Weezer's "Hurley" - 2 Reviews, 2 Opinions

(Hurley by Weezer [2010]. Yes, this is the actual album cover.)

Ever since the 9th grade, myself and several of my buddies have been fans of American rock band Weezer. We all seem to be in agreement that the group's first two albums, their self-titled album from 1994 (also known as The Blue Album) and 1996's Pinkerton, are the best. Our opinions greatly differ with the later stuff. The epitome of this division is on the 2010 album Hurley. A few of us really enjoy it, and others absolutely detest it. The following blog is an exchange I had with my buddy B. Gutierrez a while back, and I think it presents a nice point-counterpoint on the record. These analyses are track-by-track, so we both apologize for the length. Regardless: read, enjoy, listen, and take a stance!

B. Perry
1.) "Memories": It may not be catchy (and it's CERTAINLY not a desirable single), but it takes me back to Pinkerton - the grated vocals, the screeching guitar, even the calm instrumental break complete with mallet percussion and melodic bass. It's a quaint throwback musically and lyrically - a not-so-subtle intertwining of form and function. It's okay. 

2.) "Ruling Me": An amusing foray into pop-punk, this is Weezer doing its best Blink-182 impression. And you know what? It's pretty decent. This ridiculously radio-friendly tune showcases Rivers' ability to craft infectious melodies out of common chord structures and outdated musical genres. The bridge is a tad bizarre, but the build up back to the chorus wipes away the weirdness. Also - I adore the dance beat drumming and the Red-Hot-Chili-Peppers-ish harmonizing vocals. 

3.) "Trainwrecks": Dude, this may very well be my favorite track on the album. The in-the-pocket beat, the confident (maybe even powerful) vocals, the simplistic hook that highlights the instrumentation, even the strangely fitting guitar scream that happens again and again - it all adds up to a terrific, almost anthemic rock song. I really, really, REALLY like this one.

4.) "Unspoken": I think this song probably looked a lot better on paper than it actually sounds. Rivers is stretching to hit notes out of his natural range, and the results aren't always pretty. What I WILL say, is that I like the lyrics, I like the percussive acoustic guitar, I really like the backing vocals/counter-melody, and I think the final time through the chorus is immensely satisfying.

5.) "Where's My Sex?": Okay, okay - the lyrics are laughably goofy and the entire premise of the song is a joke. However, lyrics notwithstanding, the actual MUSIC is excellent. How can you not enjoy the guitars that sound heavy as lead? The thunderous percussion? The punching vocals that Rivers injects with a surprising amount of what my mom would call "attitude"? I even think the non sequitur bridge comes off with spunk and charisma. Most impressive are the haunting disco-esque backing vocals during the chorus, which make me think of strobe lights and drifting confetti. Goofiness aside, I dig this one.

6.) "Run Away": Yeah, I'm not a big fan of this track. The arrangement is a little lazy, the production is discomfited alongside the melody/instrumentation, and the vocals sound awkward and unpolished. Yet I appreciate the honesty in the lyrics, and I like the fact that it sounds DIFFERENT and NEW...very un-Weezer. This means that this odd experiment could lead the band to some new musical territory in the future. Potential, albeit very raw, abounds.

7.) "Hang On": THIS is the song that really makes me hopeful for Weezer's future. "Hang On" is a pop song of considerable maturation - the melody is comprised of a handful of catchy hooks that ranges from the lead melody, to the backing vocals, even to the plucky guitar. Subtle bass and percussion back up these hooks with stability and naturalism unrivaled elsewhere on the album. Rivers is back on his game, flexing his vocal chops with an impressive range and controlled vibrato. Unlike "Where's My Sex," the bridge resonates smoothly and organically, an ironic extension of the arrangement and main melody. This song is fantastic. 

8.) "Smart Girls": I very much enjoy this toe-tapping, head-nodding, smile-inducing sing-along. Once again I'm reminded of Pinkerton (because of the jagged chorus vocals and frenetic guitars), but thanks to the overall delivery, there's also a lot of Maladroit here. Even the lyrics make me think this is a great lost track from Raditude. It's an undeniably pleasurable tune, with an arrangement saturated in house music, contemporary pop, and 90s rock. Listen again, and taste the bubblegum frothiness of "Smart Girls."

9.) "Brave New World": While I see the admirable qualities of this track, I admit I don't like it all that much. The simplistic melody and "hard" arrangement (too much guitar chugging for my taste) ultimately fall flat. I desperately wish Pat (the drummer) would quit the dance beat and just play some standard rock stuff...maybe that would give the song a little more gravity. Nonetheless, I rather like the bridge, and I'm still enamored with the harmonizing vocals. Along with "Run Away," this track represents the album's creative low point.

10.) "Time Flies": Another delightful pairing of form and function, I admire how the lyrics muse about a well-lived life, and Rivers adjusts his voice thusly, singing with age and gravel in his throat. The arrangement is curious, but strangely appropriate. I especially like this song when stacked against "Memories" - two songs about life, one that lives in the past and laments the present, one that appreciates the present and considers the future. "Time Flies" is a contemplative, yet playful, conclusion to the record.

All in all, I very much appreciate and enjoy Hurley. It takes some musical cues from Weezer's past (especially Pinkerton, Maladroit, and Raditude), combines them with oodles of influences and some fresh musical ground, and creates a new, unique sound for the band. It's varied, a bit weird, but honest and inventive. In Hurley, Weezer had the guts and initiative to experiment and test out some new musical styles, and the final product is passionate, intriguing, and ultimately satisfying.

In fact, after listening to it again (for I listened to every track while writing this overly verbose review), I think I like it equally as much as Maladroit, which means it shares the bronze medal in my Weezer pantheon (after Blue and Pinkerton, of course). For Weezer, the "good 'ol days" are over, but thanks to this album, maybe a bit of former glory can someday be reclaimed.

 
B. Gutierrez

I've listened to this album twice already this morning, and my thoughts are incoming. I will say, while I don't find it as bad as I remember, I do still think it is bad. Quite.

First, let me get something off my chest that drives me absolutely bonkers about Hurley, that admittedly has nothing to do with the album's music quality. I absolutely hate everything on the surface (literally) of Hurley. It drives me crazy. The title. The album art. It sends me into a rage before I even turn on the album. Yes I realize I am pretty much exactly "judging a book by its cover," but c'mon! At best, it's paying respect to an unremarkable albeit lovable character from a recently ended major 00s TV series. At worst, it's just straight up a corporate tie-in to a freakin' clothes line. Spoilers: it's the latter. Brian even admitted so before he was told to take back his comment lest Weezer lose their oodles of cred they still totally have. Either way, it's completely unoriginal to the point where it offends me. And yes I know we're talking about the same band that has three self-titled albums. Where's my actually meaningful, sincere artistic homage on Pinkerton? Where's my admittedly kitschy yet well-intentioned Shakespeare quote in Make Believe? To me, this just exemplifies the laziness I feel emanating from this album and Weezer in general these days. I just can't wait til their October 2013 album "Phyllis Vance presented by Hammermill"!

But like I said, I can't directly fault the actual tracks for any of that. Overall, I'll say for the most part, you're right. Musically, I don't have a huge amount of problems with the album. Far and away, my hatred stems from the sub-standard lyrics strewn across Hurley from front to back. I've never expected Rivers to be Dylan or anything, and yes I know Weezer is supposed to be "fun" as I seem to recall you saying quite frequently, but I have my standards.

1.) "Memories"- I am completely, 100% torn on this song. Both the verse lyrics and the music remind me of "Everybody Get Dangerous," and you know my feelings on that subject all too well. I feel like the idea didn't go farther than "Let's write a 'sentimental' anthem about the good ol' days filled with half-baked nineties references and commentary on grown-up life!" Then, the chorus hits and I melt. I know it's simple, it's lazy, but I am completely a sucker for over-the-top anthematic 2 line choruses. So overall, for very weak reasons, I'll say this track is decent.

2.) "Ruling Me"- I don't know if it's me being 23 and somewhat jaded, or Rivers being 42(!) and married but I don't buy songs about romantic insecurities from Weezer anymore. Also, lyrically, the bridge is just bleh. Awful. I'll say that I pretty much agree 100% with what you say about this song musically. It's just not enough to keep me from gagging from the lyrics.

3.) "Trainwrecks"- "We don't update our blogs; we are Trainwrecks." Remind me if I ever meet Rivers to tell him that his insight into youth culture is timeless. But yes, if there weren't lines like this ("Crash a Diddy party in disguise") I could see myself getting behind this and "rocking out" if you will. And please, for the love of God, don't tell me it's "fun."

4.) "Unspoken"-You were pretty much spot-on for this one. 

5.) "Where's My Sex?"- We've beaten this one to death, I will concede to most of what you say about it musically, if you admit that lyrically it's not so much "goofy" as it is "bad." Also I'll add that I find the bridge just jarring jarring rather than enjoyably jarring. 

6.) "Run Away"- I know that Rivers' thing recently has been to collaborate with anyone he possibly can, but I think this is just an instance where it just flat didn't turn out. While I'm not the most avid Ryan Adams fan, (I'll cede to Nate's judgement here) It seems like this is just a case of two song writers that I enjoy quite a bit individually not meshing. I think this is pretty much the explanation for everything you felt, which I agree with wholeheartedly.

7.) "Hang On"- Like I said before, the lyrical subject of this song is getting a bit tiring at this point, but in this case the song overall makes up for it enough that I don't care. On my first play through today, this was the first song that I consciously thought "I like this." So I'll sincerely say it: This is a good Weezer song. On Hurley. Thank the lord.

8.) "Smart Girls"- The one thing I agree with you on is this song strongly reminds me of Raditude. I don't, however, hear any shred of Pinkerton calling to me in it. Like most of Raditude, it's fun to listen to, but completely forgettable right after.

9.) "Brave New World"- Maybe I just tapped my investment in this album completely after "Hang On," but this is where Hurley  just becomes a chore for me to listen to. Yeah, I don't know what else to say. This song just isn't good. Really uninspired through and through.
10.) "Time Flies"- This song intrigues me. In listening to this album, while I like "Hang On" better, this is the song where I caught myself singing along and nodding my head a little bit. Then of course Rivers ruined it for me. ("This stupid damn song will be in your head") I do enjoy the song, but I think the sound of it really interests me more than anything. I know Rivers recently has always been looking to find the next pop "thing" (sort of goes hand-in-hand with his collaboration bug I mentioned earlier). This song makes me think that either incidentally, or after listening to Mumford & Sons first album, Rivers wrote this as his contribution to what he saw as the coming "wave" of pop music. Listening to this a few years later, when Mumford and Sons is still super successful and I can't listen to a pop radio station for more than 10 minutes without hearing the Lumineers, it just really makes me wonder what Rivers following up on this would sound like. And if it would've netted them their first true radio hit since....."Beverly Hills"? 

Overall, I can't say I like Hurley much better now than I ever did. I will say it was worth another listen though. I would still place it squarely just above Make Believe at the bottom of my list. Unless we're counting Death to False Metal (as Rivers does. I'm telling you, man, just laziness). I feel like at the very least, I need to re-listen to Raditude and Make Believe though, as I get a sense that the bottom of my order may shuffle a little bit. I'll have to wait and see. Right now I don't really feel like listening to more Weezer. Which probably says more about Hurley than anything else.