Music Review: Weezer’s “Raditude”

RATING:  1 / 5 stars

By Chris Moore:

I was the first to scoff at early negative reviews of the new Weezer album.  It seemed there was an inordinate number of swipes at the admittedly odd title, Raditude.  After all, I reasoned, Rivers Cuomo hasn’t exactly built his career by being serious.

So, it was with high hopes that I started listening to Raditude.  From the opening track — “(If You’re Wondering If I Want You To) I Want You To” — it became immediately apparent that the lyrics would be juvenile.

And yet this was never a turn-off.

I had heard this song, the first single, about fifteen or twenty times before the album was even released.  It had been leaked on YouTube, then removed, then reposted by another source, and finally released officially as the single.  And, each time I heard it, I liked it more and more.  This is saying a great deal, considering that the song includes references to watching Titanic and eating meat loaf as key plot points.

The way I see it, there are two types of great Weezer songs:  introverted, introspective ballads and catchy, fun rock/pop gems.

Any serious Weezer fan who will disparage the quality of Cuomo’s lyrics in 2009 needs to think back to such earlier tracks as “No One Else” — “My girl’s got a big mouth, with which she blabbers a lot…” — and “Getchoo” — “Sometimes I push too hard; sometimes you fall and skin your knee…”  And can anyone even begin to transcribe the lyrics to “Hash Pipe”?

I didn’t think so.

Weezer's "Raditude" (2009)

Weezer's "Raditude" (2009)

So, the credibility and entertainment value of “(If You’re Wondering If I Want You To) I Want You To” being established, the other nine songs on Raditude should be addressed.  In a nutshell, the new album is generally a mixed bag — one part catchy guitar hooks, one part derivative stylistic choices, and two parts juvenile and (to be frank) ridiculous lyrics — that all amounts to a mediocre collection of material.

I’ve always been drawn to Rivers Cuomo’s firm embrace on the simple, pure, and raw emotions that we generally attribute to the innocence (and immaturity) of youth, but this time around, there is little for me to relate to or feel moved by.

“I’m Your Daddy” is about as two dimensional a song as you’ll ever find, stripped of Cuomo’s trademark quirky innocence to reveal an inexperienced Romeo.  It is also a bit creepy to listen to after learning that he began writing it while watching his daughter.

“The Girl Got Hot” is driven by catchy, distortion-drenched guitars, but again the lyrics fall short.  I kept waiting for a moral to the story — I would have settled for something as simple as “don’t judge a book by its cover” — but all I ended up with was the singer’s revelation that, when it comes to Kiki Dee’s friends, “She got hot, and they did not.”  Oh, and the phrase “buyer beware” is potentially problematic, but I won’t even go there.

Then comes the piece de la resistance, “Can’t Stop Partying.”  Again, I waited for the subtext that the lyrics must surely contain, considering the minor chords and Cuomo’s diction — “can’t stop” implies addiction.  And again, I was met with lines like “If you was me, honey, you would do it too” and “Screw rehab; I love my addiction.”  Just when I thought it couldn’t get less redeemable, Lil Wayne lays down a chauvinistic, obscenity laden ode to excess.

The remainder of the album is divided between forgettable, inane tracks — like “In the Mall” — and solid, albeit middle-of-the-road songs — like “Put Me Back Together.”  The latter track is one of my favorites from the new album, even though it is difficult to shake the feeling that this would have been a filler track on any earlier Weezer release.

Other tracks like “Let It All Hang Out” and “Love is the Answer” are debatable — on the upside, they do tap into the aforementioned pure, raw emotions that the band’s best material always has, yet there is nothing extraordinary about them.

At the end of the day, I have to reluctantly admit that my opinion is not so divergent from that of Slant reviewer Huw Jones — strictly in his opinion of this album, but NOT his opinion of Weezer’s overall career arc (he’s seriously off there).  Weezer has finally released an album that I can’t endorse — and that I, unfortunately, can’t listen to for very long without feeling disappointed.

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Music Review: R.E.M.’s “Live at the Olympia in Dublin: 39 Songs”

RATING:  4.5 / 5 stars

By Chris Moore:

Sometimes, the big publications just get it all wrong.

In his Rolling Stone review of R.E.M.’s Live at the Olympia in Dublin, Will Hermes writes, “This two-CD/one-DVD document captures intimate, occasionally great performances.”  He goes on to add, “If Michael Stipe sometimes sounds like he’s reading lyrics off his computer, it’s because, well, he actually was.”

If I have to read one more cleverly phrased review bestowing a mediocre rating upon a release I love, I swear I’ll lose it.

Live at the Olympia in Dublin spills over with positive energy, the kind of energy that leaves fans breathless and voiceless after a night of singing, screaming, and giddily laughing.  Stipe’s voice is hardly robotic, as Hermes might have you understand.  His vocals alternate between smooth and clear deliveries at some points, alternately cracking in all the right places at others.

And the computer is hardly a crutch.  It’s more a means of on-stage schtick for Stipe and the band.  It is apparent that he is getting a kick out of reading others’ interpretations of his eighties-era, admittedly very mumbled lyrics.  (He has since come over to the good side, including lyrics in all R.E.M. booklets since Up.)

And it’s genuinely funny to hear him reading them, reflecting on them, and moving on to the present day, namely his evolved sensibilities and more recent material.

What really gets me is that Hermes refers to the tracks I had most looked forward to — the Accelerate outtakes — as “solid.”  This is an overstatement.  I was far from impressed with the outtakes, and although I had so hoped to tout them as the forgotten gems of their 2008 sessions, I simply had to admit to myself, Well, I suppose these guys knew what they were doing when they assembled Accelerate.

And that is precisely what has renewed my interest in R.E.M.  I’ve always liked Stipe’s attitude, and I’m continually drawn to R.E.M.’s unique, raw-but-refined instrumental sound.  And yet I’ve been hard-pressed to find any albums that stand out to me, certainly not enough to stand up to some of the great albums of all time.

Then, along came Accelerate.

R.E.M.'s "Live at the Olympia in Dublin" (2009)

R.E.M.'s "Live at the Olympia in Dublin" (2009)

Their 2008 studio album — their fourteenth at that — is a tremendous record.  There are catchy electric hooks, acoustic underpinnings, great lyrics, and Michael Stipe’s perfectly ragged vocals seasoning and binding it all together.  What truly distinguishes this record is the energy that simply oozes from the seams.  And this doesn’t come across as some aging group of rock and rollers embarking on a pitiful attempt to recapture past heights — after all, R.E.M. never was known for being all that rocking a band.

Watch the music video for “Living Well is the Best Revenge,” and you’ll immediately observe the youthful, creative force of a group of men who love what they do.  The song is performed while driving around in a car, acoustic guitars squeezed into the small vehicle, the steering wheel converted — while driving, mind you — into the percussion instrument of choice.  It looks like they’re having a lot of fun, and that comes through more than anything else on the record.

Rolling Stone reviewer Hermes apparently longs for the days when “Stipe’s vibrato-seizure vocals and Rorschach-blot ‘lyrics’ clung to songs exploding at the seams.”  He comments that, instead, “The stitching is tighter now, and drummer Bill Rieflin often holds things together too neatly.”

Say what you will about Rieflin’s drumming — and it’s not groundbreaking or award winning, but it gets the job done.  I draw the line at his allusion-dropping, not-so-subtle riff on Stipe’s vocals, as if to imply that something has been lost.

If that’s true, then something has been lost on me.

R.E.M., as Live at the Olympia in Dublin continues to suggest, is more alive and well than they have been in a good long time.  If living well is truly the best revenge, then Stipe, Mills, and Buck are bound to have the last laugh.  Their on-stage personas, musical chemistry, and ability to dig deeply into their catalog to populate their shifting set lists — never mind their willingness to exercise their unfinished work during live, recorded performances — continue to breathe new life and vibrancy into all their work, both past and present.

If you’re ready to live in the moment, then you should really give these guys a listen.

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Music Review: Pearl Jam’s “Backspacer”

RATING:  4 / 5 stars

By Chris Moore:

This most recent Pearl Jam release is aptly titled; in many ways, Backspacer is closer in focus and energy to Ten than any of their more recent efforts.

Most reviews have wasted little time in pointing out that this album holds the band’s record for brevity — 37 minutes from the first guitar strum to the final vocal fade.  This can, of course, be interpreted in one of two ways, the worst case scenario being that the album was hurriedly prepared and produced.

This could not be further from the truth.

Backspacer is a strong, purposeful album comprised of eleven very upbeat, very direct tracks that leave little room for the listener to catch his breath over the record’s half hour span.  For the most part, these tight, three minute tracks are energizing and satisfying, catchier and cooler than anything Eddie Vedder and company have turned out in a long time.

This is, of course, a mixed bag.  After all, short, to-the-point pop rock is fun when done properly — which, by the way, it certainly is here.  Still, the electric soundscapes of 2000’s Binaural and the distortion-drenched protest of 2002’s Riot Act were excellent installments in the Pearl Jam catalog, even if their respective values have been minimized by critics who seemed more concerned with comparing them to early releases like Ten and Vs.

It should be noted that 2006’s Pearl Jam lacked cohesiveness as an album, although several songs on that release are among the best of their career (“World Wide Suicide” or “Marker in the Sand,” anyone?).  This eponymous release is an album of wild energy and abandon, which works particularly well in the first half of the track listing.  That being said, Vedder rips his vocal chords to shreds in his effort to sing without holding any emotion or effort in reserve.  This works well in some places, and yet crackles to pieces in others.

Pearl Jam's "Backspacer" (2009)

On Backspacer, Vedder has somehow been able to amp up his emotions and energy, and yet his vocals stand out as some of the best of any Pearl Jam recording to date.  Some songs, like the opener “Gonna See My Friend,” harken back to the roughly shouted vocals of Pearl Jam.  Most, however, feature Vedder at his best.

The opening track is also notable for a strumming pattern that is evocative of some mid-1950s Chuck Berry-esque riffing — with a decidedly grunge rock twist to it, of course.  “Gonna See My Friend” is a catchy track but certainly does not stand out among the other excellent album starters of their career.

From the first millisecond of “Got Some,” there is suddenly evidence that this might be an excellent album.  Jeff Ament’s collaboration with Vedder is a nice addition to the other outstanding Ament contributions — think: “God’s Dice,” “Ghost,” and “Low Light;”  if you’re really kind, forget “Pilate.”  The best part of “Got Some” is that, by the time it has finished, you haven’t even heard the single yet.

“The Fixer” comes next, a tour-de-force taken on very convincingly by Vedder.  I have vacillated about three or four times a day since I picked up the album on Sunday, and I’m still not certain whether I like “Got Some” or “The Fixer” better.  I suppose I’ll just have to keep listening…

As the album continues, there are other rockers performed at breakneck speed (“Johnny Guitar,” “Supersonic”), as well as considerably slower, more instrospective numbers (“Just Breathe,” “The End”).  These latter tracks were clearly influenced by Vedder’s recent solo project, writing and recording the soundtrack for the Sean Penn film Into the Wild.  The fingerpicking patterns that open these songs are reminiscent of his solo tracks, yet these songs clearly show the progress Vedder has made in such a short time, particularly in terms of structure.

For once, I am forced to agree with Rolling Stone‘s assessment of this album.  Their four star rating is a simple means of stating that Backspacer is an excellent album, but not a masterpiece.  From track 6 to “The End,” the album takes some repeated listening to really be appreciated.  At first, I felt that some of these tracks were too tight and traditional to ever truly stand out.  As I’ve listened, more and more of these songs have stood out, like the soaring “Amongst the Waves” and the excellent “Speed of Sound” (listen to Vedder’s vocals in the first few lines as he momentarily invokes Leonard Cohen).

Backspacer may not be the next Ten, but it is silly to even entertain that desire.  (If you read music reviews in the major magazines, you wouldn’t know it though!)  What this release does offer is an energetic, cohesive Pearl Jam album — and that, for me, has always been more than enough.

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The Top Ten Albums of 2008

For the 2008 “Yes, No, or Maybe So” one-sentence reviews, CLICK HERE!

By Chris Moore:

At long last, here it is…

My top ten list of the best albums of 2008.

Top Ten Albums of 2008

1.  Saturday Nights & Sunday Mornings – The Counting Crows
2.  That Lucky Old Sun – Brian Wilson
3.  Viva La Vida – Coldplay
4.  Accelerate – R.E.M.
5.  Modern Guilt – Beck
6.  Snacktime – Barenaked Ladies
7.  A Hundred Million Suns – Snow Patrol
8.  Consolers of the Lonely – The Raconteurs
9.  The Red Album – Weezer
10. Loyalty to Loyalty – Cold War Kids

Honorable Mention:

Liverpool 8 – Ringo Starr
Momofuku – Elvis Costello

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