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As it happens, the song Cuomo referred to as “Daydreamer” in his notes on “This Is The Way” wound up being titled “Dreamin.” That’s not all that had changed: instead of being 6 minutes long, it clocks in at a trimmer 5:12. And “Dreamin'” is perhaps the finest example of Cuomo’s tendency to overstate his talents: the song is not “epic,” neither “symphonic,” nor “bold” or “gigantic.” And I would certainly not call it an “art song.”

At first, it seems like Cuomo might deliver on his word. There’s a synth-string and feedback intro that tantalizes the listener for a full 15 seconds…which eventually breaks into a chord progression that Cuomo has already used on relatively straightforward songs like 2005’s “Hold Me” and 1996’s “Why Bother?,” with a vocal melody and lyrics that, aside from being ridiculously amateur, might very well have been inspired by the Bagel Bites commercial (“I’m dreamin’ in the mornin’ / I’m dreamin’ all through the night / And when I’m dreamin’, I know that it’s all right,” versus “Pizza in the mornin’, pizza in the evening, pizza at suppertime / When pizza’s on a bagel, you can eat pizza anytime” — even the rhyme scheme is the same!).

The verses, thankfully, are a little bit better. While sung from the perspective of a high schooler upset with his parents and teachers (c’mon, Rivers…), there are some maturer themes to be sussed in the “family of [his] own” that he’ll someday have, and a nice personal reference to the Widener Stacks library at Harvard, where Cuomo studied. Finally, at 1:51, we hear Cuomo begin to come into his element (with some nice backups by Brian Bell) above some tastefully sloppy drumming from Pat Wilson, just like the days of yore. There’s a slow build, and then…

Well, and then there’s perhaps the weirdest little section of music in Weezer history. Everything breaks down and, rather suddenly, we are treated to Bell singing lead about a “dream sequence” in a meadow, replete with birds chirping and a simple guitar line that seems to mimic the gentle ripples that the goslings make as they paddle along the river (yes, Bell actually sings the word “goslings”). Cuomo joins in for a rather funny sequence of dream-like echoes, as he sings about running through the meadow below angels watching on high. At last, the song begins to build more momentum and, with a triumphant cymbal crash, we enter boom-chop arena rock heaven. Not bad for a song that began with bagels.

Still, some things are kind of inexplicable and annoying. The band’s decision to spoil the wonderful ending by adding in a 15-second outro where Cuomo abruptly and obnoxiously intones, “I don’t wanna get with your program,” is almost offensive in context (and obviously indebted to the ugliest tendencies of Green Day’s overwrought comeback album American Idiot). Elsewhere, the riff that interrupts the “dream sequence” has symbolic significance — it is supposed to represent the harsh reality encroaching on Cuomo’s imagination, which he soon disregards and continues spacing out — but musically, it’s so jarring and basic that it can only be counted to the song’s detriment. I like the idea, but wish they had thought of a better way to convey it.

And so, “Dreamin'” just about sums up The Red Album: wildly inconsistent with what fans were lead to expect, and a mish-mash of strange concepts that sometimes work but often don’t. At the very least, one can tell that the band is clearly enthusiastic and enjoying themselves in the studio for the first time this decade.


  1. Dorsia wrote:

    This is almost exactly how I feel about this song.

    I don’t mind the first verses (including the lyrics) and think the middle “breakdown” is tolerable.

    I wouldn’t, however, play this song for anyone. Just way too embarrassing.

    Tuesday, July 22, 2008 at 3:52 pm | Permalink
  2. tapegun wrote:

    i think you’re on target with this one…(although i do like the outro).

    when i think about Red as a whole, i enjoy these “mediocre” tracks more than the mediocre tracks on maladroit or make believe. i’m not exactly sure why, but I think a lot of it is that the band is having fun.

    the single biggest disappointment on Red are the lyrics, while there are some nice spots (AATO being one of them) overall, they are pretty lame.

    maybe on the next album rivers can start writing songs from the perspective as an infant. that would at least be a little fresh. actually, i wrote that as a joke, but it’s not a bad idea….reminds me of the self album that only used toy instruments.

    Tuesday, July 22, 2008 at 4:47 pm | Permalink
  3. PeeGrinder wrote:

    I love this song and like it’s shameless “I’m feeling euphoric and don’t care if I come across like I’m coming across a bit daft”. Lets hear the reaction to this in a live environment before being too dismissive of this fine song.

    Tuesday, July 22, 2008 at 4:48 pm | Permalink
  4. GumbyTom wrote:

    Peegrinder, I agree 100%. I like this song, and it’s fun to listen to.

    I do think that the way Rivers described it (bold, an art song, everything else Soyrev ran down in the first graph) applies to this song.

    The band has never done anything close to this song in terms of scope. The only song I can think of is OID, with the build up. Dreamin’ doesn’t string out its build-up as much, but its second half (once Brian starts singing about the goslings) does sound pretty symphonic to me. Dreamin’s content and flow are pretty bold (or what you would call “weirdest little section of music in Weezer history. This is a song that actually breaks the strophic patterns that Rivers lived and died by beginning with the Green album (it’s also the first Weezer song to start off with the chorus since the Blue album).

    Well Soyrev, I’m glad you can at least have fun singing along to it.

    Tuesday, July 22, 2008 at 7:09 pm | Permalink
  5. Soyrev wrote:

    Tapegun: Self is fantastic. I have a (somewhat aborted) songblog for them as well, which you can find here.

    Peegrinder: I do look forward to hearing this one live, presuming they really are going to post tour dates sometime soon. I hope this gets the treatment — along with EGD, PnB, “Ms. Sweeney,” and TAATO, this is one Red-era tune I think would thrive given a good live treatment.

    Gumbytom: I think Rivers’ choice of adjectives are far too ambitious for this song. I’d say it has a sense of humor far more than it is “artful,” and it lacks the cohesion and complexity that such a self-congratulatory descriptor like “symphonic” implies — it’s far too disjointed and simple for such high praise. I mean, yes, they’re a diverse combination, but taken individually, each section of the song is, musically, very simple (pedestrian, at times). Simply stringing together a series of unrelated, simple musical “movements” does not a symphony make.

    And besides, the Bagel Bites theme song thing cheapens “Dreamin'” — the similarities are far too profound to overlook. Whether intentional or subconsciously, that’s where Rivers picked up the inspiration for this song. It’s like WAOOD and the diarrhea song. =\

    In all, the song is something of a failure, but it’s certainly more entertaining, catchy and fun than most of Weezer’s other missteps. Its ambition can be commended, as well. Interesting comment about starting with the chorus…but some superficial resemblance to Blue-era song structure doesn’t provide it any magical power (besides, even when analyzed in that regard, the “Dreamin'” structure is far more different from TBA’s than it is similar…no solo, no falsetto harmony, etc).

    The end of Rivers’ “strophic” obsession is nice as well, at least in theory. One thinks that he can finally say he nailed the formula after “Beverly Hills.”

    Tuesday, July 22, 2008 at 7:26 pm | Permalink
  6. John wrote:

    Well, i love Dreamin’. It kind of ticked every box i was hoping for the red album, which were Rivers and Brian harmonizing more often, catchy summery music and for longer breakdowns. I have always thought that songs like Surfwax America get thiers interupted too soon, and i think the development in Dreamin’ is heavenly. I also think Rivers wording is correct – its is an art because a pop song this good is an art. The lyrics are a bit immature, but you have to remember how well Undone works with its simple yet effective and meaningful lyrics.

    Dreamin’ also has a damn good tune for a sunny day.

    Wednesday, July 23, 2008 at 3:38 am | Permalink
  7. GumbyTom wrote:

    I guess I was watching the wrong commercials, because I never made the “bagel bites” connection. I think if anything the chorus sounds like a tune from a hymn (which BB probably ripped off as well), but the pace and tune are different, so to me, the chorus is something unique.

    Maybe I’ve just been drinking the Kool-Aid, but I buy Rivers’ description of this song. Compared to other Weezer material, which is straightforward rock, this is symphonic and artsy, without involving radically different instrumentation, or bringing in other musicians.

    With the comment about starting with the chorus, I wasn’t saying that it mirrored Blue, I was saying that this was the first time since that album they tried this. Indeed, most of what they’re doing with Dreamin’ is different, and that’s what makes this a great track.

    I miss the solos, but I actually like that they don’t try to do falsettos anymore. If your bassist (or other backing vocalists) can’t pull it off, why even try?

    Wednesday, July 23, 2008 at 5:41 pm | Permalink
  8. Martin wrote:

    Rivers was not exaggerating the symphonic traits of Dreamin’. The way the lyrics interact with the music in Dreamin’ is symphonic. It’s something that other Weezer songs do not do.

    Poppy, happy go lucky choruses with lyrics about simple Dreamin’ juxtapose a darker sounding verse containing lyrics about how everyone seems to be riding his back. Finally, Rivers begins to sarcastically sing, “Oh, I gotta be a big boy. Oh, I gotta pick up my toys.” Suddenly, the instruments begin to ripple away, as if it were a Television Sitcom transition between reality and fantasy.

    Brian Bell sets the scene with some interesting imagery. When Rivers finally comes in, they are entering what Weezer refers to as the “Beach Boys breakdown”. However, it’s a bit more evolved than when we last saw it used (on the The Good Life.) For a brief moment, that verse-sounding guitar enters. In my opinion, this is an outsider trying to interrupt the Daydream. Rivers ignores it, and begins to make his dream even more grandiose than before. To add to the effect, Scott’s bass begins to rumble underneath the instrumentation.

    Then, the song gets to my favorite part. The half-time chorus of “I’m Dreamin’ in the morning.” As this part unfolds Rivers finally Rivers rips out of the dream letting everyone know that he doesn’t want to “get with the program.”


    Wednesday, July 23, 2008 at 5:47 pm | Permalink
  9. Soyrev wrote:

    I still think you’re overstating the complexity of this song (or perhaps, understating the connotations of the word “symphonic”). It’s definitely interesting, and parts of it definitely work, but on the whole I just can’t accept this as a success. There’s too much wrong with it, and it frustrated me the first time I heard it — they were close, but not quite.

    I’m still not convinced that the “program” thing works. It makes the American Idiot connection all too easy, especially considering that section actually *sounds* like Green Day…=/

    Wednesday, July 23, 2008 at 6:00 pm | Permalink
  10. ProdigyLover wrote:

    By “symphonic,” I think he referring to the specific sonata form around which the song is based — four movements, meant to be performed by a symphony. It was definitely a misleading statement, though.

    Also, re: Pizza Bagels. There’s a song I found on iTunes called “Day Dreamer” by Donavon Frankenreiter. Check out the clip, which features the lines: “If you want to dream, dream, it’s okay / You can dream through the day / I said dream, dream it’s alright / You can dream all through the night.”


    Wednesday, July 23, 2008 at 7:40 pm | Permalink
  11. Soyrev wrote:

    Ridiculous similarity there, but I doubt Rivers has heard this obscure track on this obscure 2004 album…If anything, it just speaks to how cliche and obvious these lyrics really are.

    Wednesday, July 23, 2008 at 7:49 pm | Permalink
  12. GumbyTom wrote:

    It might be repetitive, and the rhyme scheme may or may not have been from some place else, but the song is a success. It blends together different styles of music, has a common theme, are about a real-life expereicnce (unless growing up isn’t something that’s deep) and you can sing along to it.

    They lyrics may not be full of Pinkerton level conflict and angst, but I wouldn’t say they’re cliched. If anything, I interpret the B.Bell-singalong part to be Rivers’ meditation influence on how he’s handling the whole growing up situation.

    Wednesday, July 23, 2008 at 8:20 pm | Permalink
  13. Fro wrote:

    Regarding the lyrics in this song and really the Red Album in general:

    “It’s easy to make angry, sort of restless music, but it’s hard to make something that’s genuinely uplifting”… “when I hear it I hear a lot of sunshine, for lack of a better term”. – Pat Wilson on the “Making of Make Believe” from the Make Believe disc.

    In truth, Make Believe was mostly an emotionally gloomy album. Maybe some of the songs that didn’t make the cut were more upbeat, but from what we got I would say that My Best Friend and then possibly Beverly Hills are the only two songs that can legitimately be related to this quote. With the Red Album, we ultimately received what is really Cuomo’s most “uplifting” set of songs yet. When the album dropped last month, I immediately thought of Pat’s Make Believe quote. The Red Album is the real “sunshine” album (the sun is literally shining during the Dreamin’ breakdown!). Lyrically, Dreamin’ fits right in with the five other Cuomo tunes on TRA. Yes, I see the cheese factor, and the “I’m ok when I’m dreaming” angle is a cliche, but as Cuomo said, “historically I’ve liked to roll with the big cliches”. He likes “how easy they are to comprehend when you’re listening to a new song” (these quotes come from the latest Let’s Write a Sawng Video). I would guess that if someone is trying to make “happy” or “uplifting” music, that person would want as many people as possible to connect with the song. Dreamin’ definitely fits into that class of happy and uplifting.

    it’s the most fun I’ve had singing along to a Weezer song since “Photograph.”

    That type of sentiment seems to be the whole point with this album.

    Wednesday, July 23, 2008 at 8:30 pm | Permalink
  14. Martin wrote:

    Just the fact that songs like this are being done in pop songs again is a bonus.

    As for cliche –

    I think things are seeming more cliche because it’s hard to take Rivers seriously when he’s got YouTube videos up of him acting like a complete goofball, when he dresses up as a moustached cowboy on the cover, and when he wears knee high socks on shows. It’s almost like we’re being made fun of. It’s one reason I can’t get into The Angel and the One or The Spider…frankly, it’s just not believable.

    Wednesday, July 23, 2008 at 8:41 pm | Permalink
  15. ProdigyLover wrote:

    Yeah, I wasn’t saying that he had ripped it off (even subconsciously). I just thought it was a funny coincidence.

    At most, someone might have mentioned the similarity to Rivers…and then he changed the title to Dreamin’.

    Wednesday, July 23, 2008 at 9:04 pm | Permalink
  16. Soyrev wrote:

    Gumbytom: What’s annoying here is that all of these lyrics are sung from the perspective of a high schooler, which might be a little more cool if most of Rivers’ compositions these days weren’t like that (as one of the guys on Sound Opinions said, it’s kind of facile coming from a 38-year-old man). And more annoying still is that certain parts of certain songs (here, the chorus) sound like they were written by a high schooler. That’s what’s lacking depth here, not the subject matter.

    Fro: Interesting concept. Although I would say this record is more “goofy fun” than it is “uplifting” (too serious a word for red-car Rivers), there are definitely some moments on there that could be genuinely uplifting in a non-prepackaged, made-for-MTV kind of way. The breakdown on “Dreamin'” is one of them, as is TAATO as a whole.

    Martin: I don’t take Rivers’ youtube shenanigans into account when thinking about TRA. I guess maybe there’s a correlation there, but how many fucking times has the press interpreted a Weezer song to be a joke (“Undone,” “Beverly Hills,” “Buddy Holly,” probably “El Scorcho,” if anyone in the media actually cared to comment on it at the time), when Rivers has emphatically (practically with tears in his eyes) gone on record to say, “Hey, what’s so funny?” Most of the time, Rivers’ work is that of a nerd bearing his heart to the world, and to some people, that will across come across as funny. But it doesn’t change the fact that he’s being sincere.

    (This applies less so to the TRA era. Yes, I take TAATO and “The Spider” at their fantastic face value, but if anything putting them on the same record that has a “boo-yah!” chorus or TGMTEL is what would make me question their sincerity.)

    Thursday, July 24, 2008 at 5:30 am | Permalink
  17. GumbyTom wrote:

    I wouldn’t say all of the lyrics are sung from a high schooler’s perspective. Maybe the first and second verse (or they’re sung from the POV of someone who’s getting older).

    I don’t know where the chorus, ‘goslings’ breakdown, and even the tacked-on ending come from. If I had to guess, I’d say they were inspired by his meditation, which is a pursuit contained to his adult years.

    So what if it’s a simple rhyme that’s been used before in a hymn (and as you so fondly pointed out) a pizza bites commercial? It works in this use.

    And yet, you still sing along to it, don’t you?

    Thursday, July 24, 2008 at 6:56 pm | Permalink
  18. Soyrev wrote:

    Singing along to a song doesn’t make it good. Rivers loves that Hannah Montana song so much, he probably sings along to it. Does catchiness = quality songwriting? Of course not.

    Your point re: contexts is absurd, too. I’m gonna take this melody and write a song with it — who cares if the Beatles used it in “All You Need Is Love!” It works in the context of my new song, so there. [Hell, I’d be okay with Rivers grift shit from a Beatles tune…this is a fucking bagel bites commercial]

    And you know, I’m not trashing this song for some of its lyrical failings — I like it and admit that it’s fun, as said in my initial post, Why you’re so hellbent on defending such plainly marginal lyrics is beyond me — just read them, keeping in mind that they are courtesy of a husband and father on the brink of his 40s, in a massively successful rock band, no less. It’s a pretty good song, but let’s call a fault a fault, eh?* [Oh, and if you really want to get depressed, think of some of the examples of the songwriting this man was capable at the ripe old age of 24…again, context won’t be a major point of this blog, but context is important; that context is why most Weezer fans are still Weezer fans]

    *That said, I do like the lyrics to the bridge (however cliche), just because it conveys a really cheesy-but-still-heartwarming message, which is a tough balance to find.

    Thursday, July 24, 2008 at 8:50 pm | Permalink
  19. GumbyTom wrote:

    Actually, catchiness does equal quality songwriting. For the masses, those who are uneducated in music criticism (of whom I count myself among), music is not measured by depth or emotions, but rather by it’s catchiness. People sing along to songs that they like- they change the station, or skip the songs they don’t like, or those that annoy.

    I’m sorry you’re not at a level where you can understand my point about context. My point about the context was lyrically related, separated from what I was saying about the tune. I don’t care if the tune was “lifted” from a 20-year-old commercial that I’ve never heard before. The music in the song is deeper than the tune of the chorus.

    As for the lyrics, they’re simple. That doesn’t mean they’re bad, or “marginal.” Simple can be good. And here, it is.

    I see no reason to get depressed, wistful, or nostalgic over lyrics that he wrote a decade ago. If I want to listen to Pinkerton, I have it on CD, tape and on several portable media devices. I won’t listen to the band’s new output and wish it was something else. The music they’ve been doing since 2000 isn’t as angsty or as personal. And there are a bunch of reasons for that. And I don’t have a problem with it.

    Thursday, July 24, 2008 at 10:03 pm | Permalink
  20. Soyrev wrote:

    Thanks for the lesson in FM pop, Gumby, but I already understand why music sells. In related news, grass is green and the sky is blue.

    Also, I understand what you’re saying re: say, BvH, but “Dreamin'” is not a radio hit, nor could it ever be, so defending it with a point about mass appeal is pretty irrelevant (this song actually probably appeals to less people than any given Pinkerton song, as that is at least a cult classic, whereas this song/record is neither a cult classic nor a mainstream hit). And finally, yes, I respect a song like, say, “Crank That (Soulja Boy)” for making millions of dollars on practically nothing, but that does not mean it is an example of quality songwriting. Do you really mean to imply that these are all quality, well-written, musically accomplished songs?

    “The music in the song is deeper than the tune of the chorus”? Hate to break it to ya, bloke, but I’m pretty sure the vocal melody of the chorus to a song is kind of key to its “musicality” (especially on the FM pop you tried to make a point about earlier). And even if your point was “strictly lyrical,” the lyrics are also practically the same thing as the commercial. Replace “pizza” with “dreamin'” and it’s practically identical. Yes, lyrically.

    And for the last time, I don’t reference Pinkerton because of its angst, but because of its musical quality. I don’t care what Rivers is singing about, or if it’s angsty, or if it’s about purifying water or killing a pig, I just care if it’s well done — and considering the man used to have such a sterling track record, we know that he’s capable of very great things, musically. At this point, I have zero concerns about continuity in Weezer’s discography — they can bang out a jazz album for the next one and I’ll love it, as long as it’s quality. It’s ridiculous that you continue to think I want “Pinkerton‘s angst” after I’ve already addressed this detail in response to you several times now.

    And that said, while I enjoy discussing things, this discussion’s going in circles, so I’m gonna let “Dreamin'” be now. If you write a response, simply reread my old posts on this thread for some counterpoint.

    Friday, July 25, 2008 at 5:53 am | Permalink
  21. Alan wrote:

    I actually like the song for its lyrical content. It’s far more personal than most of the stuff from the previous few albums. Definitely relatable – Rivers obviously didn’t much care for the routines of his daily life before he moved to LA, i.e. bowing down to authority figures (‘teacher’ and ‘daddy’), so he’d be “dreamin'” about girls (as spelt out all over Pinkerton) and one would think, making music and becoming a rockstar. He’d rather daydream about fantasties then say, “checkin’ in and suckin’ up to ‘Bob.'”

    The theme of “Dreamin'” is prevalent in most of Rivers’ tracks on The Red Album (“Troublemaker”, “Everybody Get Dangerous”, “Pork and Beans”); I’d go as far to say that it’s the dominant theme of the album.(anybody have a different take?). If the other members’ songs were taken out, I’m sure we’d have a much more memorable and consistent album.

    Rivers is looking back to his past, reminiscing and showing us how he become who he is today, 38, married and happy. I like this new direction and even though I’m 17 years junior the Varz I can still relate strongly to his songs, new and old. But you’re right – musically the newer stuff pales in comparison to his heyday of Pinkerton and TBA.

    Friday, July 25, 2008 at 1:47 pm | Permalink
  22. tapegun wrote:

    btw, i think the pizza commercial lifted the tune off of something…i can’t tell you how often i have heard that…

    “______ in the morning, _______ in the evening…”’s out there, kinda like how rivers tapped into the shaker hymn. i can’t quite place it though…(gospel, folk????)

    Saturday, July 26, 2008 at 6:35 pm | Permalink
  23. Soyrev wrote:

    Hmmm. Anyone know what Tapegun might be talking about? In any case, I think once something becomes so strongly associated with such a virulent TV commercial, it’s not really fair game anymore (same goes for diarrhea songs, Rivers).

    Saturday, July 26, 2008 at 10:17 pm | Permalink
  24. WaltDisney wrote:

    The Green Day, American Idiot, Jesus of Surburbia thing, which was mentioned a lot on the boards seems shortsighted to me. I tend to think more of Big Star’s first album in the rocking bits of this song. I’m not saying they’re paying homage to Big Star, just that Green Day needn’t be the last word on established musical cliches, especially when we’re talking about they’re most, i’d even say their only, overly derivative album (love that oasis cover!). American Idiot betrays Green Day and everyone seemed happy with that for a while. Rivers never mentions Big Star or Alex Chilton as far as I know, but their legacy always seems present when Weezer are at their pp best. It just seems odd that when they throw in some classic rock tropes people think of Green Day’s only rock album, as if Weezer aren’t aware of rock tradition without a one year old/Green Day filter. I think Green Day are a great punk band who never sound comfortable or listenable in that album. Weezer on the other hand rock pretty nicely. Where American Idiot seems like a succesful but not to my taste Rock pastiche, Dreamin’ sounds like a postmodern Disneygay Rock song that actually comes through the whole tradition more sincerely and authentically, Goslings included.

    Monday, July 28, 2008 at 5:51 pm | Permalink
  25. Soyrev wrote:

    WD, it’s hard to ignore the Green Day comparison completely when some of the record’s ADD moments actually sound like American Idiot. The ending of “Dreamin'” being the best example, in my opinion. Also, considering what Rivers is listening to nowadays, it wouldn’t be surprising if AI is really where he got the inspiration to do stuff like “Dreamin'” and TGMTEL…We all know they’ve been mutual fans for ages, as well, which makes the connection even more plausible.

    Also, I think a lot of AI sounds a lot more natural and comfortable than TGMTEL does. There’s a lot of cool stuff going on there, musically (and not so cool), but it’s just too scatterbrained and pasted together to really coalesce.

    Monday, July 28, 2008 at 8:35 pm | Permalink
  26. H wrote:

    Marc Hogan of Pitchfork wrote in his review of TRA that the album, “…relies on a high quantity of short-lived pretty good ideas to distract from a shortage of great ones.”

    Dreamin’ is a fine example. There’s the gimmicky feedback introduction. The charming chorus. Verses targeted at the everyday eighteen year old, a nebulous dream section, victorious build into a final chorus and then the big rock ending.

    While the song certainly isn’t epic, I think it succeeds rather marvelously as a summer sunshine song. There’s no attempt at philosophy in Cuomo’s simple verses, or from what I can tell any attempt at a grandiose realization or act of rebellion in the song’s ending bash. It’s mindless, unadulterated pop music.

    While I have to be disappointed in the overall musical simplicity of TRA, I can be happy that such simplicity yields fun songs like Dreamin’ every now and then.

    Thursday, August 7, 2008 at 9:03 am | Permalink
  27. Soyrev wrote:

    I really hope they play it live. I want to pantomime the “I am running!” part.

    Thursday, August 7, 2008 at 9:06 am | Permalink
  28. Danorganplayer wrote:

    I don’t really agree with your post. I love all the things you talk about but I feel like you’re shortchanging this song big time.

    Not everything in the world has to have great lyrics.. Listen to every earlies Beatle songs..

    So simple but does that ditract from the quality of the song? I’d say not.

    Also even if you dislike the outro part and the middle part, it works for the concept of the song, and if it didn’t have these said parts the message isn’t as nearly conveyed or sweet.

    Great nevertheless.

    Sunday, September 7, 2008 at 11:11 am | Permalink
  29. Soyrev wrote:

    I don’t know how much I can love a song that draws its main inspiration from the Bagel Bites theme song (consciously or not), but I do have an appreciation for its kitsch-factor. The ubergay breakdown is a lot of fun, and I hope they play it live so I can sing along loudly and pantomime the “I am running!” parts.

    Early Beatles songs are not nearly as good as their mid- and late-period works, and even then, their early work is given extra props because they were the first band to really do that kind of music so well, so efficiently, so regularly, and so popularly. They were revolutionizing music, even if, by today’s standards, it’s become “really simple.” My problem with the “Dreamin'” lyrics is not that they’re simple, but that, for the most part, they’re 5th-grade-poetry cliches.

    I like what the middle “heavy riff” implies, conceptually, but I think they could’ve done it in a much more musically pleasing manner. As for the outro, it just takes the message over the top, belabors the point, and moreover, musically sucks. I’d accept the song’s other faults much more readily if this part of the song simply didn’t exist.

    Sunday, September 7, 2008 at 11:19 am | Permalink
  30. BrokenBeatenDown wrote:

    Soyrev, I just wanted to let you know that I love the blog. Please keep at it as much as you can. It’s nice to see this kind of in-depth discussion about Weezer’s songs. I tend to agree with most of your opinions as well.

    However, I have to say that I love “Dreamin” and that it’s exactly the direction I want the band to move towards. Musically, there’s certainly a lot of thought put into the song. Unlike
    “The Greatest Man”, which seems to be just a stylistic exercise, “Dreamin” is very structured and truly beautiful. The musical breakdown is probably the best musical moment Post-Pinkerton. It’s the one song on The Red Album that keeps me coming back and continues to get better.

    Speaking of the breakdown (or “The Dream Sequence”), I think this is the direction that Weezer should move towards when it comes to multiple singers. Rather than have entire songs devoted to Brian, Scott or Pat, why not give them solo parts within songs? Brian fits this part so well (the sass master he is), it only strengthens the song.

    While I do agree that the “random riff” and the “program” section come across as extremely random, they don’t ruin the song for me. Even if it’s a bit questionable, I’d rather Rivers experiment and take a chance like this than crank out another “Make Believe.”

    I’m not sure if I really added much to this discussion other than my full-fledged love for this song. However, I honestly have to hope that Rivers (and Weezer, for that matter) will push himself in this direction for Album 7. The mere facts that he fought for this song to be on the record and that Brian cites it as his favourite are reasons for hope.

    Now how about some “Dreamin” on the North American tour???

    Saturday, September 13, 2008 at 8:23 pm | Permalink
  31. Soyrev wrote:

    Always wondered which song would be the first to break the 30-comment ceiling. “Dreamin'” it is!

    BBD, don’t sell yourself short: you’re adding great shit to the discussion, here. Now, re: your points…

    First of all, for the most part, I agree. I’ve long maintained that the “Dreamin'” breakdown is a lot of fun, musically quite cool (minus that annoying “riff interruption”), and, above all else, the way “band member inclusion” should work. As you said, Brian’s voice fits the mood perfectly, and it’s just the kind of thing I had hoped for from TRA — an organic, natural involvement from the other band members vocally, stuff that makes sense and only helps the song. Forcing Brian Bell into releasing a subpar TIK or trying to convince Shriner that his CDW song sketch could be A) successfully fleshed out, and B) suitable for a Weezer record, is ridiculous. Hopefully they garnered that much from the critics this time around.

    And yeah, I would LOVE to hear “Dreamin'” live. I like “Dreamin’,” and I _hate_ (most of) EGD, but I can tell that they would thrive onstage. I actually thought they were made with the explicit intention of being performed live! I really hope they don’t leave these suckers outta the set once they hit America…

    Saturday, September 13, 2008 at 8:47 pm | Permalink
  32. Soyrev wrote:

    UPDATE: I have heard “Dreamin'” live, twice now, and it was exactly the wonderful experience I had hoped it to be. (Can we get more people pantomiming the dream sequence at future Weezer shows? I felt lonely being the only one to start pumping his legs and arms in slow motion during the “I am running…” lines)

    THAT SAID: My girlfriend, who had never even heard “Dreamin'” before, could sing along damn-near-perfectly to the chorus of this song, first time through. I asked her how she knew them, and immediately felt stupid for it; those lyrics really are just that cliched.

    Monday, September 29, 2008 at 12:12 pm | Permalink
  33. brado8 wrote:

    This is my favorite tune on TRA. It took me a while to get into, but I really like the ‘dream sequence’. The very end is pretty stupid, as is the random guitar riff in the middle of the song. Get rid of those and I’d say this is one of the top PP songs they’ve got. Hell, I’d even say that now. Word up.

    Monday, November 17, 2008 at 6:55 pm | Permalink
  34. Soyrev wrote:

    Without those two (glaring) flaws, I would definitely agree.

    Monday, November 17, 2008 at 7:11 pm | Permalink

    This is perfect to listen to when the sun is shinning, another excellent summer song added to the cannon, and the chorus after the dream section that is slowed down is my favourite moment on the red album.

    Thursday, April 2, 2009 at 12:12 pm | Permalink
  36. clore wrote:

    I agree with waitingandwaiting’s comment but it’s not my favorite moment on red. It’s still a great moment, but too bad it’s RUINED with the “I don’t wanna get witchur program” right afterward.

    Saturday, April 4, 2009 at 4:13 pm | Permalink
  37. Soyrev wrote:

    Yeah, the bridge and the final, big arena rock chorus put a huge grin on my face — and then with that outro, it’s as though Varz and company is prying my teeth apart and funneling some bird shit down my throat. Why, why, why?

    Saturday, April 4, 2009 at 4:20 pm | Permalink
  38. clore wrote:

    Even though Rivers reuses chord progressions in many songs, I think it’s amazing how he can write different and catchy-as-hell melodies over the same progression in different songs. In this case, I have “Dreamin'” and “Why Bother” in mind.

    Whether one argues for or against his lyrical integrity as a whole, one cannot deny his consistent and brilliant ear for a great melody.

    Sunday, December 6, 2009 at 5:37 pm | Permalink
  39. Soyrev wrote:

    “Dreamin'” is fun, especially live. I don’t regret its placement on the Red Album, despite a couple of its glaring flaws.

    Monday, December 7, 2009 at 9:24 pm | Permalink
  40. ThomYorke wrote:

    The breakdown just murders the momentum this song has going for it. The “goslings” bit just doesn’t do it for me. That whole section bothers me far more than the outro.

    Tuesday, December 8, 2009 at 8:49 am | Permalink
  41. Soyrev wrote:

    The “dream sequence” is probably the best part, if not for that shit-stupid “rawk” riff that comes in (cool concept; REALLY bunk, amateur execution). If it weren’t for that, it’d be a very predictable and largely uninteresting pop song.

    Tuesday, December 8, 2009 at 2:36 pm | Permalink
  42. Ludicrosity wrote:

    I agree, the band should use the breakdown as a tool in their songs far more than they actually do these days.

    Tuesday, December 8, 2009 at 2:42 pm | Permalink
  43. AF wrote:

    I would just like to chime in for the first time and say thanks for the blog and also to the other commenters who always have other interesting ideas/opinions to add afterwards. I usually avoid blog comments like the plague, but – despite the extremely hard-core opinions that Weezer songs invoke in fans – as far as I’ve seen the comments here have still managed to escape the usual =w= slagging matches.

    Regarding “Dreamin'”, although I don’t think it’s a particularly good song, for the most part I don’t really have anything against it. That said, however, it is one of the only times I have used iTunes to edit the start or end times of a track. For this song I have the “Stop Time” set as 3:07.5 so it finishes the moment before the “interruption riff”, completely avoiding it and the slow final chorus and outro (both of which I also dislike). Thankfully with the magic of my pseudo-edited version I can pretend that those parts don’t exist.

    Something that iTunes can’t do though is remove Brian’s “I really want a chance” BGV, because from memory it is almost exactly the same as the “I really want a friend” part he sings in “Pardon Me”.

    Wednesday, December 9, 2009 at 7:04 am | Permalink
  44. Soyrev wrote:

    Haha, dang — never noticed that. I guess I don’t listen to “Pardon Me” enough…(which is how I like it, to be honest)

    But yeah, this band recycles like no other. Speaking of “Dreamin’,” the whoo-hoo-ohhs make a reappearance just a year later in “I Want You To”…

    And thanks for piping up! Please comment any time. We won’t bite…hard…;)

    Wednesday, December 9, 2009 at 12:17 pm | Permalink
  45. waitingandwaiting wrote:

    I know that the riff is a poorly executed idea but the slow chorus more than makes up for it, in my opinion that moment it is one of the highlights of the red album proper. I’m not sure how to describe why I like it so much, but I just can’t help but smile when I hear it.

    Thursday, December 10, 2009 at 11:21 am | Permalink
  46. Soyrev wrote:

    It’s definitely a nice big arena rock moment. Too bad RC has to Green Day the fuck out of it with that “program” section right afterward.

    Thursday, December 10, 2009 at 12:30 pm | Permalink
  47. GuessWho wrote:

    Even Green Day’s more obnoxious tunes don’t grate on me quite like the GET WITCH YO PROGRAM section in here. I actually made an edited version of Dreamin’ with the interrupting riff in the dream sequence edited out, and it fades out from the final chorus into some noise taken from the TAATO outro to match the beginning of the song.

    Thursday, December 10, 2009 at 4:55 pm | Permalink
  48. blueguy wrote:

    Guesswho–i’d like to hear it, if you get a chance, please upload it…

    Thursday, December 10, 2009 at 6:27 pm | Permalink
  49. AF wrote:

    Soyrev, agreed about “Pardon Me”. Funnily, until I checked (just before I clicked the submit button), I thought that the bit I was thinking of was actually from “My Best Friend”. I had to look up the lyrics because I don’t have either of those two songs ripped to my computer.

    Friday, December 11, 2009 at 3:39 pm | Permalink

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