Weezer is the Bart Simpson of rock music. Both Bart and the band had their greatest hits in the ’90s: Bart had the classic episodes of “The Simpsons” that made the show a cultural staple, while Weezer had its legendary The Blue Album, the soundtrack for a generation of nerds and high school outcasts. Both refuse to grow up, riding on the fumes of these past successes, but cartoon characters don’t get old. Weezer did. The band’s new album, Raditude, is a halfhearted attempt to return to greatness, salvaged by a few good ideas.

The radio-friendly pop sound that has defined its later releases dominates this record as well. “Let It All Hang Out” is a fun, confident song built around infectious guitar riffs. “(If You’re Wondering If I Want You To) I Want You To” is an upbeat, unapologetic pop song that borrows its bass line and riff from the Jam’s 1980 song “Town Called Malice.”

Like almost every pop record in recent memory, Raditude features the obligatory guest appearance from Lil Wayne on “Can’t Stop Partying,” made all the more inevitable given Lil Wayne’s nickname, “Weezy.” What separates the Weezy/Weezer collaboration from all of Lil Wayne’s other guest spots, though, is that this one is actually interesting.

Both Lil Wayne and Weezer frontman Rivers Cuomo use what could be a soulless, throwaway track as a harsh examination of the paths their lives have taken. Weezy delivers a dark verse that laments his much-publicized drug use and comes eerily close to predicting his own death, while Cuomo uses the song to subtly bemoan the musical path the band has taken on its recent recordings.

Last year’s dismal The Red Album disappointed longtime Weezer fans, and although Raditude won’t make those fans happy, it does mark a partial return to a more rock-based sound for the band. Throughout the album, Weezer’s experience shows with an instrumental technique that shines. The band has finally started to sound like the ’70s guitar gods they so often sing about.

Unfortunately, however, much of this master craftsmanship is wasted on mediocre, even juvenile songs. “In the Mall” is a forgettable ode to mallrats, even if it does feature fantastic guitar work, and “The Girl Got Hot” never moves beyond the joke that the title implies.

Cuomo has been writing and singing the songs of an awkward outsider since 1992, and he did it a lot better back then. “Put Me Back Together” is an over-produced pop ballad that would be irresistible coming from Taylor Swift, but feels limp and lifeless coming from a band that’s supposed to rock. Similarly, an ill-advised attempt to recreate the Beatles’ “Within You, Without You” on “Love Is The Answer” feels forced and uninspired.

Even with these recent pop misfires, Weezer has proven that it knows how to make truly outstanding music. The handful of good ideas on Raditude is enough to give listeners a taste of the band Weezer once was and could become again.

As long as there’s a chance that they might produce another masterpiece like Pinkerton — or even one song as good as “Say It Ain’t So” — listeners will be willing to give Cuomo and company another chance. Raditude is hardly the worst entry in the band’s catalog, but it’s still a long way from the best.

— Contact Tim Webber.