Weezer - Blue Album (1LP, Ultra Analog, Half-speed Mastering, 33 RPM, Blue vinyl)
ORDER LIMITED TO ONE ITEM PER CUSTOMER
Rivers Cuomo – lead vocals, lead and rhythm guitar, keyboards, harmonica
Patrick Wilson – drums
Brian Bell – rhythm guitar, backing vocals
Matt Sharp – bass, backing vocals
Mykel Allan – spoken intermission on "Undone – The Sweater Song"
Karl Koch – dialogue, piano outro on "Undone – The Sweater Song"
Jason Cropper – guitar, backing vocals on "Jamie"
Written by Cropper (A1), Wilson (A1, A3, B1), Cuomo (A1, A3, B1), Rivers Cuomo (A2, A4, A5, B2 to B5)
1 LP, gatefold jacket
Numbered limited edition
Original analog Master tape : YES
Gain 2™ Ultra Analog
Heavy Press : 180g
Record color : black
Speed : 33RPM
Size : 12”
Record Press : RTI
Label : MOFI
Original Label : DGC
Recorded August–September 1993 at Electric Lady Studios, New York City
Engineered by Chris Shaw
Produced by Ric Ocasek
Remastered by Krieg Wunderlich
Originally released in 1994
Reissued in 2016
Side A :
- My Name Is Jonas
- No One Else
- The World Has Turned And Left Me Here
- Buddy Holly
- Undone - The Sweater Song
- Surf Wax America
Side B :
- Say It Ain't So
- In The Garage
- Only In Dreams
Rolling Stone 500 Greatest Albums of All Time - Ranked 299/500!
Rolling Stone 500 Greatest Songs of All Time - "Buddy Holly" - Rated 499/500!
"Even if you lived through it, it's hard to fathom exactly why Weezer were disliked, even loathed, when they released their debut album in the spring of 1994. If you grew up in the years after the heyday of grunge, it may even seem absurd that the band were considered poseurs, hair metal refugees passing themselves off as alt-rock by adapting a few tricks from the Pixies and Nirvana songbooks and sold to MTV with stylish videos. Nevertheless, during alt-rock's heyday of 1994, Weezer was second only to Stone Temple Pilots as an object of scorn, bashed by the rock critics and hipsters alike. Time has a way of healing, even erasing, all wounds, and time has been nothing but kind to Weezer's eponymous debut album (which would later be dubbed The Blue Album, due to the blue background of the cover art). At the time of its release, the group's influences were discussed endlessly -- the dynamics of the Pixies, the polished production reminiscent of Nevermind, the willful outsider vibe borrowed from indie rock -- but few noted how the group, under the direction of singer/songwriter Rivers Cuomo, synthesized alt-rock with a strong '70s trash-rock predilection and an unwitting gift for power pop, resulting in something quite distinctive. Although the group wears its influences on its sleeve, Weezer pulls it together in a strikingly original fashion, thanks to Cuomo's urgent melodicism, a fondness for heavy, heavy guitars, a sly sense of humor, and damaged vulnerability, all driven home at a maximum volume. While contemporaries like Pavement were willfully, even gleefully obscure, and skewed toward a more selective audience, Weezer's insecurities were laid bare, and the band's pop culture obsessions tended to be universal, not exclusive. Plus, Cuomo wrote killer hooks and had a band that rocked hard -- albeit in an uptight, nerdy fashion -- winding up with direct, immediate music that connects on more than one level. It's both clever and vulnerable, but those sensibilities are hidden beneath the loud guitars and catchy hooks. That's why the band had hits with this album -- and not just hits, but era-defining singles like the deliberate dissonant crawl of "Undone - The Sweater Song," the postironic love song of "Buddy Holly," the surging "Say It Ain't So" -- but could still seem like a cult band to the dedicated fans; it sounded like the group was speaking to an in-crowd, not the mass audience it wound up with. If, as Howard Hawks said, a good movie consists of three great scenes and no bad ones, it could be extrapolated that a good record contains three great songs and no bad ones -- in that case, Weezer is a record with at least six or seven great songs and no bad ones. That makes for a great record, but more than that, it's a great record emblematic of its time, standing as one of the defining albums of the '90s." AllMusic Review by Stephen Thomas Erlewine
Ultra Analog™ : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.
Half-speed mastering. In half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1/3 rpm record is cut at 16 2/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.
AllMusic : 5 / 5 , Discogs : 4,56 / 5