Oh gawd, that bass riff. Detuned to drop A#, heavy on the chorus with a bit of distortion, meshing with big, laid back 4/4 drums that hold off the snare until the third beat, to my ears this is the first sign of Yob’s real potential. And what is it that they are clearly seeing? The lyrics describe some kind of enlightenment, starting with
In control of the mind
Thoughts are getting clear now
with a few ‘Oh yeahs!’ thrown into to compliment the bluesy groove. The vocals stick to the Ozzy and Geddy–esque style throughout, and this number is more conventionally structured than the other tracks on this album (roughly intro, verse, chorus, verse, chorus, interlude, guitar solo, re–intro, verse, chorus, outro) and is the second shortest track at 7.25 (we will come onto the shortest track, and why it is so, Pain of I, in a bit). The drums are solid, the snare in particular sounding massive, and post–wah guitar solo there is lovely use of space which doubles up to re–introduce that riff. And when it ends, it ends tightly with no feedback or fallout.
Information on Yob’s various rhythm sections over the years is hard to come by beyond names, but as Yob very much seems to be Scheidt’s fiefdom this doesn’t come as a surprise. Isamu Sato is listed as the bass guitarist in the sleeve notes, but as one Lowell Isles is credited for ‘past bass riffage’ I’m not sure who wrote this line. However, Sato, who presumably played the recorded line, is clearly no slouch. If you are listening to Yob for the first time, going through their songs chronologically, I imagine this would be the moment when you realise what Yob can really do.