Weezer – Weezer [Green]

What I Think of When I Think of This Artist (part 2)

If Weezer had simply kept making this album over and over again for the rest of their career, I would have been satisfied. I’m not investing the time to figure out what happened, because I really don’t care, but apart from the odd song here and there – I will admit that I really enjoy “Beverly Hills” – post-Green album Weezer is a waste of space and time.

What I Think of This Album

Song for song, better than the Blue album and therefore Weezer’s best, the Green album is not anything complicated. These are very straightforward, incredibly simple pop songs – they are sugary, fast, and with just enough bite. While Weezer is capable of better, they have proven that they are much more apt to do worse, so this is really the most you can expect from this band.

This time around, producer Ric Ocasek (Cars) earns his keep, changing the sound around and adding keyboards and synths here and there. “Don’t Let Go” is all hooks and guitars. The harmonies are the key to “Photograph,” with a nice overdriven tone to the solo. “Hash Pipe” adds some rhythmic muscle (and the opening line is from the Beatles’ “You Can’t Do That,” one of their most misogynistic songs). The band offers up its most romantic song in the form of the sweet “Island In the Sun.” The lyrics of “Crab” are really stupid – not that “Hash Pipe” was poetry – but the guitar riff is cool and the harmonies carry the day. In comparison, “Knock-down Drag-out” hints at allegory, but it is content to repeat a couple of phrases – again, the music more than compensates. The ballad strikes again on “Smile.” Arguably the best song here, the vocal rhythm of “Simple Pages” combined with a winning melody add up to more than the sum of the parts. Weezer must have sensed they were on to something, as “Glorious Day” is almost a rewrite of “Simple Pages.” “O Girlfriend” is sort of a throwaway.

The Best Thing About This Album

“Simple Pages” is the winner.

Release Date

May, 2001

The Cover Art

The difference between the dorky stupid charm of the Blue album cover and this, its arrogant cousin, is stark. Rivers is clearly the focal point, out in front of the others with his guitar and absurd lightning bolt strap, and the angle is more dynamic and flattering. These are no longer nerds proud to be nerds; these are successful nerds who think they’re no longer nerds.

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