Weezer starts Pacific Daydream with stuttering power chords,big drums banging out in four/four time and huge hooks anchoring bigger choruses.
Opener “Mexican Fender” would be an irritating mutherfucker if it wasn’t for the fact that it’s so catchy and it’s got a scene-stealing bridge.
From there, Rivers Cuomo serves up a nod to one of his primary influences on “Beach Boys.”
The wink and the gun is aimed at the listener in title only as it flips a hint of the radio-ready soul–influenced rock that gave The Rolling Stones one of their biggest hits on “Miss You.”
Like the ditty says ‘it’s a hip-hop world.’
Previously, we discussed the brilliance of “Happy Hour.” When placed in context with the rest of Pacific Daydream, it shines even brighter.
Where pieces like “QB Blitz” and “Get Right” slip and fall is that they lack the cohesion to stand for greatness.
If history has shown us anything it’s that Weezer’s work inspires a dramatic response.
The shit is either brilliant, a shade south of mediocre or pretty bad in that ‘I can’t rock with where you want to go bro’ kind of way.
At its worst, Pacific Daydream swims in that mediocre water and at its best its genius work.
It could be a simple reflection on how hard it is to make a homerun album while maintaining integrity and pushing creative boundaries.
“Sweet Mary” may not be the strongest piece, but it states a case for what it’s trying to accomplish.
The concept of marrying a little bit of Smashing Pumpkins with a whole lot of harmony, a fat backbeat and a few sonic rainbows feels like an interesting concoction on paper.
In execution, it does not quite hit the sweet spot and that is why “Happy Hour” is the real gem here.
The needs of the song won the day while figuring out what new lands to explore took a backseat in the process.
Pacific Daydream is not the worst Weezer album. It’s not the best either. Let’s just dub it King of the In-betweens.