In the early days of his career, after every relatively mainstream major-label album (MELLOW GOLD, ODELAY), Beck would then release a more experimental indie disc such as the lo-fi ONE FOOT IN THE GRAVE or the knotty STEREOPATHETIC SOULMANURE. Similarly, Beck has been fond of stylistic experiments such as the Brazilian-influenced MUTATIONS and the warped R&B of MIDNITE VULTURES. As he’s matured as an artist, these smaller-scale releases and genre exercises have fallen somewhat off the radar, but the quickly recorded and loose-limbed MODERN GUILT recalls the feeling of those rough-edged earlier records. Paradoxically, it may also be his most immediately accessible and pop-oriented album ever. A stripped-down collaboration with Brian “Danger Mouse” Burton of Gnarls Barkley fame, MODERN GUILT is rooted in 1960s pop, from the British Invasion vibe of the bouncy “Gamma Ray” to the woozy psychedelia of “Chemtrails.” Chan Marshall (aka Cat Power) also provides guest vocals on two songs, “Orphans” and “Walls.” MODERN GUILT is available as a digital download, a standard CD, and a vinyl LP.

Tracklisting
1. Orphans
2. Gamma Ray
3. Chemtrails
4. Modern Guilt
5. Youthless
6. Walls
7. Replica
8. Soul Of A Man
9. Profanity Prayers
10. Volcano

Professional Reviews
Rolling Stone (p.89) – Ranked #8 in Rolling Stone’s 50 Best Albums Of 2008 — “MODERN GUILT has plenty of electricity and playful funk…”

Spin (p.102) – 3.5 stars out of 5 — “[E]eerily soulful psychedelic rock, as focused as it is trippy, with the meditative nuance of 2002’s SEA CHANGE.”

Spin (p.50) – Ranked #15 in Spin’s “40 Best Albums Of 2008″ — “[T]he baby-faced boundary-buster delivered a spooky dose of downer psych.”

Q (Magazine) (p.134) – 4 stars out of 5 — “Happily, the concise MODERN GUILT is a return to form….Always a musical magpie, here it’s prog and pscychedelia that have caught Beck’s eye.”

Mojo (Publisher) (p.104) – 4 stars out of 5 — “MODERN GUILT is a record of adult confusion and world-worn sensuality, crafted into colour-saturated, three-minute frames. Wisdom and wonder align in the same package.”

Mojo (Publisher) (p.72) – Ranked #19 in Mojo’s “The 50 Best Albums Of 2008″ — “MODERN GUILT proved Beck still had the ZEITGEIST on speed-dial.”

Blender (Magazine) (p.82) – 3.5 stars out of 5 — “MODERN GUILT mixes ancient rock — mainly the incense-and-peppermints-flavored ’60s psychedelia of REVOLVER-era Beatles, the Zombies and Pink Floyd — with the woozy, abstract beats Danger Mouse manages to turn into freaked-out fun.”

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Beck – Mellow Gold

As the title implies, this is Gene and Dean Ween’s Nashville move. And for those familiar with the duo’s flexible and comedic musical nature: no, they’re not faking the cowboy swagger or shedding counterfeit tears in their beers just for the sake of digging through the one genre their previous records didn’t excavate. Backed by a who’s who of Music City session players, Ween has produced an authentic update of the late-’60s/early-’70s countrypolitan sound–weepy pedal steel, footloose harmonica, boogie piano, the Jordanaires crooning in the background, pristine production, pretty much all the fixins.

But if you’re looking for a collection of cornball breakup songs and half-baked cowboy tales, well, as Judas Priest says, you’ve got another thing coming. Gene and Dean, after all, have their own standards to live up to; and they’ve never above lowering them. So the breakup song (”Piss Up A Rope”) is viciously upbeat; the sinner’s repentance is titled “Help Me Scrape The Mucus Off My Brain”; and even the one serious song, the Lennon-esque “You Were The Fool,” contains the kind of cosmic couplets country fans would normally have to reach pretty far afield (toward, say, Gram Parsons) to find. Such Ween-foolery allows Gene and Dean to have their country, in a most heartfelt way, and eat it too.

Tracklisting
1. I’m Holding You
2. Japanese Cowboy
3. Piss up a Rope
4. I Don’t Wanna Leave You on the Farm
5. Pretty Girl
6. Powder Blue
7. Mister Richard Smoker
8. Help Me Scrape the Mucus off My Brain
9. You Were the Fool
10. Fluffy

Professional Reviews
Spin (8/96, p.103) – Reasonably Good – “…What makes 12 GOLDEN COUNTRY GREATS a decent Ween record is its transposition of real country into the world of post-indie-rock smart-asses…”

Q (9/96, p.124) – 3 Stars – Good – “…mimicking a myriad of country styles and stereotypes while lyrically tipping the stetson towards the stoned yoof of alternative America…”

Alternative Press (10/96, p.108) – “…Not only have Ween gone country, but they’ve done it up right….The results are as perverse as ever, juxtaposing fairly mainstream musical arrangements…with bizarre lyrics and imagery…”

Melody Maker (8/3/96, p.50) – Recommended – “…Bitter, nerdish misogyny was never conveyed with such tender beauty as on this album…”

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Ween – La Cucaracha
Ween – Chocolate & Cheese

In between the release of FIELD SONGS and its follow-up, BUBBLEGUM, former Screaming Trees singer Mark Lanegan sang for hard-rock heroes both old (a reunited MC5) and new (Queens of the Stone Age), gaining both fans and famous friends in the process. Thus, all eyes were on Lanegan for BUBBLEGUM, which features guest shots by everyone from PJ Harvey and Queens leader Josh Homme to Izzy Stradlin and Duff McKagan of Guns N’ Roses. Fortunately, all this attention doesn’t seem to have fazed the sandpaper-voiced singer; despite the guest list, BUBBLEGUM is as dirty, gritty, and raw as anything in his catalog.

While much of Lanegan’s previous solo work is a mix of languid folk-rock, gutter blues, and the kind of grunge-mutated 1960s-psych influences that powered the Screaming Trees, BUBBLEGUM is lean, angular, and occasionally almost avant-garde. Simple, driving, Stooges-like riffs and rhythms abet minimalistic organ lines, heavily treated vocals, and a somewhat industrial tonal aesthetic. Notorious substance-abuser Lanegan’s post-rehab lyrics are no less ominous or emotionally harrowing for their expanded perspective, and he remains a challenging singer/songwriter eager to explore new sonic avenues.

Tracklisting
1. When Your Number Isn’t Up
2. Hit The City
3. Wedding Dress
4. Methamphetamine Blues
5. One Hundred Days
6. Bombed
7. Strange Religion
8. Sideways In Reverse
9. Come To Me
10. Like Little Willie John
11. Can’t Come Down
12. Morning Glory Wine
13. Head
14. Driving Death Valley Blues
15. Out Of Nowhere

Professional Reviews
Spin (p.120) – “[G]ruff stuff….[With] a genuine, slow-burning Leadbelly brutalism.” – Grade: B+

Entertainment Weekly (p.66) – “[I]t seems as if it were rising from a deeply dug well, especially Lanegan’s glowering pirate-in-recovery voice….He hasn’t sounded this focused in years.” – Grade: A

Q (p.121) – 4 stars out of 5 – “[He's] more alive and more vital than ever.”

Uncut (p.96) – 4 stars out of 5 – “[T]his is an entirely consistent record from a man who’s yet to make a bad one, and whose rasping gravitas has made him one of the great voices of our time.”

Uncut (p.75) – Ranked #6 in Uncut’s “Best New Albums of 2004″ – “[A] bleakly corrosive, yet strangely uplifting album that spits, snarls and nurses…”

Magnet (p.115) – “He expands his palette on BUBBLEGUM…A full-blown creative revival…”

Magnet (p.66) – Ranked #8 in Magnet’s “The 20 Best Albums Of 2004″ – “Lanegan does a few gypsy box-steps and a couple Seattle stomps, always dancing with his favorite partners: love and drugs…”

CMJ (p.6) – “His finest work yet swoons between nail-biting highs and strung-out lows…”

Mojo (Publisher) (p.84) – 4 stars out of 5 – “BUBBLEGUM is, in many respects, classic Americana, at its simplest level, wide-screen loneliness, the sound of rattling boxcars and rattling lung, of dusty roads and endless journeys.”

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Mark Lanegan – Field Songs
Queens of the Stone Age – Lullabies to Paralyze

For those not in the know, the overture is that tune at the start of a musical, which features all the little excerpts of melodies from all the songs in the show. All woven into one, flowing drama of its own. The scene is set, boy met, conflict engaged, tension built, hope all but lost and then in a final twist, the hero emerges and resolution unfurls itself on a world still obscured by curtains, and drowned out by the murmurs of ushers.

It sets the scene by tempting you with all the drama and intrigue that the full story will bring, but snatches it away before your coat is even checked. Perhaps, that’s why Sarah Blasko has chosen “The Overture & The Underscore” as the title of her very first album. An encapsulation of the many intertwining narratives and textures her musical life promises, and a defining moment in its progression so far.

Sarah Blasko’s debut album speaks largely for itself. Eleven new compositions including the already namedropped “All Coming Back” & “Don’t U Eva”. The engineering & production skills of Wally Gagel. The amazing drumming of Joey Waronker, whose tub-thumping has been heard in the music of Beck & REM. The studious studio arrangements of Sydney indie-rock mainstay Robert F Cranny. And the sublime songwriting, inimitable intuitions and unique voice of Sarah Blasko. All delicately and painstakingly crafted in one ridiculous mad rush, somewhere beneath the world’s most famous real estate sign.

Tracklisting
1. All Coming Back
2. Beautiful Secrets
3. Always Worth It
4. At Yer Best
5. Don’t U Eva
6. Counting Sheep
7. Perfect Now
8. Sweetest November
9. Cinders
10. True Intentions
11. Remorse

With its titanic guitar solos, symphonic suites, and multi-layered melodies, Muse’s fifth album operates under the assumption that bigger is better. This is the very definition of a super-sized album, an album that takes its cues from Queen, its lyrics from science fiction novels, and its delivery from rock opera. It’s also the first time that Muse has truly sounded like Muse, as few bands since Queen have so readily explored the intersection of bombast and extravagance. THE RESISTANCE is most certainly extravagant — there are snatches of classical piano entwined throughout, not to mention bilingual lyrics, concert hall percussion, coronet solos, and song titles like “Exogenesis: Symphony, Pt. 2 (Cross-Pollination)” — but it’s also quite beautiful, capable of moving between prog rock choruses and excerpts from Chopin’s “Nocturne in E Flat Major” within the same song. Presiding over the mix is frontman Matthew Bellamy, a man who seemingly aspires to be both Brian May and Freddie Mercury. He plays guitar, pounds the piano, and composes the album’s orchestral parts, but his strongest asset is his voice, a sky-scraping tenor dripping with so much emotion that it’s almost lewd. He croons, whispers, annunciates, and belts with confidence, a combination that makes him one of England’s most dazzling singers in recent memory. And since a virtual mountain of voices is better than a single voice (remember: bigger is better), Bellamy also multi-tracks himself, creating towering stacks of harmonies during songs like “Resistance,” “Undisclosed Desires,” and the colossal “United States of Eurasia (+Collateral Damage).”

Tracklisting
1. Uprising
2. Resistance
3. Undisclosed Desires
4. United States Of Eurasia (+Collateral Damage)
5. Guiding Light
6. Unnatural Selection
7. Mk Ultra
8. I Belong To You (+Mon Coeur S’ouvre A Ta Voix)
9. Exogenesis : Symphony Part I (Overture)
10. Exogenesis : Symphony Part Ii (Cross Pollination)
11. Exogenesis : Symphony Part Iii (Redemption)

Professional Reviews
Rolling Stone (p.103) – 3 stars out of 5 — “Songs like the industrial-flavored ‘Uprising’ prove again that Muse know how to whip up an almighty roar.”

Entertainment Weekly (p.129) – “The album’s best track, ‘Uprising,’ is a simple slice of glam rock…” — Grade: B

Billboard (p.57) – “The three-part rock symphony ‘Exogenesis’ closes the album, combining elements of piano and the band’s dramatic flair.”

Q (Magazine) (p.102) – 4 stars out of 5 — “[T]heir new adventures in sci-fi hi-fi are, for the most part, hugely impressive. ‘Uprising’ is a brilliantly addictive opener…”

This album introduced the world to The Clash, the only group that was on even footing with The Sex Pistols in U.K. punk rock’s early days. The Clash avoided the Pistols’ sensationalism, singing instead songs about politics, racism, and class warfare. The music’s brutal assault, accompanied by Strummer’s charismatic vocal style, earned the group attention in its native England, where THE CLASH entered the charts at number 12.

Tracklisting
1. Clash City Rockers
2. I’m So Bored With The U.S.A.
3. Remote Control
4. Complete Control
5. White Riot
6. (White Man) In Hammersmith Palais
7. London’s Burning
8. I Fought The Law
9. Janie Jones
10. Career Opportunities
11. What’s My Name
12. Hate & War
13. Police & Thieves
14. Jail Guitar Doors
15. Garageland

Professional Reviews
Rolling Stone (12/11/03, p.114) – Ranked #77 in Rolling Stone’s “500 Greatest Albums Of All Time” – “…Youthful ambition bursts through the Clash’s debut, a machine-gun blast of songs about unemployment, race, and the Clash themselves…”

Rolling Stone (6/20/02, p.87) – 5 stars out of 5 – “…both a party and protest…The tunes still detonate as the group still insists justice must prevail…”

Rolling Stone (12/11/03, p.114) – Ranked #77 in Rolling Stone’s “500 Greatest Albums Of All Time” – “…Youthful ambition bursts through the Clash’s debut, a machine-gun blast of songs about unemployment, race, and the Clash themselves…”

Spin (5/01, p.108) – Ranked #3 in Spin’s “50 Most Essential Punk Records” – “…Punk as alienated rage, as anticorporate blather, as joyous racial confusion, as evangelic outreach and white knuckles and haywire impulses…”

Q (6/00, p.70) – Ranked #48 in Q’s “100 Greatest British Albums”

Q (5/02 SE, p.135) – 5 stars out of 5 – Included in Q’s “100 Best Punk Albums”.

Q (12/99, pp.152-3) – 5 stars out of 5 – “…[They] would never sound so punk as they did on 1977’s self-titled debut….Lyrically intricate…it still howled with anger…”

Q (10/02, p.136) – Indispensable – “…Unsurpassed for its concentrated anger and rebel bravado…”

Alternative Press (3/00, pp.74-5) – 5 out of 5 – “…the eternal punk album….the blueprint for the pantomime of ‘punkier’ rock acts….for all of its forced politics and angst, THE CLASH continues to sound crucial…”

Alternative Press (3/00, pp.74-5) – 5 out of 5 – “…the eternal punk album….the blueprint for the pantomime of ‘punkier’ rock acts….for all of its forced politics and angst, THE CLASH continues to sound crucial…”

Mojo (Publisher) (3/03, p.76) – Ranked #2 in Mojo’s “Top 50 Punk Albums” – “…The ultimate punk protest album….Searingly evocative of dreary late ’70s Britain, but still timelessly inspiring…”

Mojo (Publisher) (3/03, p.76) – Ranked #2 in Mojo’s “Top 50 Punk Albums” – “…The ultimate punk protest album….Searingly evocative of dreary late ’70s Britain, but still timelessly inspiring…”

NME (Magazine) – Ranked #3 in NME’s list of The Greatest Albums Of The ’70s – “…The speed-freaked brain of punk set to the tinniest, most frantic guitars ever trapped on vinyl. Lives were changed beyond recognition by it…”

NME (Magazine) (10/2/93, p.29) – Ranked #13 in NME’s list of the ‘Greatest Albums Of All Time.’

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The Clash – London Calling

A Hard Day’s Night was the first Beatles album of all-original material, and the first to feature George Harrison playing his Rickenbacker electric 12-string guitar (on the opening chord of “A Hard Day’s Night,” for instance). The distinctive sound of the 12-string inspired countless guitarists including Roger McGuinn and David Crosby of the Byrds. The film from which these songs hail remains a classic combination of happy ’60s na‹vet‚ and nascent hipster wit. Many of the most important rock bands to emerge in the latter half of the ’60s came into being because of A Hard Day’s Night’s irresistible vibrancy. The tunes flow like the finest red wine, as the title track leads to the glorious harmonica of “I Should Have Known Better” and the powerfully poignant “If I Fell.”

A Hard Day’s Night not only was the de facto soundtrack for their movie, not only was it filled with nothing but Lennon-McCartney originals, but it found the Beatles truly coming into their own as a band. All of the disparate influences on their first two albums had coalesced into a bright, joyous, original sound, filled with ringing guitars and irresistible melodies. A Hard Day’s Night is where the Beatles became mythical, but this is the sound of Beatlemania in all of its giddy glory. Decades after its original release, its punchy blend of propulsive rhythms, jangly guitars, and infectious, singalong melodies is remarkably fresh. There’s something intrinsically exciting in the sound of the album itself, something to keep the record vital years after it was recorded. Even more impressive are the songs themselves. Not only are the melodies forceful and memorable, but Lennon and McCartney have found a number of variations to their basic Merseybeat style, from the brash “Can’t Buy Me Love” and “Any Time at All” through the gentle “If I Fell” to the tough folk-rock of “I’ll Cry Instead.” It’s possible to hear both songwriters develop their own distinctive voices on the album, but, overall, A Hard Day’s Night stands as a testament to their collaborative powers — never again did they write together so well or so easily, choosing to pursue their own routes. John and Paul must have known how strong the material is — they threw the pleasant trifle “I’m Happy Just to Dance With You” to George and didn’t give anything to Ringo to sing. That may have been a little selfish, but it hardly hurts the album, since everything on the record is performed with genuine glee and excitement. It’s the pinnacle of their early years.

Tracklisting
1. A Hard Day’s Night
2. I Should Have Known Better
3. If I Fell
4. I’m Happy Just To Dance With You
5. And I Love Her
6. Tell Me Why
7. Can’t Buy Me Love
8. Any Time At All
9. I’ll Cry Instead
10. Things We Said Today
11. When I Get Home
12. You Can’t Do That
13. I’ll Be Back
14. A Hard Day’s Night Documentary

Professional Reviews
Ranked #1 in EW’s “100 Best Movie Soundtracks” – “…A blitzkrieg of black-and-white imagery that changed the way we see the world. We can’t think of a better definition of a great soundtrack.”

Q (Magazine) (9/99, p.136) – Included in Q Magazine’s Best Happy Albums of All Time – “…the sound of young men almost astonished by their fecundity and melodic gifts….they never sounded happier.”

Q (Magazine) – Ranked #5 in Q’s “100 Greatest British Albums”

Related Posts
The Beatles – Abbey Road
John Lennon – Imagine

At the time of its release in 1998, THIS IS MY TRUTH TELL ME YOURS was the Manics’ most commercially successful album to date. It included the singles “Tsunami,” the brilliantly unwieldy “If You Tolerate This Then Your Children Will Be Next,” and the soaring “You Stole the Sun From My Heart.”

Despite its success, this album remains true to the anarcho-punk socialist ethic, as the song titles “If You Tolerate…” and “I’m Not Working” indicate. Combining trademark social critique and despair with an equally typical high quality of songwriting, there is plenty here to occupy the discerning listener, and though “mature” can often denote a kind of mixed praise, this album could be described as such, in only the most positive way. Songs are more varied and melodic than those of previous albums, making THIS IS MY TRUTH TELL ME YOURS more accessible, but without sacrificing any of the band’s searing intelligence and passion. One can only be thankful that the Manics did not keep their promise to do just one album and then disappear.

Tracklisting
1. The Everlasting
2. If You Tolerate This Your Children Will Be Next
3. You Stole The Sun From My Heart
4. Ready For Drowning
5. Tsunami
6. My Little Empire
7. I’m Not Working
8. You’re Tender And You’re Tired
9. Born A Girl
10. Be Natural
11. Black Dog On My Shoulder
12. Nobody Loved You
13. S.Y.M.M.

Professional Reviews
CMJ (6/7/99, p.27) – “…As heart-wrenching as it is studious, THIS IS MY TRUTH…is the work of a band…that has successfully learned to translate the intensity of its experiences into potent musical pomp and circumstance.”

Guitar Magazine (7/99, p.96) – “…heartfelt, incredibly detailed, occasionally overwrought work of timeless rock that was also honored with Album of the Year accolades…”

Mojo (Publisher) (2/02, p.84) – “…The Manics in introspective, but still inspiring, mood…”

Though 1966’s BLONDE ON BLONDE is usually singled out as the most innovative Bob Dylan album, its predecessor HIGHWAY 61 REVISITED is the one that definitively marks Dylan’s transformation from progressive folk singer to visionary rock poet. It’s Dylan’s first fully electric album, powered by the manic intensity of Mike Bloomfield’s skull-and-crossbones blues-rock guitar leads and Al Kooper’s rich organ fills.

While many of the songs are presented in a traditional 12-bar blues format, the lyrics find Dylan finally abandoning conventional linear narrative in favor of poetic abstraction, surreal imagery, and biting sarcasm. In the rock world, there has never been a lambasting harsher or more cathartic than the excoriation of “Ballad of a Thin Man,” and no challenge more bold than that offered in the iconic “Like a Rolling Stone.” When Dylan invokes the names of Ezra Pound and T.S. Eliot towards the end of the poetic epic “Desolation Row,” he’s not just name-dropping; he’s merely delineating the company in which a work as rich and ground-breaking as HIGHWAY 61 belongs.

Tracklisting
1. Like A Rolling Stone
2. Tombstone Blues
3. It Takes A Lot To Laugh, It Takes A Lot To Cry
4. From A Buick 6
5. Ballad Of A Thin Man
6. Queen Jane Approximately
7. Highway 61 Revisited
8. Just Like Tom Thumb’s Blues
9. Desolation Row

Professional Reviews
Rolling Stone (12/11/03, p.88) – Ranked #4 in Rolling Stone’s “500 Greatest Albums Of All Time” – “…One of those albums that, quite simply, changed everything…”

Q (7/01, p.45) – “…Dylan is in stinging form…”

Q (Magazine) (p.110) – “[A] dizzying rush of moody disquiet, surreal imagery and freakshow characters culminate in the mighty ‘Desolation Row.’”

NME (Magazine) (10/2/93, p.29) – Ranked #14 in NME’s list of the “Greatest Albums Of All Time.”

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Bob Dylan – Desire

It’s easy to be over-whelmed by Gene and Dean Ween’s music. Recorded in basements and home-studios, their albums sound like composite sketches of an immense, diverse record library (Prince, Zeppelin, America, Funkadelic, you name it), splashing together lyrical canvases that draw on both a post-modern slack brilliance of the everyday and their own perverse private world. They have the eccentric’s gift for incorporating the ludicrous into their musical mythology, but seem equally at home playing it straight (which they don’t do often). Like a heavy breakfast, Ween take the better part of the day to digest–but once inside the tummy, they sure taste yummy.

CHOCOLATE AND CHEESE is a lighter snack than any of Ween’s previous releases primarily because of an outward focus (quite loose, actually) on the various musics of the seventies. “Freedom Of ‘76″ celebrates Philadelphia’s blue-eyed soul sound, “Voodoo Lady” lifts its melody from the Talking Heads and its catch-phrase from A Taste Of Honey, and “Take Me Away” could be a Vegas-era Elvis outtake if it didn’t rock so much. But–Gene and Dean being progress-minded folks–CHOCOLATE AND CHEESE never disintegrates into nostalgia, or gets bogged down by any single theme. Thus, you get singular classics like “I Can’t Put My Finger On It,” with its faux-Arabic textures, and the haunting “Buenos Tardes Amigo,” a Spaghetti Western narrative that can proudly rub shoulders with Marty Robbins’ “El Paso” and any other canonized outlaw tale.

Tracklisting
1. Take Me Away
2. Spinal Meningitis (Got Me Down)
3. Freedom Of ‘76
4. I Can’t Put My Finger On It
5. Tear For Eddie, A
6. Roses Are Free
7. Baby Bitch
8. Mister, Would You Please Help My Pony?
9. Drifter In The Dark
10. Voodoo Lady
11. Joppa Road
12. Candi
13. Buenos Tardes, Amigo
14. H.I.V. Song, The
15. What Deaner Was Talkin’ About
16. Don’t Shit Where You Eat

Professional Reviews
Rolling Stone (12/29/94-1/12/95, p.176) – “…Zappa is their ultimate papa, and while they can’t match his virtuoso chops, Ween’s loopy smarts and the dizzying variety of their parodic targets make CHOCOLATE AND CHEESE the rare joke album that repays repeated listens…”

Spin (10/94, p.111) – Highly Recommended – “…catchy as chlamydia. Ween seems to have potty-trained its predilection for lengthy funk deconstructions….Room is left then for a host of new carnival rides…”

Entertainment Weekly (10/14/94, p.60) – “…You know when you meet someone so impossibly weird it almost gives you a headache–yet you think about the things that person said for weeks? Ween’s music is like that. These die-hard oddballs are fascinatingly eclectic…” – Rating: B

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