Tag Archives: Weezer

Rocks In The Attic #797: The Cars – ‘Greatest Hits’ (1985)

RITA#797What does the rock band Queen and the new-wave band the Cars have in common? Both bands have great albums and great singles, of course, and both featured a fantastic central songwriter. But the answer is in the man who was an integral part of each band’s respective success: Roy Thomas Baker.

Much has been written about Cars frontman Ric Ocasek in recent weeks, following his death at the age of 75 – a fantastic songwriter, and a great producer in his own right – but an important element of the Cars’ success was the Englishman who produced their first four albums.

Baker never seems to get enough credit for producing the first batch of Queen albums (Queen, Queen II, Sheer Heart Attack and A Night At The Opera, before being called back for Jazz). Under his guidance, they turned from long-haired heavy rockers to pop superstars, and while it’s likely the genius of Freddie Mercury would have shone through under any producer, it’s hard to imagine those albums being helmed by anybody else.

After his success with Queen, Baker was snapped up by CBS Music and moved to America. There, he replicated his success with Queen by producing the Cars’ first batch of records on Elektra, eventually becoming the Senior Vice President of A&R at the label.

So with Baker producing both band’s first four albums, including a run of fantastic pop-rock singles, it’s not hard to see the Cars as America’s answer to Queen.  There’s obviously the Weezer connection to the ‘90s alternative-rock scene, but they seem like an important link between punk, rock and pop, that led to bands like the Foo Fighters, the Strokes, the Arctic Monkeys and the Killers dominating the early 21st century.

Plus, Drive is such a killer song, and there’s another comparison: both the Cars and Queen were such an integral part of Live Aid.

Hit: Drive

Hidden Gem: Tonight She Comes

Rocks In The Attic #668: Weezer – ‘Pacific Daydream’ (2017)

RITA#668What the fuck happened to Weezer? I stopped buying their records a long time ago – back when the weirdness of Pinkerton was just so disappointing in comparison to their classic 1994 debut – but I don’t recognise the band coming out of my speakers anymore.

They almost reeled me back in with 2001’s Hash Pipe – a single I might easily have responded with an ‘Ooooff’ when I first heard it – but the other big single from the Green album, Island In The Sun, showed that they were more at home writing pop songs. 2005’s Beverly Hills single sealed this, and now remains the song they’re most well-known for – the Buddy Holly of the 2000s.

By the time we get to 2017’s Pacific Daydream – a horrible title matched only the sheer awfulness of the cover image – it’s clear that Rivers Cuomo is more at home writing melodic pop songs than rocking out. If it came to light that he was behind a dozen Katy Perry and Taylor Swift songs, nobody would bat an eyelid.

The strange thing is that this doesn’t even sound like Weezer anymore – with the album’s production suffering from the same generic fingerprint of every nameless Top 20 pop-rock band of the last decade.

The only reason this bland excuse for a Weezer record sits on my shelves is that I saw it listed on Amoeba Record’s online store, fully autographed by the band (presumably after an in-store signing) and in a lovely red and black splatter vinyl, for a lower price than my local record store. Well, at least it makes for an attractive Frisbee.

Hit: Feels Like Summer

Hidden Gem: Mexican Fender

Rocks In The Attic #445: The Cars – ‘The Cars’ (1978)

RITA#445A debut from 1978, just like me! It’s hard to listen to the Cars these days without hearing their effect on that other incredible debut album from Weezer, which Cars’ vocalist Ric Ocasek produced in 1994. Just listen to that synth part in Just What I Needed – it’s Weezer’s Blue Album all over. In fact, you wouldn’t be too far from the truth to label Weezer as the Cars Mark II. Remove the crushing geekiness of Rivers Cuomo, and change the lyrics to something that girls would dance to, and you’ve got the Cars all over again.

Elliot Easton, the Cars’ lead guitarist once said “We used to joke that the first album should be called The Cars’ Greatest Hits”. He’s right – it’s that good. I have the Cars’ Greatest Hits record – and there’s not much in it between this debut and that compilation. In fact, this debut is a lot stronger than some bands’ greatest hits records. The Car’s Greatest Hits just has a few more mid-80s hits like Drive – the song that will forever be linked to that unforgettable video that Bowie introduced at Live Aid in 1985.

Hit: My Best Friend’s Girl

Hidden Gem: Bye Bye Love

A Little South Of Sanity

It’s May in New Zealand. That means another summer’s worth of gigs is over. Since moving to this country five years ago, standout gigs have been few and far between – we’re a little off the beaten track for international acts – but this summer has yielded many, many fruit.

It makes sense for international acts to tour here during the summer. It means they have the best of both worlds. They get to tour Europe and the US during the Northern Hemisphere’s summer, and then they take a trip over the equator and make the most of our summer while touring here and Australia. Nice work – if you can find it!

weezerlive2012

Summer kicked off in January with a nostalgia trip back to 1994. Weezer were in town, playing the Vector Arena. I love Weezer’s debut album – the Blue Album. It’s always remained a favourite over the years, and even though I haven’t really appreciated anything else they’ve done – aside from the sublime Hash Pipe – the promise of that first album played in its entirety was just too much.

Local support band U.M.O. (Unknown Mortal Orchestra) have been receiving many plaudits over the past few months with the release of their second album, so I was looking forward to catching them. I wish I hadn’t. Whether they were plagued by bad sound, or whether they just can’t play live, I was disappointed to see them. A tuneless dirge.

A quick catch-up with some old friends, and then Weezer appeared to play their first set, a greatest hits set. I didn’t recognise half of the songs, but it didn’t matter. On his way around the arena – ‘connecting’ with the fans – I got to high-five Rivers Cuomo. That’s not something I get to do every day.

The intermission, before they came back on to play The Blue Album, provided a nice touch. The lights remained down, and a slideshow of early band photographs was shown on the big screen behind the stage. Narrated by a member of the road crew, it showed the band in their early days, in their respective bands before Weezer, through to the recording and subsequent promotion of their first album.

I haven’t seen any of the tours in the last decade or so where a band play one of their classic albums in its entirety. I always thought I’d see one by accident – at a festival or something like that – so I was glad that the first one I would see would be an album I love. It was great to see.

Highlight: Say It Ain’t So

A month later I saw a Beatle in the same venue. I’ve seen McCartney play before, but this was my chance to see Ringo Starr and his All Starr Band. I’m a card-carrying Beatles obsessive but this was just the most bizarre mishmash of popular culture imaginable. This version of Ringo’s band included Steve Lukather (from Toto), Todd Rundgren, Gregg Rolie (from Santana) and Richard Page (from Mr. Mister).

Ringo

Aside from the inevitable Beatles songs associated with Ringo which, yes, sounded just as bad as they do on record, we were ‘treated’ to a couple of songs from his new album (2012). It’s hard to keep a straight face when you’re faced with lyrics of such elegance as ‘This is an anthem, for peace and love / We’ve gotta keep trying, we can’t give up’.

The rest of the show was taken up with cover versions of the band member’s hits from their respective bands. So we had the likes of Rosanna, Africa and Hold The Line (courtesy of Steve Lukather), Broken Wings (courtesy of Richard Page) and Black Magic Woman (courtesy of Gregg Rolie). Thankfully, Ringo left the vocals to his bandmates for these ones. Bless him.

Highlight: I Saw The Light

Rodriguez

A month later we saw Sixto Rodriguez come back from the dead at the ASB Showgrounds. The last time I was there, I was watching two porn stars jelly-wrestling. There wasn’ any jelly-wrestling this time, thankfully, but it was great to see Rodriguez after finally watching Searching For Sugar Man last year. Given his condition (he had to be led out to the microphone as his eyesight isn’t the best), I don’t think I’ll get the chance to see this frail old man perform again.

Note to self: avoid gigs at the ASB Showgrounds in the future. It’s not a great venue for music with some seats at an almost 90° angle to the edge of the stage, and pillars blocking the view from some. I might go back for the jelly-wrestling though.

Highlight: Sugar Man

Fred

Four days after Rodriguez, I went to see Fred Wesley and the JBs at The Powerstation. It’s almost impossible to not get a good view of the band in The Powerstation, and this makes it my favourite Auckland venue hands-down. Being able to see the band is especially important when seeing Fred Wesley and his band, if only to see the looks on their faces when they glance around the stage. It looks as if they’ve just smelled something truly awful, as though they’re accusing each other of farting, but they’re simply congratulating each other for playing something unbelievably funky.

After dancing for two hours, I was absolutely shattered so on my way out, despite seeing Fred make a beeline for the merchandise booth (presumably to sign autographs), I went straight home. I regret that massively.

Highlight: Pass The Peas

Plant

Another regret came a few weeks later when we saw Robert Plant (supported by The Blind Boys Of Alabama), back in Vector Arena. I don’t regret seeing Plant – for the third time, after catching him twice at Glastonbury over the years – but I regret not paying more for my ticket. We were sat right at the back of the arena, next to the sound desk, and although we enjoyed the fantastic sound from being sat there, I should have bought better tickets. If tickets had been released earlier, I maybe would have bought premium seats, but as it was, it was one of the last shows announced for the summer, so funds had to stretch accordingly.

With an impressive band (The Sensational Space Shifters), including one of the guys from Massive Attack shaping the overall sound, Plant shone across nine Zeppelin songs. Some of them were ‘re-imaginings’ but the more acoustic ones like Going To California and show-opener Friends, from Led Zeppelin III, were right on the money.

Highlight: Friends

I returned to Vector Arena nine days later to see something I thought I’d never see in person: a reformed Black Sabbath. Unfortunately Bill Ward wasn’t present, but it was still great to see Ozzy, Tony and Geezer; and the drummer they brought with them – Tommy Clufetos – was fantastic.

Shihad

I had celebrated Record Store Day earlier that day by buying Shihad’s debut record, Churn, on vinyl for the very first time, and so it was great to see them support Sabbath. I’ve always admired Shihad from afar, and it was interesting to see them play such a heavy set, in contrast to the more radio-friendly set I saw them play when they supported AC/CD at Western Springs a couple of years ago.

Highlight: Factory

Black Sabbath.Auckland.logo.0420-13

Sabbath were every kind of awesome. Just hearing Ozzy’s voice for the first time while the stage was still shrouded in darkness was unbelievable. He might not be the best singer in the world, but his voice is unreal. I read somewhere recently that in the entire lyrics of the first Sabbath album, there are only two or three words that are longer than two syllables. Thankfully the guitar riffs are where it’s at with this band, rather than the wordplay, and it was really Tony Iommi who was the star of the show.

Highlight: War Pigs

A few days later, I flew down to Dunedin on my own (leaving a heavily pregnant wife at home with our 16-month old) to see Aerosmith. I don’t think I ever thought they would play in New Zealand, so I was ecstatic when I heard they’d announced a show, but then equally dismayed that their one and only show was to be in a city in the deep south of the country.

A cheap flight with Jetstar, and some cheap accommodation meant the trip wasn’t too expensive, but I didn’t account for how wilfully backwards they are down there. The airport is about half an hour’s drive out of the city, and there’s no public transport from one to the other. So the choice was a $70 taxi ride or a $30 shuttle minibus. Somebody is getting very rich off this arrangement.

It hardly stopped raining in Dunedin all the time I was down there. As soon as I reached my accommodation, I braved the rain to walk down to the local supermarket (going down the same hill that the steepest street in the world is on, just a few streets away). I instantly regretted my choice of footwear – a pair of old Adidas with a hole in one of the soles. Grr. I had to spend the next couple of days with plastic bags lining my right foot to keep it dry – to various shades of success.

FBS_ASmithNew

There’s a couple of rumours why Aerosmith chose to play somewhere so isolated. Either the promoter offered them big bucks to play there (and there only) – or the other thing I’ve heard is that Auckland doesn’t have an indoor venue big enough for one show (the Forsyth Barr stadium in Dunedin has a roof, which my right foot was very thankful of) and they didn’t want to risk an outdoor show because of the weather at this time of year. I think the former seems the more likely. Elton John did exactly the same thing a couple of years ago, and avoided both Auckland and Wellington to play down there.

The thing is, Aerosmith undersold. The stadium’s capacity is 40,000 but they only sold 20,000 tickets – and according to some bloke from the Dunedin Hotel and Motel association, all the accommodation was booked up. So I don’t know where they expected people to stay the night, if the show had sold out?

Still, I’ll take the opportunity. My favourite band, and all that.

dead daisies

Some of the support bands left a lot to be desired. Local try-hards Diva Demolition kicked things off with a short set – short on melody. They were followed by arrogant cocks Head Like A Hole, whose only saving grace was a great cover of El Bosso’s I’m On Fire. The next band up was The Dead Daisies – whose truly awful name was rivalled only by their truly awful middle-of-the-road Dad rock.

Wolfmother

Finally, Wolfmother saved the day. I’d been a fan of their first album, but then they sort of drifted off my radar over the last couple of years. They bounced onto the stage like puppies with their huge hair, and played a set that really warmed the stadium up. Apparently this was to be the last Wolfmother show, with lead singer Andrew Stockdale intending to tour and release work under his own name going forward.

Highlight: Joker & The Thief

Half an hour later, Aerosmith took the stage. This was the fifth time I’ve seen them, and again the set was very different to the last time I saw them, indicating that they’re getting more and more comfortable playing their older material. The set list seemed to alternate between old songs and new (Geffen onwards) songs, which was nice to hear after the Geffen heavy sets they played the first three times I saw them.

Aerosmith

The highlight for me was No More No More, one of my favourite songs from Toys In The Attic, which I’d never seen them play live before; and their version of Come Together – again a song that I’ve never seen them play live, but know like the back of my hand from listening to their studio version countless times.

Highlight: Being this f**king close!

I walked back to my accommodation in the rain, with a wet right foot, a new Aerosmith t-shirt and ringing in my ears. Here’s to next summer!

Rocks In The Attic #202: Weezer – ‘Weezer’ (1994)

RITA#202Last night I high-fived Rivers Cuomo.

After 18 years of being a fan of Weezer, I finally got to see them pay live last night. Of all the (contemporary) bands that I really liked in the early ‘90s, I think they’re one of the last ones – if not the last – that I’ve caught live. Everybody else I saw at the time, I think.

Weezer played a greatest hits set first, followed by an intermission (where their sound guy did a nice slide-show of some early band photos on the big screen), followed by a run through of this entire album, their debut, commonly known as The Blue Album.

This also marks the first time I’ve caught one of these nostalgia gigs where a band runs through one of their classic albums in its entirety. Or at least I think it’s the first time. I’ve seen plenty of bands on their first tours supporting their debut albums, so I may have seen something similar unintentionally in the past.

I got a lot of stick for liking this album when it came out – mainly from one friend at college who just couldn’t get his head around Buddy Holly – a poppy sing-along song if I’ve ever heard one; but I think their back catalogue validates clearly that they’re more than a one-hit wonder with flashy Spike Jonze MTV videos.

This album reminds me a lot of walking to college, through the winter of 1994, listening on my Discman. It’s funny how an album, conceived in California and recorded in New York City, can take on a whole other meaning in a grim Northern English town.

It’s one of those albums that I can listen to over and over and not get tired – a batch of tunes with great melodies, well produced (by The Cars’ Ric Ocasek). I’ve never been a big fan of their other albums – I bought Pinkerton when it came up (the follow-up to this), and I only listened to it once, naively disappointed that it wasn’t The Blue Album. Last night’s greatest hits performance really reminded me of how much I love their later single Hash Pipe though.

And it’s always good to high-five your heroes – especially in the usually impersonal environments of an arena gig.

Hit: Buddy Holly

Hidden Gem: The World Has Turned And Left Me Here