Much of Yes follows a mantra of capturing the essence of characters forged from frontman Mark Sandman’s mind, the record feels like a compilation of vignettes each bound by passion, hedonism, sensuality, lust: elements of a personification of fire. This theme is present all throughout the record, even in its artwork- a bold, burning fireplace with the silhouette of an owl statuette obscured by shadow; itself a nod to the band’s namesake Morpheus. Subtle imagery is core to the essence of the band. Yes was the precipice of the band’s pivot to greater expression of creative freedom. Where Good and Cure for Pain had set the baseline for the band’s signature “low rock” sound, this third album from the Boston trio had the band's ideals set in stone, with Billy Conway having fully replaced Jerome Deupree on drums, their more experimental and strange side began to bloom. It's all bigger, bolder and more organic.
The album opener, “Honey White”, kicks off the album with a fast paced beat which itself contrasts with every other Morphine album. From the get-go you know this album is different to the rest. The band’s explorations into capturing the essence of pleasure and lust start here. The night’s just begun but the party’s already on fire. “Honey White”’s sax and vocals take you by the hand into a fast dance, a pirouette, a centrifuge of unending energy; it ebbs and flows through the entire album. It’s not over until Morphine says it is. Mark Sandman’s lyrics here paint a vivid picture of desire, a manifestation of sin: lust; greed.
That pivot towards a feeling of ‘more’ is most obviously heard in "Radar" and "Super Sex" where Dana Colley brings a second saxophone into the mix – a party trick taking centre stage in their sound, itself almost an affront to the band’s minimalist sound (what do you mean they have more than three instruments?!) but yet it fits perfectly within the theme of Yes. Here, within the scope of the band’s sound, the pleasure and passion and, most notably, biblical greed and lust, are that tenor sax. One baritone isn’t quite enough: Morphine needs more, we need more, we need doublesax.
“Free Love” is an intense assault of sound: Sandman’s breathy and desperate vocals helps to fuel the storm; Colley’s deep baritone sax stabs into your soul; Conway’s drums distorts your perception. The song itself feels like it’s collapsing in on itself, the psyche of the narrator crumbling apart in insanity. The song is obscene and uncomfortable, perfectly capturing a moment, an idea, a character. It’s frantic and dark, a ball of pulsing chaos. It, coupled with tracks like "The Jury" and "Sharks" show the band's experimental edge, all a very obvious manifestation and dedication to Sandman's love of Beat generation writing, especially Jack Kerouac. "The Jury" especially is incredible with how it ebbs between two streams of consciousness that overlap and intertwine, creating a hypnotic and lustful number. Yes has some of the most interesting lyrical work that the band put out in their time that none of their other albums quite captured in the same way.
Yes is a slow-burning album that, in a way, suffers great misfortune coming after the indomitable masterpiece that is Cure for Pain. The smouldering flames that the album leaves you with by the time the brutal tearjerker "Gone For Good" plays its final note make you want so much more. It's dazing mix of the salacious and passionate first half with the surreal Kerouacian second half makes it such a unique and incredible insight into Mark Sandman's creative subconscious and, at least in my opinion, the best Morphine album.
favourite tracks: Whisper, All Your Way, Sharks
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