Weezer (The Blue Album) press kit: Difference between revisions

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==Transcript==

Rivers Cuomo (vocals, guitar)<br>

Brian Bell (guitar, vocals)<br>

Matt Sharp (bass, vocals)<br>

Patrick Wilson (drums)

My name is Karl Koch and I have been Weezer's "multifaceted" assistant (driver, roadie, visual artist, historian) for over two years, since shortly after their conception on February 14, 1992. Originally I was just doing them an occasional favor, but somehow this has become my main occupation, causing me to quit several "real" jobs and to indefinitely shelve my own artistic endeavors in favor of putting all my efforts into Weezer. I think my devotion is the direct result of the band consisting of very good people who write and play very good music. I wouldn't be helping them if I didn't believe in them.

In June '93 Weezer was signed to DGC, making my duties official (okay in Mom and Dad's eyes) and giving the band a chance to get their music out in public after 17 months of near-complete obscurity in the L.A. club scene meat grinder.

It was now time to record the album and there was much doubt about finding a good producer who wouldn't try to change everything. Due to a strong admiration for the sound of the Cars, Rivers had a tape sent to Ric Ocasek, who we all figured would never be interested. (I mean, come on!) However, Ric was very enthused (to our astonishment and gratification) and off we went to New York for two amazing, exciting, fun, busy and exhausting months that we will never forget (especially thanks to numerous late night videotapes I shot at Electric Lady!)

This album is like a diary to me; each song tells what I was feeling and thinking during a particular experience. "Jones" explains how "the plan" is reaming us all, especially my brother. It's a good introduction to the album. "No One Else" is the jealous-obsessive asshole in me freaking out my girlfriend and "The World Has Turned" is the same asshole wondering why she's gone.

"Undone" is the feeling you get when the train stops and the little guy comes knockin' on your door. It was supposed to be a sad song, but everyone thinks it's hilarious. "Surf Wax" is a totally sarcastic call to hedonism, so sing along, drink and be merry. I hate drinking and only do so when I absolutely have to (which these days, seems to be quite often). "Say It Ain't So" is also about a beer.

"In The Garage," "Buddy Holly" and "Holiday" were written in a sudden burst of confidence and optimism right after we got a record deal. Those positive emotions have since dissipated — along with our cash advances — but I sill like the songs.

My name is Matt and I play bass in Weezer. This is the first band I've been in and the first album I've played on, both of which means a lot to me. I also sang the falsetto vocals on the record, which is probably most easily recognizable on "Say It Ain't So." (These were, oddly enough, the first notes I sang in front of anyone). The falsetto stuff is pretty much on all of the tunes except for "In The Garage" and "Holiday." Singing can be pretty rewarding even when you're not that good at it. For me, it filled a gap in my life that was there until the band started. I'm not exactly sure what we four have in common, but I do consider Pat, Brian and Rivers to be good people and good friends that I am glad to be associated with. Also, the opportunity to work with people as talented as Ric and Chris was an experience and an honor that will be with me forever. If I had to make a list of music I care about and have been listening to lately, the things that come to mind first are: the last three Talk Talk albums, old Gary Numan records, the Jesus Christ Superstar soundtrack, and all of That Dog [sic] songs I could get from Tony and Rachel. I hope when people listen to these ten songs, they will enjoy them as I have enjoyed some of the music I just mentioned. Besides that, I think my story is just not that interesting and I should probably stop.

My name is Patrick Wilson and I play drums for Weezer. As I write this on a Friday morning, I'm listening to our CD. It's a good feeling, but very strange. Four years ago I was a guy with a bad haircut from Buffalo, New York. The music scene there is lame, consisting largely of cover bands and bat metal. It seems that musicians in small towns have a gunslinger attitude that is also faintly bitter. Some of them just have attitude. I decided to quit my day job and move to Los Angeles with my new friend Pat Finn (Pat is responsible for us knowing each other. He currently fronts an amazing band named Winkler in Buffalo).

We recorded this with Ric Ocasek and Chris Shaw at Electric Lady in N.Y. I loved the experience and feel honored to have worked with them. The record sounds the way it does because the drums aren't the loudest thing in the mix. Somehow, Phil Collins' style of recording has taken over, and we didn't want that. The only effects used are fuzz bass on "In The Garage" and a little compression here and there. Certainly not as much as they put on Ringo.