Somewhere along the way, someone told Rivers Cuomo that he needed to rein it in. To the world's dismay, he listened, and made three records of faceless, predictable approximations of what the public supposedly wanted his band Weezer to be. Demo collection Alone does the opposite, collecting all sorts of goofy and indulgent ideas-- robot voices, barbershop-quartet harmonies, over-emoting, an Ice Cube cover-- reminding us why we fell for dorks with horn-rimmed glasses and flying-V guitars in the first place.

Casual fans and/or haters might wonder what, after three records that were stagnant at best, could be possibly left in the vaults; the superfans know exactly what he's holding back. The inside cover shows off a crammed collection of cassette tapes, their spines promising untold treasures-- Songs From the Black Hole is there, as well as previously unheard of titles and bandnames-waiting-to-happen like Psoriasis Babies and Angst Muffins. As far as basement tapes go, Alone ranges wildly in fidelity and style while still hanging together as a surprisingly cohesive whole. Its liner notes have detailed histories and inspirations for each song-- with lyrics, even-- and photos that exhibit a disconcerting lack of shame. (Bearded Basoon-playing Rivers, Despondent Glam Rivers, collect 'em all!) Best of all: More than two-thirds of the material here was recorded before 1996. As for the rest... we'll get to that.

A lost Weezer record it isn't, even if fans have been waiting on one. Songs From the Black Hole was reportedly a full concept album meant to follow the "Blue Album" that was scrapped completely before recording what would become Pinkerton. Its story arc follows a five-person (plus one mechanoid) crew of a spaceship on an important mission, our noble protagonist Jonas (hmm...) is given a meaty role while crewmates Wuan and Dondo (seriously, it's in the liners) are one-dimensional avatars for womanizing and partying. That only sort of matters in "Blast Off!", the collection's crown jewel and such a fleeting rush of distortion-driven joy that the edges of the supposed dialogue are entirely blurred, and are hardly essential to enjoy it.

Not so when it segues directly into "Who You Callin' Bitch?", the lament of the unfairly maligned female spaceship cook, whom Cuomo brings to life with some fairly operatic solo vocal moments. More narrative confusion and dick references follow in the cheery a cappella "Dude, We're Finally Landing" and the twee-cranked-to-11 of "Superfriend", which is at least on par with Pinkerton's stellar B-sides (many of which would have made up this "lost" album). If it sounds silly on paper, go over the lyrics to your favorite Weezer song in your mind for a moment, and then take into account that these were written with the help of painkillers as Cuomo healed from leg surgery. These hopelessly corny, irrepressibly infectious songs are the stuff that Weezer freaks are forged in.

The rest of the songs come from more familiar territory. "Lemonade" borrows its paunchy low-end straight from the Blue Album, while more introspective tracks like the would-be teen-flick soundtrack cut "Wanda (You're My Only Love)" and piano ballad "Longtime Sunshine" will satisfy the Pinkerton lover on your Christmas list. There's only one previously released Weezer song in the bunch, however. While its plodding tempo nearly turns it into a dirge, "Buddy Holly" still sounds pretty great in any incarnation, but doesn't reveal much in demo form besides some silly keyboard presets; it's not as if a Weezer song has ever been ruined by over-production. It does show that Cuomo has his compositions nearly finalized before they get to the band, right down to the falsetto harmonies and lightning-quick licks tucked into the verses.

There are more unexpected pleasures as well, like hearing Cuomo moonlighting as frontman for the band Sloan on a strutting cover of oldie "Little Diane". Even the compilation's rough spots reveal something: The choked angst of "The World We Love So Much" is intimate enough to cause embarrassment by proxy, but it's worth noting that it's a Gregg Alexander cover (yes, the guy from the New Radicals). It divulges an unexpectedly modern influence, and from a relative peer of Cuomo's at that; either could have switched career trajectories if the cards had fallen just a bit differently. And yet, the biggest surprise is that Weezer's latest material is not the bottom of the barrel, and that crossover smash "Beverly Hills" only hinted at the depths Cuomo has yet to plumb. Recorded in 2007, "This Is the Way" is a stab at MOR urban pop, with what are likely his least inspired lyrics yet. He rhymes "love" with "heaven above" over a track that, even for a demo, makes old Jon Secada look like old Timbaland, finally indulging in the supposed funk influence he once so studiously avoided. The chorus: "This is the way a man loves his lady." It's as if "Beverly Hills" was a black hole, and this was the extra-dimensional hell on the other end.

But more than being adrift in an unfamiliar genre, "This Is the Way" is crippled by the same thing that drags down "I Was Made for You", a 2004 demo that closes the compilation. The mostly chronological track list of Alone exposes the same drawbacks of Weezer's later records by the end: By chasing down broad notions of universality in his lyrics and melodies, Cuomo's songs have become increasingly impersonal and vacuous, even when they're as pretty as "I Was Made For You". There's nothing about angst-ridden singer-songwriters, forgotten power-poppers, or rappers that we can't all relate to; nor do songs that draw inspirations from science fiction or Madame Butterfly necessarily appeal to a niche audience. It's frustrating that Cuomo has sidelined these weirder, often endearing influences. If nothing else, Alone reminds us that a lot of those over-ambitious, silly-on-paper ideas often blossomed in Cuomo's hands, and there was more to Weezer in their early days than just crisp power-pop and cute videos.