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<noinclude> '''See [[Help:Featured Article]] for instructions on editing this page.''' </noinclude> | <noinclude> '''See [[Help:Featured Article]] for instructions on editing this page.''' </noinclude> | ||
{{Featured article headline|[[ | {{Featured article headline|[[Weezer (The Blue Album) Pitchfork Media record review]]}} | ||
[[Image: | [[Image:Pitchfork.jpg|150px|right|link=Weezer (The Blue Album) Pitchfork Media record review]] | ||
[[ | The following is an except from {{Possessive name|Pitchfork Media}} ten-star, retrospective review of ''[[Weezer (The Blue Album)]]'', written in 2017 by Jillian Mapes. | ||
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The desire to write a perfect song can drive some songwriters mad, as their belief in music as a vehicle for emotional expression reconciles itself with the belief that pop is a puzzle that can be solved. On ''Blue,'' [[Rivers|Cuomo]] found the ideal balance, as he rarely has since. He understood the rules so well that he also knew when to break them, from [[Matt Sharp|Sharp’s]] super silly new-wave keyboard in “[[Buddy Holly]]” to the mumbled dialogue that runs through “[[Undone]]” (the band and [[Karl Koch|their]] [[Mykel and Carli Allan|friends]] chatting were a backup plan after [[DGC]] refused to clear dialog from an old sci-fi film, “Peanuts”) and more. | |||
The fact that “[[Only in Dreams]]” is eight glorious minutes long is ''Blue’s'' greatest example of self-indulgence gone right. It confronts the two most perilous teen-boy anxieties—talking to a girl you really like and dancing in public. It’s fiery, gorgeous, well-played, and devastatingly sad. Sharp’s trudging bassline guides the way forward for the narrator, whose fear of stepping on his crush’s toenails is temporarily silenced by the band’s total calamity. Rock’n’roll teaches us that extreme volume can quiet the voices of doubt inside our heads and numb the pain of living inside our awkward bodies. In this sense, the climaxes on “Only in Dreams,” starting around the song’s midpoint, are rock’n’roll lessons of a lifetime. But it’s the big build at the 6:45 mark that plays like a beta male transfiguration. Having re-recorded [[Jason Cropper|Cropper’s]] guitar parts in one take after essentially firing him following ''Blue’s'' [[1993]] recording at [[Electric Lady Studios|Electric Lady]], Cuomo ends up axe-battling himself until he’s soloing like the metal gods he grew up worshipping. [[Pat|Wilson’s]] drumming—an underrated and idiosyncratic force throughout [[Weezer’s]] discography—drives home the catharsis. His cymbals crash from every angle and his tricky rolls play like percussive triple axels. By the end of the song, you’re back to reality, exhausted but ready for a fight—even if it’s just against your own doubting voices. | |||
{{Featured article links|Weezer (The Blue Album) Pitchfork Media record review}} | |||
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