I have an unusual idea to present: The real genius behind Weezer was the bassist, Matt Sharp. Bear with me on this one. My biggest evidence isn't even the Weezer records he played on. Instead, let's compare post-Sharp Weezer records to his other band, the Rentals.

Way back when in '94, Weezer had it pretty figured out. The group released its self-titled debut, nicknamed the Blue Album, and maybe one of the most widely enjoyed records of the decade. (I challenge you to find someone who hates "Buddy Holly.") But buried in the wave of songs like "Undone - The Sweater Song" was an album almost as good and equally memorable: Return of the Rentals by the Rentals.

The Rentals were headed by Sharp, who played bass on the first two Weezer albums (read: the good ones). The band's debut album offered a pleasant variation on Weezer's formula. The same fuzzy, chugging distorted guitars and songs catchy enough to sing along to the first time you heard them were both present, but with new touches: backing female harmonies, slathered with vintage Moog synth melodies and violin. "Friends of P." was even a hit, but the group didn't have Weezer's momentum even then and are rarely mentioned now.

After Weezer's next record, Pinkerton, Sharp split. Weezer promptly began the sharpest downhill decline in musical history. How the same band that wrote "Say It Ain't So" and "Only In Dreams" was pushing "Dope Nose" and "We Are All On Drugs" on us a mere decade later is a subject which actually causes me physical pain.

I used to rack my brain trying to figure out how a once-great artist could fall so hard. Then I started paying more attention to the Rentals, and it hit me: The talent didn't fade, it just jumped ship.

It's all so simple. If you subtract the backup vocals and keyboards, Weezer's sound is at the core. The basic melodies to these tracks could easily be Weezer tunes. Sharp bails, and the Rentals start doing Weezer better than Weezer? A few years back, Sharp attempted to sue Rivers Cuomo, saying he'd had a hand in writing Weezer's biggest hits. Were I the judge, one listen to the Rentals would have led me to rule in his favor.

Of course, I wouldn't be writing about this album if it would appeal only to Weezer fans. It's one of the hidden gems of the '90s, maybe because it seems so out of step with that decade. It's breezy, catchy and fun. It might mix elements of the new wave with '90s songwriting and guitars, but the effect is strangely timeless.

"My Summer Girl" proves that as long as we've got talented bands doing them, there can never be enough songs about summer love. Album highlight "Please Let That Be You" features the chorus of "Please let that be you/Knocking on my door so loud just like you do/Bringing a message or two/You are my fate and I love you." Read plainly, it's pretty simple, maybe even kind of cheesy and nerdy. But matched with sweet female vocals and keyboards, it's a classic piece of pop.

The band's second album branched out, and while enjoyable, didn't quite capture the charm, and the group broke up soon after. But there is good news: The band announced a reunion this year, and in an age when the best Weezer can offer up is "Beverly Hills," the void for this brand of sing-along rock is waiting to be filled. So give the Blue Album a break from tiding you over, and spin Return of the Rentals once in a while.