As a Rolling Stone cover story on newsstands the week before the release of Make Believe made clear, Weezer leader Rivers Cuomo is an odd, ornery sort. He's a genuine rock roll maverick, at once attracted and repelled by his star status, disappearing for long stretches at a time, often to return to college. He writes and records far more songs than whatever winds up on a final Weezer record, which are often whittled down to just 30 or 40 minutes, leaving untold numbers of songs in the vaults. What makes the situation even stranger is for as obstinate and unpredictable as he is, Cuomo does not make odd music: he's a pop songwriter fronting a hard rock band, equally enamored with big choruses and loud guitars. While each of Weezer's records has a defining characteristic -- whether it's a sound, a lyrical theme, or simply an emotional feel -- that separates it from its predecessor, each album is clearly written from the same perspective: that of a brainy misfit raised on cheap metal and new wave, whose nerdiness always kept him on the outside looking in. This was true even after Cuomo became a star, thanks in large part to how he had a gift for articulating how very awkward he felt within the constructs of a catchy, melodic, concise pop song. But as rock stars since Elvis have learned, fans are a demanding lot, especially when they identify so heavily with a specific work, as Weezer's cult did with Pinkerton, the band's second album. It flopped upon its 1996 release but became a word-of-mouth hit over the next five years, leading up to their eagerly awaited comeback, Weezer, their second eponymous album that is otherwise known as The Green Album. Appropriately for a self-titled affair, Weezer functioned as an introduction to a new incarnation of a band, one that sounded similar but had a different outlook: namely, one that was deliberately notintrospective, a conscious shift away from plaintive introspection of Pinkerton. The Green Album and its quickly released 2002 follow-up, Maladroit, were both sharply written, tightly constructed, quite excellent, and popular rock records, but that didn't stop some fans from grumbling that neither album was as affecting as Pinkerton.

1		Beverly Hills
2		Perfect Situation
3		This Is Such A Pity
4		Hold Me
5		Peace
6		We Are All On Drugs
7		The Damage In Your Heart
8		Pardon Me
9		My Best Friend
10		The Other Way
11		Freak Me Out
12		Haunt You Every Day

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