I have completely lost interest in new weezer. From green album on they make the most simplest, generic songs. Rivers Cuomo threw all the talent he had away. Storing it somewhere else and rarely bringing it out. The new weezer sound is no where near the same. After making wanda for the movie angus, the producers wanted a more poppy song. So Rivers made you gave your love to me softly. Rivers said he wouldn't try to make a pop song to please others again. Now thats all he does. Songs with Miranda Cosgrove. Earthquauky people. Come on Rivers. From blue and pinkerton, I can listen to every song and they have such a close meaning to me. But on all the other albums i can only pick out a couple, if any. Weezer has put out some enjoyable stuff over the years and it's great to see them peform their old hits. But the sound thier going for is not good. Why does rivers want to find help to write his lyrics. All the lyrics i hear featuring another artist sound terrible. I love weezer but it's hard to see them like this. Why Weezer? Why?

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absolutely

Avery Doll said:
okay...are you just messing with me?? 

rēḱs deiwos-kʷe [spaz] said:
sorry I meant eventually need drugs

  I can't handle the stress.  Time to seek out more coffee.  Ha! 

ha, I guess we all have our methods.

bastard brofessefef said:

 

I find an angry masterbation session helps.

WeezerWoman said:

This board is really frustrating sometimes.

I will agree not to delve into "old" and "new" Weezer here, as we all know that will never die haha. So sticking to the topic at hand: To be fair, I don't think any of the mentioned collaborations are really "Weezer" collabs; as they all feature only Rivers himself. Rivers is the guest artist on their tracks, not the other way around where Weezer is asking them to be guests. And on a couple of the tracks, he didn't even co-write, he only sang on the tracks at the behest of the other artists (Can't Keep My Hands Off You; Earthquakey People). I don't know the background of most of them but in the case of Earthquakey People, Aoki has always been a big fan (in fact he has said Pinkerton was a big influence in his younger years) and wrote it specifically for Rivers. So in this case, that track is more of a reflection on Aoki, not Rivers. 

 

While I understand whatever Rivers does on his own still obviously has a big bearing on the band (as he is ultimately the main writer/composer/final say etc), it's good to try and keep the two separate. Weezer as a whole shouldn't be held responsible for what side projects Rivers chooses to take on. It just seems like he's in a very experimental stage in his musical life and in taking on different genres he's probably learning and growing--how others produce their music, different creative processes etc...also it seems like he's reached a point in his life where he is much more comfortable and happy in his own skin and is having fun. Can't fault him for that. I forget which song he was referring to; but I remember reading a quote in Weezerpedia where he said something to the effect of "I hope I that's the last song I write about being angry at myself for being shy, I've written too many of those already"... So perhaps the last couple of albums reflect more of this light hearted nature. 

 

I don't think he's lost it though--"I Don''t Want to Let you Go" was included on Raditude, which I think is a pretty song and more reminiscent of older Weezer (I mean I know it was written earlier like 6 years beforehand, but he did include in on the album) and it shows he hasn't forgotten his roots so to speak. Also "I Want to be Something" on Hurley (deluxe) is raw and beautiful (was this written much earlier? Does anyone know? Even so, same point as above, I don't think he's turning his back on classic Weezer).

 

And yes I agree that Unspoken is great!

 

Having said all this; yeah, even I thought the Miranda Cosgrove one was weird... perhaps he was in a philanthropic- type mood? Maybe he wanted to experience being a teacher/nurturing young talent...or something.

Well said Cherrie.

 

Cherrie said:

 

While I understand whatever Rivers does on his own still obviously has a big bearing on the band (as he is ultimately the main writer/composer/final say etc), it's good to try and keep the two separate. Weezer as a whole shouldn't be held responsible for what side projects Rivers chooses to take on. It just seems like he's in a very experimental stage in his musical life and in taking on different genres he's probably learning and growing--how others produce their music, different creative processes etc...also it seems like he's reached a point in his life where he is much more comfortable and happy in his own skin and is having fun. Can't fault him for that. I forget which song he was referring to; but I remember reading a quote in Weezerpedia where he said something to the effect of "I hope I that's the last song I write about being angry at myself for being shy, I've written too many of those already"... So perhaps the last couple of albums reflect more of this light hearted nature. 

 

I think he was talking about "Perfect Situation."

I guess this is more about Rivers than Weezer.

 

Yeah, I've been thinking about it for a while, and maybe y'all are right. I guess I'm a little hard on him because I'm using Pinkerton as the standard by which I judge all of the rest of his music, but not everything else has to be that serious. It's only because I really, really love Pinkerton, though. It was and continues to be very formative for me, so it's hard to move past it.

I still enjoy a lot of his newer stuff, and if it's not exactly what I hope for, well, then I'll have to accept that. I'm trying to learn to table my expectations and just enjoy the ride. I really enjoyed Maladroit--it wasn't Pinkerton, but it was a great album. Make Believe brought us Perfect Situation. Some of Hurley was okay--Unspoken was a great song, Where's My Sex? was catchy, but most of the album just felt... rushed? Half-assed? Like it's just something that he plugged into a formula and cranked out.

I'm not so crazy about the pop style, I'll admit. It still seems beneath him, and some promising sets of lyrics have been ruined to me because I can't stand the music (what happened to rock?! What happened to shredding and solos and feedback and wailing guitars? I understand style evolution, but I miss them, and he was so good at it.) There's simple, and then there's underachieving. Lately a lot of what I've heard has seemed to fall into the second category, including that Miranda Cosgrove song. I understand he's "experimenting," and trying to stay relevant, so I suppose I have to take it for what it is, but I hope that we don't see more like that. 


Art should entertain, and it should be meaningful. There's a delicate balance, and I think that it's important to maintain. I guess what I'd like to see from Rivers is more of a serious effort, instead of this constant stream of half-baked songs that don't seem to live up to their full potential. I mean, just look at how quickly they were cranking albums out at the time. There's no way they were giving all of those songs their best efforts, and I think that we deserve their best effort; he owes it to himself to give it his best effort. I'm willing to stick by them, and even to be more patient and gracious instead of being so judgmental all the time. I'm even looking forward to Rivers continuing to experiment--it takes a lot of energy and effort to continue to evolve and not to grow comfortable, and I admire him for it. You can't blame a girl for hoping for another Pinkerton, though.

 

You mentioned learning and growing and different creative processes. I'm beginning to find in my personal life and in discerning my vocation that after a while, after all the preparing and exploring and learning, you kind of reach a point where it all becomes sort of meaningless. You don't know everything, but you know enough, and everything else is just diminishing returns. At some point, you have to set a definite course of action, and then do what you love. The problem is knowing what that step is; you can never, ever be certain, so it takes a great amount of faith. I've been driving myself crazy trying to figure it out, and the fear of a misstep can be paralzying, or it can drive you into all sorts of frenzied action, just for the sake of feeling like you're going somewhere. It makes me wonder about his personal life, about what sort of issues he must be having. Being an artist requires a lot of struggle, and doubt, and suffering, and you can get stuck in the doldrums for years. Are we witnessing some sort of frantic searching, some sort of quest for certainty? What must it be like to have Pinkerton looming over the rest of your work? I imagine it casts quite a shadow, and the emotional fallout must have lingered for quite some time. Does he even want to do anything like that anymore, or is he happy how he is? This foray into pop culture feels frenetic and unintentional--is it, or am I projecting my own struggles onto an idol of mine? 

 

All right, I've gone on long enough. Thanks for entertaining me.

=WW=

Cherrie said:

It just seems like he's in a very experimental stage in his musical life and in taking on different genres he's probably learning and growing--how others produce their music, different creative processes etc...also it seems like he's reached a point in his life where he is much more comfortable and happy in his own skin and is having fun. Can't fault him for that. I forget which song he was referring to; but I remember reading a quote in Weezerpedia where he said something to the effect of "I hope I that's the last song I write about being angry at myself for being shy, I've written too many of those already"... So perhaps the last couple of albums reflect more of this light hearted nature. 

 

I don't think he's lost it though--"I Don''t Want to Let you Go" was included on Raditude, which I think is a pretty song and more reminiscent of older Weezer (I mean I know it was written earlier like 6 years beforehand, but he did include in on the album) and it shows he hasn't forgotten his roots so to speak. Also "I Want to be Something" on Hurley (deluxe) is raw and beautiful (was this written much earlier? Does anyone know? Even so, same point as above, I don't think he's turning his back on classic Weezer).

 

And yes I agree that Unspoken is great!

 

Having said all this; yeah, even I thought the Miranda Cosgrove one was weird... perhaps he was in a philanthropic- type mood? Maybe he wanted to experience being a teacher/nurturing young talent...or something.

Do you people not realize how cheesy the Blue album is?  Maybe intentionally, maybe not, but it is absolute genius, as evidenced by its cult following.  It's a remarkably diverse album for using little more than guitars and harmonica.  Now look at the Red album.  Is it cheesy?  Absolutely.  But it's so genius that it also deserves a following like that of Blue.  Maybe once it's taken out of the context of this decade or even generation, I think that will become more evident.  The self-titled albums are appropriately-named, because they are the best representations of who Weezer is as a band.  I think Red is as good as Blue in so many ways.

Now, Pinkerton.  It's very true that Weezer has not come close to recapturing the Pinkerton spirit.  And really, it's not their job to.  There are SO MANY circumstances and things that had to fit just right for Pinkerton to be the album it is today, let alone exist.  Not to mention it was written at a dark time of Rivers' life, which he isn't likely to experience again (and I pray not!).  I think Pinkerton is the epitome of a great album.  Its lyrics have meaning from personal experience, its art reflects the music, it has a theme that oddly is captured by such rough mixing and instruments... It's ugly but beautiful at the same time.

Since Pinkerton, though, Weezer has produced many records (and Rivers has written many great songs)...  Maladroit may not be an "emotional" album, but it has so many stand-out songs and just works as a whole.  Make Believe is the same way (Although "Beverly Hills" and "We are All on Drugs" feel a bit out of place.)  Red is one of the greatest albums of the decade.

Raditude was the group having fun, in my opinion.  I think all the songs on it are catchy and accomplish what they needed the album to.  Really, it was a great time to be a Weezer fan.  The concerts are really fun at this point and the band's bizarre antics was refreshing to me.  Lyrical depth?  None really to speak of.  But there didn't need to be.  I think that one band can pull off both "Only in Dreams" and "Can't Stop Partying" is actually more impressive than sad.  It takes a lot of talent to write across like that.

The different Weezer kind of continues on into Hurley, too.  But Hurley could have been more serious, in the vein of Maladroit or something...  I feel like Raditude was clearly a fun and goof-off album, so that's one thing... But Hurley is inconsistent.  "Where's My Sex?" belongs on Raditude.  It doesn't belong on an album with an amazing and probably emotional song like "Unspoken".

Overall, I'd say Pinkerton had that theme that fits right.  Most of the albums have that, but it gets confusing on Hurley for example.  But is there not musical maturity demonstrated in "Dreamin'", "The Greatest Man That Ever Lived", "Unspoken", "The Other Way", "I Want You To", "Run Over by a Truck", "King", "The Underdogs", "Miss Sweeney", "Pig", "Trainwrecks", "Time Flies", etc.?

 

Cheesy?  Is that really the word you want?  I'm confused.  I don't see anything cheesy about the Blue album. 

Radioactive said:

Do you people not realize how cheesy the Blue album is? 

Why does it even matter if The Blue Album is cheesy? Anyone who thinks that cheesiness is a negative quality is a total joker and dum-dum in my eyes.

I just don't think it applies. 

Yeah I wasn't talking to you there, btw. I suppose one could make the argument that the use of "homie" is cheesy or that "Holiday" is cheesy but they'd have to be, again, a bit of a dum-dum.

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