Ween Biography
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 This prolific duo from New Hope, Pennsylvania, USA, are as out of step with everything that surrounds them as a modern rock band could ever hope to be. They have their own religion, led by demon god Boognish, and delight in lyrical and musical mischief-making. The core of the band is Gene (Aaron Freeman, 17 March 1970, New Hope, Pennsylania, USA) and Dean Ween (b. Micky Melchiondo Jnr., 25 September 1970, New Hope, Pennsylvania, USA), who formed Ween as 14 year old school kids in their native New Hope. After a series of independent releases on their own Bird O’Pray label in the late 80s, the duo signed to the Minneapolis-based Twin/Tone imprint. They debuted for the label in 1990 in elaborate style with a double album that opened with a menacing track called ‘You Fucked Up’. From there on God Ween Satan: The Oneness floated in and out of a collage of cheerfully artless songs, sampling reggae (‘Nicole’), space metal (‘Mushroom Festival In Hell’), Flamenco (‘El Camino’) and blues (‘I Gots A Weasel’). It was surprisingly enjoyable, and included parodies of Bruce Springsteen, the Beastie Boys and other members of pop’s aristocracy. As the duo said at the time, ‘99% of our lyrics are written from personal experience and focus on our own lives. We’re very honest in that respect.’ They also insist that, essentially, every new Ween album is a ‘greatest hits’ collection, spanning two years’ work, with hundreds of hours kept in the can at any given time.
Following an even more bizarre follow-up, The Pod, many were surprised when Elektra Records signed such a left-field concern. 1992’s Pure Guava showed the band had lost none of their idiosyncrasies (memorable song titles this time included ‘Hey Fat Boy (Asshole)’ and ‘Poop Ship Destroyer’), and included the left-field hit ‘Push Th’ Little Daisies’. The band became Flying Nun Records’ first non-New Zealand signings in 1994, for European distribution. Chocolate & Cheese saw the introduction of a permanent rhythm section for the first time, in the shape of Andrew Weiss (ex-Henry Rollins Band), who had previously produced for the band, and Claude Coleman, and it came with a dedication to the comedian/actor John Candy. It confirmed Ween’s sick sense of humour in tracks such as ‘Spinal Meningitis (Got Me Down)’ and ‘Mister, Would You Please Help My Pony?’, although there seemed to be little attempt to extend their appeal. Strange even by Ween’s standards, 1996’s country-influenced 12 Golden Country Greats featured the legendary Jordanaires on harmonies, a coup which was ignored in a series of harsh reviews. The following year’s The Mollusk restored their musical pastiches to more traditional territory. Following the release of a typically eccentric live set the duo returned in May 2000 with White Pepper, on which they fashioned their warped vision into a surprisingly accessible and mature (musically, at least) set of songs. Quebec, their debut for the Sanctuary label, repeated the formula to lesser effect despite the duo promising that the album represented a return to the ‘browner side’ of Ween.
Source: The Encyclopedia of Popular Music by Colin Larkin. Licensed from Muze.
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This prolific duo from New Hope, Pennsylvania, USA, are as out of step with everything that surrounds them as a modern rock band could ever hope to be. They have their own religion, led by demon god Boognish, and delight in lyrical and musical mischief-making. The core of the band is Gene (Aaron Freeman, 17 March 1970, New Hope, Pennsylania, USA) and Dean Ween (b. Micky Melchiondo Jnr., 25 September 1970, New Hope, Pennsylvania, USA), who formed Ween as 14 year old school kids in their native New Hope. After a series of independent releases on their own Bird O’Pray label in the late 80s, the duo signed to the Minneapolis-based Twin/Tone imprint. They debuted for the label in 1990 in elaborate style with a double album that opened with a menacing track called ‘You Fucked Up’. From there on God Ween Satan: The Oneness floated in and out of a collage of cheerfully artless songs, sampling reggae (‘Nicole’), space metal (‘Mushroom Festival In Hell’), Flamenco (‘El Camino’) and blues (‘I Gots A Weasel’). It was surprisingly enjoyable, and included parodies of Bruce Springsteen, the Beastie Boys and other members of pop’s aristocracy. As the duo said at the time, ‘99% of our lyrics are written from personal experience and focus on our own lives. We’re very honest in that respect.’ They also insist that, essentially, every new Ween album is a ‘greatest hits’ collection, spanning two years’ work, with hundreds of hours kept in the can at any given time.