Less than Jake are the unsung heroes of 3rd wave ska. While they may not have had a giant radio hit like Reel Big Fish and Mighty Mighty Bosstones, their influence on ska was just as impactful. Just listen to any up-and-coming ska band (assuming those exist) and you’ll hear the countless ska tropes that LTJ basically invented along the way.
So sit back and enjoy our rankings of every studio album from the band with the best “time spent on Warped Tour-to-accusations” ratio of all time. Oh, and we can’t wait to read the comments about how some EP or B-Side collection we didn’t rank is, “AKCHOOALLY THEIR ONLY GOOD ONE.”
9. See the Light (2013)
This entire album is a disappointing listen. With the exception of one song that sounds just as huge and emotional as some of the more epic tracks on “Anthem,” the rest of the album plays like a collection of the blandest songs across their entire catalog. They’re not bad but they’re not nearly up to par with the rest of the discography. This record suffers from a massive influence of a bland type of modern punk rock that many people call “Fest Punk.” Just don’t call it that around anyone who actually goes to Fest.
Play it again: “Sunstroke”
Skip it: “Do the Math”
8. In With the Out Crowd (2006)
This is the only other Less Than Jake record that isn’t amazing. They’re a fantastic band so let’s get this out of the way before gushing over the rest of their catalog. “In With the Out Crowd” is LTJ’s major label follow-up to “Anthem” and gets the nod over “See the Light” simply because it’s a major departure from the band’s typical sound. It’s at least an interesting collection of iffy songs as opposed to a boring collection of iffy songs. This record made me want to call cry “Sellouts!” but my voice was still hoarse from doing that when they put out “Anthem” (except I was wrong that time).
Play it again: “Hopeless Case”
Skip it: “Don’t Fall Asleep on the Subway”
7. Silver Linings (2020)
It’s wild how Less Than Jake’s musical palette is expanding while Reel Big Fish’s is shrinking. In the ’90s, LTJ was the distant 4th on the Mount Rushmore of ska behind No Doubt, Mighty Mighty Bosstones, and RBF. That changed drastically with the success of “Anthem” and Less Than Jake has continued to be a major force in keeping ska alive, and even pushing the genre forward, ever since. “Silver Linings” does an incredible job showing that LTJ can still experiment and modify their core sound in a way that’s classic yet fresh. There are a lot of corny lyrics and the Fest Punk-vibe is strong, which holds it back a bit.
Play it again: “So Much Less”
Skip it: “Move”
6. GNV FLA (2008)
Once the band was freed from the ska-hating shackles of a major label, they released GNV FLA. This album is a complete return to form (and genre). This record is rawly produced, which matches the songwriting. The less-polished production works perfectly as a (likely accidental) throwback to how their early records sounded. Lyrically, this album doesn’t hold a candle to LTJ’s top 5, but musically it’s right up there with their truly S-tier records.
Play it again: “Abandon Ship”
Skip it: “Malachi Richter’s Liquor’s Quicker”
5. Pezcore (1995)
Now we’re fucking talking! The rest of this list is primo-LTJ gold. “Pezcore” sounds like a local band at times (which they were when they made it) but it sounds like the best local band of all time. The songs are incredibly well-written, lightning-fast ska classics, recorded exactly how you’d expect for an unsigned ska band in 1995. It’s full of little flaws but that’s part of what makes it perfect. Catch 22 often gets credit for popularizing “hyperstrokes,” but “Pezcore” led the way. This is a game-changing record if you care about ska. So I guess it’s not that game-changing for most of you. But it is to me, dammit.
Play it again: “Liquor Store”
Skip it: “Process”
4. Borders & Boundaries (2000)
“Borders & Boundaries” is the album where Less Than Jake truly came into their own as writers of, let’s say, anthems. The songs on this record sound gigantic. Many of the songs are instant campfire sing-a-long classics. Oh, also, this album has a lyric about how people in the punk scene aren’t funny. The only other time I’ve heard a lyric like that was in a song by Against Me!, who are from the same city. Damn, the Gainesville Florida punk scene must have the worst sense of humor. I wouldn’t worry about it though, Gainesville isn’t a big punk town.
Play it again: “Last Hour of the Last Day of Work”
Skip it: “Mr. Chevy Celebrity”
3. Losing streak (1996)
There is a special place in my heart for any ska album that came out between 1995-1998. This was when 3rd wave ska had its largest influence in the music world and the records that were produced during this period were so inspired and advanced the genre so massively. For instance, on “Losing Streak” you can hear countless ska tropes that were basically created while making this album. The singers learned how to synergize their vocals in a way they’d continue to perfect throughout their career. It’s a real shame the only radio hit they had during this era was “We’re All Dudes.” Just kidding, that’s worth a million “Sellout”s.
Play it again: “Krazy Glue”
Skip it: “Rock-N-Roll Pizzaria”
2. Anthem (2003)
Long-time fans know that this record was a fucking force. Even longer-time fans know it was not initially well-received. As a major label release that was almost entirely stripped of ska, hardcore fans were initially put off by the album’s radio rock vibes. Hell, there’s an entire album of B-sides from this record that sound like the ska album the band intended to make as a follow-up to “Borders & Boundaries.” “Anthem” is a prime example of how limitation breeds creativity. Go listen to this record, especially if you’re not into ska. It’s also pretty sick how they called their shot by naming this record “Anthem” and then wrote like 14 songs that were damn sure anthems.
Play it again: “Plastic Cup Politics”
Skip it: “Motown Never Sounded so Good”
1. Hello Rockview (1998)
Ungodly-catchy hooks, perfect instrumental and vocal synergy, and lyrics that still make me want to scream off the rooftop that I’m leaving this town, nobody gets me, and fuck you Mom and Dad. If you can find the CD booklet, open it up and immediately listen to this album even if you’ve heard it a million times before. The booklet re-orders the songs and turns them into comic book pages with the lyrics serving as dialogue and exposition. In this context, “Hello Rockview” tells the story of an adolescent re-visiting everything in his hometown and contemplating his past, future, and self before finally leaving for good. Though you can get the same basic story from listening to it in the regular order too, I guess.
Play it again: “Danny Says” (I don’t care what you say Chris Demakes, this song rules)
Skip it: N/A

These don’t count as Weezer albums, and we are eternally grateful for that. Still, it’s important to acknowledge that they exist so listeners understand just how much content Weezer churns out. Rivers Cuomo made an EP for each of the four seasons and still plans to make more Weezer albums soon. He recorded “Christmas With Weezer” and yet he felt the need to record another wintery release with “SZNZ: Winter” over a decade later. “Ride or die” Weezer fans are brave as hell for committing to such a long and inconsistent ride.
As the proverbial Yin to the excellent White Album’s Yang, we should’ve known this would suck long before the first single dropped. Maybe it would’ve been better if Weezer delayed the album to improve it instead of using their extra time to go on side quests like “Africa” and that tour with The Pixies. It’s almost poetic how these 10 mediocre tracks balance out the band’s better work.
Much like the toxic cycle of giving a mouse a cookie, you can’t ask Weezer to cover “Africa” without Rivers rushing into the studio to record several other tracks that nobody asked for. This sounds more like Weezer going to karaoke night than Weezer going into the studio to make music. We respect their commitment to getting their money’s worth for that party room reservation, but it didn’t need to be an album.
Nothing sets this apart from other Weezer albums beyond “Lost” star Jorge Garcia’s smiling face on the cover. “Memories” rules yet somehow the “Jackass 3D” credits version hits harder. The album’s lows aren’t terrible but the highs aren’t anything to write home about. Worst of all, it made us rewatch “Lost” and get pissed at the ending all over again.
Letting people who are not Rivers Cuomo sing in Weezer seemed like a fun concept in theory. Unfortunately, one of those people was Scott Shriner, a bassist. That isn’t this album’s worst offense — it also helped Weezer win a Grammy. Every time someone refers to Weezer as a Grammy-winning band, they perpetuate falsehoods about this album being good.
Weezer doesn’t have a good track record with black albums. This one has an uncomfortable song about wanting to comfort an ex-girlfriend after her new partner’s death and a rejected “Shrek 2” track, yet it’s still the lesser of two evils in retrospect. It’s got all the secondhand embarrassment of “Pinkerton” without as many redeeming qualities. When one such quality is a soulless jock jam about Beverly Hills, fans have the right to worry.
Music doesn’t have to be great to be enjoyable. Sometimes all you need is Lil Wayne saying “Okay bitch, it’s Weezer and it’s Weezy” and a photo of a dog having the time of his life. However, said dog never listened to “Raditude” so take his endorsement with a grain of salt. Most human Weezer fans don’t have that much unconditional love, even for Weezer.
This is definitely a Weezer album that came out in 2017. It tries to ride the high of the White album, and fans of that one will probably like this one too. However, naming songs “Feels Like Summer” and “Beach Boys” doesn’t automatically make them the songs of the summer. The production doesn’t save the album from being compressed into generic power pop. Thankfully, Weezer’s generic power pop shines bright enough for us to forgive that.
Weezer tried to establish themselves as serious rock musicians during this album’s recording sessions by leaking singles to radio stations without label approval. This angered their label, who demanded an apology, but Weezer never complied because they have no shame. That shamelessness only becomes more obvious with each repetitive riff and desperate attempt to maintain relevancy, culminating in a disastrous “Muppet Show” appearance where Miss Piggy kidnaps and tortures drummer Pat Wilson. True rock stars don’t lose fights to puppets.
Weezer’s second self-titled album made us realize they were really committed to the monochrome self-titled album bit, though not as dedicated to making great songs or consistent albums. This one has “Hash Pipe” and “Island In The Sun” so we can’t complain too much. Say what you will about the formulaic B-side but Weezer still isn’t the worst band to write a song called “Photograph” in the early aughts.
Ever wondered what an orchestral pop Weezer album would sound like? The result is surprisingly decent when Rivers isn’t going off about how technology is bad. We just wish the band started playing with an orchestra sooner. It would do wonders for a potential Broadway residency if enough New Yorkers realized that even a bad Weezer performance is leagues above the average “Cats” matinee.
Without sounding like Matt Damon in that infamous SNL skit, Van Weezer is unironically one of the band’s best works. It’s not the misguided glam rock tribute band at your least favorite bar — it’s a stadium-worthy homage to Van Halen that remains unapologetically Weezy. Even the goofy “Crazy Train” sample goes hard. Call this album a guilty pleasure all you want, but don’t deny its ridiculous joy.
Originally titled “Sorry about the late aughts,” this “Raditude” apology proves that Weezer can indeed stop partying and make good music if they put their minds to it. They even include some lengthy guitar solos for those who want to listen to Weezer without memorizing so many cringeworthy lyrics. While it’s unclear when Weezer’s discography will ever come to an end, these songs prove that might not be a bad thing.
Artists have tried and failed to write songs about California since the beginning of time, yet Weezer accomplished this daunting task by releasing a consistently gorgeous album about the Golden State. Warm, summery, and surprisingly romantic, it’s possibly the only Weezer album that you can play on a date without making things weird. The Red Hot Chili Peppers wish they made this masterpiece.
When this album came out, everyone generally agreed it was the second-best Weezer album. That’s still true but now people say that as a compliment. Even those who criticize this record for objectifying women or inspiring a generation of emo bands prefer it over any post-Y2K Weezer release. Music that makes us feel gross is still more interesting than music that makes us feel nothing.
Even if Weezer were a consistent band with 15 good albums, this would remain their magnum opus. Weezer lovers and haters alike can’t resist the urge to sing along to “Buddy Holly” and “Say It Ain’t So” — though to be fair, the Venn diagram between those two groups is a circle. It’s the one truly perfect Weezer album. Good luck trying to convince any record store clerk otherwise. The last guy we sent is still missing.