Weezer recently released an album called “Weezer.” This is not that album. No, this is the original Weezer album, the one that started it all, the one that announced to the world that this talent had arrived and would be here to stay (kind of). For all the clout that now surrounds it, all the buzzwords meant to let people know its proper place in history, none of them seem to truly bring up what makes this album so great.

First, some background. Most people (or at least most critics) can agree that Weezer’s post-Pinkerton output has been notably weaker than their earlier material. While there is no true explanation for this, I personally believe it can be traced back to the departure of founding bassist Matt Sharp. Sharp was the yin to Rivers Cuomo’s yang; he had a knack for harmonies (both vocal and instrumental) that made Cuomo’s top quality hooks even more potent.

This can be felt all over Weezer’s debut album, from the small fills all over “Holiday,” to the unforgettable bassline in “Only in Dreams.” Not to knock any of the other instrumentalists in the band – drummer Patrick Wilson is one of the best time keepers of the 90’s, keeping the beat steady and propulsive while Cuomo pulls some of his signature guitar pyrotechnics.

Rivers Cuomo himself is truly to be applauded for some of these songs. Not only are his melodies top notch, with hooks that lock in and never let go, he provides some truly thrilling guitar work. From the simple solo on “No One Else” to the explosive end that charges “Only in Dreams,” Cuomo is able to electrify the song no matter what.

Ultimately, the influence of “Weezer” is hard to deny. Plenty of bands now are writing power pop songs with hooks and solos indebted to the ones that started it all. But none are able to capture the fire that Weezer sparked on this album.