Post-Pinkerton

Dylan Gallagher joins the show to talk about "O Girlfriend," the final track on the Green Album. John and Dylan talk about how the song might be the best track on the album, why the live versions improved upon the song, and then transition to talk about Dylan's work curating the Weezer B-Sides YouTube channel and editing the Weezerpedia web site.

Almost exactly 17 years after first recording "Burning Sun," Weezer released "Weekend Woman," a song born from the bones of that Green Album era demo. John discusses what's changed, why he prefers "Weekend Woman" to "Burning Sun," and why you won't find the word "girl" on this track (or any other from Pacific Daydream).

"Burning Sun" is part one of Post-Pinkerton's first-ever two-part episode. John examines this Green Album cast-off, how it leaked twice in the strangest of manners, and why its bones eventually helped build a 2017 album track.

John is joined by Steve Grogan of the We're All Yankovics podcast to discuss one of his favorite Post-Pinkerton songs, "I'm A Robot," from the unreleased song compilation Death to False Metal. John and Steve's conversation about the song takes them to some surprising places, like the Blue Album classic "Say It Ain't So" and Matt Sharp's proclivity for barking during some live performances.

"Worry Rock" is the seventh track off of Green Day's 1997 album Nimrod. And no, you're not listening to the wrong podcast -- Weezer recorded a cover of the song in 2002. John talks about it, why he thinks it improves on the original, and how the band has changed their approach to cover songs in the Teal Album era.

John welcomes Christopher Knott of the We'z Talkin' Weez' 2 Thee podcast to the show. They discuss "Death and Destruction," tracking its journey from instrumental demo to one of the best tracks off of the band's fourth album, Maladroit.

"Where's My Sex?" is a song inspired by Rivers Cuomo's daughter, Mia. But if that makes it sound like you're about to hear a sweet and sappy episode, well, you're quite mistaken. John explains why "Where's My Sex?" sounds like a bad April Fool's joke that, unfortunately for fans of the band, is all too real.

"Wind in Our Sail" can be read as just another relationship song, but John thinks it has bigger aspirations than that. He talks about the song and its many references, including a blink-and-you'll-miss-it Pinkerton nod, in today's new show. 

"Possibilities" is one of the more disliked songs in Weezer's catalog. John describes why fans hate it, why he doesn't mind it, and why this song sounds so damn loud, and why we have so many versions of it in today's new episode.

"Cygnus X-1" is a Maladroit-era demo that remains one of Weezer's few instrumental tracks. Learn about how this short, minor work in the band's catalog was almost one of the first Maladroit-era tracks to receive radio play.

Weezer released their sixth self-titled album on Friday, and John's ready to talk about its lead single, "Can't Knock the Hustle." Learn about why the band struck out in a new direction, how many other songs had this video concept, and what the heck Pineaplemon is.

John is joined by Sean Paul Ellis of Saturday Mourning Cartoons to discuss Photograph, the third single off of the Green Album. John and Sean discuss why they like the song so much, what they think it's about, and why Sean stopped listening to the band so soon after their comeback. 

When working on Maladroit, Weezer released six different demos for a song called "Porcupine" (originally known by the title "Spend Some Time"). This usually makes for ripe podcast material, but on today's show, John explains why six "Porcupine" demos don't amount to much.

Rivers Cuomo wrote "Put Me Back Together" with the help of Tyson Ritter and Nick Wheeler of The All-American Rejects. They had a wonderful time working together and thought they had created a new Weezer classic. John explores all of the ways they got it wrong in today's episode.

John is joined by podcaster and longtime Weezer fan Tom Chansky on the show to discuss "1,000 Years," a song we have from the late '90s when Rivers Cuomo was performing in the Boston area with a group fans dubbed The Rivers Cuomo Band. John and Tom discuss the song, why it sounds so different from eventually became the third album, and why it's often confused for a Homie song.