Artist: Ween Genre(s):
Rock
Discography:
La Cucaracha Year: 2007
Tracks: 13
Friends Ep Year: 2007
Tracks: 5
White Pepper Year: 2000
Tracks: 12
Paintin' The Town Brown (cd2) Year: 1999
Tracks: 3
Paintin' The Town Brown (cd1) Year: 1999
Tracks: 16
The Mollusk Year: 1997
Tracks: 14
12 Golden Country Greats Year: 1996
Tracks: 10
Chocolate and Cheese Year: 1994
Tracks: 16
Pure Guava Year: 1992
Tracks: 19
The Pod Year: 1991
Tracks: 23
God Ween Satan-Anniversary Edition Year: 1990
Tracks: 26
The Live Brain Wedgie Year:
Tracks: 11
Ween was the ultimate cosmic buffoon of the alternative stone epoch, a prodigiously talented and deliriously odd duette whose lick traveled far beyond the constraints of lampoon and knickknack into the heart of surrealist x. Despite a mastery for apparently every chromosomal mutation of the melodious spectrum, the group refused to play it full-strength; in effect, Ween was brattish deconstructionists, kicking malicious gossip on the pop humankind around them with unbalanced mirth. Along with the occasional frat-boy lapses into misogyny, racial discrimination, and homophobia, the band's razor-sharp caustic remark cut to the inherently lightheaded mettle of john Rock & roll with hilariously piercing savagery; fueled by psilocybin mushrooms and an all-consuming craving for hot meals, Ween created their possess poised population, a parallel dimension where the only hallowed cow was their possess demon immortal, the Boognish.
The duo formed in suburban New Hope, PA, in 1984, when 14-year-olds Mickey Melchiondo and Aaron Freeman adoptive their various fraternal aliases, Dean and Gene Ween, and cut the number 1 of literally thousands of dwelling house recordings. At about the like time Freeman -- working under the name Synthetic Socks -- issued an eponymous 1987 solo cassette on the fledgeling TeenBeat tag, Ween released their own debut tape, The Crucial Squeegie Lip, on their own Bird O' Pray depression. After a match of 1988 self-releases, highborn Axis: Bold as Boognish and The Live Brain Wedgie/WAD LP, Ween signed to the Minneapolis-based independent label Twin/Tone, which in 1990 issued the bivalent album
GodWeenSatan: The Oneness, a sprawl, frequently brilliant discharge which careened from the precipitately hardcore rush of the opening "You Fucked Up" to the helium pop of "Don't Laugh I Love You" to the Prince-Xeroxed funk of "L.M.L.Y.P."
A move to the Shimmy Disc tag followed prior to the release of 1991's
The Pod, another masterpiece of dementedness recorded on four-track under the influence of inhaled Scotchgard; darker and more deranged than its predecessor,
The Pod expanded the Ween palette to include Beatlesque crop up (the sublime "Porc Roll Egg and Cheese"), eccentric family line ("Oh My Dear [Falling in Love]"), and mystic hard rock ("Captain Fantasy"). Against all odds, the record south Korean won the Weens a deal with major tag Elektra; against even greater odds, the leap to the big leagues did nada to alter the duo's mentality. 1992's
Pure Guava, their Elektra debut, was their most consistently uncanny and rattling picnic to date. Highlighted by the disturbingly infectious single "Crusade th' Little Daisies" (a Top Ten score in Australia),
Pure Guava establish the group as snarky as always on self-explanatory workouts wish "Reggaejunkiejew," "Hey Fat Boy (Son of a bitch)," and "Flies on My Dick"; "Springtheme" mocked love songs at their queasiest; spell the climactic "Don't Get 2 Close (2 My Fantasy)" distilled the grandiloquent excesses of Queen's "Bohemian Rhapsody" and QueensrĂ¿che's "Silent Lucidity" into an epic artistry rock portrayal of child molestation.
Consecrate to the former comedic thespian John Candy, 1994's
Chocolate and Cheese -- its title a perfect sum of the duo's blend of R&B and schlock -- upped the ante yet once more. Widening the net to frame rodeo rider songs ("Floater in the Dark"), Philly person ("Freedom of '76"), Afro-Caribbean funk ("Juju Lady"), and Sergio Leone-inspired spaghetti Western epics ("Buenas Tardes Amigo"),
Chocolate and Cheese besides featured "Spinal anesthesia Meningitis (Got Me Down)" and "Mister Would You Please Help My Pony," two of the creepiest tales of childhood trauma always committed to vinyl. Having interpreted their anything-goes aesthetic to its ordered extreme, Ween took a sharp leftfield grow for 1996's
12 Golden Country Greats, a ten-track concept album recorded in Nashville with Music City session luminaries including the Jordanaires, Bobby Ogdin, Russ Hicks, Hargus "Pig bed" Robbins, and Charlie McCoy. While the song titles alone -- among them "Nipponese Cowboy," "Mister Richard Smoker," and "Help Me Scrape the Mucus Off My Brain" -- served poster that the group's lyrical attitude had not neutered one smidgin, the music was unco remindful of Nashville's golden era, and performed with accomplishment and fondness.
A spell with Ogdin and a backing unit of measurement dubbed the Shit Creek Boys (which included steel guitar player Stuart Basore, guitarist Danny Parks, twiddler Hank Singer, and bassist Matt Kohut) followed prior to the acquittance of 1997's
The Mollusk, a concise, mock-progressive semi-concept album that proven to be i of Ween's strongest efforts. The follow-up was a double-disc concert digest,
Paintin' the Town Brown: Ween Live '90-'98, issued in 1999. In the give of 2000, the duo resurfaced with
White Pepper, their low gear new studio effort in three days; it peaked at 121 on the Billboard charts, their highest placing to date.
In 2001, Ween began cathartic a serial publication of live albums through their Internet-based independent label, Chocodog. The low gear of these,
Live in Toronto Canada, captured a show with the Shit Creek Boys. Around this time, the ring and Elektra parted slipway, and Ween was without a criminal record label as they worked on their eighth studio apartment album. After a wait of 2 years -- during which time they released some other live album, the triple-disc
Live at Stubb's -- they signed with Sanctuary Records in 2003, cathartic
Quebec City in August of that class. It was the low gear Ween album to crack the Top C, peaking at 81. A few months later on the vent of
Quebec, some other independent springy record album followed (Live by Request), and then in the springiness of 2004 they released
Live in Chicago, a combination DVD/CD fructify, on Sanctuary, drift back into the studio to process on their ninth studio album. The resulting
Cucaracha arrived in October 2007 and was prefaced by the
Friends EP in the beginning in the yr.
Amistades Peligrosas
