Pros Very diverse, very unexpected, and also very entertaining...
Cons Won't appeal to everybody...
The Bottom Line If you're looking for alternative rock that's not really alternative and not really rock, why not check out Morphine's third album Yes?
Full Review
Morphine’s sound was never cool. It didn’t have much to do with guitars or what was popular and instead used saxophones, percussion, and a two-string upright bass to create an unpredictable and unusual variety of alternative rock and roll. Throughout their 9-year run (which was, by the way, cut short only by vocalist and bassist Mark Sandman’s on-stage heart attack and death), the band quickly earned a large following and a Rykodisc Records (followed by Dreamworks) deal.
Mark Sandman led the band with his clean, emotional and enjoyable voice. Juxtaposed with the darkly heavy sounds of the bass, percussion, and saxophones the resulting equation was unique. It may not appeal to every listener, but it is a moody and lovely kind of music well suited for smoky midnights and coffee houses alike. Rounding out the trio were Dana Colley (tenor and baritone saxes) and Billy Conway on drums. Morphine made their debut in late 1991 with Good. However, they hit their stride with the sophomore album Cure for Pain (1993). That disc garnered the trio the biggest praise of their career and considerable underground fame.
If the band’s career had ended after Cure for Pain, they would be fondly remembered. However because they continued to create excellent music for much of the 1990s and tour throughout the world they are now regarded as one of the most interesting, creative, and talented bands of the decade. Yes (1995) made certain that Morphine would be memorialized as more than just a peculiar musical phenomenon. Both Cure for Pain and Yes are considered the band’s best releases. That said, they went on to record two more albums for Dreamworks—Like Swimming (1997) and The Night (2000).
My attention is always drawn back to one of those two aforementioned “best” albums. It’s a toss up which is better, but for the sake of discussion in this review it is the twelve-track Yes. There are two vaguely pop-oriented singles that anchor this disc (Honey White and Super Sex) but if it wasn’t for the fact that each and every song is outstanding, intriguing, creative, and consistent Yes would not have succeeded. In fact it is this consistency that makes the album so terrific. Morphine created an album on the whole greater than the sum of its parts. In fact, Yes is so good that I find it difficult to construct a review. Every time I listen to it, I end up doing so five or six times in a row because it flows so flawlessly.
Of course it should be obvious that the songs that were released as singles are the most immediately appealing especially to people who may otherwise be perplexed by Morphine. Honey White opens with a fast-paced buzzing saxophone-driven melody. Sandman’s voice soon joins the mix. He and Colley trade musical ideas. It works beautifully. This is as bright and cheerful as the band ever sounds. I don’t find Morphine depressing—they are just thoughtful.
Yes continues to please with Scratch and Radar which are both atmospheric mid-tempo jazz-rockers. They are definitely sturdy, lovely, heartfelt songs. Whisper however is the next time I’m really blown away. It doesn’t just hint at jazz, it is jazz. Colley presents some remarkable sax solos and Sandman sounds particularly emotional throughout. I love that it is a slow, almost methodical song but at the same time it is dynamic and energetic. Yes continues in the same vein but All Your Way is something completely different. Haunting, understated, and unusually controlled for Morphine it is a striking song well worth hearing not to mention one of the album standouts.
Super Sex is the second single from this disc. Sandman chants his lyrics and story. It’s a lighthearted romp through dingy (and smoky) hotel rooms. It’s certainly about sex, but Morphine presents it with their tongues apparently planted firmly in their cheeks. Count this one among the best of Yes. Taking a cue from the beatniks, The Jury is just Sandman chanting his lyrics alongside Colley’s saxophone. It’s easy to envision this one performed. Sharks also is stream-of-consciousness and strange but it just goes to show that this is a band unafraid to push and pull at the boundaries of normalcy. Yes wraps up with the sloooow Free Love and the meek, acoustic Gone for Good. That last song is definitely worth waiting around for. It’s the simplest and least abrasive of the whole album and showcases Sandman’s considerable talent. As for my overall feelings on Yes, I believe it is a classic. It definitely rivals Cure for Pain and for my money, I think it’s slightly more consistent.
If you’re curious about Morphine, you can’t go wrong buying Cure for Pain and/or Yes. Both are excellent albums and both prove that this was one of the most unique bands. In an era when acts smashed on guitars and wallowed in their own self-pity, these guys were a welcome and unexpected shining hope. The hype is definitely right with Morphine.
Rating: 4.5/5 stars (rounded up)
Track Listing:
01. Honey White
02. Scratch
03. Radar
04. Whisper
05. Yes
06. All Your Way
07. Super Sex
08. I Had a Chance
09. The Jury
10. Sharks
11. Free Love
12. Gone for Good
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