Pros: Shows the band's roots, interesting song subjects, Adam's guitar work, heavier than Undertow
Cons: Too short, lightweight songwriting, not enough diversity in songs
The Bottom Line: Definitely their worst release...which is still light years ahead of the vast majority of crap metal out there. For experienced fans only.
Taking the title of their album from the infamous Karl Marx saying, 'Religion is the opiate of the masses', the Los Angeles-based art-metal quintet known as Tool quietly released this marginally successful EP to the public under the Zoo label in 1992. At the time, the mainstream was too busy riding the grunge tidalwave with the likes of Nirvana and Pearl Jam to pay much attention to a (then) little-known metal act hailing from California, because 12 years ago, Seattle was clearly the only place that any good music was emerging from, right? Well, not entirely. Although alternative rock was king at the time Opiate was released, the band was already making splashes in a pool that would later be overwhelmed with the comparitive tsunamis of their subsequent albums, and this was the EP that started it all. A mere six songs long and thirty-six minutes in length, Opiate is easily the band's most succient release (more recent albums are twice its playing time), and also their most straightforward metal album, as well. In my review, I will argue that while Opiate is by no means a bad album, they have progressed light years since its release, and it is therefore deserving of my 'controversial' (if anybody really cares about this sort of album review political drama) three-star rating. Opiate is, in my mind, easily the band's least necessary purchase, but nevertheless, if you're a serious fan with a serious interest in finding the roots of Tool, you've got to own a copy of this one. Now on with the review.
I should probably start out by saying just how much I love Tool and how they could never, ever do any wrong, right? Well, not exactly. Don't let me get you under any sort of false impression, though...I love Tool, they are undoubtedly my favorite band of all-time (yes, the dreaded ranking that is one's all-time favorite band, hyphenated and all), their music has changed me forever, and I can't imagine what my life would be like without of them. All that jive, without a doubt, is completely true. I've bought all their albums (four copies of Ænima), an entire wardrobe of t-shirts, seen them live three times, blah blah blah. To put a long story short, I'm a massive fan of the band, and that likely won't ever change. However, unlike the vast majority of the other sixteen reviews I've already seen of Opiate, I do not hold it to be worth the 'excellent' four-star rating, let alone the 'legendary' five-star rarity (save that for the Lateralus reviews, folks). Opiate, though very short, is an overall enjoyable album, but compared to the beautiful behemoths that are Ænima, Lateralus, and even Salival, there is simply no contest. Thusly, both on an objective and weighted scale, I've decided to drop a 'higher than average' three-star rating on Opiate. Only thing is now, I've got to adjust myself.
Opiate opens with the straight-forward churning metal sounds of "Sweat", a song that was also featured on the Escape From L.A. soundtrack, oddly enough. Both lyrically and musically, this is not a bad tune...it's got a solid base of fluttering, distorted guitar riffs and a solid rhthym section from drum god Danny Carey on which Tool's eccentric frontman, Maynard James Keenan, is able to construct some wonderful, almost sing-along melodies melded to lyrics about, well...nothing? This is not a shot at Keenan's lyrics, but if there's any one band member that has truly blossomed since the release of Opiate, I think it's Maynard, both lyrically and vocally. Looking at later songs like "Forty-Six and 2", "The Grudge", and "Eulogy", it's very difficult to believe that the same attonal, borderline-nasally singer on this album is the same, incredibly powerful that was able to hold a note (screaming!) for a whopping forty seconds a mere three albums later. "Sweat" isn't a bad song, but I definitely think that its following track, "Hush" is better on all fronts.
Opening with a punchy funk-metal bassline compliments of the band's original bassit, Paul d'Amour, "Hush" is a much more impressive offering, overall. More unique and not nearly as straight-forward (read: simplistic) as "Sweat", this song is one that approaches the subject of censorship in a way that only Tool could, with an opening verse that consists of: "I can't say what I want to/even if I'm not serious/I can't say what I want to/even if...I'm just kidding." Keenan then proceeds to spray the beloved f-word a half dozen times (he actually screams it to begin his presence at the song's intro, demonstrating some of the more impressive vocal ability he had, even way back when), making it perfectly clear where he stands on the subject of censorship. This is one of the lesser 'intellectual' songs of the band's career, but is easily the most fun, readily playable song on Opiate. Not a bad tune whatsoever.
"Part of Me", track three, is one of the few songs from Opiate that the band continued to perform in their live set during their later years (a spectacular live version is contained on the compact disc in the Salival box set), and one listen to the fast-paced, energetic riffing and pounding drums of the song make it no wonder why they chose to hang onto this one. This one sounds like equal parts Helmet and Soundgarden, as the band's incredibly inventive guitarist, Adam Jones, had yet to fully discover his own intuitive (and beautifully creative) playing style. The lyrics seem to be about being in a very intense, practically symbiotic, relationship with another person, and knowing themselves even better than you know yourself. Again, like "Sweat", this song suffers a bit from conventional (or even ambigious) lyrical subject, but is saved thanks to some wonderful songwriting nonetheless.
The next two tracks on the album, "Cold and Ugly" and "Jerk-Off" are both performed live, and unfortunately, the production is relatively the same quality as the other songs on the album. That is another very blatant fault that Opiate is stricken with, its poor production quality. It's not as if the album was so hastily put together that it is actually painful to listen to (after all, it's no ...And Justice For All), but the production nevertheless leaves something to be desired. "Cold and Ugly" is still a bit vague as far as lyrical content, but on this one, Maynard was finally starting to portray some of that excellent story-telling style that make his lyrics so enjoyable, so that's definitely an advantage that this one has. One of the more interesting little parts to this tune is the breif (but lovely!) bass interlude that Paul gives us after the second verse. I never really thought that "Cold and Ugly" was that great, that is, until they opened with it live at a Colorado Springs show in the October of 2002, and that one performance changed my general opinion of the song almost immediately. While it may not seem to be one of the outstanding tracks on the album (it's still not one of my favorites), after being priveleged to hear it live, I have a newfound respect and enjoyment for this one. Not very complex, advanced, or profound, but it's just throbbing with energy...so be sure and listen to it. It's also the world's first introduction the Maynard's informal habit of addressing his audience with comedic/inspirational/cynical words of wisdom in between songs ("Get that Bob Marley wannabe out of here!").
Track five, "Jerk-Off" is certainly one of the more original songs on the album, offering a sound that isn't quite as straight-forward or (dare I say it) simplistic as the others. With a more advanced take on their songwriting utilized in this one, "Jerk-Off" features what is probably Adam's best guitar work on the entire EP, as well as some equally frenetic drumwork by Danny again, just to heat things up even more. I also think this is the first song on the album where Maynard really reveals the amazing well of creativity and ability he has, as "Jerk-Off" displays some more of that spectacular singing prowess that we were teased with during "Hush", but even more incredible than that is the lyrical approach on this one..."Jerk-Off" seems to be about a sort-of 'vigilante' type character, taking vengance into his own hands (the subject of murder is explored in a not-so subtle manner, but whoever said Tool was a subtle band?). It is also noteworthy that Maynard has since changed the gun-references to acts of sodomy in recent live versions, something one would come to expect from Tool, and no other band on the whole damn planet. When Maynard screams "Diiii-i-i-i-eeee!" towards the end of the song, it isn't as jaw-dropping as that 40-second scream in "The Grudge" (see above), but it's pretty phenomenal nonetheless.
The final track of the album, "Opiate" is almost reason enough to drop $12 or $13 in order to complete your Tool album collection (you do). Easily the most fascinating, in-depth song on the album, "Opiate" explores a very unconventional, but wholly Tool-ish look at religion itself, in particular, the ways in which Christianity is marketed (read: forced) unto us. The rape-themed lyrics of the song are certain to shock/upset/offend some (I myself took them literally for about a year after owning the album, something you'll learn never to do with this band...always have that grain of salt ready) listeners, but then again, I don't know many born-again Christians that are really big fans of Tool. This is the lone song, in my mind, on Opiate that demonstrates the depth, intensity, character, and personality that Tool would further demonstrate on every succeeding album throughout the future of their career...on all lyrical, vocal, and instrumental levels, this is now my favorite song of the album, and the one that suggests just how much unfufilled potential they had in themselves at the time. Hooray for "Opiate". The sixth track ends with a little surprise, at six minutes on six seconds (you know...sixsixsix?) so don't stop the cd early...you'll miss out on a great trip if you do.
I would recommend Opiate (specifically) to fans of the following bands: Helmet, Soundgarden, Alice in Chains, System of a Down, The Melvins, Metallica, Peach, Black Sabbath, Faith No More, Therapy?, Quicksand, and Ted Nugent. I would also recommend all these bands to fans of Tool, and of this album (specifically).
Final decision on Opiate? Well, I'd say that if you're a fan of Tool, and you don't own this yet, then it's one of the few things holding you back from the level of 'fanatic' (and also stopping you singing along with the songs with your fellow Toolophiles in the moshpit, should the band ever play "Part of Me" or "Opiate" live in your hometown), and definitely worth picking yourself up a copy. Because it is just an EP, I would not recommend paying more than fifteen dollars for this one, if for no other reason than the fact that you can find it a lot cheaper than that online (try Amazon). It is definitely not their best offering, and is somewhat devoid of the outstanding musical, lyrical, and intellectual content they would provide on every album that followed this one, but it is nonetheless a brief but enjoyable foray into a more traditionally 'metal' side of a band that would later be known for 13-minute long opuses and musicianship that would rival any experienced hard rock act. I recommend this album, but not as your first purchase if you are considering getting into the band...I'd recommend starting with the 1996 masterpiece Ænima and moving backwards from there (at least, that's what worked for me).
Overall, Tool is one of those bands that, even at their worst, is typically better than most of their contemporaries at their best, and this should not be underestimated. If any band but Tool would have released Opiate, I might have given it four stars (it would still be far from perfect), but because Tool has provided such better work after this, I think it deserves a solid 3 out of 5 rating. As I stated earlier, this is not the best introduction to the band, and if you're trying to get into them to see 'what the big deal is', starting with Opiate would probably provide more questions than answers. However, if you are a seasoned fan, and you don't this yet, pick up a copy sometime, and realize not only how powerful they were even this early on in their career, but just how much they've progressed ever since.
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![Opiate [EP] by Tool](http://di1.shopping.com/images1/pi/d3/1a/df/2002036261-177x150-0-0.jpg)
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