Michael Melchiondo and Aaron Freeman started Ween at 13 years old and released a series of punk rock tapes loaded
with humor and occasionally making entirely synth-based tracks. This laid out the groundwork for their debut album
God Ween Satan: The Oneness (Twin/Tone, 1990). Ranking in at just under 30 tracks, their style is a proven force
to not be reckoned with. There's some softer pieces here (Don't Laugh (I Love You), Birthday Boy and Nicole) some
hard rock bangers like Cold and Wet, Bumblebee, Wayne's Pet Youngin', Tick and the glorious opener You Fucked Up.
There's a noticeable presence of pure natured fun here that becomes lost on their future releases, simply goofy tracks that
not only make them memorable but reward the listener for giving them a chance by letting you in on how they get their kicks.
For example, , Fat Lenny, I Gots a Weasel, Puffy Cloud and Papa Zit. Some highlights here are definitely the neofolk-ian
surprise Squelch the Weasel, the half Prince cover L.M.L.Y.P, Common Bitch and Nan. After their debut, Ween seems to
take a break from the musical canon. In the same sessions they recordedThe Pod (Shimmy, 1991)
and Pure Guava (Elektra, 1992) , the latter being released a year late only because of a major label contract. Compared to
God Ween Satan, the songs on both of these albums reak of weed smoke. The lo-fi sound and heavy psychedelic guitar
tone-stacked performances are one of a kind. I challenge you to find any album or song with a comparable guitar sound.
A few stand-out tracks are Frank, Laura and Reggaejunkiejew Upon dealing with a major label, (before attempting a classic
country record with 12 Golden Country Greats (Elektra, 1996)) the band decided to use top-notch equipment for the first
time since their debut on Chocolate and Cheese (Elektra, 1994). Here we still get the same old band with a shmorgishborg
of psychedelic guitar pedals and wacky voices from Aaron Freeman, only with intensely defined notes that would have proved
anyone who doubted their abilities wrong. While the song-writing isn't as consistent here, there's no doubt this is an alt rock
cornerstone along with The Mollusk (Elektra, 1997), which is the last truly incredible Ween record. Highlights from these
include I'll Be Your Jonny on the Spot, I'm Dancing in the Show Tonight, Baby Bitch, Take Me Away and Buenas tardes amigo.
White Pepper (Elektra, 2000) could be seen as Ween trying to straight-up become a mainstream band. Overall a pleasant record
only without a strong creative side they're known for. The closer She's Your Baby is beautiful. This is the most important band to
happen in the 90's but the hype for Quebec (Sanctuary, 2003) is lost on me. Their full-band dynamic is more noticeably refined
than before and it contains some of their most memorably intricate material (If You Could Save Yourself, Argus, Fancypants and
the enormous Transdermal Celebration) but while eclecticism is why Ween is loved, the inferiority in the tracks of that nature
really stand out here (Captain, Alcan Road, Among His Tribe). Shinola Vol. 1 (Chocodog, 2005) compiles unreleased songs
from their entire career and is pretty underrated despite possibly being only for diehard Ween fans. La Cucaracha (Rounder, 2007)
is a fun collection of songs and in a memorable fashion, there just isn't much pulling you back in for repeated listens. This would be a
mind-blowing showcase of talent for almost any other band, but for the gods of rock like these guys, it's average. The most enjoyable
picks are Sweetheart in the Summer, Your Party and the long jam Woman and Man.















Highlights
1. I'll Be Your Jonny on the Spot
2. Push th' Little Daisies
3. Squelch the Weasel
4. Freedom of '76
5. Reggaejunkiejew
6. It's Gonna Be (Alright)
7. Laura
8. Frank
9. Common Bitch
10. Nan