Weird Al Yankovic Albums (12)
'Straight Outta Lynwood'
Release Date 1/1/2006
Tracks 31
Label Volcano
See Album Tracklist and Review
What The Critics Say
Three years between Weird Al Yankovic albums has been the norm since the '90s, but a lot happened to the parody king between 2003's Poodle Hat and his 2006 release, Straight Outta Lynwood. First off, Poodle Hat stalled after one single. Then while on tour promoting the album, Yankovic's parents were both killed in their home from carbon monoxide poisoning. Al handled the issue quickly and honestly with his fans, promising to carry on before disappearing for a couple years to cope. Then he came back with the pretty good "You're Pitiful" -- a riff on James Blunt's "You're Beautiful" -- and as the track wormed its way around the Internet, Blunt's label, Atlantic, recanted their permission for the parody after they had already granted it. The latter event is something Al's been through before and it always drums up some hype, but his quick and snide reference to Atlantic Records in the "White & Nerdy" video seemed genuinely ticked and wiped away some suspicion the whole thing was staged. "White & Nerdy" -- a suburban take on Chamillionaire's big hit "Ridin'" -- is the hilarious reason to celebrate his return, and the album it lands on is inspired. The original, non-parody material is usually where the man stumbles, but here the ridiculous "Weasel Stomping Day" and clever "Don't Download This Song" offer something that isn't filler. "White & Nerdy" -- where the terminally uncool singer boasts he's a "whiz at Minesweeper" and "fluent in JavaScript as well as Klingon" -- is up there with his best, and "Canadian Idiot" -- a hockey-loving, toque-wearing rip on Green Day's "American Idiot" -- is great, making this effort already one highlight better than Poodle Hat. The latest installment in his series of polka parody melodies -- this time it's "Polkarama!" -- is a brilliant roll through the recent hits of Modest Mouse, 50 Cent, Rihanna, and many more with a short tribute to the legendary Spike Jones stuck at the end, a thrilling moment for novelty fanatics. Topping it off is the 11-minute "Trapped in the Drive-Thru," which turns R. Kelly's epic "Trapped in the Closet" into an excruciating -- but funny -- wait for that greasy bag that will most likely contain the wrong order. This handful of prime Yankovic overshadows the only mildly humorous Usher and Taylor Hicks parodies and the couple original tunes that really drag, but Yankovic's fans don't expect perfection until the next "best-of" rolls around. Lynwood's highs are higher than usual, with Yankovic trying harder and landing more shots. Turns out novelty music's silliest hitmaker is a survivor. ~ David Jeffries, All Music Guide
What The Critics Say
It's been said that artists will truly know they've entered pop culture when Weird Al Yankovic records a parody of their hit. But what does it mean when pop culture is ahead of Weird Al? Take his parody of the Backstreet Boys' "I Want It That Way," which Yankovic turns into "Ebay," but his satire is not far removed from the auction website's own advertising campaign of 2003, where people rave about the junk they bought on eBay to the tune of "My Way" ("I did it eBay"). What does this mean? Well, that Weird Al Yankovic's sensibility has been so thoroughly assimilated by mass culture that it's tougher than ever for him to stay ahead of the game. For instance, there's his parody of Eminem's "Lose Yourself," for which Marshall Mathers refused to let Alfred Matthew Yankovic make a video -- an event that gave Poodle Hat a lot of press upon its spring 2003 release. The album ends with "Genius in France," a multi-part epic that's equal parts Utopia-era Todd Rundgren, Frank Zappa, and They Might Be Giants; it's the most ambitious and weirdest thing here, which counts for a lot, ending with a Grey Poupon joke. It works because, at his best, Weird Al is a very good musician with some clever ideas and a skilled band, so music that showcases that is best for him -- it helps put his jokes across. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Like many of Weird Al's 1990s albums, Running With Scissors is something of a mixed bag, although devoted fans will definitely find enough of interest to add it to their collections. As usual, the highlights tend to be song parodies: "The Saga Begins" is a retelling of Star Wars Episode I: The Phantom Menace from Obi-Wan Kenobi's point of view set to the tune of "American Pie," while "Jerry Springer" is a clever rewrite of the Barenaked Ladies' "One Week." Not all of them quite hit the mark, though: "Pretty Fly for a Rabbi" has the same borderline ethnic condescension of the Offspring's original, and Yankovic's mimicry of the sound of his source material on the Puff Daddy takeoff "It's All About the Pentiums" isn't quite up to his usual standards. The originals tend to come off as forced, as though Yankovic is trying way too hard to live up to his nickname; although the snarky rip of "My Baby's in Love With Eddie Vedder" hits pretty close to the mark, the 11-minute closer "Albuquerque" is interminable. Overall, there are some songs worthy of adding to Yankovic's next best-of, and some more that no one will miss. ~ Steve Huey, All Music Guide
What The Critics Say
As Weird Al Yankovic gets older, his albums get more reactionary, and Bad Hair Day is no exception. The first single, a parody of Coolio's "Gangsta's Paradise" entitled "Amish Paradise," was a hit. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Following the genuinely inspired Off the Deep End, Alapalooza is a disappointing hodgepodge of weak originals and lame parodies, only slightly redeemed by the accurate satires of The Red Hot Chili Peppers ("The Bedrock Song") and Aerosmith ("Livin' in the Fridge"). ~ Stephen Thomas Erlewine, All Music Guide
'Off the Deep End'
Release Date 1/1/1992
Tracks 11
Label Scotti Bros.
See Album Tracklist and Review
What The Critics Say
Following his exposure in the mid-'80s, Weird Al Yankovic's career stumbled with the poor-selling Polka Party in 1986 and his feature film UHF that tanked in 1989. Clearly, many people had grown tired of Yankovic's presence, just as they'd grown tired of the artists he was satirizing. Thus his chance for a comeback came in 1992, when Nirvana stormed the scene with "Smells Like Teen Sprit," a song that turned the music world upside down and ended the careers of many of the artists Yankovic had once used to heighten his success. Not too surprisingly, "Smells Like Nirvana" was the first single off of Off the Deep End, Yankovic's first album in three years. The song, which pokes fun at the original version's incoherent lyrics, was a smash hit, and not undeservingly -- it reveals the kind of brilliant writing Yankovic was still capable of doing. Though no other parody on the album matches the cleverness of "Smells Like Nirvana," satires such as "I Can't Watch This" and "Taco Grande" come quite close. In addition to re-establishing his satirical craftsmanship, Deep End showcases some of Yankovic's best originals ever; "Trigger Happy," "When I Was Your Age," and "You Don't Love Me Anymore" prove to be the album's greatest songs. As his best album since In 3-D, Off the Deep End is the answer to those who questioned Yankovic's credibility as an evolving artist. ~ Barry Weber, All Music Guide
What The Critics Say
"Weird Al" Yankovic has always been one of pop music's guilty pleasures, and his 1989 release UHF/Original Motion Picture Soundtrack and Other Stuff is no exception. As the title suggests, this album not only commemorates UHF's soundtrack highlights but also additional material recorded between 1988 and 1989. Under returning producer and veteran rock guitarist Rick Derringer, UHF's parodies sound increasingly similar to their originals (i.e., "Isle Thing" and "She Drives Like Crazy"), while a handful of original compositions deliver the beefiest guitars ever heard on a Weird Al release (i.e., the title track, "Let Me Be Your Hog," and "Generic Blues"). Despite this evolving creativity, UHF demonstrates a slump in Weird Al's songwriting abilities as popular music's premier comedian, notably endorsed by his deplorable original "Attack of the Radioactive Hamsters From a Planet Near Mars." Possibly worse, the Fine Young Cannibals' irritating "She Drives Me Crazy" sadly resurfaces via Weird Al's equally irritating "She Drives Like Crazy," which tries the patience of even the most devoted Weird Al fan. Nevertheless, Weird Al rescues listeners' tormented ears and vindicates his artistic credibility with "Gandhi II" (à la "Theme From Shaft") and "Spatula City," two remarkable commercial parodies that prove why he's still America's favorite musical satirist. In addition, UHF's remaining parodies -- "Isle Thing," "Money for Nothing/Beverly Hillbillies," and "Spam" -- genuinely highlight Weird Al's renowned fixation with food and television, the undisputed formula behind his well-deserved reputation. All things considered, UHF endures artistically as a transitional album between his '80s heyday and the imminent artistic makeover revealed on 1991's Off the Deep End. Recommended for both moderate and genuine Weird Al aficionados, UHF remains nearly as accessible as subsequent compilations Greatest Hits, Vol. 2, The TV Album, and The Food Album, which together incorporate only three of this album's 13 selections. ~ Jacob N. Lunders, All Music Guide
What The Critics Say
Trust Weird Al Yankovic to name an album "Even Worse" even as his recordings were getting better again. After a bit of a slump, he rebounded in 1988 by making fun of the same old guy again, Michael Jackson. Video played a big part in the success of "I'm Fat," based on "I'm Bad." In fact, one could say it was a whole new ball game for parody artists if they were expected to provide a video with state-of-the-art special effects such as the fat suit Yankovic had designed for himself, which probably cost more than the entire budget of a Homer and Jethro album. There was also a change in the relationship between Yankovic the satirist and his target, Jackson, as the latter star's hold on his audience was beginning to wear thin by the late '80s. The arrogance of "I'm Bad" was perfectly trumped by Yankovic's musical pile of lard, the appeal of the video's visuals clearly not the only ace in the hole. Near the end of the tune, Yankovic gets into a mockery of Jackson's vocal style that is both sublime and ridiculous. This is just the beginning of an album that gets richer as it gets along, with the maestro obviously benefitting from a period of reflection. He doesn't just stick to covers of what was contemporary at the time, perhaps realizing that the shallowness of the music on the radio was not going to result in great hilarity. "I Think I'm a Clone Now" takes us back to Tommy James and the Shondells and is one of Yankovic's best efforts, a perfectly realized satire that manages to come off better than the original, something of a soft rock classic to begin with. Then there is "Twister," which raucously takes the hi-octane filth and funk of the Beastie Boys and weds them to a stupid children's party game. Funster Yankovic seems to be getting practically savage in his attacks, an intensity both appropriate and enjoyable. George Harrison's final and forgettable hit "I've Got My Mind Set on You" gets reborn as "This Song Is Just Six Words Long," Yankovic obviously relishing the opportunity to croon lyrics such as "Can't think of any lyrics." Apparently running on full, Yankovic even manages to shatter all previous barriers and comes up with some funny original material as well. "Good Old Days" is a great idea, using an original number in order to lampoon yet another pop icon, in this case the simpy James Taylor. But it is "Stuck in a Closet With Vanna White" that is the real winner for Yankovic, because this was the first song he wrote that his supposed target audience of 11 year olds actually liked as much or even more than his parodies. Of course, the problem with tracks such as this is they date over the years; a time will come when nobody will remember who Vanna White is, and then listeners will wonder what the big deal is about getting stuck in a closet with her. ~ Eugene Chadbourne, All Music Guide
What The Critics Say
Although it is not "Weird Al" Yankovic's best release, Polka Party certainly has its moments. The album has many spoofs of popular '80s hits like James Brown's "Living In America," while original tunes such as "Christmas at Ground Zero" and "Good Enough for Now" are also very frown-lifting. Fans will be indeed pleased with Polka Party, which continues "Weird Al's" remarkable '80s career. ~ Barry Weber, All Music Guide
'Dare to Be Stupid'
Release Date 1/1/1985
Tracks 11
Label Rock 'n Roll
See Album Tracklist and Review
What The Critics Say
Dare to Be Stupid begins with what is perhaps Weird Al Yankovic's best parody ever, the brilliant and cutting "Like a Surgeon." Turning the tacky Madonna hit inside out and upside down, Yankovic comes up with a hilarious satire of the medical profession. Although the implications were probably missed by the none too bright Madonna, and may not have even been intentional on the part of Yankovic, it was a rich idea to use his parody to ridicule a serious subject rather than just take another poke at junk food or game shows. The record's title track follows, and it is the best of Yankovic's original songs that had been recorded so far. Any song that begins with a request to put down your chain saw can't be all bad. One of the best tracks is the amazing medley "Hooked on Polkas" that concludes the album. Yankovic goes for broke here, his slick band barely keeping up with him as he drags all manner of hit parade schlock through the harmonic wringer washer known as the accordion. It's a hell of a trip, including references to Z.Z. Top as well as disco and punk rock, and accomplishes more musically in less than four minutes than an entire evening with the likes of Brave Combo. Rick Derringer put the whole production together expertly. ~ Eugene Chadbourne, All Music Guide
