lambchops's Full Review: Cure for Pain by Morphine
It can’t exist. They shouldn’t exist.
Morphine makes rock and roll something very different. Dropping the traditional electric and acoustic guitars for an upright bass and a saxophone, Morphine is unlike anything you’ve ever heard. In fact, since the bassist and vocalist Mark Sandman collapsed and died of a heart attack in 1999, you won’t hear anything like them ever again.
Formed in 1990, the Boston-based Morphine was never a huge success in mainstream radio. They never were on MTV. Yet, college radio stations picked up on their sound as early as their 1991 debut album Good. The album got quite a bit of play in the ‘right’ areas and also garnered much critical acclaim. Sandman and his compatriots Billy Conway (drums) and Dana Colley (saxophone) went on to release the album we are here to talk about today Cure For Pain. Like their earlier album, this 1993 release was praised by mainstream and alternative media. Their sound is undeniably innovative, relying less on noise and more on jazz.
1995 marked the release of Yes. Once again, critics picked it as a great album. This third album finally got Morphine noticed by the major labels. Fledgling record company Dreamworks picked up the act and released 1997’s Like Swimming. Despite their widespread press and critical support, the band still was unable to break from cult status. They toured in support of their work incessantly. Then, Sandman died. The band’s final ‘official’ album was released after his death in 2000. Titled The Night, the album proved to be another work of great promise.
What Morphine leaves is a very different vision of rock and roll. Their sound is dark and dank thanks to the strange rock-mix of saxophones and the upright bass. Don’t expect to be uplifted and enlightened by what Sandman has to say. Rather, expect to be impressed by the band’s creativity and ability to stick to their guns. Morphine continued plugging along without bending to the stresses of a guitar laden world. The band’s work has been featured on soundtracks for movies like Get Shorty and The Mod Squad.
Their most popular album is the one I’m about to review. Cure For Pain was released in 1993 on Rykodisc, featured thirteen, songs, and sold over 300,000 copies. Rolling Stone called the band “1994’s biggest underground pop success.” Yet, few people have heard of these guys. MTV talked about them, Beavis and Butthead chided them, and Conan O’Brien invited them to his latenight show as guests. The music is good, but it has limitations. Sandman’s voice is very limited, making the songs unpolished and unimaginable at times. Despite this downfall, fans of true alternative music may get a kick out of this album.
”Dawna” is the instrumental introduction to the album. It’s brief and lightly jazzy, but managed to get the listener in the mood for what is about to happen. Next on tap is ”Buena”. This is one of the hardest rocking songs on the album (an odd thing for me to say when there aren’t any traditional rock instruments in use). It’s a driving track with a deep and foreboding ambiance. The entire mood of the song picks up at the chorus. I prefer the darker parts of this song, but as a whole it proves strong and interesting. This is a must-listen track, although from the beginning that Sandman has very limited vocal talents. The lyrics are also less than meaningful. What makes this song (and many others on this album) high quality are the musical elements. And isn’t that all that matters sometimes?
”I’m Free Now” begins with a relaxing saxophone sound. The song is catchy and interesting. The tempo is fast despite the slow saxophone driving the track. I personally enjoy the vocals in this song. At times Sandman sings with the tenor sax rather than against. I can envision this track as part of a soundtrack to a neo film noir flick.
Jazzy rock music introduces ”All Wrong”. The song proves pretty worthy of a listen, although it really doesn’t strike me as innovative in comparison with some of the other great tracks on this album. Don’t get me wrong, Sandman & co. sound nearly perfect. I’m just not attracted to the song as a whole somehow.
”Candy” is smooth and calm. It’s the apparent story of a woman with the title name. She’s begging Sandman to join her in Candyland. As with the previous tracks, it’s very different than what is usually assumed to be rock music. I enjoy and appreciate the sound that Morphine creates. It’s very different than what you usually hear on MTV and on radio.
Dueling saxophones drive ”A Head With Wings”. I find that the track itself is a bit on the pretentious and for that matter boring side. Sandman’s vocals are mediocre. The song reminds me of everything else on this album. If you like the band’s sound as a whole you may appreciate this track. If you’re annoyed by the strange instruments, you may find yourself completely turned off by the track.
I really enjoy ”In Spite of Me”. The song is delicate, reminding me of great storytelling songs of yore. With an ear for melodies and a beautiful mandolin, this track is a wonderful standout. Sandman sings in a thoughtful whisper rather than trying to force his voice. This is in the top three tracks of this album.
”Thursday” is reminiscent of ”Buena” musically. The different here is that the song is faster and more intense. Again, it’s a story about a woman. This woman was in an abusive relationship in which she escaped by having an affair with a man she met at the bar. A great song, entertaining and full of emotion, ”Thursday” is louder with more layers than most other tracks. This is a must listen on this album.
The title track, ”Cure for Pain” features Sandman trying to sound pensive. He actually tries to sing rather than talk-sing as with the other tracks. I’m not at all amused. It’s sad that this track will always be associated with this album simply by name. It annoys me, proving mediocre at best and ranking at the bottom of all of the tracks on this otherwise decent album.
”Mary Won’t You Call My Name” is fast and exhibits a sense of humor. With a bunch of clichés strung together in front of saxophones, cymbals, and drums, this song is really quite fun. Not the best track on this album, but is still a pleasant change from some of the other songs.
Sounding old and deconstructed, ”Let’s Take a Trip Together” is reminiscent of older tracks. In fact, this is probably the most ‘retro’ song on the album. I don’t like it as much as some of the others. It seems to lack emotion…a factor that is necessary when your music is this odd. Fortunately, as with all of the other songs on Cure for Pain, it’s very short.
”Sheila” is another saxophone laced track. It’s strange in topic, speaking at length about the title subjects cat whom she looks in the eyes. I actually suspect that the cat is an allegory for a man. Anyway, it’s loud at times ranging from thoughtful to pleading. A decent track, average on the track. The album is wrapped up by a sad and dour track called ”Miles Davis’ Funeral”. I’m not one for instrumental tracks, so I feel unqualified to judge. It’s okay. Not great, just okay.
As a whole, this is a slightly better than average album. I will give it 3.5/5 stars and round up for use on Epinions to 4/5. The songs are short, usually between two and a half to three and a half minutes. That is to the benefit of the albums as a whole. If the tracks were any longer they could prove annoying as hell at times. Anyway, with a sound that is somewhere between Nick Cave and Tom Waits, I feel compelled to recommend this album. The sound may not be for everybody, so listen to a track or two before you run out and buy the band’s entire discography.
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