Rolling Stone - 6/7/01, p.1104 stars out of 5
- "...A totally crunk geek-punk record, buzzing through 10 excellent tunes in less than half an hour with zero filler and enough psychosexual contortions to buy leader Rivers Cuomo's shrink another hot tub..."
Spin - 1/02, p.76Ranked #9
in Spin's "Albums of the Year 2001" - "...They are the new Cars..."
Q - 8/01, p.1424 stars out of 5
- "...Harks back to the keenly observed power pop of their '94 debut, and there isn't a bad apple in the bunch..."
Alternative Press - 2/02, p.65Ranked #13
in AP's "25 Best Albums of 2001" - "...This will either touch your heart or make you air-guitar like a beast..."
Weezer: Rivers Cuomo (vocals, guitar); Brian Bell (guitar); Matt Sharp (bass); Patrick Wilson (drums).
Recorded at Cello Studios, Los Angeles, California in December 2000.
Personnel: Rivers Cuomo, Brian Bell (vocals, guitar); Mikey Welsh (electric bass); Patrick Wilson (drums).
Audio Mixer: Tom Lord-Alge.
Recording information: Cello Studios, Los Angeles, CA (12/2000).
Unknown Contributor Role: Bobby Schneck.
In 1994 Weezer burst onto the music scene, reaching platinum status with their debut, and in the process proving that there was still room in an airbrushed MTV world for unrepentant power pop played by decidedly non-airbrushed guys. Following a brief sojourn into semi-deconstructionism, 1997's PINKERTON, the four men who make up Weezer serve up a third offering, WEEZER 2001, returning to the sound and producer of their successful debut.
Nowhere does producer Ric Ocasek define his trademark refined power pop style more than with Weezer. Unlike the immediate, obvious pop hooks of the string of singles on the first album, though, the songs on WEEZER 2001 may take a few listens to settle in. However, once the subtle-yet-undeniable refrains of such tracks as "Crab," "Don't Let Go," and first single "Hash Pipe" make their way into your skull, they're there to stay, as furious, fuzzy, layered guitars compliment Rivers Cuomo's raw, vulnerable vocals. While this disc clocks in at less than a half-hour long, it packs more hooky wallop than many double live albums.