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.


Music, Rivers Cuomo/Weezer Rankings 2017, Weezer

The Weezer/Rivers Cuomo Song Rankings (Part 2/14): The Blue Album


Released: May 10, 1994
Recorded: August–September 1993
Studio: Electric Lady Studios, New York City, New York
Length: 41:26
Producer: Ric Ocasek


One of the all time great opening tracks of any album, let alone debut albums. An instant classic.

  • Songwriting: Weird thought provoking lyrics, great 6/8 time, very distinct section.
  • Arrangement: Great from the acoustic introduction, beautiful harmonica during solo.
  • Production: Well organized song with not too many parts taking away from the song.
  • Performance: The band is humming on all cylinders here. A great performance.
  • SCORE: 10


A near perfect power pop song with an extremely catchy chorus, a sign of what was to come with Weezer.

  • Songwriting: A rather meticulously crafted pop song. Very compartmentalized.
  • Arrangement: The chorus post guitar solo is a key emotional moment. Driving guitars sum up the “Weezer sound”.
  • Production: Pretty basic stuff that allows the song to focus and thrive
  • Performance: Rivers sings the hell out of this one.
  • SCORE: 8


The first dive into the longing, hard rock, emotional sound of Weezer. This tune kind of hints at the emotional rawness that was to come with their second album, Pinkerton.

  • Songwriting: Like No One Else, meticulously crafted pop songThe repeating chorus has an almost mantra like effect on the listener.
  • Arrangement: Pretty basic stuff here. The solo takes the song to a new level and concludes with a great group vocal outro.
  • Production: Pretty basic stuff that allows the song to focus and thrive
  • Performance: The version of Weezer that tracked this song (a three piece) plays really well as a unit.
  • SCORE: 8


The song (with the video) that really brought the attention of the masses to Weezer, Buddy Holly is a near perfect pop song for the year of 1994.

  • Songwriting: If Rivers was attempting to understand and catalog his songwriting at the time this tune was written, Buddy Holly should be up there as a perfect example of pop songwriting during 1993-1994.
  • Arrangement: A pop song at the core with a bridge that jumps out of nowhere and is a very welcome addition to the song. Followed by a great singalong solo and taken out by the killer chorus.
  • Production: Weezer expands their palate here and adds some synthesizer, a very well placed addition to take the song to levels of pop perfection.
  • Performance: The first Weezer song in the catalog where Rivers feels like he’s in charge of all aspects of the performance. Listen to the demo to understand this statement.
  • SCORE: 10


This song is perhaps one of the most perfectly placed songs on any album. Right after the blistering intro followed by three near perfect pop songs, Undone brings a bit of rock and weirdness to this album at the perfect time.

  • Songwriting: As one of the first Weezer songs, this tune gives a glimpse into how the band started and how they really had the core of their sound from the beginning.
  • Arrangement: The lingering intro and simple three chord verse/chorus is deceptive, making the listener think that’s all there is. But by the time of the key change in the solo and into the outro, you’re taken to new levels with the tune.
  • Production: Acoustic guitar, pounding drums, and noise. A cacophony of delight.
  • Performance: The band (a three piece for the recording) as a one headed performance monster.
  • SCORE: 10


A simple balls to the wall rocker, Surf Wax America seems like it was designer to get the crowd pogoing up and down while singing along to the infectious chorus.

  • Songwriting: A collaboration between Rivers Cuomo and drummer Patrick Wilson, this song brings together the best bits of what I like about each of these guys.
  • Arrangement: Perfect. The chorus blasts into the song every time. The bridge and vocal harmony break down take the song beyond a pop song and it creates something unique. This is the sound of Weezer.
  • Production: Simple and straightforward, perhaps neatest moment is when Rivers lets loose on the final “let’s go” before heading into the outro. A wise choice.
  • Performance: Straightforward and effective.
  • SCORE: 8


The divisive third single from the popular debut album, Say It Ain’t So showed that Weezer doesn’t have to have grinding guitars humming along at all times. This song showed just how well the band can use the quiet verse/loud chorus trick to propel a song to a new level.

  • Songwriting: Rivers begins to explore the emotional side of songwriting. The honesty and brilliance of the lyrics makes this one never get old.
  • Arrangement: Perfect quiet/loud dynamics, a killer bridge, and a solo for the ages.
  • Production: Ric Ocasek lets this one breathe when it needs to breathe and lets it crush when it needs to crush.
  • Performance: Matt Sharp’s bassline is often overlooked, but it gives the band a new dimension. Well done.
  • SCORE: 10


A song which brings back the crunchiness of No One Else and Surf Wax America while at the same time looking ahead to new dynamics and sounds, and also looking back at everything that has shaped Rivers as a musician.

  • Songwriting: Rivers is once again here on this song perfecting his approach to pop rock songwriting in 1993-1994.
  • Arrangement: Not much new here, but everything works well and is effective. The fuzz bass on the second verse is great.
  • Production: Keeping with the acoustic intro, crunchy guitar, mind blistering solo format. You don’t need to fix something that isn’t broken.
  • Performance: Rivers is singing and playing this one like it really means something to him. You can tell. His double tracked vocals on the last chorus are killer.
  • SCORE: 10


Our first and only vacation on The Blue Album, this tune is a slight detour in terms of scope and style of the album but like any vacation it is a very welcome one.

  • Songwriting: It’s almost as if you can hear Rivers focusing on his pursuit of the perfect pop song in this one.
  • Arrangement: Like Surf Wax America, this song greatly benefits from a vocal harmony breakdown. It comes in at the perfect moment and leaves just when it needs to leave.
  • Production: The addition of what I like to call “the organ sounding lead guitar” expand the band’s sound.
  • Performance: This is the best vocal harmony breakdown the band has done to date.
  • SCORE: 9


The perfect closer, an epic eight-minute performance that brings together the Weezer sound and draws it out in an epic manner that we’d see more of in the future.

  • Songwriting: Another early Weezer song, you can kind of hear Rivers trying new things with his songwriting on this. He hasn’t quite got what he wants to do yet, but this is a great experiment nonetheless.
  • Arrangement: Pretty basic until the buildup. The buildup and outro sound like what every garage band in the world hopes to perform at some point.
  • Production: The drums on this song sound so huge and hint at one of Pinkerton‘s best features, Patrick Wilson on drums.
  • Performance: Weezer’s version of jamming. It needs some work, but I can get behind it.
  • SCORE: 8


One of the best debut albums of all time. The whole album works so well as a set yet it is so easy to pull out just one song and identify it as a favorite. Most bands hope to write at least one song that’s as good as any song on this album. Weezer managed to do that with ten songs on their first album.



Music, Rivers Cuomo/Weezer Rankings 2017, Weezer

The Weezer/Rivers Cuomo Song Rankings (Part 1/14): Introduction


(for my past writings that have focused on Weezer, click here)

Being a fan of Weezer/Rivers Cuomo requires the person listening to this music to be comfortable with having extreme highs and extreme lows. Since Weezer came onto the scene in 1994, they’ve steadily put out some of what I consider to be the best pop/rock music I’ve ever heard, and at times they’ve also put out some music which I consider to be cringe-inducing and to quote their most popular video, “not so good, Al

Rivers Cuomo, the main creative force and songwriter behind Weezer, is known for his particularly obsessive pursuit of the perfect song (read more here and here) and over time has gone to great lengths to document, understand, and catalog his songwriting the the process. Being a librarian, I have to say that this excites me quite a bit. I love the scientific approach he takes to his music, as it shows how it grows and develops and changes over time.  When I think about the music of Weezer/Rivers Cuomo, I too try to understand my love for these songs in a way that Rivers may appreciate and with this series I will share that with you.

Starting today, I will begin a series called The Weezer/Rivers Cuomo Song Rankings where I take a deep dive into the 12 studio albums Weezer has released plus one selection focusing on the B-Sides, Demos, and Outtakes that will act as a catch all for everything that did not end up on the albums. Below is a list of the posts which I will be writing over the next month or so:

  1. Weezer (The Blue Album)
  2. Pinkerton
  3. Weezer (The Green Album)
  4. Maladroit
  5. Make Believe
  6. Weezer (The Red Album)
  7. Raditude
  8. Hurley
  9. Death To False Metal
  10. Everything Will Be Alright In The End
  11. Weezer (The White Album)
  12. Pacific Daydream
  13. B-Sides, Demo, Outtakes

My methodology for ranking these albums is simple: each song from each album will get a score between 0-10. When tallied together, the album will have an overall total score. This number will then be divided by the number of songs on the album, giving it an overall average score. The score which each song receives will be decided by the following:

  • Songwriting: Is the song well put together? Is it unique or derivative? Are the lyrics any good?
  • Arrangement: is the song well arranged and put together in a listenable way?
  • Production: does the production go with or against the song?
  • Performance: does the performance of the band hold up and match the song?

I hope you enjoy this series. I have been enjoying writing it and looking in depth at some of my favorite music in the world. See you at the next post, when we’ll focus on 1994’s WEEZER (THE BLUE ALBUM).

Justin The Librarian's Jamboree, Music

Justin The Librarian’s Jamboree EPISODE ZERO: Take Your White Knickers Off

Welcome to Episode Zero of Justin The Librarian’s Jamboree.

I’ve always loved listening to and making music, but I’ve never been great at sharing what I’ve been into at the moment. Justin The Librarian’s Jamboree is my attempt to change that. This will be a 30-60 minute weekly radio show that does two things: we’ll share the music that I’m currently listening to and talk about what makes it so appealing.

I’ve been really into the WHITE ALBUM by THE BEATLES recently. This mix presents an alternate view of the album, leaning heavily on the experimental side of the sessions before moving onto the campfire-esque singalongs that I imagined they had while they were in India.

Music, Weezer

Justin Hoenke’s Weezer Song Rankings (Winter 2016 Edition)


To read the Winter 2016 Edition of my Weezer Song Rankings, please click here!

I listened to quite a bit of Weezer in October-November 2016 which then prompted me to update my song rankings to see how my Weezer listening habits changed over a few months (click here for the Summer edition of these rankings)


  1. Pinkerton
  2. The Blue Album
  3. Songs from the Black Hole
  4. The White Album
  5. The Green Album
  6. The Red Album
  7. Everything Will Be Alright In The End
  8. Make Believe
  9. B-Sides
  10. Maladroit
  11. Unreleased Music
  12. Raditude
  13. Death to False Metal
  14. Album 5 Demos
  15. Alone I-III
  16. Hurley

The White Album made a huge leap in the rankings, jumping from #8 to #4. This album really grew on me over the past few months. The songwriting on it is a great combination of the best of early Weezer and post Green Album Weezer. I find myself going back to the songs quite a bit. I’m not 100% sure of why Everything Will Be Alright In The End dropped in the rankings, as I’ve grown to love that album even more than I did before. It may be due to the fact that I think Green and Red just have some amazing songs that rank really high (for the song rankings, see below) and Everything Will Be Alright In The End did not have as many of those. However overall, that album is much more solid (in my opinion) than both Green and Red.


I made some slight tweaks to most of the song rankings, but what I really focused on was trying to hone in on what I considered to be “perfect 10” songs. Here’s my list of those perfect 10 songs:

Crazy One 10 Alone (I-III)
Miss Sweeny 10 B-Sides
Mykel And Carli 10 B-Sides
The Prettiest Girl In The Whole Wide World 10 B-Sides
Cleopatra 10 EWBAITE
Across The Sea 10 Pinkerton
El Scorcho 10 Pinkerton
Falling For You 10 Pinkerton
The Good Life 10 Pinkerton
Tired Of Sex 10 Pinkerton
Why Bother? 10 Pinkerton
Trippin’ Down the Freeway 10 Raditude
Longtime Sunshine 10 Songs from the Black Hole
My Name Is Jonas 10 The Blue Album
Say It Ain’t So 10 The Blue Album
Island In The Sun 10 The Green Album
The Angel and the One 10 The Red Album
The Greatest Man That Ever Lived (Variations on a Shaker Hymn) 10 The Red Album
L.A. Girlz 10 The White Album
Summer Elaine and Drunk Dori 10 The White Album
Baby 10 Unreleased
Mad Kow 10 Unreleased
My Brain Is Workin’ Overtime 10 Unreleased

These are the Weezer songs I find myself listening to and enjoying the most. They’ve got everything I look for in a great Weezer song: melody, chords, quirky arrangement, rawness, and emotional power. Everyone’s list of their favorite Weezer songs is going to be different and it’s going to grow and change. I really look forward to seeing what some of your favorite songs are!


I’ve liked Weezer for a long time. I still continue to like Weezer quite a bit. They’ve contributed many songs to my personal soundtrack. I hope everyone has this kind of band in their lives.

Music, Weezer

Justin Hoenke’s Weezer Song Rankings (Summer 2016 Edition)


To read the 2016 Edition of my Weezer Song Rankings, please click here!

As any completely obsessed Weezer fan may do, I’ve spent a good part of this year rating and ranking all (I think I’ve got them all) of Weezer/Rivers Cuomo’s catalog of songs that I have heard. Having been a devoted fan since 1994, a lot of my personality and history is tied into this band. I wanted to understand my listenings habit and decided that this song rankings list was the best thing for me to do to help me in my quest!


First and foremost, I organized the songs by proper album releases. If the song was not on an album, I did my best to fit it into a category that made sense to me. Most of these songs ended up as B-Sides or Unreleased, but some went into the specific category of Album 5 Demos. Perhaps when I do my second pass at these rankings I will get into further detail but for now, the songs rest where they are. I decided on a simplified “1-10′ rankings style instead of getting into decimals and very specific song rankings. Perhaps those very detailed rankings are for another list, but for now I’d rather spend that extra time with my family. Songs only went into one album category. While I understand this may throw off the rankings a bit, I did this out of ease. One example of this is Longtime Sunshine. I placed this song on the album Songs From the Black Hole instead of listing it on Alone I-III or Pinkerton. Tracks on deluxe editions were mostly placed into the B-Sides category.


  1. Pinkerton
  2. The Blue Album
  3. Songs From the Black Hole
  4. The Green Album
  5. Everything Will Be Alright In The End
  6. Make Believe
  7. The Red Album
  8. B-Sides and The White Album
  9. Maladroit
  10. Unreleased
  11. Death to False Metal
  12. Raditude
  13. Album 5 Demos
  14. Alone I-II-III
  15. Hurley

The top and bottom of this list came as no surprise. Albums 1-3 have consistently ranked this way for me. Albums 11-15 came out pretty much as expected, other than Alone I-II-II ranking at #14. Alone is listed as one collection, and being a demos collection suffers from some less than exceptional songs or sketches of songs. I believe this is the main reason that the set of 3 albums ranks so low.

Albums 4-11 surprised me considerably. I had long thought that I did not hold The Green Album in high regards, but these rankings changed my mind. I expected The Red Album to be ranked higher, but in review of my ratings I see that what I really like from that album are two songs specifically: The Angel and The One and The Greatest Man That Ever Lived. Albums 4-11 also suggest to me that I am more of a fan of albums that contain more straight-forward pop songs (Green, Make Believe) than albums that branch out a bit (Maladroit, The Red Album). Individually, I may like some songs on the albums that branch out more but as a whole I enjoy the straightforward pop albums more.


Songs from Pinkerton and The Blue Album ranked the highest as expected. The rest of the songs that were ranked between 7-10 were quite a mix of songs from all different eras of Weezer. This confirms something to me that I’ve thought long about Weezer: a good song is a good song no matter the era it came from. Weezer’s music from 1994 to present has varied greatly in style and composition, but at the core the good songs stand out. The songs at the bottom of the rankings stand out to me as well because a lot of them are fragments or demos. This suggests that I prefer more complete recordings over demos.


  • Despite the fact that The Green Album is very much a straightforward collection of pop music with songs containing very similar structures, it turns out that I like it quite a bit! I will listen again to this album over the next few months and report back.
  • At the time of its release, Make Believe was widely panned by critics and fans alike as being a “sell out” album. It is easy to see this with the success of Beverly Hills and Perfect Situation as singles. However as a whole the album stands up as a great collection of songs. Most of the songs on the album have ratings of 7 or 8.
  • The song rankings on Maladroit are very interesting, with all of the songs either ranking at 6  or 7 (Two songs get a five and Possibilities gets a 2).
  • No song from Hurley ranks higher than a 6.


Curious about my past writings on Weezer? You can read them by clicking here

Music, Weezer

REVIEW: Weezer “The White Album”

For all of my Weezer related writings, please go here!


According to most if not all reviews of Weezer’s 2016 “The White Album”, Weezer is back and at their best level since 1996. Here’s where I believe those reviews are wrong: Weezer’s been back for awhile now and despite some low moments, they’ve been making some amazing and interesting music since officially “coming back” in 2000.

“The White Album” is a beautiful album full of crunchy guitar, off kilter leads, awkward lyrics, and stellar drumming from Pat Wilson. It is a very typical “Weezer” album in the fact that it covers all of these bases, but at the same time it does something that Weezer albums have not quite done: it takes the energy from their first two albums and mixes it PERFECTLY with their perfect pop song sensibilities that they’ve been honing since “coming back” in 2000. Weezer isn’t back; they’ve just finally managed to bring everything together from their career in a nice 10 song package.

Rivers’ songwriting collaborations have always been questionable to me, but it is on this album that they finally really pay off. You can hear the co-writers pushing Cuomo to new levels in order to get the best songs possible. Pat’s drumming is once again one of the standouts on this album. I realize that I say this about almost every album, but queue up “Jacked Up” and turn up the volume. Pat’s drums drive the song. Scott’s bass isn’t as high in the mix as I’d like it to be, as his bass lines are always melodic and perfectly timed for this band. Brian’s got the little interesting and beautiful tidbits from guitar and piano covered on this album. It’s almost as if he’s the real star of this album, lending not only his arranging and playing skills to every song but also helping co-write.

High points? Wind in Our Sail, (Girl We Got A) Good Thing, Summer Elaine and Drunk Dori, LA Girlz, Jacked Up

Overall, “The White Album” is a really solid and well crafted set of 10 pop rock songs from a band that excels at giving us albums that can make you smile and sing along.