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Welcome to Weezerpedia,
the Weezer encyclopedia.
7,669 articles and counting.

Featured video: "Don't Let Go" live at the Hultsfred Festival in Hultsfred, Sweden, June 16, 2001.



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Featured article: Alone XIII: The Pacific Daydream Black Years


Alone XIII: The Pacific Daydream Black Years (formerly known as Alone XIII: The Pacific Daydream Years) is a digital compilation by Weezer frontman Rivers Cuomo, consisting of demos for what would eventually become the Weezer albums Pacific Daydream and the Black Album.

It is the thirteenth installment in the Alone series. The compilation was released on the demo storefront on Cuomo's personal website, riverscuomo.com, on October 18, 2021, ahead of the four-year anniversary of the release of Pacific Daydream. Initially consisting only of Pacific Daydream demos, the compilation was renamed to include Black Album demos in 2024.

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Featured song: "Korobeiniki"


"Korobeiniki" is the third track and lead single off of The Doubble Donkey Disc by Ozma. It is an adaptation of a nineteenth-century Russian folk song of the same name, and it is one of the band's most recognizable songs. It is perhaps best known under the name "Tetris."

The lyrics of the original "Korobeiniki" tell the story of a meeting between a peddler and a girl, describing their haggling over goods in a metaphor for courtship. The song is most well-known outside of Russia for its inclusion in various versions of the video game Tetris, most notably the arrangement by Hirokazu Tanaka for the Game Boy version of Tetris. Both the Tetris and Ozma arrangements of the song are instrumentals.

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On this day... June 15

June 13 | June 14 | June 15 | June 16 | June 17

Featured image



Tray card that accompanied the 2001 US CD release of The Green Album.
Art direction by: Chris Bilheimer
CD released May 15, 2001

See more from the Weezer (The Green Album) category of the Physical Release Catalog

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Featured quote - Dave Sitek on working on Weezer (The Black Album), Black Album bio - November 2018.



I view the album as a rubber band and each finger is a song, and it pulls it apart and snaps it back into place. I think there’s certainly fidelity or instrumentation choices that are wildly different, but if you step back further, I think that can be said about life. You’re still going through the experience in the same vehicle. If I do my job right, you’ll be able to look at this as a complete body of work. “Can't Knock the Hustle” has some aspects to it — the thread is the identity of the song — the fidelity of the song is quite different in each one. When I sent over “Can't Knock the Hustle” I fully intended to be fired on the spot. When I wasn’t, I figured they were into taking chances. There’s a lot of moments lyrically that speak to the Weezer that I knew, but they also speak to people who don’t know who Weezer is. Let’s service those people too. I kind of make drug music for drug people. I try to preserve that sense of wonder. I wasn’t pressured in any way by anyone to sound by anything.

-Dave Sitek, November 2018

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