It's hard to write an original article about a band that has already been pored over by the media; however, as popular as these guys are, I still manage to get blank stares when I mention the band Morphine. I will do my best to introduce you to the Boston trio and their music without using the words beat noir, implied grunge, or low-rock. There will be absolutely no talk of smoky bars or whiskey. Let us begin.

In 1992, Morphine released their first album, Good. Listeners were greeted with an unusual, almost gimmicky concept for a band. The instruments in the band were merely a two-string electric bass played with a slide, a baritone saxophone or two, and some drums. The resulting sound was amazing, and the world took notice. Five studio albums later, Morphine has secured a massive following.

Morphine can be described as a mixture of the low. The music is made up of low vocals, low bass lines, low saxophone thrusts, and low rhythms you could shake your bed with. The band consists of Mark Sandman on bass and vocals, Billy Conway on drums, and Dana Colley on saxophones.

Now, don't be fooled by the saxophones. I know you're thinking "jazz", but Morphine is a rock band, even without the guitars. Many an eyebrow have been raised at the notion of a guitar-less rock band; however, at first listen, you instantly realize that it all makes sense. Colley's saxophone more than takes the place of a lead or rhythm guitarist. Sometimes he even plays two saxophones at once. You haven't lived until you've seen a guy stuff two saxophones into his mouth.

Morpheus was the Roman god of dreams. For Morphine, the god of dreams is front man/bassist Mark Sandman. His songs are about a life fueled by desire, with a bit of lust and suffering thrown in for good measure. His deep voice fits comfortably into the rest of the band as its own instrument. While singing, Sandman plays his two-string bass with a guitar slide. This setup may seem constricting, but, as evidenced by his music, artists can expand their work by limiting the tools they use.

All of Morphine's releases have distinct personalities. Good, being their first effort, established the musical road they would travel for the next seven years and made the "gimmick" into a feasible reality. Then came Cure for Pain in 1993, which was their breakthrough release. The band had audibly matured since Good, and the result is an amazing work that is still the favorite of many Morphine fans.

Morphine then released Yes in 1995, which is even catchier than "Cure for Pain." Coupled with Sandman's poetic lyrics, tracks such as "Sharks" and "Super Sex" offer a glimpse of the band's live energy. Like Swimming, released in 1997, was a little more relaxed and continued the band's journey through song writing maturity.

While all of Morphine's releases are worth getting, they are a pale representation of what the band was like in concert. For an idea of what a Morphine show was like, check out Bootleg Detroit, which was just released this past September. It is labeled as a "low-fi recording by a fan in the audience." This couldn't be more misleading. The atmosphere and energy of the band is captured pleasantly in this smooth edged recording from a show in 1994.

I was fortunate enough to see Morphine perform in Tokyo in 1997, and the experience was unforgettable. I don't think I stopped moving my body during the entire set. My white boy dance/mosh moves were a sharp contrast to the well-behaved members of the Japanese audience. Being one of the few English speakers in the house, I got to pester the band after the show with several nervous questions. Ever the aspiring musician myself, I asked Sandman for some song writing advice. "Keep it short," he said simply. It is a formula he has used for his own songs, many of which contain just a verse or two. That night in Tokyo was the first and last time I ever saw him.

In the summer of 1999, Sandman passed away during a concert in Italy. According to reports from the show, he collapsed on stage from massive heart failure and died almost instantly. Those who knew him mourned the loss of a gentle friend, and those who knew his music mourned the loss of his genius.

Sandman's final work with Morphine was The Night, released this year. This album is the darkest of the Morphine recordings. The feel of the music hits hard with the added weight of his passing. Some of the lyrics on "The Night" are prophetic enough to give you goose bumps. In the song Slow Numbers, Sandman croons, "The number four means nothing to me/but the number four means death to Chinese ..." In the album's final track, Sandman sings, "Take me with you when you go/don't leave me alone ..."

Along with Morphine's five studio albums and a collection of B-sides, Sandman has left behind a wonderful legacy. An annual music festival is now held in Cambridge, Massachusetts, in his honor. Also, a music education fund has been set up in his name to provide area schools with funding for music programs.

Still not convinced? Then listen and judge for yourself one of the most pioneering alternative rock bands ever. Don't forget to dim the lights, get comfortable, and turn it up. They are Morphine, at your service.