Review Summary: I propose a toast to my self-control
“Your favorite aritst’s favorite artist”. It's a phrase that’s been tossed around several times to describe bands or musicians with dedicated cult followings, as they usually influenced much bigger artists down the road. The most obvious example I’ve always used is King’s X, a band who’d always bubbled up beneath the surface of the mainstream but never quite got there. But then you look at the bands they inspired: Pantera, Dream Theater, Pearl Jam, Alice in Chains… pretty much a who’s who of 90s rock/metal. In fact, Pearl Jam’s own Jeff Ament once proclaimed, “King’s X invented grunge!” But will they ever get as much credit for that in the eyes of the public as, say, Soundgarden? Probably not. And that leads me to a bassist and singer named Mark Sandman. His name may not be immediately recognizable these days, but he had one of the most unique and fascinating playing styles of his entire era. By using a slide on his bass and utilizing a murky, reverb-laden tone, he expanded the boundaries of what the instrument could do; as a result, he was cited as an influence by members of Primus, Minutemen, Queens of the Stone Age, and many more. But here’s a question: how many people actually talk about his band Morphine these days?
Even for early to mid-90s alternative rock - in which bands would often do whatever the fuck they wanted stylistically - an album like
Cure for Pain must have been a breath of fresh air. Morphine’s unique take on the genre was defined by their blues and jazz leanings, leading to a cool and smooth atmosphere; the music really gives off the vibe of a cloudy day at the beach. What’s more is that there isn’t even a lead or rhythm guitarist in the band, as those roles are instead filled by saxophonist Dana Colley while Sandman uses his bass to fill out the rest of the sound. Add the chilled, laid-back drums of Jerome Deupree, and you’ve got one hell of an interesting power trio here. Their chemistry is simply excellent throughout the entire project, something that especially becomes apparent when Colley’s bari sax and Sandman’s bass double up for the heavier parts. “Thursday” would be the prime example here, as the group are locked into a thick churning groove that’s as irresistible as Sandman’s distinct bass-baritone voice. Much of the same can be said for the main motif of the fan-favorite “Buena”, but Colley really lets loose during the solos to show what kind of chops he has on the sax.
However, many of the best moments on
Cure for Pain come from the way Sandman’s bass doubles as both a rhythmic and melodic instrument. The atmosphere of the record is strangely compelling: because of the murky bass tone I mentioned earlier, there’s a uniquely melancholic and overcast vibe to the whole experience. It’s astonishing how much the frontman can do with a simple slide of two strings on his bass, and the approach works wonders on more melodic cuts like the title track, “Candy”, and “I’m Free Now”. Even the happiest-sounding moments have an undercurrent of sadness, often expressed in quite a subdued fashion. And it’s not like the lyrics always help either, such as on “I’m Free Now”; the sax melodies sound carefree and smooth, but then Sandman starts lamenting about how he’s a fuck-up and “such a jerk”.
Cure for Pain really has a penchant for taking complicated emotions and hiding them under an effortless and slick veneer, which only adds to how captivating the project is. However, I’d like to give a special mention to the two bookends of the record, “Dawna” and “Miles Davis’ Funeral”; the band opted to open and close the album on a more minimalist note, and could be described as a musical depiction of the sun rising and setting respectively. The latter is especially hard-hitting, as Miles Davis had just died two years prior; needless to say, the somber tune gives him the send-off he deserves.
Sadly, it’s extremely unlikely we’re ever going to get another Morphine album. Sandman died of a heart attack in 1999, ending all plans for the band to get back together to release new material. However, there is a silver lining in this tragedy: the remaining members formed a new group called Vapors of Morphine a decade later, and they still carry the spirit of the original band today. As for the original incarnation,
Cure for Pain remains a superb starting point for people trying to get into the trio. Add the fact that there’s no subpar song in the entire tracklisting, and you really can’t go wrong with this record. If you’ve ever entertained the idea of adding a little jazz and blues to your alternative rock collection, this is an absolute must-own.
