Sgt. Pepper of the '90s (2008)

I feel about Weezer 2.0 as I feel about the Star Wars prequels. In both cases fans were subject to many years of anticipation, which turned into utter and complete doubt that the project would ever, in fact happen. Then, when The Phantom Menace and the Green Album came out, we had grown older, our tastes had matured, and when they weren't the best things that had ever happened in the history of the world ever, fans rebelled and both the prequels, and Weezer's comeback albums were panned by fans and critics alike.

The plain truth is that both the Star Wars sequels and the new Weezer albums are being compared against themselves, and not their competition. Weezer's albums are better than anything else most rock bands are putting out there. Just like Episodes I, II, and III had to live up to IV, V and VI instead of their contempararies, they had to live up to the Blue Album and Pinkerton. That is a tremendously high and unfair standard.

The Green Album was a bit boring, all the songs sounded alike, but it hung its laurels on two incredible radio tracks, Hash Pipe and Island in the Sun. Maladroit is a forgotten gem. Its singles never soared on the charts but the album is solid. American Gigolo, Dope Nose, Slob and Possibilities would be at home on any Weezer album, pre or post Matt Sharp. Make Believe is an unmitigated disaster, and almost ruined the band for me, but Perfect Situation redeems it. You know how sometimes one of your favorite bands has that one album that totally sucks except for one song? That's Make Believe and Perfect Situation.

For some reason, Weezer is a band that totally speaks to me. Musically they hit the perfect balance between hard hitting rock and beautiful melody. No other band has ever made music that so hits me right where I need to be hit. So, even with the failure that was Make Believe, I still bought the Red Album when it came out.

Finally I feel like Rivers Cuomo and company have exceeded the musical genius that was their first two albums. The album is a sonic marvel that goes to places that no Weezer record has ever gone before. There is much similarity to a certain Beatles album released in 1967. From the funny outfits the quartet wears on the cover to the new palette of sounds they employ, it seems like the Weez are finally ready to break out of their 3 minute pop ditties.

DISCLAIMER: When listening to this album do not focus on the content of the lyrics, Rivers and the other song writers (that's right, every member of Weezer gets at least one credit on this album) aren't making poetry here, the lyrics are trite, and cheezy. Look past it, focus on the sonic aspects of the album and you'll be truly happy.

TROUBLEMAKER: Another Weezer song about not wanting to get a job, this introduces the first new sound right off the bat, rap. This album has a ton of Cuomo melody, but there is also a strangely large amount of one note, pseudo-rap. Don't be afraid, this isn't Fred Durst, its catchy, and good. The chorus kicks in with some classic Weezer.

THE GREATEST MAN THAT EVER LIVED: I don't think that Rivers thinks that he's the greatest man that ever lived, although he has sold millions of records and has many, many degrees from Harvard, so the song could be truthful. This is an opus that starts out like Across the Sea meets A Little Help From My Friends, then goes across the musical spectrum from rock, to blues to funk to soul to jazz to chamber choir to jazz and finally to some classic Weezer, with laughs and cries and entertainment all the while.

PORK AND BEANS: The first single, I take it you've heard it. Pretty straight forward Weezer with a great video featuring internet stars and lightsaber drumsticks!

HEART SONGS: iTunes described this as a "Jack Johson" song. My fiancee called it a "Boy Band" song. It is certainly mellow, and not what you'd expect from W, but I like that he pays tribute to his influences, and it picks up in the grunge part.

EVERYBODY GET DANGEROUS: My favorite track on the album, mostly because of the "Boo Ya!" Its mostly a one trick pony riff with a hooky chorus, until the middle when it breaks down into some pretty sweet lyrical acrobatics and a guitar groove.

DREAMIN': Dreamin' sounds like Why Bother until the middle when it breaks down into some really sweet lyrical play. Its like call and response in the round with expert harmony and unique melodic intervals. This is the kind of stuff I expected from Pinkerton 2. Then it kicks in the rock again because Rivers doesn't want to get with the program!

THOUGHT I KNEW, COLD DARK WORLD, AUTOMATIC: These are the songs that Brian Bell, Scott Schreiner and Pat Wilson wrote. The album loses a lot of steam through this stage, although Automatic is slightly better than the other two. The album would have been better served had they been spread out more.

THE ANGEL AND THE ONE: This song is the A Day in the Life of the Red Album, and puts a fitting end to the package, like the entire album it is classic Weezer, and something brand new all at the same time.

If you bought the deluxe edition you get five bonus tracks, none of which is that memorable. I like Miss Sweeney because of the silly story it tells. It reminds me of a song I'd write (not a far stretch considering Rivers Cuomo is one of my top 2 musical influences.)

I boldly predict this will go down as the best album of the decade, a strong feat for an album that should have been made ten years ago.