Now that Everything Will Be Alright In The End is here and Weezer fans can busy themselves with memorizing every chord change and lyric of the band's first record in four years, it's time to DUKE IT OUT about the best (and worst) albums that Weezer has ever made.
Why? Weezer's discography is a frequent hairsplitter amongst friends and fans, and conversations about it are basically personality tests at this point. You're either a Pinkerton fan or a Blue Album evangelist; you defend Raditude for that one catchy as hell single or banish it from your iTunes playlist forever based on that out-of-left-field collaboration with Lil Wayne. Weezer is responsible for some of the catchiest and most likeable songs, music videos and live shows that the rockier side of pop has seen for the two decades they've been in business, and each record has put forth memorable singles, weird publicity stunts and some serious band-fan dialogue.
We're not entirely sure how Everything Will be Alright In The End will stack up against the rest of Weezer's releases once the chips fall where they may, but all signs point to "good." So far, we're into the inventive cover art created by Chris McMahon, who specializes in throwing monsters into paintings he finds at thrift stores with a few brush strokes. Singles "Back To The Shack" and "Lonely" recall the riffs of Weezer's pre-Raditude days. Ric Ocasek of The Cars is in the producer's chair, and given his magic touch on the Blue and Green Albums, he could be the ingredient for the secret recipe that turns loved Weezer records into lauded ones. (At least no Snuggies were harmed in the creation and promotion of Everything Will Be Alright In The End. Explanation to follow.)
As for the rest? We've taken a look at all of that info—the singles, the performances, the featured players, the charts, the reviews, even the message board conversations and cover art inspired by each record—and ranked Weezer's prior eight albums accordingly. Click through for the definitive ranking of Weezer's albums, from Blue to Hurley and every riff in between.
Raditude is arguably the most pop-conscience of Weezer's albums on both cultural and collaborative scales. (They started hawking Wuggies—yup, Weezer-ified Snuggies—alongside the record. Still kind of confused as to why that had to happen, but hey! Cross-platform promotion couldn't hurt them at that point.)
Between live cuts of lead single "(If I You're Wondering If I Want You To) I Want You To" and the meat of the album itself, Raditude's guests and collaborators included pop chart-toppers and hip hop pros. Sara Bareilles joined Weezer for a live cut of "(If I You're Wondering If I Want You To) I Want You To." All-American Rejects co-wrote the emo-riffic "Put Me Back Together," while Jermaine Dupri and Lil Wayne lent their talents to "Can't Stop Partying" as co-writer and featured performer, respectively.
Despite the star power involved before and after the album drop (and a No. 7 spot on the Billboard 200 upon its release), Raditude didn't sit as well as the Weezer records before it, and the shift in genre leanings had a lot to do with it. Critics were either sort of okay with it, bemused or confused by the Raditude's very existence, and though "(If I You're Wondering If I Want You To) I Want You To" is Weezer's longest-charting single to date (with a whopping 12-week consecutive run on the Alt Rock chart), it couldn't save Raditude from mediocrity.