There’s the earnest love song (“Lowlight”), some minor key new wave (“No Way”), and the band even allows itself to get a little precious (“Wishlist”) which they pull off admirably. Each of his contributions-“Brain of J,” “Faithfull,” and “Given to Fly”-are standouts among nothing but stellar songs, including reinvigorating rockers “Do the Evolution” and “MFC.” Additionally, with the input of the entire band, the lyrical content excels and Vedder’s delivery helps the songs find new depth. Each member contributes songs on this album, and it ends up serving as a sort of coming out party for Mike McCready, the Songwriter. The individual songs, the tracking order, the artwork and the theme, the production, and the musicianship are all great on their own, but together, this becomes one of the best examples of what a near-perfect rock album should be. It’s hard to quantify what makes Yield so good. The stark guitars, the insistent drumming, and the fully gruff vocals (“Last Exit” and “Spin the Black Circle”) define the record, but moments of unsureness and introspection (“Nothingman” and “Immortality”) turn it into art. Although the beautiful pop tune “Betterman” is the best known from the album, considering the weirdo moments like “Bugs” or “Hey Foxymophandlemama, That’s Me,” the rest of it is better digested as a whole. Add onto that the suicide of their closest peer and most challenging but respected rival, Kurt Cobain. Stone and Eddie weren’t getting along, drummer Dave Abbruzzese was out of the band (even if he didn’t know it yet), and Mike McCready was in and out of rehab during the sessions.
It definitely pulls you into the dirty, angry world the band was in at the time. As a concept record, it’s hard to talk about Vitalogy without discussing the awesome cover and artwork that turns the case sideways, adds a gold foil embossed script, and incorporates pages from an early 20th century home remedy book (filled with terrible medical advice).
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