Skip to main content

Cure For Pain

Morphine are another of the many bands and artists I first heard on the radio - in their case my initial exposure would have been the tracks 'Super Sex' and 'Honey White', ca.  '95 or so, promoting their third album Yes. Did I buy any Morphine albums on cassette? Probably: but not, I think, Cure For Pain, which I believe I've only ever owned on CD. My copy is no longer in its original Rykodisc green-tinted jewel-box, which must have suffered a fatal mishap at some point.

Released in the apparent trough between the crests of the Grunge and Britpop waves, Cure For Pain sounds like it was drawn from some other ocean altogether. That might be partially attributable to singer & bassist Mark Sandman being half a generation older than most of his musical contemporaries. The blend of baritone sax & bass was never going to be to everyone's taste, but I'm among those who like how they kept it all down low.

For all their unique atmosphere, and the excellent songs on them, I tended to feel the band's albums left a little something to be desired & were less than fully satisfying. After Cure For Pain was suggested by the Discogs 'random item' button, I listened to it anew for the first time in at least five years. I loved it, and had to wonder why my prior estimation of the record had been so equivocal. From the menace of 'Buena', via the self-lacerating 'I'm Free Now' through to the cautionary tale that is 'Thursday' and the spaced-out 'Let's Take A Trip Together', it's all good & I won't be waiting so long to play it again.


Comments

Popular posts from this blog

All Wrapped Up

Here's another of the compilation cassettes I bought this summer, having taken home a Denon twin-deck hi-fi cassette player from the local charity shop. All Wrapped Up is a 1983 compilation of singles by The Undertones, with Side One filled with A-sides, and B-sides on Side Two. A cassette must be the least desirable medium for such an arrangement, with a long rewind required if one just wants to hear the hits repeatedly. The Undertones were unapologetically provincial and anti-fashionable, with their songs sharply-written slices of life that pointedly avoided any mention of politics, or of the then-continuing violence in their native Derry. My favourite tracks are the obvious choices: 'Teenage Kicks', 'Jimmy Jimmy', 'Here Comes the Summer', 'My Perfect Cousin' & 'Wednesday Week'. Their later singles showed increased sophistication but lack the some of the straightforward charm of their earlier work. The B-sides, not unexpectedly, are mo...

In Heat

Having acquired the soubriquet "the walrus of love", Barry White thereafter became something of a figure of fun, something that misled me (and presumably others) into disregarding his music. Only within the last few years have I begun to pay it more attention. After picking up a copy of his '74 album Can't Get Enough last summer, which I loved, I sought out some of the music by his protegés Love Unlimited. From a Discogs seller I ordered well-used copies of Under the Influence of... ('73) and In Heat ('74) for only £6.25. The only unappealing thing about In Heat is its awful title. The songs and the singing are strong; the arrangements rich & warmly enveloping. As one would expect from White, the thematic focus is firmly fixed on amatory matters. The opening number 'Move Me No Mountain' (the only one on the record not written by White) offers a refreshing rebuttal to the kind of lyrical hyperbole in songs like 'Ain't No Mountain High E...

Bananas Are Not Created Equal

I knew Jay Berliner's name from his contributions to Van Morrison's Astral Weeks and Charles Mingus' The Black Saint and the Sinner Lady , so when I saw this curiously-titled LP at the local charity shop I was intrigued, and bought it even though I had no idea what kind of music it might contain. This was after the days when one could still buy records there for a pound apiece, but I don't think I paid more than a fiver for it. The music turned out to be an all-instrumental blend of funk, soul & jazz. Berliner's virtuoso lead guitar is only one of many attractions here. The band of first-rate session musicians behind him are all uniformly excellent too, and, crucially, sound like they're having a blast. Cornell Dupree's supporting guitar work, while less showy than Berliner's, is beautifully-judged, and the rhythm section is terrific. Arranger/conductor Wade Marcus was no slouch either, judging from the way everything comes together. Two of the funk...