Review Summary: The more things change, the more they stay the same.
This isn’t the Weezer you grew up listening to , the one who dropped the classic “Blue” album and Pinkerton in the early nineties. There was a hiatus during which Cuomo attended college, and then the band returned with a new bassist and another self-titled album, this time with a green cover. Since then they’ve released a string of pop-tinged records on and almost annual basis. Each one had at least a few successful radio hits but left old-school fans disappointed.
But then, after Make Believe, the 2005 release that permanently turned off many with “Beverly Hills” and “We Are All On Drugs,” Rivers called another hiatus, this time to spend time with his new Asian wife. And again a new Weezer incantation with a self-titled Red album. Featuring lead vocals by several other band members, barbershop quartet harmonies, a song with an electronic beat and cockier attitude, it was clear old Weezer was long gone.
Their latest , Raditude, seems to develop on this progression even more. The rap-inspired arrogance of “The Greatest Man Who Ever Lived” evolves into “I Can’t Stop Partying,” which features a Lil Wayne verse and Rivers singing about sipping Patron in the V.I.P. One can’t help but feel that Cuomo has moved on from his socially awkard geek image and has learned to accept the rock star life. Another interesting departure is “Love is the Answer,” which features Eastern percussion and sitar.
Another thing one can’t help but notice is that the trademark whining of girl problems that colored nearly every song of efforts like Pinkerton and Make Believe is barely present here. We’re given a host of confident, feel-good numbers about hook-ups and happy relationships. Again, we feel Rivers has moved on.
But Raditude isn’t entirely without a sappy moment. About halfway through there’s “Put Me Back Together,” an emotional collab that was partially written by members of All-American Rejects. Call it the 2009 edition of “The World Has Turned and Left Me Here.” The rather downbeat “Don’t Wanna Let You Go,” ends the album with a frown.
If you can look past the few obvious departures, you’ll find that this is really just another showcase of Weezer doing what they do best: catchy, likeable pop-punk that owes more to the early rock and roll of Buddy Holly than to any alternative rock movement. The album delivers back-to-back winners like “If You’re Wondering If I Want You To,” “The Girl Got Hot,” and “I’m Your Daddy.”
The album proves itself to be even better than several previous efforts with its sheer consistency. Clocking in at just thirty minutes, it doesn’t have time for the obvious filler that plagued the Red Album. There’s hardly a weak song here, except for the weirdly mellow “Love is the Answer” and the stupid buttrock of “In The Mall.”
In short, if you liked all the albums Weezer have been putting out in the wake up Pinkerton, you’ll find much to enjoy here. If you’re still hung up on the early classics, don’t bother; the Lil Wayne joint will make you slit your wrists.
