From the band's fourth album, this track features Dana Colley on tenor saxophone at a slightly faster 95 bpm, representing the upper range of Morphine's typically deliberate tempos. Colley's tenor solo rides over a Mark Sandman composition that showcases the band's ability to generate momentum and groove from minimal instrumental resources. The solo has a searching, yearning quality that complements the song's wistful mood, with Colley building phrases that arc upward before settling back into the low-mid register. His tone on the tenor is full-bodied and slightly rough-edged, avoiding the polished smoothness of conventional jazz saxophone in favor of a grittier, more rock-appropriate sound. The performance reflects the band's continued evolution on their penultimate studio album, with the arrangements becoming more textured while maintaining the essential three-piece format. Sandman's two-string bass provides the harmonic foundation, and the lack of chordal instruments gives Colley's saxophone complete freedom to define the melodic and harmonic content of the solo. The track demonstrates how Morphine carved out a singular space in 1990s alternative rock by making the saxophone a central voice rather than an occasional accent, treating it with the same raw energy that other bands brought to the electric guitar.
