There's a reason why Weezer's third album consciously recalls the band's first, not just in its eponymous title, but in its stark cover, Ric Ocasek production, and tight pop songs. That's not because Weezer was trying to recapture its core audience, because, unbeknown to the band, it already had. Once its second album, Pinkerton, stiffed on the ...
As a Rolling Stone cover story on newsstands the week before the release of Make Believe made clear, Weezer leader Rivers Cuomo is an odd, ornery sort. He's a genuine rock & roll maverick, at once attracted and repelled by his star status, disappearing for long stretches at a time, often to return to college. He writes and records far more songs ...
From the pounding, primal assault of the opening track, "Tired of Sex," it's clear from the outset that Pinkerton is a different record than the sunny, heavy guitar pop of Weezer's eponymous debut. The first noticeable difference is the darker, messier sound -- the guitars rage and squeal, the beats are brutal and visceral, the vocals are mixed to ...
Bands used to make records like this all the time. They'd release an album, tour all year, write a bunch of songs, record 'em, release another album a year later. Since hardly anybody -- not even indie bands -- did that in 2002, it's a remarkable event when Weezer does exactly that, especially following a half a decade of inactivity. But, it's ...
Even if you lived through it, it's hard to fathom exactly why Weezer were disliked, even loathed, when they released their debut album in the spring of 1994. If you grew up in the years after the heyday of grunge, it may even seem absurd that the band were considered poseurs, hair metal refugees passing themselves off as alt-rock by adapting a few ...
Like any other rock band or pop act of the first half of the '90s, Weezer had to produce material to fill out the B-sides of British, European, Asian, and Australian singles (the American singles market having long ago been killed by the record industry). This means that the band had a mess of stray tracks that never have appeared on one of its ...
Heading in a slightly heavier direction than their debut, the first single from Weezer's Pinkerton has a nice loose feel that leads into a driving rock finale. The track "El Scorcho" is filled with the typical smart-guy humor and a dose of loud guitars and drums that put the band in a new but equally memorable light. It's loud, it's fun, it's ...
An old critical cliché is that eponymous albums are statements of purpose, so what to make of Weezer and their third color-coded self-titled album? Well, the band proves that axiom true, as every one of these eponymous efforts functions as an act of introduction, from their 1994 Blue debut to their 2001 Green comeback to 2008's Red Album, where ...
The live performances on MTV's alternative video showcase 120 Minutes have always been a little frustrating, since the quality of the music was widely uneven and the performances tended to interrupt the flow of the show. On that basis, it would seem that the appearence of MTV's 120 Minutes Live is something of a mixed blessing, but that's not the ...
MTV's TRL Christmas delivers just what the title promises: some of the network's most popular artists performing holiday favorites and originals, ranging from the slick teen-pop of 'N Sync's "I Don't Wanna Spend One More Christmas Without You" to Simple Plan's playful, punk-poppy "My Christmas List" to Angela Via's delicate-as-a-snowflake ...
Spin magazine's star-studded collection Spin This captures some of 2001's mainstream mainstays and critic darlings for something quite fashionable. It's a delectable song selection, a vast variety showcasing eclectic dance beats from Moby, Paul Oakenfold, and Basement Jaxx inside tougher modern rock cuts by P.O.D., Deftones, and Disturbed. Hip-hop ...
A curiously restrained tribute to such a typically ebullient gang, this adoring gumbo of many of the band's worst songs misses the point of the Pixies' oeuvre. Eve 6, Superdrag, Nada Surf and others emphasize their own bands' one-trick riffs as interpretations of the Pixies' far less self-conscious forays into pop, punk, and protogrunge. Local H's ...
If Weezer's 2008 eponymous Red Album was all about singer/songwriter Rivers Cuomo coming to terms with heading into middle age, then 2009's Raditude finds Cuomo looking back upon his own carefree, dirt bike-riding youth and writing songs about it, but filtered through the eyes of Weezer's younger fans. In that sense, Raditude comes off as a kind ...
An old critical cliché is that eponymous albums are statements of purpose, so what to make of Weezer and their third color-coded self-titled album? Well, the band proves that axiom true, as every one of these eponymous efforts functions as an act of introduction, from their 1994 Blue debut to their 2001 Green comeback to 2008's Red Album, where ...
If Weezer's 2008 eponymous Red Album was all about singer/songwriter Rivers Cuomo coming to terms with heading into middle age, then 2009's Raditude finds Cuomo looking back upon his own carefree, dirt bike-riding youth and writing songs about it, but filtered through the eyes of Weezer's younger fans. In that sense, Raditude comes off as a kind ...
Bands used to make records like this all the time. They'd release an album, tour all year, write a bunch of songs, record 'em, release another album a year later. Since hardly anybody -- not even indie bands -- did that in 2002, it's a remarkable event when Weezer does exactly that, especially following a half a decade of inactivity. But, it's ...
There's a reason why Weezer's third album consciously recalls the band's first, not just in its eponymous title, but in its stark cover, Ric Ocasek production, and tight pop songs. That's not because Weezer was trying to recapture its core audience, because, unbeknown to the band, it already had. Once its second album, Pinkerton, stiffed on the ...
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