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Weezer: Albums
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After an aborted space rock opera concept album, Weezer returned in 1996 with the self-produced Pinkerton. Poorer sales and critical disdain originally plagued the album, and in truth it wasn’t as polished as the debut. Internal strife ... started eroding the group, with bassist Matt Sharp becoming increasingly unsatisfied and ultimately quitting to release a pair of albums with his own group, the Rentals. Despite all the drama, the album has become more highly regarded as time has gone by, and is certainly a fan favorite.
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Against the wishes of their record company, Weezer (by now with Scott Shriner replacing Mikey Welsh) began recording new songs for their next album almost immediately. Maladroit was released in May 2002 almost exactly one year after the Green Album. It again reached the top 5 and the single "Dope Nose" reached the modern rock top 10.
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From December 2003 to the summer and early fall of 2004, the members of Weezer recorded a large amount of material intended for a new album to be released in the spring of 2005 with producer Rick Rubin. That album, entitled Make Believe, was released on May 10, 2005 to strong reviews and sales.
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The second hiatus was a long one, but Weezer returned in 2000 on the summer Warped tour and a sold-out national club tour. With obvious fan support still with them, they reunited with producer Ocasek to create their second self-titled album, this time referred to as The Green Album. Released in 2001 it immediately yielded the monster hit "Hash Pipe," or "H*** Pipe," as it is called on MTV, plus additional singles "Island in the Sun" and "Photograph."
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Bearing this in mind, it came as a shock when Weezer announced that, instead of a half-decade hibernation, 'Maladroit' would follow the widely adored 'Green' album in less than a year. What's wrong with them?
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With a good five years between albums, there was a bit of a pressure surrounding the release of Weezer's third LP. The mighty Stone Roses, and the noticeably less mighty Elastica, faced similarly delayed releases in their day, and were rewarded with indifferent public receptions. Can Weezer, the spokesmen for a generation of smart-assed, emotionally stunted youths who hold their comic books close and their limited edition Star Wars DVDs even closer, resurrect themselves and save save rock 'n' roll for the geeks? Again? Can Weezer live up to the hype?
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