Music of the Day, 22 August 2023

a "power trio" for low-end lovers

A rock trio composed of drums, bass (with just two strings), and mostly baritone saxophone? How can that be? I sure don’t know how to explain it, but from my very first listen, Morphine’s sparse, deep sound drew me in.

Alas, I don’t remember the circumstances or timing of my introduction to the band, but it was long after bassist and singer-songwriter Mark Sandman died unexpectedly in 1999. The best way to describe their sound is it’s all the best of the low end, usually presented in minimalist, lush songs that are bluesy and jazzy and probably unlike anything you’ve heard. Sandman’s baritone voice is smooth and powerful, with a raw edge to it that’s given full rein on several Morphine songs. As for the band’s name, it’s a nod to Morpheus, the Greek god of sleep. Their discography lives up to it, running from stream-of-consciousness songs to pointed ones that somehow still have an almost unreal, dreamlike quality to them.

I attribute much of that to all of the instruments living down low. Lower frequencies seem to be more resonant with our bodies, which could also help explain why they may have healing properties. All this lowness doesn’t mean a muddy sound, though; the clean arrangements and engineering ensure that each sound shines through when it’s supposed to.

Today’s feature—“All Your Way” from Morphine’s 1995 album Yes—is a great example. The gentle, crooning nature of much of the music and Sandman’s voice belie the gritty, cynical lyrics. Dana Colley’s bari sax often seems to mutter underneath the vocals, then swells to fill the spaces between them with tasty riffs. Sandman’s slide guitar weaves deftly in and out, and Billy Conway’s understated drum work beautifully complements it all.

I’ve been told by more than one person that I have a strong stubborn streak… but I’m not sure they know the full truth of it. That’s probably why the wry understatement in the chorus appeals to me so much even though it’s written from the male perspective. Come my dying day, I might be able to say to some people that I finally see things their way … but I wouldn’t count on it.

If this tasty morsel has you wanting more Morphine, I suggest another cut off of Yes. The closing track, “Gone for Good,” has a more traditional guitar part and an even more sparse arrangement. For me, it rivals Warren Zevon’s “Keep Me in Your Heart” for producing tears.