Weezer has an album that is not nicknamed after the color of its cover.
The album is Pinkerton, and it's the enigma sandwiched between Weezer's two incredibly popular self-titled CDs, affectionately dubbed by fans The Blue Album (1994) and The Green Album (2001).
In the six years between these hit-video producing triumphs, Weezer, the ultimate genre-crossing ex-geek alternative emo-rock/pop band, produced its finest work. Yet.
Unfortunately, the masterpiece went unnoticed to all but the most loyal Weezer addicts. Perhaps casual fans of Weezer's typical poppy goodness weren't prepared to accept Pinkerton's more profound and personal material.
Pinkerton, while maintaining the playful and bubbly harmonies and rhythms characteristic to Weezer, is full of emotions and experiences darker and deeper than many of the band's previous endeavors into relationship-centric tunes about love or hate or love and hate.
Most of Pinkerton's songs stem from lead-singer Rivers Cuomo's post-The Blue Album stint as a Harvard student, during which he penned lyrics that epitomized his loneliness, anxiety and dissatisfaction with his rock star lifestyle.
Guitarist Brian Bell, drummer Patrick Wilson and bassist Matt Sharp support Cuomo's gruffly vulnerable vocals with cheerful and persistent beats that often contrast the songs' poignantly aching words.
In Pinkerton's opening track, "Tired of Sex," Cuomo uses the metaphor of being bored with groupie sex to illustrate his general frustration with life and love. "I know I'm a sinner but I can't say no," Cuomo huskily sings.
But halfway through the chronologically arranged album, on "The Good Life," Cuomo reveals that he's sick of being "bitter and alone" and that he yearns for "the good life," which to Cuomo means one thing — girls.
Another exceptional track is "Across the Sea," in which Cuomo recounts his fascination with an 18-year-old Japanese fan and her comfort: "I need help and you're way across the sea. I could never touch you — I think it would be wrong. But I've got your letter and you've got my song."
Other Pinkerton songs follow the typical Weezer "girl song" pattern of crushing, adoring, and breaking up, but they never lack a disturbing and satisfying twist.
"Pink Triangle" examines what it's like to fall in love with a lesbian, in "Falling For You," Cuomo confesses his private desire to settle down with a girl he likes "way too much," and in the tender finale "Butterfly," Cuomo grieves that "maybe I need fantasy, a life of chasing Butterfly."
This music is good; however, be forewarned that it is insanely addictive. You will find yourself singing Weezer in the shower, in between classes, and in your sleep.
While "Buddy Holly" and "Hash Pipe" remain the trendy, overplayed MTV staples, Pinkerton's songs stand tribute to Weezer's lasting status as inspired, unique creators of provocative, smile-inducing music.
