From next week’s Alone II, the video for My Brain (Is Working Overtime):
Category: The Rock & Other Listening Material
They Say I Need Some Rogaine To Put In My Hair
Earlier this year, I didn’t think that there could ever be a better album cover than the then-released artwork for Weezer’s sixth album. At the time, I said:
It’s far better for all future albums, CDs, tapes and eight-tracks to be released in brown paper wrapping than to try and compete with Weezer portraying the Village People.
For the most part, I still believe that. But (Weezer lead singer) Rivers Cuomo’s upcoming solo demo album (second in a series of what we at the kingdom hope is hundreds) has an equally great cover:
Two awesome album covers in one year. Not to mention a bunch of new songs. Weezer fans are a lucky bunch.
They Don't Write 'Em Like That Anymore
Back in the day before music was purchased online or on small shiny plastic discs, One of the first audio tapes, most people got their music in the form of large wax/vinyl discs or on cassette tapes. The first tape I could ever call my own (because no one else in my family wanted anything to do with it) was “Weird Al” Yankovic in 3-D.
I would play the tape over and over again on my small tape player/recorder, ensuring that “in 3-D” was not to be the last Yankovic recording I’d own. I still listen to Weird Al today (his songs come up frequently in my every-MP3-on-my-computer playlist), although I’m not as familiar with his recent few albums.
It wasn’t until reading a recent Wired article the other day though, that I realized Al has been making music for 25 years. From what I’ve heard of his recent stuff, it’s good, but I’d rather listen to King of Suede than White and Nerdy. Sure, the newer stuff is still funny, but the material it’s based on isn’t as good musically as the material from the 80s. I don’t care about the flavor of the week rap song of two years ago, but 80s pop (no matter how cheesy) will always reign supreme. Part of that could also be because of the diversity of what’s out there to be parodied. Or, as Al puts it:
“Back in the ’80s, ‘Purple Rain’ would be number one for half a year,” Yankovic says. “You still have Top 40 radio now, but it’s 40 different stations. There aren’t many hits that everybody knows, and there aren’t many real superstars. That makes it more difficult for me.”
The article’s overall hook is that Al is the forefather of YouTube parodies, of which there are many (I’m still barely caught up), which is kind of interesting considering the guy who made his living using other people’s material has given inspiration to a whole new generation of artistic rip-off artists (I mean that with respect).
It is nice to see Al get his due (and to see that I’m not the only one who considers UHF to be a stroke of genius). Even though he’s been out there for 25 years, he’s still touring and pumping out albums. Maybe I’ll try listening to the next one with unbiased ears.
Number Nine
Since 2000, I’ve been to nine Weezer concerts. Yesterday evening, The Civee (who is not a Weezer fan) and I attended my latest, which took place in the Palace at Auburn Hills located pretty damn far away from Detroit.
Even though I’m not one of the cool kids anymore (and it’s debatable as to if I ever was), we had floor tickets and enjoyed the show from the crowd. To say it was an interesting Weezer show would not be giving the concert justice.
The music was great. And the band did more songs than I’d ever see them do before. But the band seemed more alive this time. Up to and including my fifth Weezer show in December 2001, lead singer/guitarist Rivers Cuomo would stand in one place while capably performing the guitar and vocals. Since then, his presence has grown by leaps and bounds, as I mentioned during my last show:
Lead singer/guitarist Rivers Cuomo was like a human dynamo. He was way more chatty than ever before…didn’t mind letting others take the spotlight, letting every member of the band front at least one song. During El Scorcho, Rivers gave up lead guitar duties and actually walked/danced/staggered around the stage while singing.
The amount of action going on on the stage made 2005 Rivers look like he did during my very first show. Not only did Rivers sing and play guitar, he ran around the stage, danced, chatted up his band-mates, clapped, and delivered some blistering solos while jumping on a trampoline. There was a lot of life to the show, and that was a good thing.
Opening acts Tokyo Police Club and Angels and Airwaves were more than capable of starting the evening. I hadn’t heard any of the output of either band, but I enjoyed the sets (even if TPC sounded repetitive and A&A (or AVA as their shirts read) was a bit too dramatic). But when Weezer came to the stage in white matching overalls (which they later shed in favor of matching red tracksuits), it was time to rock.
The setlist spanned their career, and each member got to take a few turns singing lead on a song. I do have two complaints about the setlist: It was virtually identical to the previous few shows and with the exception of a group-efforted My Name is Jonas and Brian-fronted Susanne, the older songs were strictly singles. I would have liked to have heard something along the lines of Don’t Let Go, No One Else or Getchoo. But I guess when you try and cram six-plus albums worth of songs into one show, not everyone is going to get what they want.
My only other slight complaint is the trading-off of lead vocalists. It’s fine for Pat to sing his song “Automatic” or to turn in a cover of “(What’s the Story) Morning Glory?” But it’s still weird hearing Brian singing El Scorcho.
Six of the show’s songs were off the newest album, which were all strong performances. They actually pulled off a live version of The Greatest Man That Ever Lived, and I have to say I was pleased to hear them play Dreamin’ (with recorded bird noises) in a live setting.
Other highlights of the show included about 30 fans (including Scott’s dad) joining them onstage in Hootenanny form for Island in the Sun and Beverly Hills. This was enjoyable, but about 25 of those fans had guitars–it would have been more interesting had there been a second tuba or some other instruments rather than 25 guitars.
The band closed the night with a Rivers-fronted cover of Sliver and Buddy Holly. The band sounded tight throughout the show, but really shined (probably because Rivers wasn’t distracted by the trampoline) with these two songs.
I’m glad Weezer is still tight musically, and isn’t afraid of trying new things. I’m also happy The Civee appeared to have a good time. The band has grown a lot in the few years I’ve been seeing them live, and I’m looking forward to the next tour–I just hope it’s closer than Detroit.*
*I’m sure the city isn’t crazy about me, but I can’t stand Detroit. Driving to/through the city is a nightmare. If you’re not getting lost, you’re stuck in traffic or almost hit by some gigantic SUV going 95.
A Red Album Review From A Weezer Fanboy
The problem with new Weezer albums is that they are almost always compared by reviewers to the group’s previous efforts.
Reviewers often make up for their lack of creativity or unwillingness to move on with life by mentioning the band’s other efforts, previous bassists or frequent hiatuses. Unfortunately, this takes focus away on what the reviewer is supposed to be doing (reviewing a new album) and places it on the fact that the reviewer is living in the past.
So here it is, a commentary on Weezer’s recently released album, Weezer (2008, a.k.a The Red Album) that keeps mention of certain issues to a minimum. And by the way, we’re not talking about the roody-poo ten-track CD that was issued. As far as I’m concerned, The Red Album is the 14-track “bonus/deluxe” edition.
After a listen to The Red Album, three words come to mind: bold, fun, rock.
For a band that has, in the past, perfected the 2.5 minute power pop song, this album is adventerous. This album features longer songs, increased use of synthesizers and other instruments, and different songwriters/lead singers throughout its 14 tracks. However, the most bold of all moves, especially for a band whose lead guitarist can shred, is the total lack of guitar solos. But the beauty of that move is they’re not missed. These songs throw a lot out there. Case in point, The Greatest Man That Ever Lived (Variations on a Shaker Hymn), showcasing about ten different musical styles, all united around a common theme in five minutes. Or Dreamin’, another five-minute gem which takes a light pastoral break in the middle of the rock.
On the surface, the two aforementioned songs aren’t emotionally deep. The lyrics of TGMTEL are essentially five minutes of rock star posturing from Rivers, set against different genres of music. Not every track needs to whine with emotion. Weezer has succeeded in making quality rock that’s fun to listen to and sing along with.
This is not a lightweight album. If it’s emotion you’re looking for, consider The Spider or Pig, where Rivers contemplates his morality and place in the universe. There’s also Pat Wilson-penned Automatic, which he calls “family rock.” Or, probably the deepest song on The Red Album, The Angel and the One, a soaring number that just builds and builds before a long wind-down, much like the most underrated song on The Beatles’ self-titled album, Long, Long, Long.
The Red Album contains a lot of reflection, something you’d expect from Rivers, who a) wrote Pinkerton and b) meditates for fun. But not all of this introspection is in angst. Most of it drives the music and ties into the fun aspect mentioned earlier. Consider the album opener Troublemaker, where Rivers sings of his childhood wishes to be a rock star (complete with reference to that awkward phase in ’99), or Pork and Beans, where he discovers he’s just fine with himself. The introspection is all over the album, just not how you’d expect it.
In recent interviews, Rivers has expressed an interest in expanding himself musically and lyrically. No longer content with “generic” sounding songs, he’s mixing up arrangements, and even starting to write music from the perspective of other people. One of the unexpected gems of the album, Miss Sweeney is a good example of this. The song, about a boss who has some strong feelings for his assistant, features Rivers doing some quasi-rapping in the verses, followed up by big strong hooky rock for the choruses. Listening to the verses, you wouldn’t think the song would amount to much, but as a whole, Weezer really knocks this one out of the park.
With all of this considered, you really can’t compare Red to any of the other Weezer albums. Band collaboration has increased exponentially. There are different songwriters and even singers. The band is in a different place when it comes to promoting the album and allowing their fans to hear what’s been produced along the way. As I’ve mentioned previously, it’s an exciting time to be a Weezer fan. And this is the perfect album for that time.
The Greatest Video That Never Got Any Play
Weezer, “performing” The Greatest Man That Ever Lived. This was actually produced by MTV, but it won’t air on the station, because, you know, they don’t show videos anymore. And don’t look for it on VH1 Classic either, because they can’t fit it in between their 200 airings of Spinal Tap this month.
I’ll have a few words to say about the Red Album this weekend.
iHate iTunes
Like a sucker, I signed up for iTunes for today’s release of the Red Album to get access to the bonus tracks and ticket pre-order access that was promised to those who pre-ordered it through Apple’s infernal software.
I’m just glad I wasn’t the only Weezer fan out there who got this message while attempting to download the album this morning:
I know Weezer likes to take some time in between albums, but this is ridiculous!
I also went around in search of a physical copy of the album. Target was sold out. Barnes and Noble was sold out and was charging double Target’s price. And a few other places didn’t have it yet. I’ll have my thoughts together on the awesomeness that is the Red Album soon.
They Still Make Music Videos?
J-Dog only beat me to the punch here because I stayed late at work today.
Weezer has released the music video for their single Pork ‘n Beans on Youtube.
It’s only fitting they released it on Youtube, because the video co-stars YT celebrities, half of whom I don’t know.
Still, the video is well done (and it’s about time Weezer’s done a video with lightsabers), humorous and entertaining.
Much like 2001, it is a great time to be a Weezer fan. The band has the new album coming out June 3. To promote the album, they’ve started a series of webisodes starring band members (in addition to Rivers’ ongoing Let’s Write A Sawng project). Along with the regular album, Weezer is releasing a deluxe version of the CD the same day (which would serve as the definitive album) and a bunch of other tracks (aside from the 14 tracks on the deluxe CD) to come in various markets, including:
- The Weight (The Band Cover)
- Life is what you make it (Talk Talk Cover)
- It’s easy
- I can love
- Are friends electric? (Tubeway Army Cover)
- Love my way (Psychedelic Furs Cover)
- Oddfellow local 151 (REM Cover)
Lots of interesting musical choices. Like I said, it’s a great time to be a Weezer fan.
Guitar Solos: A Thing of The Past?
The Red Album: Freakin’ incredible (or at least the eight-tenths I’ve heard).
Trust me on this one.
The Village Weez
Today, Spinner.com released the album cover for Weezer’s upcoming sixth album. If this cover alone doesn’t make album six (a.k.a. The Red Album) go platinum, there is no justice in the world.
The image alone redefines the concept of album covers as art, and all other musicians just better stop trying. It’s far better for all future albums, CDs, tapes and eight-tracks to be released in brown paper wrapping than to try and compete with Weezer portraying the Village People. From left to right, Brian is the starving artist, Pat is the scholar, Rivers is a cowboy and Scott is the biker. Truly a masterpiece.
I don’t want to go calling this a ‘theme album,’ but from what we know, the look of the band here fits the message of Pork and Beans:
I’mma do the things
That I wanna do
I ain’t got a thing
To prove to you
I’ll eat my candy
With the pork and beans
Excuse my manners
If I make a scene
I ain’t gonna wear
The clothes that you like
I’m finally dandy
With the me inside
One look in the mirror
And I’m tickled pink
I don’t give a hoot
About what you think
I didn’t think it was possible to look forward to an album, but I am really stoked for this one.