Gut Feeling: Arctic Monkeys - AM

Arctic Monkeys – AM

Domino, 2013

A couple years back I decided that I would listen to Arctic Monkeys. When they drunkenly stumbled onto the alt rock radio landscape in the 2006, I paid absolutely no mind. I heard no singles, I only knew that out of nowhere they had be come THEE hot shit in the way nebulous British rock bands become for three seconds before being passed up for the next big thing. And then front man Alex Turner recorded five songs for the soundtrack of the film Submarine and my heart melted right onto the floor. Clearly, I had misjudged a band I had never heard. A day after hearing Turner’s Submarine songs, Arctic Monkeys released the video for “Suck it and See” and I watched it because I was assured that their singer was a particularly excellent songwriter. And then I was hooked. The video is a flashy, NSFW shot to look like it’s old film stock whatever, but the song is pure satisfaction. After that, I invested in the band’s discography and did a whole write-up for the Thrill of Discovery feature of this blog. Arctic Monkeys became my go to workout music and while I couldn’t make it all the way through their albums (Favourite Worst Nightmare in particular, which I still believe has only one good song (albeit the most tremendouslycatchy song in AM’s catalog)) I cobbled together fifteen songs into a playlist and those songs are still what I wish all mainstream striving alternative rock music would sound like. Arctic Monkeys taught me that it is OK to be slick and fame seeking if the songwriting is excellent. Even if they never made a complete album, the singles were good enough for me to give the band a free pass forever.

I’m not surprised that Arctic Monkeys’ monogrammed new album AM is the most cohesive work the group has managed to date. It’s a fascinating affair that had me turned off almost instantly the second I saw the cheesy/sleazy cover for the “R U Mine?” single. A total misjudgment on my part, considering that this record is built to be sleazy. Classically sleazy. Rolling Stones sleazy. AM is admirably sleazy and showcases just how finely Alex Turner’s songwriting has become over the last seven years. The whole affair feels built to be played with the lights dimmed low (guest contributor Josh Homme called it a “really cool, after-midnight record” which yep, yep it is). Gone is the brattiness of the first couple records. Welcome to everything Arctic Monkeys have been trying to hammer out since Humbug: A hypersuccessful band making great, mature pop music. The questioning singles—“R U Mine?,” “Do I Wanna Know?,” “Why’d You Only Call Me When You’re High?—are obvious, but blend in so well with AM’s moody atmosphere. It’s amazing how firmly this album gets its hooks into you despite being so low key. Just that little riff that runs through opener “Do I Wanna Know?” is enough to suck you in, but the way Turner spins a serpentine vocal line around his mouthful lyrics really highlights Arctic Monkey’s best assets. Sure, it’s very much rooted in a very basic rock n’ roll, but the way the band deftly navigates the nostalgia complexes of a music fan’s brain while still making intelligently designed tunes is a feat. Especially when rock is basically agreed to be dead in the ground. The songs feel built to hold up in huge arenas just as well as they hold up in dimly lit, 300 capacity smoke filled rock clubs.

Lead-off single “R U Mine?” is about as rockin’ and classic Arctic Monkeys as AM gets. The rest is a lush, sultry mix of mid to down tempo numbers that ambles along. Leave it to Alex Turner to call one of the slowest, crooniest tracks on the record “No. 1 Party Anthem.” While the album is about two songs too long (the faux rocker “I Want it All” is a throwaway and “Mad Sounds” is a really, really great track that would be a perfectly serviceable b-side only because it causes the middle of the album to sag a little bit), but there’s nothing like Suck it and See’s insufferable cock rock number “Brick by Brick” that torpedoes the album’s overall quality. I don’t know why I’m surprised. I don’t even feel dirty about liking Arctic Monkeys and yet I approached AM with a guilty pleasure attitude (which is a stupid fucking attitude to approach anything with). Is it overkill to say that Arctic Monkeys are the modern day’s answer to the Rolling Stones? I feel like that’s the sort of grandiose statement that would cause people to throw a fit, but it feels like Arctic Monkeys fit that mold. Good, old fashioned, sexually charged rock n’ roll music that’s fuckin’ smart and fuckin’ good. It’s never not nice to see a band grow and evolve and get better album after album, but it feels extra nice to see a band with millions of listeners in a perpetual spotlight keep making albums for themselves.

"Do I Wanna Know?"


"No. 1 Party Anthem"


"Arabella"

Thrill of Discovery: Arctic Monkeys - Part 4/Conclusion

Day 7: December 14, 2011
Suck it and See

And THIS is the potential that Arctic Monkeys always hinted at…well, half the album at least. It’s not like it’s evenly split, but it kind of is. The first two songs and the last four are phenomenal. Just great, solid, excellent in varying degrees. The stuff in the middle varies from pretty fuckin’ good (“Reckless Serenade”) to pretty OK (“The Hellcat Spangled Shalalala) to the worst Arctic Monkeys song of all time (“Brick by Brick” which sounds like the group trying to collectively suck off an arena for the favor of the arena hosting a rock show, just pathetic, and awful, and really the sole reason why this album didn’t get the #25 spot on my year end list. An album is only as good as its worst song). But the six songs I love, I love fiercely. I understand this band now, and I think Alex Turner is a lifer. I think he has it in him to not have a Gallager-esque meltdown. I know this because I listened to this album like 100 fucking times in my car over the span of three months when I was supposed to be writing these little Thrill of Discovery bits really quick. I wanted to take my time, give them the benefit of the doubt, and on this album I realized that it was the iffiest album I’d ever heard. It’s the breaking through the wall. Which is to say, there’s bits of brick (pun intended, in reference to the aforementioned godawful “Brick By Brick” holy shit is that song terrible) in the punch. But let’s get on with the good, ok?

“She’s Thunderstorms”

Oh man, what an opener! Pensive riff all on its lonesome for the distorted chords and Turner’s dulcet tones to ease their way in and then the crash-in of the drums yes, yes, yes. Everyone sounds better here. The dance punk phase is dead and buried, fuck that. Arctic Monkeys sound like Arctic Monkeys now and I am so excited about this. It’s a great song title too. Titling songs is a lost art, and only the great songwriters know how to do it right. It’s important. Did I mention that already? Like the title of a book. I know music is a joke now and even the indiest of music blogs suck off the mainstream at will, but I really do appreciate Arctic Monkey’s effort at titling their songs. I looked at the tracklist before listening to this album, just to make sure I wasn’t crazy for wanting to listen to Arctic Monkeys (I listend to this before I even listened to their debut Whatever You Think I Am That’s What I’m Not) and with tunes titled “She’s Thunderstorms,” “The Hellcat Spangled Shalalala,” “Piledriver Waltz,” and “Love is a Lazerquest” I was convinced to charge ahead. The album title is brilliant too, if only to get a rise out of the censors (I believe this album was barred from the shelves of Wal-Mart or something due to its “suggestive title”).

“Black Treacle”

Like I said, I’ve been listening to this album in my car for months. At one point, I thought I’d start a feature on the blog where I took songs I liked and made recipes out of them. Oh yeah, the songs would have to be about food. FOOD SONGS BLOG! FUN! So there would be a recipe for treacle tart but then I realized I’m not British and I don’t know where I’d even GET treacle so I decided to put that on the shelf. This was also the song where Turner won me over. This line, in particular: “Now I’m out of place and I’m not getting any wiser/ I feel like the Sundance Kid behind a synthesizer/ And I tried last night to pack away a laugh/ Like a key under the mat/ But it never seems to be there when you want it.” He’s a WEIRD songwriter, which is wonderful. Stream of consciousness, know what I mean? Just images I haven’t thought of coming out of his head and making it easier to understand where he’s coming from.

“Brick by Brick”

Did I mention I hate the song? It’s like a total regression. “You were doing SO well in rehab until you ate all that crack like it was a pudding.” Yeah. “I wanna rock and roll/ Brick by brick.” This stands in stark contrast to the above-mentioned line about synthesizers. This song is just so blatantly terrible, I don’t know how it ended up on this album. Who the fuck would ever care about this song? Really, who? Seriously, fuck this shit. Fuck it so goddamn hard. This ruins the album for me. I don’t even think Arctic Monkeys like this song. They pry think it’s a joke, good for them. This ruins the album. Did I say that already?

“Piledriver Waltz”

Annnnnd we’re back, with that hypnotic two-note guitar line. And magnificent songwriting. I feel like Alex Turner thinks this is his masterpiece, and really it goddamn is the best song he’s written. I say this because it’s the only song from the Submarine soundtrack that ended up on this album. And that soundtrack was FULL of amazing songs. Granted, there were only five songs on it, but still, the crossover is telling. This is the song that won me over though. It transfers well from the solo version over to the full band version. Have I mentioned how amazing Alex Turner’s soundtrack to Richard Ayoade’s Submarine is? It’s so great. Submarine is my favorite film from 2011 and part of that is because of the music. So perfectly placed, so perfectly executed. There’s so much trust, too. I can see it in my head, I don’t know how it happened, but I see Ayoade and Turner as friends (Ayoade directed all the best Arctic Monkeys videos) and Ayoade telling Turner about this movie he’s making and how he wants him to do the soundtrack. That’s a big role, really, because music can kill a movie if it’s done wrong (see: the 80s). Submarine is very Rushmore-esque but moves beyond it because it’s just barely so unique. Does that make sense? It’s unique in the way anything can be unique in the 2010s which is basically impossible. It’s unique because it’s something that is so familiar yet so fresh and exciting at the same time. That’s what Turner’s songwriting is to me. It’s like an old friend I’ve never met before.

“Love is a Laserquest”

Goddddddd, fuck. This song kills. The backhalf of this album is the strongest backhalf of an album I’ve heard in forever. I don’t know how these songs got buried at the end, and I don’t know how all the substandard songs got shoved up front. The aching, goddamnit! Alex Turner writes lyrics that are easy to transpose into a critique. So many songs you hear and you love the words but you type them into a bit you’re writing and they don’t have the power you want them too because there’s that intangible IT that you get with a song, but Turner is onto something I just don’t know quite what. I love his words. And this is my favorite song on the album. Well, writing-wise at least. I think the title track is more of a sweeping anthem, but the tricks Turner pulls in this one are just phenomenal. “Do you still feel younger than you thought you would by now/ Or darling have you started feeling old yet?” Maybe that doesn’t seem grand when you read it but when I write it and look at it it feels grand. “Don’t worry, I’m sure that you’re still breaking hearts/ With the efficiency that only youth can harness.” THOSE ARE THE NEXT LINES! THIS SONG IS PERFECT! It’s like an AIM instant messenger away message in the making. The whole thing! And it’s a song about trying to forget someone you’re incapable of forgetting as much as you need to. And it does everything right. “I have found a better method of pretending you were just some lover.” It hurts. It stings. It’s necessary.” Brilliant tune.

Day 8: February 11, 2012
“Suck it and See”

Saw the video to this while combing through music blogs and inadvertently remembered that movie Submarine was coming out and vaguely remembered that Alex Turner was doing the soundtrack. Although then, it was “that dude from Arctic Monkeys eh, who cares?” Then I cared, because though this video was kind of the usual music video fare, the song was damn good. And I watched Submarine that night and Turner’s songs were just flat out amazing. And that set this whole ball rolling. I feel like I’ve spent the eight years of my life living in this world and have been taking more and more vacations from it as of late. Being embroiled in college radio or writing for a local weekly non-stop burnt me out, and getting to listen to the back catalog of a band I had trained myself to ignore has been a pretty liberating experience. It’s not that I’ve quit listening to music critically, it just feels like I’ve quit doing that self-defeating thing where I refuse to listen to bands based on this or that. Being music director at KJHK was the worst because I felt like there was this air of quality I had to maintain and it was absolute insanity trying to make sure no hip new bands slipped through the cracks. By the end I was depleted, and though I usually regret having to graduate and not getting to try out for programming director, I think I probably woulda been too fried to handle it. It might have killed me at that point. So out to pasture for now, where I like it, and get to listen to songs like Arctic Monkeys’ “Suck it and See” and just enjoy modern pop music done precisely right. It’s not overly special or anything like that, but it is infinitely enjoyable, and sometimes that’s more important.

Conclusion


I can’t wait for Alex Turner’s solo career. Or for his band to scale it back for a record or too to give his songwriting some room to breathe. “Piledriver Waltz” and “Love is a Laserquest” are just a taste of what I think this guy can do when the tempo takes a break. Turner’s soundtrack to Submarine is still on repeat. Well, not on repeat, but I listen to it once every other week. “Stuck on a Puzzle” is a perfect song in my head because not only does it serve its purpose and fit the film it was written for like a well tailored glove, but it works even better on its own. The version of “Piledriver Waltz” on the soundtrack is better than the version on Suck it and See, too. It’s the acoustic guitar that does it. Directs it straight to the heart. There’s a smoke-filled room quality to Turner’s vocals, which just kind of push this version to another level. I can hear it playing in some lounge to maybe 5 or 6 drunks. Everyone else has left. This is the last song. He sounds kind of exhausted, but you can hear the effort shining through. It’s a beautiful mix. A beautiful song! And I hope Alex Turner doesn’t end up blowing it because right now he is poised to just keep getting better.

Thrill of Discovery: Arctic Monkeys - Part 3

Day 6: November 20, 2011

Humbug

Favourite Worst Nightmare left a pretty bad taste in my mouth, so much that I abandoned Arctic Monkeys for a month and a half. Actually, that’s not true. I’ve been listening to Humbug and Suck it and See regularly. Or both are on the iPod and certain songs come up on shuffle and I’m like “Oh this is good.” Humbug is pretty damn fucking good, I’d say. It’s a big step up in maturity (see: no more dance punk bass lines, etc) and Alex Turner’s songwriting evolves into bipedal adult from knuckle dragging club kid.

“My Propeller”

Not a blow you a way lead off track but solid through and through, which is comforting after the amazingly hit or miss Favourite Worst Nightmare(see: “Flourescent Adolescent” being the only hit, the rest, well…).

“Crying Lightning”

Lots of interesting stuff going on here in the gloomy guitar work and Turner’s vocal line. They’re straying away from the big, over the top hooks and it suits them so well. Don’t get me wrong, Arctic Monkey can pull off the massive hooks with ease in the right environment, but Favourite Worst Nightmare seemed so eager to please everyone whereas Humbug is much more internalized, giving less of a fuck, and ultimately sounding like this band making a big step forward.

“Cornerstone”

My favorite video after "Fluorescent Adolescent."

This is a masterpiece of a song. This is everything Arctic Monkeys do well, executed flawlessly and going above and beyond anything I ever expected. A brilliant pop tune carried on the back of Alex Turner’s songwriting prowess. It’s hopelessly sad, a young gentleman so hung up on a young lass he keeps either finding girls who look like her (or do they?) and attempting to woo them and ultimately, pleading to call them the other girl’s name. It’s obsessive and insane and if you’ve been there, it’s pretty accurate. The lyrics manage to be off the cuff and playful(“She was close, close enough to be your ghost/ But my chances turned to toast/ When I asked her if I could call her your name”) while cementing this tragic and pathetic character roaming the bars looking for a replacement. He smells her on a seatbelt and takes the long way home, and ultimately sees this young lass’ sister, picks her up, and she agrees to let him call her his ex-girlfriend’s name. It’s fucking WEIRD. Bizarre and bad-dream like and just gets everything right. If Every song Arctic Monkeys wrote was this good, they could be bigger than the Beatles. Well, maybe…

“Pretty Visitors”

“What came first, the chicken or the dickhead.” Turner’s lyrics are always playful, fun, and appropriate (for the song, not for primary school, church, or ice cream socials, natch). I really like that this band is slipping further and further from their Franz Ferdinand aping/dance-punk roots and this is a weird sort of song, waffling between gothic horror movie music cut with typical, short burst rapid fire bits. Just realized that I used the word “Playful” again, which I guess is what I can’t help describing Arctic Monkeys’ music as because you can’t just say it’s fun over and over again. That and I wrote that bit about “Cornerstone” like a week and a half ago and I realize how lazy I am and how I gotta get this done.

“The Jeweller’s Hands”

ANOTHER dark, weird jam. This one has been coming up a lot when the iPod’s on shuffle and we’re cooking dinner or whatever. And yet, I never turn it to something else. I do really love how they’re branching out into murkier territory. These last few songs make it sound like the band is ready to move on. They’ve gestated long enough in a specific style with specific media ramifications that they can do whatever the fuck they want now because they’re famous.

Thrill of Discovery: Arctic Monkeys - Part 2

Day 4: October 6, 2011

Favourite Worst Nightmare

“Fluorescent Adolescent”

What a great video! Seriously! Arctic Monkeys seem to shine when they prove that their simple music can be twisted and morphed into fucking brilliant pop songs if they want it to.

This is the first great track on this record. I’d even go as far as to say that it’s the first really good track on this record, and it’s five songs in. It feels like a departure from the first record in the best way: the way where Arctic Monkeys start to peel past the unavoidable comparisons and get a “That sounds like an Arctic Monkeys song.” Mind, it’s not there yet. Not quite at all, but I’ve been listening to their latest, Suck it and See, in the car on a loop for five days and it feels like more fun to track this young band’s progression up to that point. Puts it all in perspective, because it feels like they’re getting better and better, album after album. Or maybe not better and better. But figuring themselves out more. This one sounds better, nice production and all, but until “Florescent Adolescent” hits it all feels a bit rote. The prior songs on the album, that is. It’s a groovy jam through and through hitting that sweet spot that Arctic Monkeys seem to hit three or four times an album. Chris, just a fucking excellent song. A three minute pop song played to perfection. And an excellent music video directed by Richard Ayoade to boot!

“Only Ones You Know”

Man oh man, the quiet songs is where Alex Turner really gets to shine. The nice new beefed up production works in his favor here, too, in that it stays out of the way while letting all the nice and elegant pretty bits shine through before rushing back into the pretty OK rock music of the next song. But when the lights are dimmed, he can really twist a gorgeous melody around your guts and heartstrings and I don’t know, muscly things that gives you the heavy chest. I don’t feel like these guys are amazing musicians. They’re capable enough, I suppose, at least for what Alex Turner’s songs require, but on a whole the riffs and the basslines tend to err on the side of OK. When there’s less to get in the way of the actual songs, they tend to shine.

Day 5: October 11, 2011

The Rest of this Fucking Album
Remember that last paragraph where I said that Arctic Monkeys’ relied very, very heavily on the talent in Alex Turner’s songwriting? Well, well just yeah. The rest of this album is forgettable. I’ve listened to it three times through looking for a spark of something great and I get some amateurish guitar work and boring ol’ bass lines and all that brashness of the debut but muted because its filtered through some fancy studio boards or whatever. Maybe that’s why the three singles on this album are culled from the first five songs. It seems like Arctic Monkeys have this problem with consistency. Their sound is pretty consistent, I’ll give’em that, but consistently compelling is something they can do maybe 50% of the time. At least that’s what I’ve seen with Suck it and See, which I’m still compulsively listening to in the car despite the album being 50% excellent and 50% just plain boring with a dash of cock-rock. On Favourite Worst Nightmare they’re not quite there yet. Still a handful of British lads getting to play at being rock stars, which is awesome, but the back half of this album is mostly chaff. “The Bad Thing” isn’t so bad, it has some really fun vocal delivery that mixes it up enough to keep it going for its pretty short running time.

BUT!

Revisiting the First half of the record for shits and grins

“Brainstorm”
Ok, this song has something to it. It’s fun, and I think that’s something that for some reason I can’t bring to the table when I’m listening to Arctic Monkeys. Because I hate fun music. I mean, I don’t really hate it, I just generally hate fun. Or I’m indifferent to fun, at least when it comes to music. It doesn’t bother me when its there, but if the song lacks any meatier substance I can tend to overlook the fact that it might have been just good old fashioned fun. The bass line (What is it with the bass lines on this fucking album?) reeks of what Death From Above 1979 did for bass lines in the early 00s and now every bass line sounds crunchy when played with aggression and the distortion turned way up.

“Teddy Pickler”
The other aforementioned single from the first five songs. This one drowns under an amateurish bass line as well. I wish the music wasn’t so boring, because I really do think Alex Turner has some amazing talent. The sort that’s going to mature with the man. He’s clever. Very clever, good with words and teriffic with melodies. The music, man oh man, it’s just plain uninspiring.

“D is for Dangerous”
This is another one of those “fun songs.” Except in this case, “Fun” means “dance punk revival. At least the songs are very, very short on this record. Particularly in the case of this one, which stays afloat because it’s only a little over two minutes long.

Thrill of Discovery: Arctic Monkeys - Part 1

Thrill of discovery is an ongoing feature where I dive headfirst into the discography of a band everyone loves or are popular for some reason that I've never been able to understand based on cursory listens. It is an effort to fill in the gaps of my musical knowledge, which there are very many, and the end result is designed to be "fewer." This go around, it's British post-post-punk popular darlings Arctic Monkeys. It's meant to be a bit of a break from the colossal undertaking that was the Ween discography and the even more massive discography of the next artist, REM, who handily just broke up and it's now the perfect time to figure out why people are all apeshit for them now that they're kaput. But anyway, Arctic Monkeys. I chose them because I always thought they were entirely boring despite only ever hearing chunks of their songs on alt-rock radio. I realized I'd never actually listened to one of their records and that I couldn't even name one of their songs. I recently watched Richard Ayoade's directorial debut, the absolutely wonderful coming-of-age story Submarine which boasts an absolutely appropriate and unreasonably gorgeous five-song soundtrack from Arctic Monkeys frontman Alex Turner. Turn's out the guy is quite the songwriter. That coincided with the release of the music video of the title track from Arctic Monkeys latest LP, Suck it and See, and while I thought the video was a beautifully shot load of sexy rubbish, the song was really fucking great. Oh yeah, that's why I watched Submarine that night. Go figure.

Day 1: September 26, 2011
Whatever People Say I Am, That’s What I’m Not


“The View From the Afternoon”


Sounds like a mash-up of the best of blur and the lingering dance-punk influence that sadly dwelt in the middle of the 00s. BUT, this song plays off with enough swagger and British enunciation and general funness that makes it not only work, but makes me want to listen to more. It’s pulling the same card as the Strokes, almost the exact same one except barely more British. The guitars are crunchier, the structures more loose, and it works.

“I Bet You Look Good on the Dancefloor”

I can't tell if he's trying to be the Gallagher brothers or not (not really). We have the same guitar, though, so COOL.

What I like about this album (two songs in) is that none of it feels overthought which is really, I think, is one of the many Achilles’ Heels of modern music. Especially mainstream music. Especially mainstream modern rock, the kind of wannabe alternative trash they play on 96.5 the Buzz. Arctic Monkeys sound like Buzz stables. Like they could fit in right next to the Killers or Straylight Run or any of those other mass-produced sounding bands reliant on the Verse-Chorus-Verse-Chorus-Chorus-Chorus-Chorus-Bridge-Chorus song structure, and naturally they’d stick out as sounding a bit more with it since they don’t beat their songs to death. They know that a good pop song should be right around or just under the three minute mark. Good for them.

“Fake Tales of San Francisco”


This is better than the last song, which I think was the single. The first single. Big single? I don’t really know. Again, fucking dance punk drums that will date this as the years go on but Alex Turner is a good enough writer to carry this band, it seems. Great hooks, fun and clever lyrics, etc. I appreciate concept albums, too. Even if they’re just thematically conceptual like the club scene nature of the songs here, it gets a thumbs up and if it sucks an E for effort.

“Dancing Shoes”

Aaaaand now into the realm of way-too-obvious fan films.

Speaking of dancing, the British obsession with clubbing is so strange to me yet probably not much different from any of the commonplace mating rituals we have here in the States. What’s the equivalent? I mean, they have gigs and stuff there, and yeah we have rave clubs where teenagers do ecstasy and get all sweaty all over each other but it seems like it’s thee thing to do in England to stave off boredom and maybe get laid. Anyway, just realized that this band sounds a lot like a grimier version of Franz Ferdinand.

“Still Take You Home”

You know, at first I was like "Well, this is all just really simplistic and that's fine but still" but you know what, it makes me really happy to see that rock bands can still be popular. Or maybe that's a mainstream thing, but I think Arctic Monkeys have a bit more artfulness than most like the Strokes or something and though that trend is dead and buried, I'll take this over Chillwave any day.

This album already sounds a bit dated. The whole mid 00s is already set in amber and so much of this album is either taking from things that were happening in the earlier 00s or late 70s punk rock. Edgier Blur tones and a less full of themselves Strokes come to mind again, over and over. At least I don’t think they’re a bunch of rich kids. Or at least it doesn’t sound like they’re a bunch of rich kids. Rich kids can be deceptive because lord knows how they love to be perceived as poor because they think it makes them real despite the fact that the only reason their little band has any traction whatsoever is because of the connections they were born with. Back to the old argument of is it great art if it was born with money because poor people without connections are making great albums no one will ever hear or are the albums legit because the opportunity for everything was there forever. It’s a useless argument, totally. And what was I talking about? Oh yeah, “Still Take You Home” sounds like it should be a filler track, if that makes sense. Like the kind of track most bands use for late album padding, except it’s really good. A straight up jam, not super spectacular but good and a grower for certain. Something to latch on to.

Day 2: September 27, 2011

“Mardy Bum”

I think this is the song that works best on the album, but it also serves as a perfect example to what a song needs to be, which is that it needs to be able to be played on an acoustic guitar and a voice and still work. I guess that's not true. Probably a lie, actually. But I've always thought that that the best songs did. Like it needs to work at the very base to work at all or it's just going to collapse and bury whatever family is living inside of it.

God, this sounds like a fucking single, if only because it’s my favorite song on the album so far. But probably because I had to stop listening when this one was almost over and picked up writing by just replaying it. I’ve probably been over this before, but the reason I love short pop songs so much is that it illustrates a knowledge that it’s better to leave a listener wanting more than to run it into the ground by repeating the chorus 8,000,000 times. Oh, I already said that? It bears repeating because modern rock is fucked that way. “Mardy Bum” is just under 3 minutes long and I immediately want to listen to it again once it’s done. I appreciate the craft of it. Sure, it sounds extra-Blur-y, but they’re British and EVERYTHING sounds like Blur over there. Great hook, well written, solid jam.

“From the Ritz to the Rubble”

Shit, this one is really great too. Definitely Finn-y.

Alex Turner’s vocal delivery and songwriting is Arctic Monkeys’ greatest gift. Their music is a more punked up dance-punk meets the Strokes but Turner is onto something. I keep thinking of Craig Finn of the Hold Steady, who also writes songs about kids going to crazy parties, doing too many drugs, trying to get laid, and having massive highs and crushing lows. Turner also doesn’t seem to like to repeat his choruses, making them structural placeholders and expending his energy in telling these fancy clubbing stories in the verses. And that’s the kind of songwriting I love and it stands opposed to all the other goddamn songwriting in modern radio rock music right now. Lyrically, the song appears to be a rote account of not getting let into a club thanks to some Nazi bouncers then going off, getting drunk, having some maybe deep conversations with the girl you made out with and reflecting on that the next morning. Simple stuff making me thing Alex Turner is Craig Finn’s spiritual little brother. He’s not as gifted as Finn is with details and wordplay and well, all around songwriting prowess, but his heart is in the right place.

“A Certain Romance”

HA.

OK, I’ve already mentioned the whole three minute pop song rant like 8 times, and “A Certain Romance” is 1.) The first real deviation from that format on this record and 2.) Very obviously the favorite single from this record because 3.) It’s the most solid, certifiable jam. And it’s right at the very end, which I thought was either a ballsy move or wasn’t intended to be on the album but they tacked it on after people loved it so much (or they realized it was such a jam and could sell more records). It’s just a big motherfucking song and it works at its length. It’s not my favorite song on the record, but it’s a nice cap on a debut that I thought was gonna be garbage when it came out all those years ago.

Day 3: September 29, 2011

Who the Fuck Are Arcic Monkeys? EP




This is a glorified single for Whatever People Say I Am, That’s What I’m Not’s lead-off track “A View From the Afternoon.” And though it came out only a few months after the LP, it already feels like a departure. From the soulful haze of “Despair in the Departure Lounge” that really illustrates what this band is capable of if they drop the dance punk beats and the bratty faux-punk delivery. The song sounds like it was recorded in one take at three in the morning and the solo performance makes it all the more lonely. Actually, all of the tracks save the one “A View of From the Afternoon” take Arctic Monkeys in a much more enjoyable direction.

Thrill of Discovery: Ween - Conclusion

Day 14: September 22^nd, 2011

It’s over. Well, it’s not really over, since Ween is going to be one of those bands I carry under my arm or around my neck or just generally on my ipod or burnt CD-R in my car forever. Ween proves that the experiment worked. If you just barrel into a band’s daunting discography you can come out the other side a fan. I didn’t expect to become a fan, just to understand why other people were. It was easy though. At first it was kind of like staring at that really awful car wreck on the highway that the helicopters are circling over, but by the end it was this fantastic voyage into the evolution of a band over a couple of decades. Watching Ween mature into actual, respectable adult music without really sacrificing any of their inherent Ween-ness was kind of spectacular. I didn’t know I’d find tunes that were you know, actually great and heartfelt and tender and sad. I thought it was gonna be all weird shit for the bros but then there’s stuff like “Stay Forever” and “She’s Your Baby” and “I Don’t Want It” that just bring the fucking house down. Then there’s the way the guitars come in on “Nan” that hit me in the sweet spot every time or the cautionary tale of “Sorry Charlie” that I only realized was about that one guy you know who can never seem to do anything right and you’ve gotta just let go in order to move on with your own life. Or how fucking catchy “Voodoo Lady” is and how that track alone kind of makes Chocolate and Cheese great. The Mollusk still feels like the masterpiece, a perfect album. White Pepper is the one that has my favorite songs. Quebec shattered my heart a little bit in a good way. And I’m relistening to GodWeenSatan: The Oneness, The Pod, and Pure Guava because I think only now am I ready to truly appreciate them without the rubbernecking and the standoffishness that I approached them with in the first place. And now they’re sounding really good. Some tracks are just too fucking weird but listening to “Tender Situation” after hearing some much better live versions, I see the murky beauty and weirdness in the recorded version and it’s fucking wonderful.

The project is done, but there are still pry a hundred b-sides, early recordings, live shows and demos to listen to over the years. That’s a pretty nice thing.

I'mma leave it with a video of these two as a couple of young spring chickens playing one of the most gripping songs in their discography. I can't explain why it's gripping, other than maybe some innuendo, and really, all I know is that this is fucking weird as fuck and genius as shit. And I can't explain that either. It just is.

Thrill of Discovery: Ween - Part Ten

Day 13: September 9^th, 2011

La Cucaracha

8:27 PM

After a nearly two week break from the Ween project, I’ve decided that I have to face the music and listen to their last proper album and wrap this Thrill of Discovery up. It’s a sad thing. I’m reluctant to do it, and while I feel like I’ve just been fucking around, neglecting the blog, the project, etc, I’ve been listening to nothing but Ween lately. Lie. Flat out lie. Don’t know why I said it. I’ve been embroiled in a real, paying music writing assignment that ate up my last week and still isn’t 100% done but fuck it, Ween makes everything better. That’s not even a real excuse, because I’ve had time to do other shit, but it was that sort of assignment where everything went wrong and the only way to cure the anxiety and the stress was to drink and watch TV and, well, listen to the bitchin’ Ween mix I made while I was listening to all the albums. I’ve pared it down to 42 songs and have a ways to go before it fits on a CD, but it’s been easy cutting songs. I just pick the ones Jenny hates and put them on the special “Listen to when Jenny is not here” mix. It’s a graveyard for “Push th’ Little Daisies” and “Sketches of Winkle,” and the like. HOWEVER, despite her early disposition of “Fuck this music, fuck it forever in its stupid fucking face,” I’ve tricked Jenny into liking a few tracks. Pawned my own Stockholm Syndrome onto her, if you will (that sounds like and STD, and in the case of Ween, well, it might as well be). I’ve been very clever about it. She’ll be in the kitchen, I’ll put on the “Ween for Jenny” mix whilst dicking around and she’ll say “Oh what is this, I know this song” and I go, “THIS IS WEEN! The song is called ‘Even if You Don’t’” and she says “This is Ween?” Yep. This is one of the most challenging seductions I’ve ever undertaken. Winning her over and convincing her to marry me was peanuts compared to trying to make her understand why Ween fucking rules. “Stay Forever” and “She’s Your Baby” have been working like charms, but sequencing this mix for her will be the real bitch. Anyway, aside. It’s time to finish this. And really, this isn’t even the last post because I’ve gotta do one last one where I listen to all the live albums I have on the hard drive and all the weird B-sides floating around. There’s still work to be done, but the hard part is over. I became a convert. I came home from the gym, and I sat down and thought “What do I want for dinner? I have THREE different kinds of macaroni and cheese but WHICH ONE IS TONIGHT’S MACARONI AND CHEESE?” and I put on “Nan” to help me decide and I’m probably just having canned ravioli. Ween helps make decisions, or it helps make making decisions easier. Knowing that if I can dive headfirst into the discography of a band I’ve formerly sort of despised and love them on a level that I love my favorite bands, well, I can do anything. Anything but listen to the goddamned 30 minutes version of “LMLYP” I have floating around oh GOD please no.

“Friends”

Ahh, Ween’s foray into gay euro disco! I remember this. I remember when the EP for this track came out years back and I thought, “Maybe this is the time to get into Ween, I am in college after all and I have now smoked pot once so…” and well, I thought this was some colossal bullshit. It’s still not great, but I understand it now. Ween has built their ark on genre-hopping so well, why the hell not have a Ibiza club jam on this album?

“Object”

Ha, some bro pry thought this was SO COOL. Because bros like American Psycho, right? Great, funny song with an unfortunately stupid fan video.

Ahh, this is more like it. More in the vein of the progress made on Quebec yet still pushing forward into maturity while still staying brown. My favorite thing about listening to all of these albums back to back to back has been charting the personal growth, as people and as songwriters. GodWeenSatan: The Oneness SOUNDS so much like an album made by a couple of teenagers who wanted to fuck around and make a fucking record just cuz, singing about shit they thought was funny or awesome or weird. There are threads from that here, right here in this song and though the t-shirt continues to unravel, that’s not a bad thing, because um, it creates something new? You can make a ball of string out of it and give it to a cat? You can sew it into a new sweater? There was an analogy there and now I’m just thinking about Weezer who I oft confused with Ween before I listened to Weezer in like the 8^th grade but that’s beside the point. Anyway, this is the first legitimately great song on this album and I feel more comfortable proceeding.

“My Own Bare Hands”

Can't get over how fuckin' funny this song is. Best on the album I'd say. Love how Deaner's rock n' roll face looks like a takin' a dump face so so so so so much.

Fuck, is this Deaner rockin’ the vox? AND ROCKIN THE SICK SOLO! It must be, this sounds like a Deaner song. One embodying the essence of rock and roll and laced with lines like “She’s gonna be my cock professor/ Studyin’ my dick/ She’s gonna get her masters degree/ In fuckin’ me.” It’s funny. And the thing is, these dick jokes are so much more refined than the ones on the first couple records. There’s a grace to it, even in the brownest of brown lines (“Take a shit on a bitch shit fuck bubbajibba,” what does that even MEAN). I’m mostly kidding, but really, this sounds like classic Ween and I am now starting to warm up to this goddamn record.

“Sweetheart in the Summer”

The cutest song in Ween's catalog.

Awwww. A cute oldies sounding number with nothing disgusting about it! HOW FUCKING ODD!

“Woman and Man”

Nothin' but solos.

This song is long. Like really long, full of bitchin’ guitar solos and bongos and flutes and all sorts of shit. Which is to say if meanders, meanders all over the damn place for ten minutes. This is almost as bad as the 10 minutes of noise on Wilco’s “Less Than You Think” from A Ghost is Born. Tramping into jam band territory for sure on this one.

“Your Party”

TRI COLORED PASTAS!

Ahh, nothing like closing an album with a Yacht Rock send-up. Features mentions of tri-colored pastas and a fucking legit-sounding sax solo that I read was recorded by a dude who actually plays sax for this shitty stuff in real life! Sadly, it doesn’t feel up to Ween’s standards which usually involve turning a genre on its head and creating something kind of wonderful (or weird or both). Here it plays as straight parody. It’s funny, sure, and not at all unpleasant, but it feels a little phoned in.

Thrill of Discovery: Ween - Part Nine

Day 12 (cont’d): August 28^th, 2011

Shinola (Vol. 1)


2:25 PM
“Tastes Good on th’ Bun”

Another solid food-based jam!

For a band that prides itself on having forty or fifty songs per album recording session, this collection of outtakes is surprisingly light. Perhaps it means it’s nothing but the most quality jams. This track sounds like a throwback to simpler times, when Ween threw every vocal effect in the book into the pot and stirred in a bunch of guitar noodling with a big fat distortion and lo-fi haze spoon. This comes from the sessions for The Pod, which makes sense and it was probably too straight-forward a song for that album.

“Big Fat Fuck”

LOOK AT THESE FUCKING SKATERS! NONE OF THEM BIG FAT FUCKS!

“Big fat fuck/ Feelin’ like a big fat fuck.” MAN, I have TOTALLY been there. It’s a little light, but typically Ween-sounding. Like “Well, of COURSE this is a Ween” song naw mean?

“Gabrielle”

Seems like the sort of song that would thrive in a live setting the way bacteria thrives in a warm, unattended piece of raw meat. Fucking awesome Thin Lizzy aping to the max!

Oh man, a totally fucking groovy track! Like shit, a legitimately great tune! Snuck on this odds-and-sods collection! WAS NOT EXPECTING THAT. Perfect 70s rock vibe sounding like a Thin Lizzy song from hell. Love it.

“Did You See Me?”

Because nothing, fucking NOTHING goes better with Pink Floydy jams than nature in reverse!

Oh man, you can spoon up the Pink Floyd on this one and eat it like chocolate pudding its so thick. Sounds like some typical-ass cast-offs album shit here. A fun little genre exercise that sounds like it’s from The Mollusk sessions but who knows. They’ve always loved Floyd from what I can tell. All the songs on this album are too fucking long, it seems.

“Monique the Freak”

How did they get the guitars to sound that raunchy?!

What is this? A lost Prince track from the early 90s? BECAUSE IT SURE FUCKING SOUNDS LIKE ONE.

“Someday”

Song's practically perfect, buried here at the very end. Genius move.

An awesomely tender Gener jam tacked on right at the end. Usually odds and ends collections are longer than this, but in this case I think the brief (by Ween standards) track list really works. It runs the gamut of Ween’s career up to post-Quebec and there’s weird noisy fucked jams and tender Gener jams and weird Prince homages all that other weird shit in between. Now, if only instead of “Tuesday is pizza day” he said either “Monday is pizza day” or “Wednesday is pizza day” to honor the magnificent pizza deal days at Johnny’s and Rudy’s, respectively, then I’d be touting this as my pizza day jam. Of course, that’s a sort of local thing and I’m sure in Pennsylvania pizza places issue Tuesday pizza specials (or not, maybe it’s just common to consume pizza on Tuesdays because they’re fucked).

Thrill of Discovery: Ween - Part Eight

Day 10: August 23^rd, 2011

Quebec

11:13

“It’s Gonna Be a Long Night”

A stupidly great homage. Really, just fucking awesome.

This sounds like a fucking Motorhead song or something. Probably an insult to Motorhead, that one, but seeing as the band knows how to play “Ace of Spades” I refuse to rule it out. Just fun, sleazy over the top stadium metal or something. After a few days off from Ween and coming at this from the new perspective of someone who genuinely appreciates what Ween contributes to the world of music (took a couple albums but I got there, OK?), I’ve noticed it’s a place I needed to get to appreciate something like what I think Quebec is going to be like. Right off the bat it feels like a return to the weirdness that made’em famous. And I’m diggin’ on that. Also, I notice that Josh Freese played drums on this record which begs the question: Is Josh Freese from fucking Mars because what album HASN’T that guy played on?

“Transdermal Celebration”

An unfuckwithable jam, as we say in the biz. Well, I say that in the biz, or did when I was working at a college radio station. "Unfuckwithable Monster Jam" would have been more like it if I'd written this album up. Can you fuck with this one? No, not really. Practically tailor made for a goddamn greatest hits collection. Also, how did I work at a college radio station for 3.5 years and not get into Ween? It's embarassing, really. I just associated them with that awful jamband show. I FEEL BAD ABOUT THIS.

I just read a quote from Gener that says “All that jam band shit makes me want to puke.” PHEW! Another great straight-up Ween track that sounds like it belongs on a greatest hits collection. Maybe track 3. It’s kind of weird seeing Ween moving further and further away from their roots. This isn’t a bad thing at all, because it seems natural to move away from your roots, right? Like a tree or a plant or something? Certainly, it’s not always successful (ok, probably rarely successful in bands) but Ween pulls the whole maturity thing off. This is a thoroughly listenable song that feels just as valid as anything they’ve ever released.

Day 11: August 24, 2011

“Tried and True”


Old creepy Gene Ween returns to sing a song that has to probably be about his divorce (since, according to the web, a bunch of these songs are about that because good god divorce is like a record album goldmine ok?).

“Chocolate Town”

I love that this is like, Ween gracefully entering middle age. A soft-rock jam about buying drugs in the ghetto. STAY CLASSY WEEN!

Lots of weird stuff on this album, but Gener’s straight-laced emotional jams still keep hitting me in the guts. This album feels like a sleeper hit. Once Ween is dead and gone (if they ever die, who knows) and looking at their discography as a whole, this feels like it’ll be a stand-out. An incredibly worthy follow-up to White Pepper which, looking at that album right now, is laced with so many ear worms it’s a wonder I don’t have fucking tumors on my brain. “Chocolate Town” is almost a throwback to 12 Golden Country Greats grafted onto some soft rock vibes. It’s a breezy, and utterly nice song about buying drugs. Pretty sure it’s not about poop sex, which was my initial thought which is weird because it could just as well have been a song about Hershey, Pennsylvania seeing as the brothers Ween hail from the Keystone State.

“I Don’t Want It”

Fuck this one is so good. Shit shit shit. "I understand it/ But I don't want it." Been there, done that. Perfect compliment to that whole sort of thing. Again, WHO FUCKING KNEW these guys had something like this locked up inside? Or maybe I was supposed to have known all along. Maybe I should have listened to all their albums in reverse but then again, revisiting the early stuff is much more of a treat knowing the outcome.

Another fucking tender Gener jam to bring the stupid house down. I realize that every album can only have like, two or so of these and I accept that. An album of these would be too much. It would cheapen the tunes, which are usually strategically placed towards the latter half of the album to pull the rug out from under you, remind you that these guys are incredibly deft album-smiths and well, you start to see the hype and the living up to it. A divorce album staple.

Day 12: August 28, 2011

“If You Could Save Yourself (You’d Save Us All)”

I don't know why I thought Quebec would somehow be a lesser Ween album. Maturity suits them incredibly well, again again again WHO FUCKING KNEW?! Feeling like a failure.

Oh man, this IS a divorce record, isn’t it? A pretty triumphant, heart wrenching finale right here. It’s intense. It’s over the top and it NEEDS to be over the top. The imagery is depressing and sad, like you’d expect, and the melody follows suit but there’s that underpinning monster hook in the chorus that makes all the sad bastard pop songs in history sing-a-long toe-tappers. “The trash caught fire when the leaves turned brown/ The vultures were circling when the circus left town/ I left you a note but I wrote it in disappearing ink.” Depressing. Divorcey. Probably the most emotional highlight of Ween’s long, storied career. Looking at this sweeping, orchestral heartbreaker, it’s hard to even remember what GodWeenSatan: The Oneness sounds like, and I think that’s Ween’s greatest asset. A discography that has been ever-changing while remaining true to itself. And that’s why millions of people love Ween. And that’s why I love Ween. This is honest music, and even when it’s fucked up and weird, it’s fucking real.

Thrill of Discovery: Ween - Part Seven

Day 9: August 19^th, 2011

White Pepper

10:14 PM
“Exactly Where I’m At”

Gener's guitar sounds like shit. Awesome. Pry blowing Letterman's fucking mind. NICE SHADES BRO.

Fuck, Ween keep and keep reminding me of a filthier version of GBV. “Exactly Where I’m At” calls up pangs of Bob Pollard, but also OH I GET THE TITLE (actually, I didn’t I was just like “haha a white pepper who gives a fuck” and then I read the Wikipedia article) it’s a play on The White Album and Sgt. Pepper’s Lonely Hearts Club Band!!! It’s Ween playing straight pop after the resounding success (read: listenable music) of The Mollusk and all it’s glorious fucking theatrics. This is a pretty tasty jam. Super simple, a fucking brainworm melody, some funky synths. You know, that sort of bullshit. It’s a song I’ll use on the mix I plan on making Jenny when I’m done with this to say “SEE IT’S NOT ALL THAT UNDERPRODUCED FILTH YOU THOUGHT IT WAS JOKE’S ON YOU!”

“Even If You Don’t”

Ha! Directed by Trey Parker & Matt Stone! DUH. What a solid sunnytime pop jam goddamnit.

Fuck, another one going up top on the mix for Jenny. This is like Looney Tunes pop. Classic in every which way, with a little Ween-y twist. But barely. It’s just straight-up flat-out balls-down pop. And somehow they manage to wedge a bitchin’ guitar solo right there in the middle of it all.

“Bananas and Blow”

Recorded earlier this month! GOOD FUCKING CHRIST GENE'S HEAD LOOKS FUCKING INSANELY SUPER VILLAIN HUGE! They still got it tho!

Oh god, I remember this song. Another one with a chorus that’s been stuck in one of my brain lobes for the last 8 years. Is this a Jimmy Buffett parody or something? I don’t know enough about shitty music to understand the nods. It’s fucking funny either way, don’t get me wrong. Love the backing vocals, love the Spanish guitar. God, this has to be what Jimmy Buffett sounds like. I’ve seen the shitty cover of his book 8000 times with its fucking comic sans and I’ve priced enough of his shitty CDs at work to understand. I suppose it’s fitting with the White Album-ness of it all.

“The Grobe”

Deaner has the best fucking rock and roll face I've ever seen. Halfway between setting himself ablaze with the tastiest of jams and pinching off the nastiest of loafs.

Fuck, I don’t usually love sweet, jammy grooves but the crunchy nugget that runs through this tune is strangely appealing. That Jimi Hendrix obsession that all those bands have, I suppose. Something about the guitar tone here is just pretty fuckin’ gnarly. It also sounds kind of weird traditional Ween style and I can dig on that. Again with the Stockholm Syndrome. Again again again.

“Stay Forever”

Love the fuck out of this sensitive-ass jam. Such a wonderful counterpoint to "She Fucks Me," et al.

Fuck, I’m waiting for this one to go downhill. Some uncomfortable hand jobs maybe? Someone shits on someone’s chest? I don’t know. I can’t bear the tension but I will. And right now, this just sounds like a regular, super sweet love song fit for any mixtape. Let’s just hope the girl doesn’t know who Ween is. Or maybe she does, and understands that this is the sweetest song in Gener’s canon. Or maybe she just knows that they have songs called “Poop Ship Destroyer” and “Common Bitch” and you’re fucked. It’s simple, and uncommonly plain, but it’s these nice little moments that float by on a breezy melody and some heartstring tugging sap that make me really appreciate the range this band has an ultimately, make me a fan. I just wrote “make me fat” there. FAT WITH FANDOM.

“She’s Your Baby”

Backe by strings? Fuck that shit. It's too fucking perfect goddamnit. Think this is my favorite Ween track. Has to be.

Fuck, another goddamned excellent song where Ween plays conventional but kills it so hard it hurts. Right in the heartstrings and all that. I think this might be the most tender song in Ween’s catalog. At least so far. Just unspeakably lovely, which is in turn infinitely rewarding. The melody kills me. That about-to-fall-apart delivery. I just put the song on again (note: I’ve been writing all of this based on first impressions YES I HAVE) and it gets better. It’s amazing how fucking accessible this album is. It’s all a little surreal, which seems fitting given Ween’s penchant for surrealism. It’s almost just another gimmick record that succeeds in nearly every aspect. First country & western, then prog-rock, now pop itself. I’m gonna listen to this track a third time, and then I’m going to listen to it one more time before I move on. And this feels like the reward I wanted when I started this. I knew there was something there and now, after White Pepper confirmed it for me. Or maybe it’s just been slowly confirming itself. It being the fact that Ween isn’t a novelty act and, if you take them seriously and have a sense of humor you can see the little sparkles of genius that shine through the cracks.

Thrill of Discovery: Ween - Part Six

Day 8: August 17^th, 2011 (cont’d)

The Mollusk



9:57 PM
“The Mollusk”

Hahahah this video is amazing. Wonderful and whimsical and kind of boring but legos! The spinny Sgt. Pepper band is great though.

Ween’s next genre exercise: prog rock. And fuck, fuck fuck fuck this is legitimately great. I remember this song from early college when I’d downloaded all the Ween albums off of someone in Hashinger Hall’s hard drive. That wonderful year, everyone had this program that let everyone else on the residence hall’s network download songs from everyone else’s iTunes library. It was amazing. And I had all the Ween and clearly never listened to it. Except for The Mollusk. I’m pretty sure I listened to this one because I remember this title track and “Ocean Man” and “Buckingham Green” being in some heavy rotation (but why not the album? WHY?!) The title track is great though. No dick jokes, no crude recording/crude humor. Just straight up whimsy. A song about a little boy and his mollusk. And some weird proggy stuff and THEN SOME FUCKING HORNS. This is just plain good. What happened, Ween?

“Mutilated Lips”

How did I neglect to mention the baller psychedelic elements of this jam? HOW GODDAMNIT HOW! A surprisingly competent and complementary fan video!

Oh there’s the trademark Ween-ness (is this called Brown-ness? Is this what the fans call it? I read that somewhere? The typical fuckedupness and weirdness that makes a Ween song a real motherfucking Ween song?), singin’ bout some lips that are all mutilated. Doesn’t make any sense really, the song that is, but that’s probably the point and it’s oddly catchy even with the weird high pitched counter-vocals. I remember this too from that one time I listened this album. Hmm.

“The Blarney Stone”

Fuck, how many times has Ween played this town? Also, you can always tell when it's a Deaner track (it's usually obvious but sometimes the vocal effects get in the way) but I was listening to this and I was totally like "This has Deaner's stains all over it." Nice. Shitty sound quality, but fun and goddamnit I wanna see this band live and I want to be very, very high. I think I might actually enjoy being high if I was at a Ween show compared to every other time I've been high and wanted to run home crying. Fuck, this looks like fun.

Oh man! Taking the piss out of an Irish drinking anthem this is great! “Got ooze in my pores my feet are all wet/ Got mold in my ears but I ain’t dead yet.” There’s something really funny about this in a way that seems to transcend the hardy har har novelty of a parody of a drinking song. It’s because it sounds legit. Like it could be a real thing. Like thousands of years from now this will be the only drinking song anyone will find and they will think they all sounded like this, even though it’s kind of a joke. (Note: Just read that each song has a “nautical theme.” Fun! Is this a sea shanty then?)

“It’s Gonna Be (Alright)”

Solo acoustic renditions of Gener's tender situations are the reason I keep listening to this stupid fucking band. So choice.

Aw shit, I love these. The ones where Gener puts on the wounded indie-rocker ballad face and fucking kills it (kills, in this case, means brings the house down on top of everyone’s broken hearts). This is probably his best one, well actually “Baby Bitch” is the best but this one is an immediate sensation. Or causes an immediate sensation. My “Aw shit bitch this my jam” sorta thing. But yeah, up there with “Birthday Boy” and “Don’t Laugh (I Love You)” and “Sarah.” It’s like every once in a while Gene and Ween realize that they need to just play it straight. Just for a second. Capitalize on the fact that they’re excellent, innovative musicians and that he’s an excellent songwriter and just play for the squares.

“The Golden Eel”

What a hilarious looking band. Gene looks like he has pink eye and/or hasn't slept in days and is practically the opposite of what a rock star looks like. And Dean looks like...well, he just looks like a dude covered by shadows. WAY MORE ROCK STAR BRO!

Fuck this album is epic sounding. Who knew they had it in’em? I mean, certainly the seeds for this album (which I’ve read is at least Deaner’s favorite) must have been there the whole time, but goddamn this is just really fun and it sounds great. Who would have ever thought Ween made an album with some top-notch production? Granted, the two previous albums sound pretty great but here, with all this wild fun stuff going on it sounds spectacular.

“Buckingham Green”

I would go see Ween and they would play this song and I would probably scream like a little girl and think about that time I saw GBV and how this was like that (not ever as great, natch) and I would realize why I now hate going to shows: Because they'll never be as great as the really, really great ones because the other bands just don't try hard enough. This has the insane fucking monumental moments you SHOULD expect from every show you go to goddamnit.

Fuck, I might as well put the whole goddamned album on this entry because every song is so fucking good. Maybe it’s Stockholm Syndrome. Maybe my music snobbery has backfired on me, and well, maybe that started at GodWeenSatan if I made it this far. I mean, it’s not that at all. I’m not my fiancé who will dismiss anything if she doesn’t like the first chord, but it has been a trial. A trial I wouldn’t have fucking undergone if I hadn’t thought it would payoff. And this is the goddamned payoff, right here. “Buckingham Green” is a towering behemoth ready to crush you with its greatness. Everything Ween was ever capable of doing encapsulated in this fucking monster jam. Everything after this is probably just leftover shit escaping the bowels of a dead body. Ok, probably not, but you know how good this song is? How? How! How if the band isn’t fundamentally great, then how can they put out a song this good? Fuck. I’m a sucker for this orchestral bullshit.

“Ocean Man”

Cute video. Was afraid I was gonna have to start posting those usually awful (occasionally awesome but mostly kind of why-did-you-feel-the-need-to-do-that? covers people like to post that I usually use when I can't find a proper video.

OH YEAH AND THEN THERE’S OCEAN MAN. A song that gets stuck in my head once a month. Just good old fashion fun about a man from the ocean! AN OCEAN MAN! What a just super solid jam on a just plain fucking outstanding record.

AND OF FUCK!!!:

Oh sweet fucking christ this is incredible. I'm now having a flashback to the one time I watched this abomination of a film which now seems like less of an abomination because Ween has the greatest shameless advertising cameo I've ever seen by anyone ever.

Thrill of Discovery: Ween - Part Five

Day 7: August 16^th, 2011

12 Golden Country Greats


4:32 PM

“I’m Holding You”

What the fucking fuck? Is this Ween just saying “You know what, we’re gonna make an album of classic country songs to show you that we aren’t total children and actually understand how to make music?” There’s like, absolutely nothing weird about this other than the fact that this band’s last album had a utterly distasteful songs about HIV, Spinal Meningitis, and stinkin’ ass hos. Given they recruited a bunch of famous Nashville people, this sounds like the real deal. It’s good, yet the Weenness feels totally absent.

“Piss Up a Rope”

Oh wait, there’s the brown sound. “On your knees you big booty bitch, start suckin’/ you ride my ass like a horse in a saddle.” Nice! And then it only gets worse. Like genuine comedy worse. It’s kind of an inspired move. Lull the folks at home with a couple of standard sounding numbers up front and then piss in their mouths. Nice nice nice! A perfect country music parody. A shining moment for Deaner!

“I Don’t Wanna Leave You On the Farm”

And there’s the old standard Ween-y number that’s also got a sweet side to it. God, the singing is really good on this album. Amazing. Who knew!

“Powder Blue”

This album sounds like it was pretty fun to make. A fun little genre exercise that could have just been a one and done track but it’s way funnier as a whole album. Also, that Muhammed Ali sample is hilarious.

Day 8: August 17^th, 2011

5:36 PM

“Mister Richard Smoker”

The awful AllMusic.com review of this album (which spends the whole time decrying how Ween think they are “above” the country & western genre but good god, all they do is make fun of shit don’t you get that duh!) says that this song is “homophobic” but I mean, it’s obvious that if you’re going to do a tribute/send-up to country music you gotta have one song that’s addresses the homophobia most country music culture seems to embody these days. Also, referring to a homosexual as a “poopy poker” seems to basically be a way of saying “we’re just fucking around lighten up goddamn.”

“You Were the Fool”

This is really good. Like legitimately good country music. I really wonder what Ween fans thought of this album. Did they hate it? Were they the people that said “any music but country” when people asked what their favorite music was (that’s a lie, they’d probably say “FUCKING WEEN BRAH”)? Fortunately the album is a brisk 33 minutes, a good fifty shorter than their albums tend to be, and I don’t think 12 Golden Country Greats ever overstays its welcome. It’s a fun project that’s seems like a novelty in idea but a damn fine record in execution. It’s Ween illustrating that they can be serious musicians and goofball pranksters at the same damn time.