Music, Rivers Cuomo/Weezer Rankings 2017, Weezer

The Weezer/Rivers Cuomo Song Rankings (Part 9/14): Hurley


Released: September 10, 2010
Length: 34:16
Label: Epitaph
Producer Rivers Cuomo, Shawn Everett

I have been putting this one off for long enough. To be honest with you, I haven’t wanted to write this one because there really isn’t a lot of great things to say about Hurley. I don’t want to put negativity out into the world, but with this one there is just not much else I can do. Hurley doesn’t work on a lot of levels: it feels like a badly patched together solo album, the songs are rather bland and cookie cutter, and the whole thing feels rushed. When I listen to a Weezer album, I want to hear the band performing the songs that Rivers writes. On Hurley, I’m hearing songs that Rivers wrote being performed by something that’s just not Weezer.


Songwriting: The most “classic Weezer” sounding thing on here. A simple straight forward rock song. It works.
Arrangement: The band is tight on this and moves from section to section and never lets go.
Production: It’s crunchy and I like that.
Performance: Like I said above, it feels like the band played on this one together. I can dig that.


Songwriting: An absolutely wonderful pop rock song, but it sounds too much like a song that a band that wanted to sound like Weezer would write and perform. Weezer shouldn’t be doing that, right?
Arrangement: Classic power pop. It never lets up and that’s good. The chorus drums are great at moving the tune along.
Production: It sounds like it was made for the radio.
Performance: Here’s where we get to the “is Weezer on this song?” question. I hear elements of Rivers but I don’t hear anything from any other members. The drumming doesn’t 100% feel like Pat. It feels off.


Songwriting: Written with an absolute gem of a songwriter (Desmond Child), this is a great tune overall. Well paced, well written, great emotions.
Arrangement: The song chugs along just like a train. I love it.
Production: The chugging guitar and bass really work well for this song. Some of the overdubs and adornments can distract from the great tune underneath them.
Performance: Once again, who is playing on this? The bass feels like Scott, but everything else feels off.


Songwriting: Some interesting chords that throw you off at first, but the climax of the song really works well. It feels like Rivers there.
Arrangement: Bare bones at the beginning, crunchy at the end, and the backing vocals are really great.
Production: I question the flute flourishes in the verses. They don’t really need to be there and distract the listener.
Performance: It feels like Weezer and I like that, especially on this album.


Songwriting: You can tell something is gonna be off from the weird synthy drums at the beginning, and then you hear the lyrics. These are the worst. Great riff though in the verses.
Arrangement: The verses do a great job a using the riff to anchor the song. The chorus is great when it kicks into the second part of it. The time shift off kilter bridge is great.
Production: This song should rock harder. That riff is great. It just doesn’t get to that level.
Performance: Once again, it rocks but who is playing on it? And Rivers’ vocal performance should have been scrapped. It is embarrassing at points.
SCORE: 2 (I want to give this a higher ranking, but those lyrics destroy the tune)


Songwriting: A decent tune, but one that just doesn’t sound like a Weezer sound. Then you look at the songwriting credits and you see it was cowritten by Ryan Adams. And then you realize that its a Ryan Adams song sung by Rivers.
Arrangement: The chorus, which is usually a pick me up part of a song, just really drags here.
Production: I like it, but once again it doesn’t sound like a Weezer song and instead sounds too much like a Ryan Adams song. If I wanted to listen to him, I would listen to him.
Performance: The Ryan and Rivers show. I like my Weezer with Brian, Scott, and Pat.


Songwriting: The little single that never was. It has all the makings of a great single…wonderful and triumphant verses into a great chorus. But there’s just something that holds this song back.
Arrangement: Maybe the arrangement holds it back? Nah, this is good pop rock.
Production: Once you hear Michael Cera you can’t un-hear him.
Performance: It feels like a band moving in a new-ish direction. I appreciate that.


Songwriting: The lyrics just creep me out, but the melody and the chorus are so very strong and you wanna sing along to them.
Arrangement: It is structured in such a way that makes you want to sing along.
Production: It feels like it would’ve been a great Rivers Cuomo solo song with this production.
Performance: It doesn’t feel like there’s a performance. It feels like Rivers with some loops of people playing instruments.


Songwriting: It feels so “modern rock band on the radio” derivative. I could hear Nickelback doing this song. Why not just give it to them?
Arrangement: “Let’s rock out on the chorus just like a high school band”. It just doesn’t work. The bridge should pick it up but it just leaves it even flatter than before.
Production: The song is so bad I don’t think any kind of production could save it.
Performance: Mechanical and going through the motions. I have to force myself to listen to the whole song.


Songwriting: Written with legend Mac Davis, this song has a great tune but…(skip to production)
Arrangement: A nice little folk song structure.
Production: What is going on here? Why is everything so dirty and muddy? Is something wrong with my headphones? This just isn’t fun to listen to. I hear a good song destroyed by a production choice.
Performance: The production just destroyed this song for me.


I just can’t get through this album unless I force myself to get through this album. Rivers writes great songs, but the songs on this one just ain’t that great. Some of them are decent but a bunch of decent songs don’t add up to make a good album. I love Weezer as a four piece band making great music. On some records you can just hear Rivers directing everything and it not really being a band effort. That is the most apparent with this album. Hurley may have been looked upon as an interesting oddity if it wasn’t a Weezer album but instead a one off Rivers Cuomo solo album. But here, as the 8th Weezer album, it just stands out as a really bad album.


Music, Rivers Cuomo/Weezer Rankings 2017, Weezer

The Weezer/Rivers Cuomo Song Rankings (Part 8/14): Raditude


Released November 3, 2009
Recorded November 2008 – January 2009 & Summer 2009
Length 34:34
Label DGC, Interscope, Geffen
Producer Dr. Luke, Jacknife Lee, Polow da Don, Butch Walker, Rivers Cuomo

This is the moment where, as a long time Weezer fan, I started to back away from my undying devotion to Rivers Cuomo and his songs. Rivers made some questionable choices on this album: leaving certain songs off the album (a trend that started with The Red Album), stopping work with producer Jacknife Lee, and more or less putting an album together that is really just a hodgepodge of ideas. I find myself wishing I could hear more of the recording sessions with Jacknife Lee (and you can if you get the bonus edition of the album) and wishing that someone stepped in here to help Rivers craft a really good Weezer album and also a really interesting solo album.


Songwriting: A great pop song, but at the same time I don’t know if it is really a song Weezer should have done. Would’ve been great on a Rivers Cuomo solo album.
Arrangement: Very pop rock, very Weezer verse chorus verse chorus bridge.
Production: The acoustic guitar rings out in this song
Performance: A wonderful bass line by Scott and a galloping drum beat by Pat.


Songwriting: At this point, Rivers was 39 years old when he wrote this song. I’m 37 at the moment of this writing and I’m just gonna go on record and say that writing a song called “I’m Your Daddy” in your 30’s should just be illegal. If you can look past the lyrics, the bridge is pretty good.
Arrangement: Standard pop rock stuff. Nothing special here.
Production: I really appreciate the guitar sound in the verses.
Performance: Rivers and who? I don’t hear a lot of Weezer on this track. Feels like Rivers and a band of people.


Songwriting: A good boot stompin’ pop rock song. I feel like you can never go wrong with a groove like this.
Arrangement: Pretty standard stuff here. The bridge/solo part is really great.
Production: Good stuff to emphasize the boot stompin’ groove.
Performance: A great performance on this one.


Songwriting: I guess it’s an ok song, but it just doesn’t feel like a song Weezer should be doing. At this point in Rivers’ career, I’m thinking he should’ve started up a solo project for songs like this.
Arrangement: I mean I guess it’s fine. I don’t know. At this point this new direction is just tiring me out.
Production: It sounds like something that should be on the radio.
Performance: It works, but it doesn’t move me.


Songwriting: A tired attempt at a pop rock song. Sure, it has you singing along but the minute it is over it is out of your head
Arrangement: More basic stuff, and at this point it is really just very tiring.
Production: Designed to make you tap your feet and hum the melody.
Performance: The band goes through the motions on this one.


Songwriting: Bizarre lyrics, a great melody, and a killer chorus. Rivers does pop rock right on this one. I wish he would’ve done more like this.
Arrangement: Basic stuff once again, but you don’t notice how basic it is because the song is so good.
Production: Great little touches from the background vocals really give this song a personality.
Performance: You can hear the band being excited about this one and that is what you want.


Songwriting: A really wonderful pop song at the core. Great verses and chorus.
Arrangement: The song flows nicely.
Production: The production takes this song down a notch. There’s so much going on in this version of the song that it is distracting. And forgive me for saying this, but it just isn’t a Weezer production. Other versions of this song are much better. For starters, hunt down the (gasp!) Sugar Ray version of this song. It is, in my opinion, the definitive version.
Performance: Rivers and some studio musicians. Not Weezer.


Songwriting: In one ear and out the other. Designed to hook you but it never does.
Arrangement: So basic that it hurts.
Production: Why does this song sound louder than the rest of the album? It just make me want to skip it even more.
Performance: Cookie cutter rock band production.


Songwriting: A song by Patrick Wilson. Not one of his best, but compared to some other songs on this album it stands out.
Arrangement: The middle bridge/breakdown section is interesting but overall is lacking something.
Production: It emphasizes the rock, and that seems to be Pat’s thing.
Performance: The band seems to be into it more than most of the songs on this album.


Songwriting: A great song that marries classic the 50’s pop sound with some Weezer touches. The song feels good to listen to.
Arrangement: Very basic, but it is good for this song as it allows that brilliant melody to shine.
Production: Sometimes I wonder if it is too much, but for some reason it works for the song.
Performance: Feels a bit like Rivers and the occasional flourish from a band member.


Raditude is a really weird moment. I think there should’ve been a split in the band at this point. Rivers should have given part of his energy to putting together really good Weezer albums here and there and then given the other part of his energy to writing pop songs with others that would either be recorded by other artists or put on a Rivers Cuomo solo album. Raditude changed Weezer forever and probably not for the better. I hear less of the band on this album and to me that’s not a great thing.


Life, Music, Rivers Cuomo/Weezer Rankings 2017, Weezer

The Weezer/Rivers Cuomo Song Rankings (Part 7/14): The Red Album



Released June 3, 2008
Recorded Spring – Autumn 2007 at Shangri La Studios and Malibu Performing Arts Center in Malibu, California; early 2008 at Threshold Studios in Santa Monica, California
Length 41:23
Label DGC, Interscope
Producer Rick Rubin, Jacknife Lee, Weezer

A daring venture for Weezer, The Red Album finds the band at an interesting point in their career. At times, it still feels like Rivers is in charge. At other times, the band feels like a band where all of the band has input into the songs and songwriting. In then end, The Red Album is a pretty good album full of some great songs and some misses.


Songwriting: A simple but effective rock song, the lyrics are a bit corny but other things make up for them.
Arrangement: Great stuff that keeps the song moving along. Scott has a great bass line in the verses that is simple but welcome.
Production: Designed to be cranked to 11, this song delivers on the rock end of things.
Performance: Overall a pretty good band performance. Nothing special but nothing bad.


Songwriting: A journey through many ideas, sounds, and styles. The melody is killer, the moods are great, and this is Rivers doing what he does best: putting his mind to a song, focusing on the end product, and delivering something unique.
Arrangement: The song changes style so many times, and each section is magnificent. I would not change a thing.
Production: Perfect. The song is epic and everything that went into the production adds to the epic-ness. Is that a word? We’ll roll with it here.
Performance: The band at one of its best Post Pinkerton moments.


Songwriting: It sounds like Rivers is doing his best to marry the classic Weezer sound with the new Weezer sound on this one. I don’t know why, but it just doesn’t work although the song is fine.
Arrangement: The band is emphasizing the chorus in this one, and it really works well. The quiet/loud dynamics really work.
Production: Great El Scorcho vibes in the verse and bridge. A nice nod to the past.
Performance: Nothing special, but still pretty good


Songwriting: A well written song that keeps moving. Great melody and a strong chord structure. The thing that brings it down a bit are the lyrics. They’re just kind of too corny.
Arrangement: Great. Wonderful vibe on this one with the band really finding their place in each song.
Production: Laid back and a bit mellow. I’m into this. It feels new for Weezer. The sampled keyboard bits sound a bit off.
Performance: Above average.


Songwriting: A rocker and one that works. The lyrics may seem corny but when given a review they work and they make you think of your stupid adolescent years.
Arrangement: It works. The song flows and really picks up the pace at the bridge which is easily the best part of the song.
Production: Good stuff. It sounds like the band had fun on this one.
Performance: Weezer performs this one well which makes it more enjoyable.


Songwriting: Great episodic songwriting from Rivers, the song is a good blend of the old and new. The bridge “there are bluebirds” section is really some great writing.
Arrangement: Well done. The verses and chorus move along nicely, and the middle section is the most mood evoking part of the song.
Production: Simple at times yet also expanding for the band.
Performance: A great performance.


Songwriting: Brian Bell as the songwriter for Weezer. The structure is nice and the melody to the chorus is great.
Arrangement: I like this take on his song. It is a bit more positive than the version by Brian’s band The Relationship.
Production: Simple stuff, but it works for this song.
Performance: Patrick Wilson on lead guitar is the best part of this song. He is not only one of my favorite drummers, but we need to respect him as a lead guitarist too. His touches on this song show that.


Songwriting: A Rivers and Scott co-write, this song is often really put down in Weezer fan circles. I’m going to disagree with them. While nothing extremely special, this song has some good writing that shines over the average lyrics.
Arrangement: The song breathes and lets the bass and drums drive things. This is great.
Production: Sparse, but it really gives the feel of a cold, dark world. I would not change a thing.
Performance: I like the performance, especially from Pat and Scott.


Songwriting: Patrick Wilson as the Weezer songwriter. This is a great rock song from Pat, and it really has that “huge, crushing” sound I often associate with his band, The Special Goodness.
Arrangement: A huge rock song, but not something that is going to be constantly smashing into your face. The instruments are well place and organized and that brings the beauty of the song to the forefront.
Production: HUGE guitars and bass. This song needs this.
Performance: Pat and Scott (on guitar and bass) really make this shine.


Songwriting: A free flowing, soul baring exercise the builds and grows. This song feels personal and it comes out in the lyrics and melody. Exquisite.
Arrangement: The band slowly builds this one up. Weezer are masters at the slow build up.
Production: Four guys in a room with a great song. Just let that be that and keep it simple. The band follows the song on this one.
Performance: It feels like a true band performance, and when the band is ON you feel it.


The Red Album is a hodge-podge of feelings for the listener. It contains some of Weezer’s best work at times and at others some of its most middle of the road stuff. I was happy to see the band being more of band with this one. The other guys in Weezer are great songwriters and they need to shine as well. The Greatest Man That Ever Lived and The Angel and The One are two of the best Weezer songs ever, so their presence really elevates the album. I have a hard time listening to the songs from the Deluxe Edition of the album…not because they are bad but because they are so great and they were left off of the album. If they were on the album, I could see this album being one of their all time best right up there with Pinkerton. Since they’re not there, it’s a spotty affair.


Music, Rivers Cuomo/Weezer Rankings 2017, Weezer

The Weezer/Rivers Cuomo Song Rankings (Part 6/14): Make Believe


Released: May 10, 2005
Recorded: December 2003 – February 2005
Studios: Cello Studios, Grandmaster Recorders, Henson Studios, and Rick Rubin’s home studio
Length: 45:09
Label: DGC/Geffen
Producer Rick Rubin

After the one-two punch of The Green Album (2001) and Maladroit (2002), Weezer fans were expecting another album to come quickly in 2003. Up to that point, the band had been on fire with new songs and music. The second part of their career was off to a great start. However, fans would have to wait three years for Make Believe, the fifth Weezer album. Upon its release, the album was met with criticism, the most notable being from Pitchfork. That review seems to have shaped a lot of the public perception about the album, but twelve years later upon listening to the album again I am finding it to be a lot different than I thought.


Songwriting: Boom, Boom, Chop! Boom, Boom, Chop! That’s the rhythm, and it is sure different for Weezer. The lyrics seem to show a different version of Rivers, one that back in 2005 was a bit jarring.
Arrangement: A standard pop song with a great structure and flow.
Production: The entire Make Believe sound is clean, but at the same time it is a welcome sound. There’s nothing here too jarring and everything is pretty pleasant.
Performance: They sound like a band, and any time Weezer sounds like a band it is a good thing.


Songwriting: A true pop gem, it has a strong wordless chorus, great verses, and a really wonderful bridge.
Arrangement: It starts with a guitar solo! How great is that?
Production: Very standard rock band stuff, but at the same time this feels like what Weezer 2.0 should sound like.
Performance: The band performs the hell out of this one.


Songwriting: Some lyrics make you scratch your head, but the overall product is good. When the chorus kicks in you don’t care. You just really enjoy it.
Arrangement: Some great parts played by the band here. I especially like the guitars.
Production: This doesn’t really sound like the Weezer that at this point knew of, but the expansion of their sound on this one is welcome.
Performance: Great overall performance by the band. A steady gallop with some great playing.


Songwriting: Almost like a lullaby, this song can really catch your ear. The chorus is triumphant, but to me those verses are the things that grab me every time.
Arrangement: Great bass lines from Scott Shriner really move this song along. This is some of his best playing in Weezer.
Production: The production lets the song breathe and the melody soar.
Performance: Another great performance by the band, specially Scott.


Songwriting: A very simple song, but the music really lets the emotional message of the song speak out. Great chorus and wordless second chorus.
Arrangement: The simple addition of the acoustic guitar really moves the song along. It wouldn’t be as great if it wasn’t for that.
Production: Basic and laid back to let the emotions in the song power everything.
Performance: It amazes me, listening to this 12 years after it was released, how fresh this feels. The performance of the band keeps it this way.


Songwriting: A pretty great intro followed by boring verses and an even more cringeworthy chorus. Does Rivers have to put one song on each of these new albums that is just really, really not that good?
Arrangement: The song does rock, but that doesn’t really make up for the fact that it is terrible.
Production: Great guitar tone.
Performance: Pat is a fantastic drummer!


Songwriting: This is a perfect example of Rivers at his Make Believe era best. Songs that are emotional yet restrained. It’s almost like he took up meditation or something (he did).
Arrangement: A wonderful and simple arrangement lets the emotions of the song out.
Production: The guitars are simple and beautiful. The addition of what sounds like some strings in the background really help the song move along.
Performance: Like all good Weezer songs, you can tell when the band enjoys the song because they play it really well.


Songwriting: The intro builds something up but….it just never really comes through. You hear Rivers really laying it all on the line emotionally here but something just feels off.
Arrangement: The piano driven verses are pretty wonderful. The chorus, which is meant to be big and loud, just kind of lets the listener down.
Production: The chorus could have used something else. It just feels flat.
Performance: I don’t feel much from this one.


Songwriting: “The Rocker” songs from Green and Maladroit fell flat, and here we are with the second rocker on this album. Guess what? It falls flat too.
Arrangement: It is like they are zipping through the song and repeating the structure over and over again.
Production: I read somewhere that this one was going be on a soundtrack for one of the Shrek films. This production sounds like it.
Performance: Weezer, you can do better with rock songs.


Songwriting: This kind of songwriting marries Pinkerton era raw lyrics with Weezer 2.0 songwriting experiment  lyrics and structure. I like this!
Arrangement: Every instrument and part feels perfectly performed and where it needs to be.
Production: Once again, the acoustic guitar comes along to really move the song along. Great addition.
Performance: The band enjoying a great song. Is that a saxophone I hear in the solo section? I hope so.


Songwriting: The lyrics might be a bit strange, but the song is just really well written and, combined with a great production, it makes it a song that you can’t forget.
Arrangement: Amazing. Every move made in this song serves the song.
Production: The harmonic guitars are perfect, the drums are simple and amazing, and Scott lays the bass end down. Perfect.
Performance: The performance fits the song, and every performance that fits the song makes the song go to high levels


Songwriting: I read somewhere that Rick Rubin instructed Rivers to write a song on piano and this came out, and that when Rick Rubin did this same thing with Tom Petty the song that came out of that was “It’s Good To Be King”.  This must be a great exercise for songwriters.
Arrangement: The outro does go on a bit too long, but the rest of the song is great. The lead up to the second chorus is a great moment on the album.
Production: Another shining example of Make Believe era Weezer.
Performance: A solid performance from all band members. Scott’s simple bass line really holds the song down.


Make Believe did not deserve the negative reviews it got back in 2005. This album has at least 7 really good songs on it, two that could go either way, and two duds. That’s not bad at all. I think people were mostly shocked to hear “Beverly Hills” and that they were just waiting for something that was like that song so they could tear Weezer 2.0 apart. Sadly, Make Believe was the album where that happened, but it did not deserve it. Give it another listen with some fresh ears. It’s actually really good.


Music, Rivers Cuomo/Weezer Rankings 2017, Weezer

The Weezer/Rivers Cuomo Song Rankings (Part 5/14): Maladroit


Released: May 14, 2002
Recorded: December 2001 – January 2002
Studio: Cello Studios, Los Angeles, California
Length: 33:43
Label: Geffen
Producer: Weezer

Coming just one year after The Green Album, Maladroit came as a shock after having such a long dry spell after the release of Pinkerton. But here we are once again with a Weezer album full of firsts: first album with more than ten songs, first album with the band experimenting with some new styles, and first album with bassist Scott Shriner. A fine album with some great moments, Maladroit stands out as the weirdest release of the Weezer catalog. The songs that are great are still great. The production feels a bit outdated at this point, and I’d love if someone gave this album a remix.


Songwriting: Now this is a songwriting experiment. I can’t fully wrap my head around what’s going on here. At least there’s a crunch to it.
Arrangement: The return of the Weezer guitar solo!
Production: That snare drum sound just doesn’t work for me and that’s a bummer because Pat is a monster on drums with this song.
Performance: I hear so much more of the band on this recording than I did at any point on The Green Album. I welcome this.


Songwriting: A gem from the batch of songs we got right before The Green Album (now known as the Summer 2000 Songs). We have some clear and concise pop rock songwriting here.
Arrangement: It works! There is not much going on here but the rock! Give me some more guitar solo please, it feels like it has been too long!
Production: It has the radio friendly sheen of the rest of the album, but for some reason it works here.
Performance: Amazing things happen when a band comes together and you can hear all of the individual voices and contributions of the band members.


Songwriting: More of Rivers finding his new groove as a songwriter, and a bit of experimentation thrown out here and there. The killer time shift in the middle makes it!
Arrangement: (PS we are talking about radio version aka the remake here). Great intro, great guitars, great overall vibe. The hit single that should’ve been!
Production: The radio version destroys the original album recording, giving the song a chance to finally realize its full potential.
Performance: Weezer brings the rock.


Songwriting: An interesting jam that would have sounded perfectly in TOP GUN back in the 80’s. I am excited that Rivers is incorporating some riff based writing into his style.
Arrangement: It works!
Production: A little too glossy for my tastes. I think this song would have been better with a little roughness around the edges. The BBC demo version is far superior in terms of vibe and recording.
Performance: Rock Rock Rock Rock Rock Rock Rock. I will take this after the muted Green Album.


Songwriting: OK! What an interesting moment from Rivers. Just one year before this he had perfected the pop rock structure in its most basic form. This stretches it way beyond. I did not expect this a year after the Green Album.
Arrangement: Oh, just overall such good stuff. The song flows, and when a song flows you get something great.
Production: A little clean, but I can overlook this because the song is so great.
Performance: The little things, the tiny contributions from the band, matter most. You get a great performance on this one. And that solo!


Songwriting: Another leftover from the Summer 2000 Songsthe writing is very indicative of what Rivers was doing at that time mixed with some Pinkerton-esque emotion. The results are mixed.
Arrangement: The introduction is a great part of the song and overall you have a piece of music that fits well together.
Production: It may be because I am so used to the Summer 2000 Songs version, but this one just sounds too clean for a song called “Slob”.
Performance: The band never failed to do this one well.


Songwriting: Another WOW moment…what’s this? I feel Phish groove vibes on this mixed with some balls to the wall rock. I can dig this!
Arrangement: Mixing some laid back verses with some instrumental rock chorus. I love this experimentation.
Production: It sounds like how I think most of Maladroit should sound.
Performance: I’ll say it time and time again…the band as a four headed monster is Weezer at its best with performances. Keep this up guys.


Songwriting: Another weird burst from Rivers. Short and sweet and to the point. It brings you the rock in under two minutes. The song isn’t amazingly special, but I still enjoy it on every listen a little bit more.
Arrangement: Crank it to ten and push it out and never look back. That is what the band sounds like they are doing here. Sometimes you just have to do it and move ahead.
Production: Just like the previous song…It sounds like how I think most of Maladroit should sound.
Performance: ROCK!


Songwriting: An interesting moment on the album. This song could have been a standout on The Green Album but here it just feels a bit tired and boring. Is this Rivers reaching out for a potential radio hit during the Maladroit era? Sounds like it to me.
Arrangement: From the introduction, everything about this song just sounds a bit forced. I’m not into this.
Production: Basic and I can get behind that.
Performance: The first moment on this album where I feel like the band is going through the motions for a song. I don’t hear the band being too passionate about this one.


Songwriting: More riff based Rivers writing, and there’s a part of me that wonders if the stuff Weezer was working on in 1998 would have sounded like this. I dig it.
Arrangement: Great focus around the riff. This is great because the riff is killer
Production: Full on rock. Pat’s drums sound huge. This is the way he’s meant to sound.
Performance: The band is together on this one. You can tell they love that riff.


Songwriting: The “Knock-Down Drag-Out” of the album. Basic and boring rock song writing. I’ll pass.
Arrangement: There’s nothing here. It’s like the song just wants to keep hitting you over the head until it ends. Stop it.
Production: A typical Maladroit sound. It fits the song.
Performance: I don’t really have a good read on this. It’s like they bashed it out and moved on.


Songwriting: A wonderful pop rock song that suffers from one thing…too much thought from the writer. The original version of this song, known as “Do You Want Me To Stay” is far superior. Listen to that here.
Arrangement: Verse Pre-Chorus Chorus Verse Verse Pre-Chorus Chorus Solo Pre-Chorus. I can get behind something like that in this situation.
Production: A little too much gloss. Rivers’ vocals sound fake.
Performance: The band sounded more energized back when it was “Do You Want Me To Stay”.


Songwriting: Another interesting addition. Rivers pulls from 50’s era influences here and it makes a great song….but something’s off.
Arrangement: The introduction into the first verse doesn’t need to be there and that throws off the rest of the song. Also, it’s just performed way too fast.
Production: Go back to the demo the band recorded in DC to hear the best version of this song. It needs to be laid back just like this. The Maladroit version is way too frantic.
Performance: Is Rivers telling the band to perform this one super fast and the guys are like “wait, remember when this was laid back?” Sounds like it to me.



As a Weezer fan who went through “the lean years” between Pinkerton and The Green Album, I appreciate the band at this moment in their career for pumping out new music at a speedy rate. At the same time, Rivers could have used an editor at this point in their career (a common occurrence you will see when we get to future albums as well). With the magic of iTunes and Spotify, you too can make your own version of Maladroit, and in my experiments the album works really well when it is a ten song album with some alternate takes tossed in there instead of what we got in the finished product. Nonetheless, the album still has some great moments that are highly listenable to this day.



Music, Rivers Cuomo/Weezer Rankings 2017, Weezer

The Weezer/Rivers Cuomo Song Rankings (Part 4/14): The Green Album


Released: May 15, 2001
Recorded: December 2000–January 2001
Studio: Cello Studios, Los Angeles, California
Length: 28:20
Producer: Ric Ocasek

OK, so Weezer’s back after a 5 year hiatus….what’s this? I hear the crunchy guitars, quirky lyrics, and the sound is unmistakable for Weezer but….this is different. Let’s keep on listening.


Songwriting: Welcome to Rivers Cuomo Songwriter Part II. Very simple and focused. Almost calculated. Scientific. We get the sense that Rivers is on a quest to write the perfect pop song.
Arrangement: You can’t much simpler than this. Verse-Chorus-Bridge-Barely a solo. Weezer will repeat this for almost every song on the album.
Production: Ric Ocasek brings the crunch back to Weezer and reigns in the wild Pinkerton vibes.
Performance: It sounds like a well oiled machine.


Songwriting: More of the quest to perfect the pop song. This is a good short burst.
Arrangement: Simple once again. I have a feeling we’ll be repeating this again and again.
Production: Sounds like Weezer in a room ripping through a pop song. Well done.
Performance: More of the same as Don’t Let Go


Songwriting: What the hell is this James Bond-esque riff and lyrics about a hash pipe? I don’t get it, but it rocks. And I will take that.
Arrangement: Simple, but the nice buildup section after the second chorus changes things up. Experimenting with the perfect pop song!
Production: Wow, does that riff pack some wallop. Keep it up.
Performance: Weezer at some of their rock music best.


Songwriting: Simple and perfect, the lyrics combine with the music to evoke a very good mood for the listener. A very successful songwriting experiment for Rivers Cuomo.
Arrangement: More simplistic arrangements but for this one it is perfect. Every instrument falls into place.
Production: Ric Ocasek adds the perfect touch. The shakers and acoustic guitar make the song.
Performance: This song could not be performed any better.


Songwriting: The Rivers Cuomo songwriting experiment tries to write a balls to the wall rocker. It’s interesting!
Arrangement: Straight forward and focused. The song does not let up on the rock.
Production: Some wah guitar spices up the whole “let’s repeat the vocal melody for the guitar solo” schtick that is so prevalent on this album. I’m good with it.
Performance: Strong rock. Nothing much going on here but it is good.


Songwriting: A very straight forward and rather bland rock song. The lyrics, the melody, and the chords really don’t do much here. Is this the first dud of Weezer’s career? I think so!
Arrangement: Nothing special happening here at all, move along.
Production: For such a bland song, you’d hope the production might take it to a new level. It does not.
Performance: A rock band going through the motions.


Songwriting: A beautiful pop rock song with a strong melody.
Arrangement: Very basic. The only thing that stands out to me is the introduction and not in a good way. It doesn’t open the song in a strong way.
Production: Once again, a confusing production move. This song has an excellent melody and the songwriting is great, but the Green Album style of production just does not fit the song well. This song should’ve been given a lighter treatment.
Performance: Despite the choices on the production, the band still performs the song well.


Songwriting: A typical Green album era song. The verses are really stand out.
Arrangement: Let’s follow the Green Album Arrangement Schematic again, guys!
Production: Some nice touches on the lead guitar that help propel the track. The outro is a key moment of emotion on the album, which we don’t see much of other than on this song.
Performance: The band feels energized.


Songwriting: Interesting stuff here. It doesn’t exactly fit the Green Album mold, but that is a welcome change. On any other album I don’t think this one would make the final cut.
Arrangement: A great intro, but everything else is really more of the same
Production: Nice touches on the introduction with production.
Performance: I don’t hear a lot going on here with the band. More going through the motions.


Songwriting: A great Rivers Weezer ballad. The song hits a lot of emotional high points for this band at this time in their career.
Arrangement: Good stuff. Great introduction and an amazing bridge.
Production: The song has always sound a bit echo-y to me, giving it a unique sound for this album. It is a welcome closer.
Performance: A band working together to bring a strong closer to an album that is a bit divisive to the listener.


There are days where I really enjoy the quick burst of energy that is The Green Album and there are other days where I write it off. Back in 2001, this album drew strong emotions from me. At that point, I was a hardcore Weezer fan and I did not expect this. Going from the emotional rawness of Pinkerton to the scientific songwriting/controlled environment atmosphere of The Green Album was jarring. Over time though, what I’ve noticed is that a good song is a good song no matter how you record it or what album it ends up. This is the lesson I’ve learned from The Green Album. While not the best work the band has done, there are some great songs and performances.



Music, Rivers Cuomo/Weezer Rankings 2017, Weezer

The Weezer/Rivers Cuomo Song Rankings (Part 3/14): Pinkerton


Released: September 24, 1996
Recorded: September 1995, January–June 1996 at Sound City, Los Angeles; Fort Apache Studios, Boston; Hollywood Sound Recorders, Los Angeles; Rumbo Recorders, Canoga Park; Electric Lady Studios, New York City.
Length: 34:36
Produced by Weezer


Let the fun begin. Wildy loose guitars, some of the most personal lyrics I’ve ever heard, and a band that is playing together like a motherfucker, Tired of Sex is our introduction to the album. One of the all time “get ready for this” album openers.

Songwriting: A pretty basic song, what shines here are the lyrics. They’re so bizarre and personal. They really set the tone for the album
Arrangement: Ripping guitars lead the charge here, but let’s not overlook Patrick Wilson’s drumming. He’s bashing those drums and driving this song ahead.
Production: Get ready for an album full of this….dirty, loud, and jarring. It hits you hard but here’s the thing…you love it after a few listens.
Performance: One of the best rock bands of the 90’s firing on all cylinders.


Continuing in the vein of Tired of Sex, our second song is a simple rocker with lyrics that continue to communicate “the hurt” that the songwriter is going through.

  • Songwriting: Nothing special here, but it still works and it still works well. The bridge is a great part to break up the song.
  • Arrangement: Once again, pretty simple. Four guys rocking out.
  • Production: In my opinion, this song has the dirtiest guitars on the album. They’re a bit more jarring and take away a little bit from the song.
  • Performance: Like Tired of Sex, once again we have an amazing rock band.
  • SCORE: 9


Welcome back to Earth, sort of. This song begins a two song cycle that gives the listener songs that, if done slightly differently, could find a home on The Blue Album.

  • Songwriting: A beautiful chord change really excels the bridge, and the lyrics paint quite a telling picture of the person Rivers is singing about.
  • Arrangement: From the feedback of the intro to the neat guitar riffs of the second verse, this is some standout Pinkerton arragement.
  • Production: There are loud guitars and there are moments where everything breathes. A great balance.
  • Performance: I feel different members really giving their all into making this song what it is. A great collaboration on performance.
  • SCORE: 10


The rocker to end all rockers on the album. A short burst of personal, quirky rock. This one comes at a perfect time as the fourth track on the album. It nicely ties up the first bit of the album and prepares the listener for the second half.

  • Songwriting: Some of the chord changes in this song are slightly unexpected and that’s a good thing. Rivers could have gone basic and simple here with this one, but instead is throwing curve balls in a standard rock song.
  • Arrangement: Nothing special here but some fine little additions like the three part stomp before the final chorus “this happened to me twice before” add nice little bits of flavor in here and there.
  • Production: Raw Pinkerton power. That is all.
  • Performance: A rock band executing a rock song very well.
  • SCORE: 10


The gem. The middle of the album. The moment where you, the listener, realize that Weezer isn’t just all fun in the sun quirky pop rock songs. This is where Rivers takes it to another level.

  • Songwriting: Absolute perfection. A pop song with elements of classic music and wearing a rock band outfit. The song has movements that carry the listener with them, and wow is it a great ride. If the entire “Goddamn, this business is really lame
    I gotta live on an island to find the juice, So you send me your love from all around the world, As if I could live on words and dreams and a million screams, Oh, how I need a hand in mine to feel” doesn’t make you feel something then you are dead inside.
  • Arrangement: You can’t get much better than this. The quiet introduction, the strummy and distorted guitars, Pat’s flawless drumming, and a breakdown bridge for the ages.
  • Production: Great backing vocals from the band, great ideas on how to structure the song.
  • Performance: There’s something special going on with this song and the band can feel that, thus they turn in one of their best performances ever.
  • SCORE: 10


The “it should’ve been a huge single” song from the album, The Good Life is triumphant in both its music and lyrics. A bright spot of hope given by the songwriter in an album that is otherwise full of slight downers, this one should have been the big song of 1996-1997.

  • Songwriting: We get more of the Across The Sea pop/rock/classical songwriting and that’s a good thing. This song has movements as well and they’re all great.
  • Arrangement: Floaty guitars in the solo and bridge, xylophone, and slide guitar bring this song to new levels. Nice little touches to expand the scope of the band.
  • Production: See arrangement…all of the nice little touches serve the song very well.
  • Performance: More excitement from the band. When the band gets into a song, YOU get into a song. This is what makes Pinkerton so very amazing.
  • SCORE: 10


The first single, the one that was destined to fail when everyone heard the first line “goddamn you half-Japanese girls”. But you know what? It failed, but we still got the song and the song is amazing.

  • Songwriting: Rivers goes back to something simple and effective and it works. The lyrics stand out as a great in depth almost steam of consciousness journal entry.
  • Arrangement: Great guitar riffs, off kilter bends and lead guitar lines, and bassist Matt Sharp at his most raw and fun with backing vocals..
  • Production: A weird song requires weird production and here we get exactly that. The band sounds like they are in a room together recording these vocals (and yes they are).
  • Performance: The backing vocals say it all. More fun from the band translates into a great performance. Give me more of this. The bridge is some of the neatest work the band has done.
  • SCORE: 10


“I’m dumb she’s a lesbian” is a great line for a chorus. The imagined romance lyrics of the verse going into the Rivers giving himself forty lashes in the chorus lyrics are a great juxtaposition. Another really wonderful tune on an amazing album.

  • Songwriting: Rivers taking some leaps in the chorus and bridge and definitely makes a statement with the lyrics
  • Arrangement: The return of the xylophone and the slide guitar. We welcome it back with open arms.
  • Production: A wonderful balance between the raw Pinkerton sound we have come to hear on the album and the pop rock classical style Rivers introduced us to earlier in the album.
  • Performance: I’ve said it seven times before and I will say it again…a great performance. Not the best on the album, but any band would kill for a performance like this at least once in their career.
  • SCORE: 9


Another absolute gem on the album. You know that pop rock classical style Rivers gave us an introduction to in Across The Sea? Here it is again and it is even better.

  • Songwriting: Rivers writing one of his most technical songs. The chords, lyrics, and melodies all weave together perfectly here. The songwriter takes a huge change and succeeds wildly.
  • Arrangement: Perfect. The transition from the second chorus into the solo and then into the bridge is nothing sort of genius. Loop that and let me hear it again and again.
  • Production: One more of the raw Pinkerton sound before we get the quiet album closer. And it couldn’t sound any better. Give me more of that feedback please.
  • Performance: Patrick Wilson on drums ladies and gentleman. Rivers may have wrote this entire album himself, but Patrick Wilson takes it to another level with his performances.
  • SCORE: 10


Goodbye, and thanks for listening. Rivers Cuomo on vocals and guitar with a touch of drumming from the great Karl Koch. You expected more loud, raw Pinkerton guitars and drums? Well you’re not going to get that. Instead, this one leaves you with a kind vibe in your head. Now put the album on repeat and enjoy it again….and again.

  • Songwriting: A simple song with a simple verse that flows directly into a simple chorus. The song almost feels like a prayer.
  • Arrangement: Simple and easy. The song calls for this and Rivers gives it to them.
  • Production: There’s not much here, but the addition of the slight drums in the second verse really
  • Performance: Pinkerton is raw, and nowhere is this more evident than when Rivers’ voice cracks on this song. Warts and all.
  • SCORE: 9


A defining album for an entire generation. Pinkerton may not make you feel great on the inside and heck, you may not even be able to listen to it more than once but I urge you to give it a shot. For me, music doesn’t get much better than this. When you combine great songwriting with great performances and wonderful arrangements in a pop rock setting, you have me hooked. There’s a reason why Weezer fans cannot get into the band’s post Pinkerton material…it’s because Pinkerton is such a masterpiece, and it’s really hard to follow up on perfection.

Once you’re done listening to it, track down all the b-sides and outtakes you can find. You will not be disappointed.