For Weezer’s third self-titled album – this time referred to as The Red Album – the band regresses more than on any of its previous releases. In fact, the only real similarity this self-titled album shares with its previous eponymous albums is its length. And it’s no surprise, if the single “Pork And Beans” was any indication this wasn’t going to be a return to form.
“Troublemaker” is the energy-filled opening track, but its melody sounds too similar to “The Good Life” off 1996’s Pinkerton. The song contains the standard simple lyrics one would expect from Weezer, but it’s almost too simple. Signs of the album to come are apparent when Rivers Cuomo exclaims, “Marryin’ a beeyotch!” It’s definitely clear Cuomo’s songwriting ability is dwindling, and maybe that’s why they decided to let other band members write lyrics, too – a first for a Weezer album.
Cuomo embraces his influences on “Heart Songs.” The song screams filler and should have been left as a B-side release at best. In fact, the problem with the album is there are too many tracks like “Heart Songs.” And when you only have 10 to work with, there isn’t a lot of room for missteps.
“The Greatest Man That Ever Lived (Variations on a Shaker Hymn)” could have been Weezer’s proggy masterpiece, but instead it almost goes too far in its genre shape-shifting. It’s not a terrible song; it just could have been shortened – the almost-six-minute piece starts to drag near the end. The song includes rapping (though not very good), heavy metal, punk rock and pop rock – the band even breaks out in a Queen-like harmony, which works better than it sounds on paper. At one point Cuomo sings in falsetto, which sounds about as good as it did on “Hash Pipe.” “The Greatest Man” actually represents the album as a whole: There is no consistent sound.
This is further evident in how each member of the band steps up to sing lead vocals. “Thought I Knew” is a song originally by guitarist Brian Bell’s band, The Relationship. Unfortunately, Bell’s vocals, like the song, should have been left off the album. His vocals and the song itself sound ripe for a Kidz Bop compilation.
On “Cold Dark World,” bassist Scott Shriner’s gruff voice is nothing spectacular – you can tell why he’s not the lead singer. Drummer Pat Wilson is the only one who holds his own with “Automatic.” He even rocks out in a Jack Black sort of way. Regardless, they would have all been better off letting Cuomo handle the singing department.
What’s even stranger about the album is – aside from “Cold Dark World” and “Automatic” – it lacks any guitar solos. Previously, Weezer almost always threw in solos, but now the band seems to have moved on.
The Red Album closes with “The Angel And The One.” At this point it is refreshing to hear Cuomo’s vocals again, but it doesn’t save the track. “Angel” is yet another slow, solemn closer – one we’ve all heard before.
The song closes with an instrumental for the last two minutes or so, and instead of giving an epic ending like “Only In Dreams,” the album closes on more of a peaceful, reflective note. It is in this time that the listener can only reflect on how much better the album could and should have been.
gcorcora@umd.edu
Rating: 1 1/2 out of 5 stars.
