Customer Reviews

Hurley

5 star:		(8)
4 star:		(13)
3 star:		(10)
2 star:		(4)
1 star:		(0)

 

 

Listen, I'm a really big Weezer fan. And no matter what they put out, I will keep listening. I agree with what I've heard a lot of people say: Raditude was definitely my least favorite Weezer album. But unfortunately, I don't feel that Hurley is much better. Are there some good songs on this album? You bet. I really dug "Ruling Me," "Smart Girls," and "Time Flies" (which has sort of a rough, scratchy, old LP sound to it that is very cool). But aside from those few, I often felt like I was listening to the same song over and over again.

I hate those people that point back to the 90's and say "This is what Weezer used to sound like and now they suck." No, they don't. Bands will naturally change and evolve over time, but it may not always be for the better. It seems like with The Red Album, there was a shift in tone where the lyrics became more goofy and simplistic (although there was still a lot of musical experimentation on Red that I really liked). It's not as though some of their songs weren't goofy before, (that's always been part of the band's charm) but now they just seem intent on creating simple "party" music with repetitive, pop-punk rhythms. That was the foundation of Raditude, and much of that sound carries over to Hurley.

When I listen to these last two albums, I have to ask myself, "Would I really like this music at all if I didn't already like Weezer?" I'm not sure. At least on this album, it feels like there are a few touches of the "old" Weezer in there. So I guess it's a step in the right direction. But I would love to hear some of the passion and flair that graced their earlier albums return. Like I said before, I am a huge fan and I will keep listening no matter what. I'm fine with the band evolving, I just don't necessarily enjoy the place they're at right now musically.

When weighing anything Weezer has recorded in the last decade against such classics as their eponymous blue album or Pinkerton, you're more than likely going to be very disappointed. Rivers stopped writing serious lyrics long ago, and since then has seemingly been on a quest to sell out as much as possible (Weezer Snuggie, album title controversy, etc.) while simultaneously pumping out some of the most generic pop/rock songs ever made. Their last two albums in particular were forgettable endeavors that often sounded like theme music for a Nickelodeon show. In recent times, they are commonly considered wash-ups with cringe-worthy lyrics. Say it ain't so.

Going into the album, I expected the worst because Rivers has a propensity to let his longtime fans down these days. All that aside, I'm rating this album based on its own merits. The first thing you notice is the cover. Their album covers were never very serious, but this is certainly their most ridiculous cover yet.

Memories - This song hints that maybe somewhere buried under the garbage, the old Weezer is somewhere to be found. The chorus lyrics will make you want to listen to classic Weezer. (6/10)

Ruling Me - Reminds me of the green album. It has nice back-up vocals reminiscent of Red Hot Chili Peppers. It's probably one of the catchiest, most Weezery songs on the album. (9/10)

Trainwrecks - This sounds like an Aldous Snow song on the Get Him to the Greek soundtrack. Catchy melody but mediocre lyrics about topical things like forgetting to check blogs, kicking ass, etc. (7/10)

Unspoken - Rivers puts on the voice of a toddler that truly irritates me. Aside from that, the song is pretty good until it goes into the "rock out" section. (6/10)

Where's My Sex - Songs like this make me wonder why I still bother giving Weezer a chance to redeem themselves. The lyrics are embarrassing to the point where I question whether Rivers really attended Harvard. This song represents everything I hate about Nü-Weezer. (0/10)

Run Away - Rivers makes up for the disaster on the previous track. I really enjoy the chord progression used in this song. The back-up vocals are nice, and the lyrics are simple but poignant. I consider this the key track of Hurley. (10/10)

Hang On - This song is alright. It would probably make nice driving music. The layering is what makes it passable. (6/10)

Smart Girls - At first, I thought this would be a cover of the Brian Wilson song. It might as well be; it's just as misguided. This song would be better as an instrumental. I'm sure it will be the credit music for the next Cameron Diaz romcom. (4/10)

Brave New World - This song is very forgettable. I keep thinking he's going to say "This is the dawning of the... age of Aquarius." (3/10)

Time Flies - I like what they were trying to do here with the lo-fi barroom romp closer. Do I think it worked? I'm not really sure. (5/10)

Overall, this album reminds me of the band Lit. Yes, Lit. (The world has mostly forgotten about this band and I'm actually surprised that I remember them.) This isn't really a good thing. I hate to say it but I think Weezer might be finished for me.

Here we go again, another Weezer album and another divide amongst their "fans". Nothing else needs to be said about Blue and Pinkerton, they're 16 and 14 years old and Weezer will never make them again. That being said, here is "Hurley", the follow up to the critically reamed "Raditude", and once again people are saying that it sounds like old school Weezer. The only thing I can say to that, is that the auto-tune to River's voice seems to be gone, which is definitely reminiscent of the 90's. Other than that, I don't really hear it. The first single, "Memories" is kind of odd to me, because I'm shocked that people really dig it. Sure, it's an ode to the good old days, but it certainly doesn't sound like the good old days. It's just kind of... cheesy. "Ruling Me" breaks in and it is certainly a far superior song to "Memories" (my ocular nerve went pop zoom!). The rest of the tracks are pretty good ("Unspoken", "Train Wrecks" etc.), save for "Where's My Sex" and "Smart Girls", which I truly believe are two of the worst Weezer songs I've ever heard (up there with the Bollywood song from Raditude). My major problem with this album however, is that there are MULTIPLE opportunities for sweet guitar solos to kick in. You can actually feel them coming... but then they don't. I mean, there is literally one guitar solo that I can count on the whole record. If they were overly done on Green, they are completely lacking on Hurley. It's actually kind of frustrating to wait for the guitars to kick in, and then not get them (kind of like blue balls to the ears). So, ultimately, Weezer remains consistent in that they continue to put out albums that have a few really great songs on them, but overall don't really make a huge impact. That's not a bad thing, considering the rate they put them out at now (River's stated in Rolling Stone that he's already got the next album recorded and is starting on the one after that!), but let's not pretend that it's something it's not.

Rivers Cuomo and company have a lot of tricks up their sleeve as usual with the curiously titled "Hurley," but now that they are off the majors and into the minors (record-label wise, of course), the results are all the more colorful, adventurous, sprawling - and unhinged.

A plethora of excellent song writing talent comes along to collaborate with Cuomo. The semi-retired (for now) and profoundly brilliant Ryan Adams co-writes, unsurprisingly, the album's finest track, "Run Away." Adams is especially adept at deftly articulating the power women have over him, and this theme not only covers this awesome slice of power-pop like wallpaper but fits Weezer like a glove. The same theme recurs on the cheeky, surprisingly effective "Where's My Sex?" and the lyrically grabbing "Ruling Me," co-written by rocker Dan Wilson.

Tony Kanal of No Doubt fame also contributes to the angsty, shimmering "Smart Girls," which would easily fit onto one of Weezer's earlier LPs. Lead single "Memories" is pure power-pop pleasure with its over-the-top vocals and organic, plugged in, garage rock feel and evocative, sentimental lyrics.

The less interesting tracks like "Trainwrecks," which does not quite find its footing, and "Brave New World," which is covered wall-to-wall with cliched lyrics, still make for fine if less memorable listening than the surrounding highlights. More assured tracks like the sincerely romantic (yet sap-less) "Hang On," with its heavy guitars and confident vocals, rub against them nicely, creating a warm album that flows well.

It is difficult to imagine a potential buyer for a Weezer record who would go for the standard edition over the deluxe, which is obviously worth the few extra dollars. Their impromptu-sounding cover of Coldplay's "Viva La Vida," with unobtrusive studio laughs and banter in the background, is heady, inspired and a joy to hear. In a less formal environment the lyrics of the song breathe easier than they did on the original. "I Want to Be Something" is raw and emotional, and "Represent (Rocked Out Mix)" ends the album with ferocity, confidence and swagger.

It seems independence suits Weezer well.

I have been a fan of Weezer for years now, since their wonderful Blue Album came out in 1994. This is now their eighth studio album, and it's a pretty good one. Yeah, I agree that it's not their best album, and none of the songs is likely to become a hit.

But, it is nonetheless a good, solid Weezer album. The tracks are all quite good, and fun to listen to, yes quite reminiscent of their early work. I like Weezer, and I like this album - especially Memories and Ruling Me. If you are a Weezer fan, you will not be disappointed. I certainly wasn't!

I've read a lot of reviews on Amazon that rip this album to shreds, and I have to wonder if these people are listening to the same album I am. While it's true that the album is not perfect (there are definitely a couple of clunkers on here), by and large, it's an amazing album. Maybe the negative reviewers didn't really give it a chance, and who can blame them, after the abomination that was Raditude?

But this album deserves a chance. It's a bit of a grower, but if you'll remember, so was Pinkerton. It took several years for the reputation of that album to change from the second worst album of the year (from Rolling Stone readers in 1996) to one of the greatest albums of the era. I doubt this album will ever achieve the same status as Pinkerton because that album did not have a single misstep, and this one has two, but I'd be very surprised if the stature of this album didn't grow with time, maybe even into that of a minor masterpiece.

Now, the two aforementioned missteps are pretty bad, so here's my advice: make a CD or an iPod mix deleting those two songs ("Where's My Sex?" and "Smart Girls"), and what you're left with is eight songs clocking in at just over 27 minutes. More of an E.P., really. But what an E.P. it is.

First, the bad. As I said, "Where's My Sex?" and "Smart Girls" are both pretty awful, but between the two, "Where's My Sex?" wins the razzie, hands down. It's epic bad. Like "We Are All On Drugs" bad. The conceit of the song, such as it is, is singing about socks as if they're sex (or singing about sex as if it's socks; I'm not really too clear on that, but it doesn't matter - you get the idea). It apparently came from a cute malaprop his daughter made confusing the two. But that's the kind of thing you post on Facebook, not write a song about. Anyway, if I'm making it sound terrible, it's not as bad as you think. It's worse.

On the other hand, "Smart Girls" is just mildly irritating. It consists mainly of listing girls' names and then singing a chorus of "Smart girls - never get enough of those smart girls," etc. If they're so smart, why not say something smart about them, Rivers? That's how you get smart girls. It's hard to imagine any truly smart girl could possibly like or be flattered by a song this stupid.

Anyway, that's it for the bad. Now for the good - pretty much everything else. Yes, there are the occasional lapses into Red Album lyrical absurdity ("One day we'll...crash a Diddy party in disguise" from "Trainwrecks" as an example), but by now, we've come to expect that from Rivers. Ever since he lost Matt Sharp as an editor, he's been unable to distinguish the difference between good, silly fun and complete lunacy. And as Spinal Tap so famously observed, there's a fine line between stupid and clever.

But from the first song onward, this album overcomes its minor shortcomings and keeps you fully engaged (and, by the way, from this point on, I'll be referring to the album as tracks #1-8, ignoring "Where's My Sex?" and "Smart Girls").

The opening track, "Memories," is just that: a dizzying collection of very specific details chronicling the rise of Weezer as a touring band from the garage to the Playboy mansion and everything in between, to a chugging riff and a soaring chorus, and it's every bit as entertaining as it sounds.

The next song, "Ruling Me," is co-written by Dan Wilson from Fountains of Wayne and contains such F.O.W.-styled lines as "My ocular nerve went pop-zoom," but also shares Wilson's gift for insanely catchy, melodic power-pop.

Third track "Trainwrecks," despite a few silly lyrics, is a rousing Gen X/GenY/Gen-9/11 anthem that, played live, will practically dare people not to pump their fists and cheer.

But the first of several real detours that make this album special is track four: "Unspoken." It is the most nakedly confessional song Rivers has done since Pinkerton. It starts warmly and pleasantly enough, but in the chorus, it turns suddenly dark, and its desperation becomes almost palpable. "And if you take this away from me, I'll never forgive you, can't you see? Our life will be broken. Our hate will be unspoken." This is the kind of song many of us have been waiting for for almost fifteen years. And the flute that flutters through the verses (yes, a flute) gives the song a dreamy, early-70's vibe that makes the chorus crush you that much harder.

The next song, "Run Away," co-written by Ryan Adams (if you're wondering how that pairing could possibly work, you're not alone; but it works better than you could possibly imagine), may well be the best song on the album. It starts off as a scratchy solo-Rivers piano demo, where he sounds as vulnerable as he has ever sounded, and then turns into...well, that's kind of hard to explain. Is it a hard-driving anthem? Is it a lovely ballad? It's a bit of both, actually, and it's power-pop perfection.

Track six, "Hang On" starts with a nail-biting tension that builds and builds into a chorus with the kind of crescendo we haven't heard since "Surf Wax America." It's a song about maintaining hope in the face of adversity, and it sounds fittingly triumphant.

The following track, "Brave New World," sounds like a cross between Gary Numan and MGMT, as interpreted by Weezer. Yeah, I know. That sounds weirder than the Ryan Adams thing on paper, but it actually works (a lot better than their wincing cover of Numan's "Are Friends Electric?" from the "Pork and Beans" single).

But they save the best for last. "Time Flies" is another song that starts as a demo, but this time, it stays that way for the duration. Just guitar, vocal, keyboard, and a steady but unobtrusive kick-drum. And when I say demo, I mean demo. This song is so lo-fi, it makes Pavement sound like Pink Floyd. But it's the perfect medium for the confessional nature of the lyrics. In the past, when someone used the words "confessional" and "Rivers Cuomo" in the same sentence, you pictured anger, bitterness and nearly unhinged rage or sorrow. Not this time. This song finds Rivers sounding happier and more at peace than he ever has before, and it's absolutely life-affirming. It's the perfect end note to a (near) perfect album.

Get this album now, if you haven't already. And if you've already got it but put it aside, listen to it again. And again, and again. You won't be sorry. And if you don't, it's truly your loss.

I've listen to Weezer for many years, and I've been really disappointed with the band's last three CDs. After hearing the song Memories, which I really like, I thought that maybe this album would be a welcome return to greatness for the band. I was disappointed with the end result. The production quality sounds bad and the band doesn't sound inspired at all, after listening to song after song. The lyrics are kind of laughable, in not a good way, on many of the songs. Honestly, it's hard to top the first two CDs, and it seems like now they won't even be able to equal that success from the first two albums.

Weezer's latest album cover features the smiling face of "Hurley" from the ABC show Lost--I had immediate reservations about its quality. I'm still not sure if front man Rivers Cuomo is playing an elaborate joke with some of Weezer's output. But the new one is certainly better than 2009's Raditude. There is nothing groundbreaking here, only the comfortable pop rock you can expect. The smartly stupid lyrics lean more toward getting older on Hurley, but Cuomo's platitudes are never challenging. It's no treasure, but nothing to gag over, either. Weezer continues to make rock you can throw on like an old t-shirt. It's easy stuff.

Current single "Memories" is that tongue-in-cheek virus of a song off all late-era Weezer albums that every frustrated fan with Pinkerton blue balls wants to hate and ends up grudgingly humming. It's also quite good beyond its point of infection, with interesting loud-soft dynamics and truly throat-shredding vocals. There is some average workhorse pop rock on Hurley--"Train Wrecks," a glory-to-the slackers anthem, and "Smart Girls," which is a bland Pinkerton throwback with an anonymous list of ladies rivaling that album's `Tired of Sex," and maybe Lou Bega's "Mambo No. 5." But at least they're in the act of throwing back, right? There's even Mellotron on "Unspoken." There's also some pretty lame balladeering, as in "Hang On." The bouncy closer "Time Flies," though, is worthy of every Weezerphile's stash--its lo-fi warmth is charming, and its melody is as original but inevitable as the best John Keats line. Cuomo even sounds genuine.

The Deluxe Edition's bonus tracks contain some of Hurley's biggest surprises. The convincing "I Want to Be Something"; an off-the-cuff cover of Coldplay's "Viva la Vida"; and a U.S. Soccer Team theme song--"Represent," which is straight-out Rocky IV-style shtick. Then there's the awesome "All My Friends Are Insects," which makes you think Rivers really is a genius, until you find out it was cut for their appearance on Yo Gabba Gabba. But isn't that one wicked guitar lick for a kid's show?

Better than Raditude and Make Believe, Behind Blue, Pink, Maladroit, and Red. About as good as Green, maybe a little better in that it's less nauseatingly polished.

I stood frozen at a Super Target, cleverly packaged cookies, crackers and macaroni in my basket, looking at CDs and DVDs. Bored and kind of lazy. I wanted to get a title that I could thoughtlessly review while drinking beers in the basement. Maybe a hip-hop record? Nah. Maybe that new Katy Perry album!? Meh. Inspired by the great design of my new Archer Farms macaroni box, I figured I'd keep it somewhat real and buy an album from someone I at least believed in when I was younger and dumber. Feeling nostalgic, I - possibly foolishly - decided to have a Weezer-filled fall season. Knowing that the two-disc super reissue of Pinkerton was on the way (as is an Odds and Sods type of collection called Death to Metal), I decided to start the season with Hurley, the band's eighth proper album.

Raditude, their final album for Geffen Records, was the first Weezer album I didn't buy. I read about the album, which featured collaborations with every idiot on the pop charts, heard a single or two and decided to break my loyalty right there. But Hurley, which sees the band now on Epitaph Records (who call themselves an "indie label," though not by my standards), is supposedly a return to form. Yeah, heard that one before, Weez. Supposedly Epitaph, in all their radical indie glory, allowed the Weez 100 percent creative freedom.

Produced by Shawn Everett, Hurley's production style is more fitting than the band's last few efforts, even if it's not quite a return to the indie-friendly sound of their first two records. The songs, eight of which were co-written with people outside the band, instantly seem like - at least as far as subject matter and attitude goes - a blatant attempt to return to those glorious years in the 1990s. The problem with that approach is that these are now fully grown men who, let's face it, seem like fools singing songs for seventh graders. The two best songs on the record, "Run Away" and "Time Flies," co-written by Ryan Adams and Mac Davis, respectively, are the only two songs here that don't sound exactly like Weezer. They're the two most interesting of the 10 we get, if that tells you anything.

Opener "Memories" has the same ironic, party-obsessed vibe of an Andrew W.K. song. The hook is big and stupid and radio-friendly. I wouldn't be surprised if this song, which features some of the Jackass crew on backing vocals (no joke), is Weezer's biggest hit since "Beverly Hills." Is this a good song? Well, I'd rather listen to a pop song like "Memories" than, say, that new Katy Perry record I teased myself with. But would I rather listen to it than, say, anything else currently on my iPod? Nope.

"Hang On," another huge pop production (maybe their biggest sounding song ever), features actor Michael "Scott Pilgrim" Cera on hurdy gurdy, mandolin and backing vocals. Cool move, guys; way to get your cred back up. The lyrics, co-written by a cheesy 50-year-old hit-maker named Rick Nowells, are as simple as any lovesick song ever written, feeling like a not-at-all tortured version of Pinkerton-era Rivers Cuomo. Again, like most everything on Hurley, I can tease about the bad lyrics and obviousness of it all, but I can't call this a bad song. Looking at Hurley from the perspective of a pop music fan, I've come to the realization that this is better music for young people than what most young people are actually listening to (Lil' Wayne, Justin Bieber, etc.). The problem is that I don't want to look at Weezer through my pop critic lens; I want to compare them to great bands, like I used to.

In summary, no, Hurley is not the album I'd hoped the band who made two of my favorite Young Man Records would come up with once given indie label freedom. Following 2001's overlooked Green Album, Weezer (Cuomo, mostly) lost their way. There have been ups and downs ever since. And while I don't think Hurley is a great album, I do prefer it to Raditude, Maladroit and even the Red Album (which was another attempt to return to the "old Weezer sound"). I'm too old to be charmed by a song like "Where's My Sex" or "Smart Girls," but do find plenty to like about four or five of the less obvious tracks included on this wannabe power-pop opus. Someday, I'd bet, Rivers Cuomo will find a way to be interesting again. Until then, he's an actor, playing the same role he played 16 years ago, back when his fans were all young and easily impressed.

weezer has been producing fun rock n roll for almost 20 years. when they tried to get a little serious, they were blasted by fans and critics. when they tried to tone it down and get radio friendly they were blasted by fans and critics. they can't win. music is supposed to be fun. weezer is fun. no matter how they have changed over the years, they are a band you want to listen to. even if all you do afterwards is complain about it not being what you wanted. musicians make music for themselves first. if you like it, listen. if not, don't. very simple really. these guys do not deserve the criticism they recieve constantly. hurley is a very good album. put it in the car cd player, turn it up, and go driving. fun, fun, fun! how many bands put out a cd a year for three straight years? to prove i am fair, i will make one complaint. rivers can wail on the guitar, i would like to hear some more solos on future weezer albums. other than that, rock on!