Customer Reviews

Weezer (Red Album)

5 star:		(29)
4 star:		(27)
3 star:		(13)
2 star:		(13)
1 star:		(7)

 

 

Following the path of their color coded classics The Blue Album and The Green Album, Weezer issues their "Red" album and it's their best since, well, the green one. Much like Peter Gabriel's refusal to give his early albums titles, it forces more attention to be paid to the music. Thus, eleven years into making music, this is Weezer facing middle age and they want you to focus.

They do so with both a wink ("Everybody Get Dangerous") and nostalgia (the terrific "Heart Songs"). There's even an attempt at an American Idiot style punk-opera with the oddball "The Greatest Man That Ever Lived." Using the traditional Shaker Hymn as its jumping off point, it's almost as odd as hearing the rest of Weezer sing. The 3/4's of Weezer that isn't Rivers Cuomo take up tracks 7, 8 and 9, with Brian Bell's "Thought I Knew" being the best of the batch. Maybe there was some idea behind democratizing the band. But let's face it, Rivers is the bent mind behind what makes Weezer the most thought provoking. It might not always be the most commercial move he could make and it makes executive bean counters nervous, but it is what makes Weezer, even on their aimless Make Believe album before this one, an exciting band.

So when Cuomo sarcastically lets the record company suits have it for claiming there was no single here, he writes about it in "Pork and Beans."

"Timbaland knows the way
To reach the top of the charts
Maybe if I work with him
I can perfect the art."

It's a soon-to-be classic. But for me, the clincher was "Heart Songs," where Cuomo follows his musical evolution from listening to corny AM radio hits from Michael Jackson to Eddie Rabbit, but hitting the turning point when he hears the album that had "a baby on it, he was naked on it." It's a flattering, sincere ode to the transcendent release of musical creativity (and also one of the most heartfelt songs the band has ever done). It makes Weezer's Red Album their most personal since the confessional Pinkerton, and a solid addition to their discography.

[Review of the deluxe version but the songs I talk about are on the short version too] Wow, a new Weezer CD and I was able to get the deluxe long version four days early too. Never mind how that happened. Another self titled album, Weezer "Red". I had a feeling they would do that again someday, and put out another self titled album. A note, Peter Gabriel has three self titled albums all on different label but not solid colored. What I did not expect was this particular album. Finally a CD length CD from Weezer, at just under 60 minutes. But only as the deluxe version. Oh, well.

After having heard the new "single" from the album, "Pork and Beans" I figured that this album would be a lot like their previous one. Well, that could not have been more wrong. Some of it sounds typically Weezer, yet other aspects of it (most of the songs), have me feeling "Where did that come from." Well, the liner notes sort of answer that. From the mind and soul of Rivers. Yet this seems to be a part of him that we've never seen before. I can't say if I love it or hate it. The few faster, more Weezer like songs are great, but the others? It leaves me feeling similarly to how I felt after first hearing the Smashing Pumpkins Adore album, "what?" I gradually grew to really like that album but it is like in a different niche in my mind from their other work. I'll have to see how I feel about the slower half (slower two thirds of the deluxe version), and basically later part of the new Red Weezer CD after a few listenings.

This album could have been called "The Life and Feelings of a Rock Star." Most of the songs are probably not autobiographical but Rivers uses himself as a metaphor for how he feels about life in general. On the surface it may seem egotistical but it is deeper than that. A bit like the Kinks self-parody in many of their songs. This could be the 21st Century's "Lola Versus Powerman and the Money Go-Round Part 2". But unlike the Kinks, Weezer (Red) has no story line, but it still seems to have a concept to ¾ of it.

My thoughts on some of the songs. "Troublemaker": Typical Weezer music with a heavy edge. Lyrics are kind of punky yet self-parodying. "The Greatest Man That Ever Lived (Variations on a Shaker Hymn)": If you were expecting sacred music, guess again. The Shaker reference is only because parts of the melody and the piano running through much of the song sounds like a Shaker hymn. Interestingly, this "hymn" music has riffs that sound like typical Weezer, hmmm. This song is about being a rock star - but in the Kinks type of parody, not the dark Pink Floyd "The Wall" sort. This is a long piece in several "movements". Rivers seems to ape or reference many artists that were probably influential on him. After the intro, the first part starts with a rap like theme (not sure of any specific artist), then a portion that again I am not sure who it might be like. Then there is a short Beatles-like verse. Then there are several verses that sound like a combination of Queen, Mott the Hoople, Mark Bolan, and David Bowie (i.e., a glam-rock thing). Rivers does a nice job with the voices. Then there is a more Weezer-like chorus. Now comes a spoken work section that seems to reference the Kinks' "Perservation Act 1" and "Perservation Act 2" and a few other Kinks songs and albums from the early to mid nineteen seventies. After that, we get an almost hymn chorus with Beach Boys like harmony. Nice! The song ends with a fast Weezer-like rendition of the chorus. Strange but cool song.

"Pork and Beans": Looks like the big hit of the album. Sounds like Weezer. Simple but effective riff and some power chords. "Heart Songs": Is a pop song were Rivers directly names the artists that he has on his mind. Some of these may surprise you; Abba! "Everybody Get Dangerous": A heavy song that definitely reminds me of the Red Hot Chili Peppers. This song is about many of the possible dumb, dangerous, risky, and extreme things young people often do and later wonder how they ever survived their youth. It ends with some Mick Jagger like hooting and hollerin'. Actually a good track like "Pork and Beans."

"Dreamin'": Sounds like Weezer. "Thought I Knew": Great catchy pop song. This one was written by Brian Bell and sung by (I think) Pat. Rivers Cuomo plays drums and Pat Wilson is playing guitar. This is a technique used by R.E.M. of old when Bill Berry was still in the band: They would switch instruments on some songs. It can produce some interesting and great results. "Cold Dark World": Sounds like it could be a theme song for an episode of the TV show "Criminal Minds." Rather creepy. Is that a Talk Box I hear? Do they still make those things? Are Weezer friends with Joe Walsh or Peter Frampton? Seems like Joe Walsh's style more.

I wont try to analyze what all these songs actually mean to the wider implications of this album and Weezer's career. Other people can describe the other 6 songs. Actually my biggest complaint with this CD is the tiny print for the liner notes to each song. I need a magnifier to read them. The lyrics themselves are large enough. Again these are only my opinions at this time, I might easily be persuaded to change by some insightful and mature discussion.

Weezer's 6th full-length album re-introduces them to the mainstream in a similar fashion to their other self-titled releases. 1994's "Blue Album" and 2001's "Green Album" were, and are excellent introductions to Weezer's discography, as is 2008's "Red Album". The "Red Album" actually exemplifies excellent progress in their career. What's really changed is Rivers Cuomo's disposition & approach in his writing and delivery. He's a little older & wiser, and he's sounding a little more comfortable than he was on 2005's "Make Believe". Weezer still favors roaring guitar hooks, and pop melodies, as well as first-rate tongue-in-cheek pop culture references. However, their formula has been expanded to include long sprawling compositions that border on progressive rock.

As he has done with 2005's "Make Believe", producer Rick Rubin gives this album a perfectly polished feel. The album spans 10 tracks in just over 40-minutes, leaving the record filler-free. They covered all their styles quite nicely. "Troublemaker" is an infection classic-Weezer hard-rocker, while "The Greatest Man That Ever Lived (Variations On A Shaker Hymn)" & "Dreamin'" exemplify excellent growth & progressive elements full of infectious harmonies & melodies. I can't think of a better single than "Pork And Beans", which boasts an excellent music video (as per usual). "Heart Songs" is a pop-culture treasure. It falls into a slower pop vibe similar to the infectiousness of 2001's "Island In The Sun". Arguably my favorite song here. "The Angel And The One" is the album's near 7-minute closer, and spans a variety of time changes, riffs, and melodies.

Compared to other post-grunge/alternative pop/rock acts that have been active since the mid 90s, Weezer has kept their material seamlessly riveting by staying current & fresh to mainstream standards, while simultaneously proving that they are one of the industries most successful mainstays. Weezer fans unite; they did it again!

Although Weezer's third self-titled album is certainly not their strongest release, they've still achieved a nice catchy vibe which has a few commendable mellow tracks tossed into the mix as well. The album begins rebelliously with the peppy track "Troublemaker" and then transitions into some inconsistent but still enjoyable variety, ranging from quirky tracks like the single "Pork & Beans" to softer pieces such as the closing song "The Angel and the One", which clocks in as one of Weezer's longest pieces to date while still remaining good for every second. The Red Album doesn't bear any immediate resemblance to a particular past Weezer release; instead it seems to be an equal blend of the styles found on the past five albums while simultaneously trying out some new directions as well. The track "Thought I Knew" is quite far from what I've come to consider as a typical Weezer song, but in this case they seem to have made a good call by including it on the album. Featuring some electronic percussion and a vocalist other than Rivers Cuomo for once, "Thought I Knew" has some very well-sung and crafted lyrics that actually make it one of my favorite pieces on the CD. At first I almost started wondering what band I was listening to since it sounded so different, but in the end I really fell for that track. Other stand-out tracks would include "Everybody Gets Dangerous" and "Dreamin", which have some good riffs and are among the most catchy and delightfully noisy pieces on the album in my opinion. The only real factors keeping me from loving the Red Album as much as Weezer's past releases are the occasionally poorly-written lyrics, and its lack of the typical level of catchiness I've come to expect from this band over the years. None of the songs really stood out to me as much as some of my favorites from other albums such as "Beverly Hills", "The Good Life", "Photograph", "Hash Pipe", etcetera. So maybe it isn't typical Weezer, but is still enjoyable for what it is? Yes, by all means. It didn't come horribly short of my expectations, and I did like all ten tracks. For the time being I think Weezer still deserves to stay in the spotlight even after nearly 20 years of music-making, and I would rate this item 4 stars. Recommended.

2.5 stars because I am feeling generous.

As a whole this album hardly merits analysis. It sounds by turns sloppy and forced, as if the musicians so desperately fear being perceived as over-the-hill and culturally irrelevant that they feel they must make a conscious effort not to appear out of touch with younger listeners. This of course makes the album sound awkward and - ironically - culturally irrelevant. Instead of easing gracefully into maturity, it sounds like these guys are actively fighting it. That's a sad state of affairs for such a formerly intelligent band, Rivers Cuomo once having had his finger right on the pulse of the late-90s twentysomething lifestyle with such masterpieces as Pinkerton. This "Red" album is not the "return to form" it is being hailed as by some, as its core is essentially hollow. However there are some fun tracks on here, "Heart Songs" being one of them. Worth a listen or two but no widespread cultural impact or underground classic status should be expected.

If it takes three years to produce an excellent album, Weezer has proven this theory to be correct. Having just graduated from Harvard (and then getting married,) Rivers Cuomo is back with the band in a way we have never seen (heard) them. "The Red Album" is full of energy and every song reflects the complex thought-process that is Cuomo's. For those in love with the distinct "Weezer" sound, fear not, the pop riffs are still present and so are the nonsensical happy lyrics.

As if that wasn't enough, the tracks are much longer this time around! Some still linger at the 3 minute mark but the majority of the tracks manage to push the 5 minute mark! There is a blend of rap, synths, "baroque counterpoint," and tons of instrument switching and as an added bonus, Weezer is not just Cuomo; it's the entire band. All of the respective members have their own song featured on the album, a move in the right direction.

Troublemaker - From the beginning, it's easy to tell that "Troublemaker" is a Weezer song. The riffs are catchy but simple, and the lyrics are not very complex, kind of easy to follow. Overall, not a track that will win any awards but definitely a catchy song that starts off the album in a familiar fashion. 4.5/5

The Greatest Man That Ever Lived - This song is dubbed as the most epic track of the entire album; it's true. As genre-bending as the song is, it does a wonderful job delving into tons of different genres. There is a little of something for everyone in this song. Reminiscent of "The Black Parade" from My Chemical Romance and various Queen songs. This song is probably going to catch the attention of many avid music critics. A lot of effort was put into this track and it will get noticed. 5/5

Pork & Beans - One of the last songs to be recorded for the album and also the most recent single. The song was written in response to Geffen's (Weezer's label) request for a more commercial song. "Everyone likes to dance to a happy song/ With a catchy chorus and beat so they can sing along/ Timbaland knows the way to reach the top of the chart..." Lyrics like that cannot make it more obvious. Cuomo lashes out at the labels demands in his own way and in the process, creates an unbelievably catchy song with a great hook and memorable chorus: classic Weezer. A definite highlight. 4.5/5

Heart Songs - One of the slow tracks. This track serves as a sort of homage to all of Cuomo's influences. Definitely a good track with thoughtful lyrics. A complex alternative to Weezer's more riffy songs. 3.5/5

Everybody Get Dangerous - A great song with obvious influences: Red Hot Chili Peppers and Led Zeppelin. Cuomo's singing voice sounds just like Anthony Keidis' and the guitars are very Jimi Page. A very simple song with heavy riffs and fairly simple lyrics. Not a killer track although it manages to pickup about ¾ of the way into the song. It was also briefly featured in the movie "21" though it was not on the actual movie soundtrack. 3/5

Dreamin' - As the song opens, it sounds like something straight out of Angels and Airwaves. When the guitars kick in, the refreshing blend of River's voice with emotive guitars creates a song that's as catchy as it is simple. Originally known as "Daydreamer." 3/5

Thought I Knew - Originally a song from Brian Bell's (rhythm guitarist) former band, The Relationship. This is where the album starts to go in a completely different direction. Though it's not Weezer, it's an accepted song because all we know of Weezer, up until know, is Cuomo. This time around, Cuomo has given the other members creative freedom and this is the result. A very different track but good in it's own way. 3.5/5

Cold Dark World - Sung by Scott Shriner (bassist). In this song, everything sounds a bit lo-fi, even the vocals (which sound a little muddled and drowned out.) Again, a different-sounding song. Not theb est song but still a nice addition. 2.5/5

Automatic - A very good song with atmospheric piano-playing and chopped guitar riffs. All the instruments blend in a satisfying manner for this song. The raw additive that is the guitar manages to balance out the crystal-clear piano resonance. Sung by Patrick Wilson (drummer,) the vocals manage to resonate in a satisfying manner. 4/5

The Angel and the One - The closing track, and an appropriate one at that! Pat Wilson has claimed this track as his favorite one. Cuomo shows us just how versatile his voice is. From a slightly-despondent tone to an all-out yell, Cuomo gives it his all in this track. The ending sounds like an extended intro to yet again, another Angels and Airwaves song. Very good. 4.5/5

Reminescent of Queen and the Beatles, Weezer appears to be going in the right direction with "The Red Album." With a completely different sound (on certain tracks,) Weezer makes an effort to sound different while still pleasing die-hard Weezer fans. If versatility is the key to a great album, then Weezer is doing the right thing. Definitely an improvement over "Make Believe." Recommended to everyone.

I received a text message from an excited friend declaring his love for the new Weezer Album. I was skeptical after a chain of increasingly disappointing albums from Weezer (starting with the mild disappointment of Green Album to the stomache churner of Make Believe), but overall I consider myself a Weezer fan... so I bought it. On a side note, I feel that we as Weezer fans forget to STOP forgiving them for mediocre albums because of how much we love their great ones. I will say this; the chain is broken. This album was not as disappointing as the last, but I did find myself grimmacing on a number of odd choices made by the band. Many of the rhymes were elementary, and the satire intended to criticize the industry took too much time away from time they could be spending making music that they DO agree with. The songs on this album that I didn't hate were either mixed or just so-so. I cannot say that I walked away from this experience feeling that I had just heard a single great song. If you liked Green Album, Maladroit, and Make Believe, then I cannot guarantee that you will share my disappointment. However, if you are expecting another Blue Album or Pinkerton, you may have to make due reliving the good old days. I am optimistic that this album is a series in a giant upswing from their previous decent, and I will continue to look forward to work from this band in the future.

Given the schizophrenic character of the Red Album, I can definitely understand why this album is getting heaped with both golden praise and vicious scorn, but I think neither are particularly deserved.

From a Weezer perspective, this is a very weird, and presumably transitional, album full of both hits and misses. Unlike their previous albums there is no overarching feel to the record. Let's face it, you can tell a Pinkerton song or Green Album song just by the sound of it, and the same goes for every other Weezer disc. Whether you like them or not, each Weezer album was very self-contained; this album is all over the place.

For me, that's a good thing--a sign that this band is really looking to push itself forward and is absorbing influences from all over the musical map. However, that comes with a price: some of the experiments just aren't going to work (see "Heart Songs" and "Cold Dark World" as prime examples)

Are the lyrics kinda dumb? Yeah, but then what on God's green Earth is Blue Album classic "My Name is Jonas" about, and is really there anything here as silly as "Surf Wax America"? Additionally, Rivers clearly has his tongue firmly in cheek through many of these songs: "Everybody Get Dangerous" is really quite funny if you listen to the words.

The most important thing is that the band seems positively invigorated on this album compared to Make Believe, which is not terrible but really feels like it was churned out by a Weezer computer. The band just sounds like it's having fun on "The Greatest Man That Ever Lived", and "Pork and Beans" might be the best song they've put out since Pinkerton (face it, the guitar on the chorus hits like a sledgehammer compared to any other pop song I've heard in ages).

So, let's put the hyperbole down and take the Red Album for what it is: a tentative step forward that should have enough really excellent tunes to satisfy most fans but is neither a return to mid-90s form nor a dip in the gutter. Definitely give it a try, just be prepared to edit that playlist a bit. Besides, how many other big bands out there do you know that can pretty much guarantee at least five great songs per album?

You know, I'm one of those people who honestly digs Make Believe. It maybe isn't as good as the first three albums they did but every song was pretty listenable and many fairly good. I think a lot of the hate was triggered on just because "Beverly Hills" was the big single. And that didn't quite represent the feel of the album. But then again, sometimes those things work for good and not so good. And I like the band quite a bit, so I'm not just pining for 1996 again. But this album is possibly the band's weakest yet, even if it seems like branching out more sounds seems ambitious.

It's because just like Pitchfork wrote on a Moby review, there's inspired and there's "inspired." Ultimately, "Weezer" feels like the latter. Sure, it has song contributions from all band members and has a more eclectic sound, but it's also not more accomplished and not even always that interesting. But there one really great song for what it's worth: The single "Pork and Beans" is everything you've ever come to love about Weezer. It's got nice hooks, slightly quirky lyrics and pop culture references as well as chord progressions they've always been good at sticking to.

That's not to say there's nothing else worth listening to but nothing is quite great after that. "Troublemaker" and "Everybody Get Dangerous" are nice tracks about mischievous youth and looking back in retrospect in the latter. A lot of people hate the latter but I honestly don't mind it at all. Although I feel that it tries too hard "The Greatest Man That Ever Lived" is a centrepiece track of the album. It's stuff made for the stadium about the big-star life. They tackle any genre that they want and in spite that I think it's more likely to alienate than unite.

The contributions from other Weez members on lead and songwriting prove why Rivers is usually the one behind the songs. The other songs are not memorable enough usually and for most bands with fire, would be left off. "Thought I Knew" is interesting mostly because it's so glossy for Weezer, but the pop-rock song it is doesn't match with such production. "Cold Dark World" is not quite memorable enough and the verses made me shake my head at first. And "Heart Songs"... uhm, cheese songs really. Rivers writes about every last artist who inspired him without honestly sounding inspired, and so you get really bored listening to the track. I am not used to one of their albums showing so much flaws in the first half of the record, too. So that adds to my sheer disappointment.

Casual fans, try pretty much anything they released before this. I know a lot of people are looking for something that calls past glory days, but unfortunately there's a chance Weez are doing that to and the results don't satisfy much. At least there's a skip button and half or so of the songs are decent, so there's my heads up for you.

I have to say, I was incredibly disappointed by this album. It is by far their worst. Unlike other people, I really enjoy the green album and Maladroit...both of those had several catchy and fun songs. This one is bad for several reasons:
1) There are only 10 songs.

2) The lyrics are by far the worst Weezer has ever put together. Their lyrics were never a great quality from them, but most lyrics on this disc are obscenely bad and ridiculous.

3) Several times on this album, the vocals are delivered almost rap-like. Rivers is one of the whitest people of all time and cannot pull this off at all. I would think that it's a joke, but I'm pretty sure it's not. It also seems like a weird time to start singing like this when Rivers just decided to grow a thick mustache and wear a cowboy hat. Odd combination.

4) The other guys sing on this album. Track 7 is sung entirely by the guitar player, and while his voice isn't that bad, it's not great, and Rivers' voice is one of the big reasons I have loved this band for so long.

Long story short, the songs on this album are not catchy (with the exception of "Pork and Beans" and possibly "Dreamin'" and parts of "The Greatest Man." (By the way, "The Greatest Man" has about 2 minutes of greatness, and 4 minutes of garbage, and I consider it my second favorite song on the cd, which says a lot.) The songs are drawn out, not catchy, and you shake your head at how bad the lyrics are. This cd makes me sad. So do starving children. But not as sad as this cd makes me.