Yes Please!

Despite relationships between Happy Mondays members straining, Ryder told McGough they had written enough material for another album.[16] The band and Factory Records wanted to enlist Oakenfold and Osborne for their next album, but the pair was fully booked until June 1992 at the earliest.[17] Concerned that they could not wait that long, McGough and Wilson decided to look for other producers.[18] Paul Ryder was listening to Conscious Party (1988) by Ziggy Marley and the Melody Makers, learning that it was produced by Talking Heads and Tom Tom Club members Chris Frantz and Tina Weymouth, and thought they would be ideal producers for Happy Mondays' next album.[19] Around the same time, the band had a new booking agent, Ian Flooks, who also worked with Frantz and Weymouth. When Flooks caught wind that the band were looking for producers, he suggested the pair.[20]

Frantz and Weymouth knew Wilson and were aware of the band; McGough contacted the office of the couple in early 1992.[21] Ryder and McGough subsequently flew to Connecticut to visit Frantz and Weymouth.[19] The latter pair had been wanting to produce more albums since Conscious Party; with the demise of Talking Heads, the pair felt it was the best time to do so. They listened to Pills 'n' Thrills and Bellyaches, which impressed them, and they were convinced they could aid the band.[22] Unlike Oakenfold and Osborne, Frantz and Weymouth understood how dynamics would work between band members due to their experience in Talking Heads and Tom Tom Club.[18] The rest of Happy Mondays talked with the pair over the phone, telling them that they did not want to be distracted by alcohol and drugs, and wanted to be taken seriously as artists.[23]

Ryder, McGough, Frantz and Weymouth all flew to Miami to visit a studio owned by Bee Gees, with Ryder remarking it was a "huge place but weird, on an industrial estate". The four of them then went to a studio in Ocho Rios, Jamaica, though it was small and lacked a lot of equipment. If they wanted to record there, it would mean they would have to rent gear and fly it to Jamaica. Ryder then suggested Compass Point Studios in The Bahamas, close to where Frantz and Weymouth had a residence.[22] It was previously a state-of-the-art facility, but when Ryder asked Frantz about it, he told Ryder that it had flooded and was in a state of disrepair.[18][22]

Happy Mondays had a meeting with McGough and Wilson, who gave the band three options on where to record: a studio in Amsterdam, which they all were against; a studio inside a formerly used church in Manchester, which was run by pop producer Pete Waterman; or a studio in Barbados. Waterman had made a pitch to produce the band's next album, which Ryder and Whelan were against while the rest of the band plus McGough were up for. Whelan stated if they went with Waterman, he would quit. All of them went with Barbados, bar Day who wanted to make the next album in Manchester. When asked by the band why he wanted to be in Manchester, Day reasoned that they all had families there.[22]

During a meeting with their business expenses manager, McGough told the rest of the band that Shaun Ryder (who was absent) had sacked Day, to much surprise. Ryder expected to replace him with Smiths guitarist and Electronic collaborator Johnny Marr. McGough said Day was "unhappy and Shaun [Ryder] felt culturally he wasn't on board. [... Ryder] made it an issue and for half an hour one afternoon Johnny Marr was in [Happy Mondays]". Day had been fired over the phone abruptly; Paul Ryder and Whelan visited Day. Day was confused by the idea, thinking the band wanted to kick him out, until they discovered he simply need some time off.[24]

On 17 January 1992, the day after Day had re-joined the band, they flew from Manchester to The Bahamas.[24][25] Factory hoped the remote location would help sedate Shaun Ryder's heroin addiction; he had smuggled methadone (intended as a substitute for heroin) into the island, which he consumed immediately upon arrival.[26][27] They were not allowed to leave the airport unless they had out-going tickets as well, which had not been booked as they were unsure as to how long they would be recording for.[28] Day, still affected from the sacking and worried about the workload ahead, had a mental breakdown. Whelan and Paul Ryder had been drinking throughout the 13-hour flight to the island, and continued when the band took up residence at Sam Lord's Castle. They were asked to leave the accommodation when they found out keyboardist Paul Davis assaulted the bar band.[27]

They then travelled to Blue Wave Studio in Saint Philip, Barbados, which was owned by Eddy Grant.[23][29] The studio itself was housed in a shack in the middle of a sugar plantation, as well as being near a jungle.[23][30] It was on the driveway of Grant's estate, who was away during this time. The studio's manager heard unfavourable stories about the band, and had to be reassured by Frantz and Weymouth that the pair would handle everything.[30] The pair and their associates had arrived at the studio some days prior to bring it up to standard for recording with the band, as there were issues with power outages and fluctuation.[31] Shaun Ryder and Bez lived at the studio, so that others could watch him, while the rest of the band set up in a private gated estate.[32] Frantz, Weymouth and the rest of the band had set up at the studio; when Shaun Ryder showed up, he was unfit to do any work.[33]

Ryder recounted that Frantz and Weymouth saw him as a "non-musician", Bez as contributing nothing to the band, and Day having only an amateur grasp of music theory, while Davis and Paul Ryder were the "best of a bad bunch".[34] When sessions were underway, Mark Roula handled recording with assistance from Bryon Europe.[29] Assembled in a live manner, the other members ran through the six partially-completed tracks they had for Frantz and Weymouth. The pair recorded these rehearsals, with the intention of going back to them after writing more material.[35] Frantz and Weymouth were not concerned starting with a lack of completed songs, having dealt with this before with Talking Heads' fourth studio album Remain in Light (1980) and Tom Tom Club's self-titled debut album (1981). Frantz said technician Simon Machan had some pre-programmed beats and keyboard parts that could help them, though his equipment suffered from varying power levels.[36]

Spurred on by the pair's enthusiasm, Day, Davis, Paul Ryder and Whelan started having fun, recalling their early rehearsals in Manchester. Day had been influenced by Eastern music, resulting in off-kilter guitar parts. Ryder and Whelan locked into grooves, with the encouragement of Weymouth.[30] The majority of recording was plagued with a variety of issues with the band members.[33] Happy Mondays discovered that the island was full of cheap crack available from local drug dealers, who knew the band were eager to purchase any drugs from them.[37] Shaun Ryder did not enjoy the music the rest of the band was making within the first week, resulting in him and Bez seeking out drugs.[32] He ended up spending 20 hours each day in the toilet smoking crack, while the others were waiting to record. Bez broke his arm three times: once when crashing a car, the second time in a boat accident, and the third when his girlfriend sat on it.[38]

Paul Ryder began having withdrawal symptoms from the lack of heroin; as both Ryders became ill, McGough had a doctor prescribe them largactil. It resulted in neither of them having an energy left to record anything, especially Shaun Ryder, who was now unable to sing.[37] Day and Whelan relaxed with their families on the island as they had finished their parts for the album, renting houses by the beachside.[39] Frantz and Weymouth attempted to keep recording going, the difficulties with the band members eventually saw the pairs enthusiasm dissipate.[40] The pair felt there was the foundation of ten songs recorded, waiting for Shaun Ryder's input.[39] Amid growing frustration from the others, Ryder had yet to write any lyrics for the new songs.[41] They spent a few days trying to coax lyrical inspiration out of Ryder.[39] The constant crack use saw him inflicted with a throat infection, rending the chance of recording vocals impossible.[42] Whelan let Ryder stay at his place, in an effort to spur lyrics out of him.[43]

When Ryder ran out of money to buy more crack, he ended up selling dealers his clothes. Reports of the band's antics – car crashes and drug consumption – reached tabloids in the UK.[43] One story involved the band withholding the album's master tapes at ransom from Factory, which Whelan denied, while another stated Ryder sold the studio's sofa for crack, to which he clarified he actually sold a sunlounger.[43][44] Ryder theorised the master tape rumour came about from Frantz and Weymouth being worried about not getting paid because of Factory's financial situation. The pair prodded Ryder to make false claims in order for the label to send them money, to which Ryder estimate could not have totalled more than £10,000.[45] Wilson had received intermittent reports about what was happening on the island.[46] As he was in Los Angeles, California for a few days, he considered visiting the band, but ultimately decided not to.[47]

After five weeks of recording, having spent nearly the entire recording budget, the only finished track was "Cut 'Em Loose Bruce". At this point, Bez and McGough had returned to the UK.[48] The band's US label Elektra Records sent A&R executive Howard Thompson and a publicist to find out about the album's progress. Frantz and Weymouth played them the vocal-less songs; Thompson was told what was happening, becoming concerned for Ryder.[49] Thompson attempted to contact McGough, who had settled back in Manchester and was unreachable, and then Wilson, telling him the situation. Wilson was struggling with Factory's debts and called Factory director Alan Erasmus for advice, who told him to do what he felt was best.[50] The rest of band then left the island on 10 March 1992 with little material finished.[20][42]

Ryder flew to Manchester from Barbados, where he left his wife at the airport and went to find drugs.[51] The following day, Ryder was admitted to the Charter Clinic detox centre in Chelsea, London for a period of six weeks, with McGough supervising him.[48] When he left, McGough decided to have Ryder avoid Manchester, subsequently booking them an apartment in Newquay for two weeks.[20] While Ryder was in a healthier state, he still struggled with writing new lyrics.[52] Ryder returned home for a week before going to Comfort's Place Studio in Lingfield, Surrey to do vocals.[53] The sessions re-started in May 1992, with assistance from Ray Mascarenas, for a period of two weeks.[29][48] Aside from visiting a local pub, Ryder otherwise kept himself free from drugs. On the advice of his doctor, the rest of the band stayed away from the sessions.[54]

Paul Ryder and Astrella Leitch followed the latter's father on tour; Whelan spent time at a gym; Day looked after his newly-born child; Davis moved house; and Bez tended to his broken arm.[53] Trying to aid in the writing, Frantz and Weymouth would have Shaun Ryder do things such as dancing on the spot or consult the I Ching for lyrics.[55] They also employed William S. Burroughs' cut-up technique at Weymouth's suggestion. Ryder found himself struggling to enjoy the music the band had done, regretting that he did not take more of an interest when they were recording it.[56] At the time of doing this vocals, Ryder was listening to American rappers, such as Bushwick Bill; he had Kermit of Manchester-based outfit Ruthless Rap Assassins sing additional vocals on "Cut 'Em Loose Bruce".[29][56] Kermit previously did heroin with Ryder, while Ruthless Rap Assassins had played a show with Happy Mondays sometime prior.[57]

Rowetta, who previously did guest vocals on Pills 'n' Thrills and Bellyaches, was brought in, and subsequently had a large role with the new album, adding more melodies.[56][58] Despite McGough's prior promise to Wilson to not go beyond £150,000, the album ended up costing £380,000; by comparison, New Order's respective album Republic (1993) costed £430,000.[16] Steven Stanley travelled from Jamaica to New York City to mix the recordings.[54] He was assisted by John Parthum at Axis Studios between 1 and 24 June 1992 with the band in attendance.[29][53][59] Scott Hull edited and assembled the songs for Bob Ludwig, who mastered the album at Masterdisk, also in New York City.[29] In hindsight, Wilson regretted having Frantz and Weymouth produce the band: "[Bez] said to me, 'Tina and Chris are brilliant [...] But their sound is the Tom Tom Club of the late seventies and early eights. You should have found us the next sound.' And he's totally, totally right".[60]

As recording finished, McGough set about acquiring the band money.[61] On the verge of receivership, Factory Records entered into a deal with London Recordings owner PolyGram, who would assume ownership of Factory.[75] Since Factory was occupied, McGough managed to gain funds from the band's music publishing royalties, in the area of £250,000. It arrived in staggered payments of £45,000. As Ryder enacted a legal clause allowing him £20,000 of that sum, Day, Davis, Paul Ryder and Whelan received £5,000 each. The situation repeated twice later in the year; Day said they were "all pissed off about the money".[61] Around this time, Shaun Ryder had restarted his alcohol and heroin habits.[76]

"Stinkin Thinkin" was picked by both Ryders as the lead single from the album; released on 31 August 1992, it included "Baby Big Head" and Stephen Hague and Boy's Own remixes of "Stinkin Thinkin" as its B-sides.[11][61][77] The music video for "Stinkin Thinkin", shot at Shepherd's Bush's shopping centre in London, placed a focus on Bez and Shaun Ryder has the director had a disliking for the rest of the band.[78][79] They performed the song on Top of the Pops; Ryder sung his vocals live and forgot the words partway through, prompting the need to read off a sheet.[78]

Yes Please! was released on 22 September 1992.[80] Matthew Robertson in his book Factory Records: The Complete Graphic Album (2006) wrote that Central Station Design, who made the artwork, were influenced by "naïve religious icons and shrines" from territories such as Barbados, with the final creation alluding to the religious imagery of the album's lyrics. The back cover features a painting done by the sister of one of the designers, who had down syndrome; it had been in the company's offices some years prior.[81] In preparation for an upcoming tour, McGough had the band set up in a rehearsal space in Ancoats.[82] Shaun Ryder was absent from the practices, while Paul Ryder was suffering from a heroin addiction, and Day, Davis and Whelan were unsure about the future of the band.[82] They embarked on a stint of the UK in October 1992 with support from Stereo MC's; several of the shows sold out in advance, with a handful more being added as a result.[11][83][84] Happy Mondays then played a one-off show in Japan with Big Audio Dynamite.[11]

"Sunshine and Love" was released as the second single from the album on 9 November 1992, with a cover of "Stayin' Alive" (1977) by Bee Gees and remixes of "Sunshine and Love" and "24 Hour Party People" as its B-sides.[85][86] For the artwork, Robertson said the Central Station Design team harkened back to the designs they did for the band's early singles, while incorporating the "tactile qualities" of the Yes Please! artwork, such as hand-drawn, cut-out shapes.[87] It was delayed from its initial October 1992 date as Factory were struggling to find a pressing plant that would give them credit.[88] Wilson had corralled about £1,000 to make a music video for "Sunshine and Love"; Ryder refused to leave his band for the filming.[89] The single was released in the US on 18 January 1993, with all of the UK B-sides plus the addition of "Judge Fudge".[90]

Factory Records' deal with London Recordings fell through when a document signed by Factory's directors was found stating that the "musicians own the music and we own nothing", rendering their assets worthless. Their would-be owner withdrew from receivership as a result.[91] Factory went into administration, a decision that was made public on 23 November 1992.[92] As Factory was folding, the Manchester Evening News reported that Happy Mondays were looking for a new record deal.[93] London Recordings attempted to sign the band for a three-album contract, having newly acquired New Order. Happy Mondays had a large debt with the label, stemming from the previous European deal Factory had with them.[92]

Elektra Records were looking to extend their contract with the band for another album, due to the success of one "Stinkin Thinkin" remix in that territory. All of the money the band accrued from the extension would be taken by London to recoup the debt, should they choose to sign with them.[85] A tour of Germany in December 1992 was cancelled.[94] McGough had secured a contract with EMI; in February 1993, the band were in their rehearsal room with Clive Black, a representative from the label.[95] Ryder announced he was leaving to purchase "Kentucky", a term used for heroin. After several hours without Ryder re-appearing, Black left.[96]

In an attempt to rescue the deal, Black told McGough to have Ryder meet him in London. After unsuccessful persuasion, Black ended up calling Ryder, telling him he was pulling the deal. Ryder's response was to blame Davis, who had done nothing wrong.[97] Black then told McGough the deal was off; McGough proceeded to call each member to tell them he was quitting. A band meeting was later held with McGough, where Ryder apologized for the situation with EMI. They briefly discussed taking a year-long break; by the meeting's conclusion, Ryder was begging the others to give the band another chance.[98] As they were aware it would be difficult to revive interest from EMI, they broke up.[99]

Yes Please! was later reissued in 2000 through London Recordings.[100] It was included Rhino Records' Original Album Series box set in 2013, which collected the band's first four studio albums.[101] The album was re-pressed on vinyl in 2020 alongside their first three albums.[102]

"Stinkin Thinkin", "Sunshine and Love" and "Angel" were included on Happy Mondays' first two compilation albums Double Easy – The U.S. Singles (1993) and Loads (1995).[103][104] "Stinkin Thinkin" appeared alone on their third and fifth compilation albums Greatest Hits (1999) and Double Double Good: The Best of Happy Mondays (2012).[105][106] "Stinkin Thinkin", "Sunshine and Love", "Cut 'Em Loose Bruce" and "Theme from Netto" featured on the band's fourth compilation album The Platinum Collection (2005).[107]