered and the Captivated

Lyrics

I can’t stop myself from calling
Calling out your name
I can’t stop myself from falling
Falling back again
In the morning
Baby, in the afternoon

Dark like the shady corners
Inside a violin
Hot like to burn my lips
I know I can’t win
In the morning
Baby, in the afternoon

I try to quit you but I’m too weak
Waking up without you
I can hardly speak at all
Mmm-hmm

My girlfriend tried to help me
To get you off my mind
She tried a little tea and sympathy
To get me to unwind
In the morning
Baby, in the afternoon

Funny how my favorite shirt
Smells more like you than me
Bitter traces left behind
Stains that no one can see
In the morning
Baby, in the afternoon

You’re gonna put me in an early grave
I know I’m your slave whenever you call

I can’t stop myself from calling
Calling out your name
I can’t stop myself from falling
Falling back again
Falling back again
Falling back again
Falling back again
Falling back, oh
Falling back again
Falling back again
Baby, in the afternoon
Falling back again
Falling back again
In the morning

Full Lyrics

Norah Jones’s soul-stirring tune ‘In The Morning’ resonates with the chorus of hearts that have ever found themselves in the throes of an inextricable affection. As the soft, jazzy notes seep into the listener’s consciousness, it’s the lyrical journey through longing, loss, and the elusive quest for self-control that captivates and comforts in equal measure.

Peeling back the layers of Jones’s intimate confessions, the song transforms into a canvas painted with the universal hues of vulnerability and the visceral struggle against the gravitational pull of an all-consuming love. The tune does not just whisper but serenades the soul with its honesty, stirring a cocktail of emotions that elicits an in-depth dissection of its poetic depth.

A Dawning Realization: The Struggle with Inevitability

Jones opens her ballad with a piercing candidness, an admission of powerlessness against the current of romantic inevitability. ‘I can’t stop myself from calling / Calling out your name’ – these lines aren’t just a declaration of love but an admission of human fragility. It isn’t merely the calling; it’s the inability to halt the calling, which strikes a chord, highlighting the raw human condition of battling oneself.

Moreover, the repetitiveness of falling ‘back again’ mimics the cyclical nature of yearning, like ceaselessly retreating waves that ebb only to surge with greater force. Each ‘In the morning / Baby, in the afternoon’ serves as a timestamp, the rhythmic cycle of sun and moon coinciding with the ticking of a heart caught in limbo.

Sensory Metaphors and the Intimacy of Influence

Lyrics that evoke the senses can transport a listener into the heart of the song’s emotional landscape. ‘Dark like the shady corners / Inside a violin’ is more than a mere comparison; it’s an invocation of a space that’s intimate, intricate, and resonant with hidden melodies. This line beckons one to consider love’s complex symphony, the shadowy, personal alcoves where passions play their tunes.

The heat that ‘burns my lips’ is a testament to an attraction’s intensity, a love’s perilous allure that even wisdom cannot deter. ‘I know I can’t win’ is the dissonant harmony, a poignant surrender to the high-stakes game of love that has but one inevitable outcome – burning desire.

Tea, Sympathy, and Shattered Solace

Outside interventions, as depicted in Jones’s attempts at solace through ‘a little tea and sympathy’, is an ode to the well-meaning efforts to heal a heart. Yet, there’s an underlying sorrow here, a melancholy awareness that such remedies are but temporary bandages on a wound that’s internal and deep-seated. Even among friends and comforters, the ache of absence lingers, unassuaged.

This potent outreach for comfort in the wake of heartache underscores the journey for peace amidst the tumultuous sea of emotional turmoil. It brings forth the question—can one ever truly escape the clutches of a powerful love, or is one doomed to oscillate between the solace of distraction and the storm of desire?

The Tactile Ghosts of Yesterday

A common thread in Jones’s narrative is how physical items are imprinted with emotional memories – ‘my favorite shirt / Smells more like you than me’. This sensory imprinting articulates a deeper truth of love’s remnants that linger long after the person has gone, like shadows staining one’s day-to-day life with the odour of the past.

The beauty of Jones’s prose is in the concealment—’bitter traces left behind / Stains that no one can see’—which paints the personal grief unseen by the world. These ‘invisible stains’ represent private sorrows and the silent reverberations of a love that continues to color one’s existence long after it has faded from view.

The Chorus of the Conquered and the Captivated

The emotional crescendo of the song culminates in the haunting acknowledgment of surrender – ‘You’re gonna put me in an early grave / I know I’m your slave whenever you call’. By deploying the imagery of death and bondage, Jones illustrates love’s most ferocious hold, the kind that commandeers will, bends reason, and relegates self-command to a mere echo of its power.

In the repetition of her inability to stop from ‘falling back again,’ Jones encapsulates not just a personal admission but a chorus that resonates among listeners who too have felt the magnetic pull of a love that refuses to relinquish its hold, regardless of the toll it exacts.

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