Ween

小简介
Ween是特立独行的一队音乐奇兵他们有一颗低保真的心。这几年来Ween一直令我分外关注，他们并不低产，但行事低调，他们用各种不同的笑容把自已包起来，除此你很难抓到他们其它的表情，而音乐却是那样的丰富多彩，直如万花筒般的奇幻音乐世界每每让人会心一笑，其蜕变性也是一直有着突破性的发展。
Ween首先是反流行的，他们反对任何流行明星式的宣传，他们更讨厌程序化的音乐生产，真正的音乐人讲的是灵感和创作力，而不是概念的堆砌和包装。这是另类摇滚历史上最终极的大智若愚最富有才华的并最为直接的二人组合，他们擅长用旅行者般飘逸的手法超越像普通乐队那样简单滑稽的模仿，从而表现出超现实主义迷宫般的博大情怀。尽管他们掌握所有音乐的技巧，可从不直接表现出来。ween用发狂的快乐彻底颠覆环绕他们周遭的流行世界，在早期的时候他们热衷于迷幻摇滚，而在唱腔上诙谐极端的尝试和器乐上不落俗套的编配让许许多多的资深乐迷堕入期间不能自己。
虽然在后来的几年ween逐渐改变行径，创作出多首令大众接受亦流行度很强的歌曲，但其核心的创新精神从未抛弃，对低保真乐风的捍卫，对各种效果音色几近疯狂的颠覆，毫不夸张地说ween是在大众的口味上构建一种灵巧的前卫试验音乐，而且做得非常的聪明，让人感觉不露痕迹。
Ween was the ultimate cosmic goof of the alternative rock era, a prodigiously talented and deliriously odd duo whose work traveled far beyond the constraints of parody and novelty into the heart of surrealist ecstasy. Despite a mastery for seemingly every mutation of the musical spectrum, the group refused to play it straight; in essence, Ween was bratty deconstructionists, kicking dirt on the pop world around them with demented glee. Along with the occasional frat-boy lapses into misogyny, racism, and homophobia, the bands razor-sharp satire cut to the inherently silly heart of rock & roll with hilariously acute savagery; fueled by psilocybin mushrooms and an all-consuming craving for hot meals, Ween created their own self-contained universe, a parallel dimension where the only sacred cow was their own demon god, the Boognish.
The duo formed in suburban New Hope, PA, in 1984, when 14-year-olds Mickey Melchiondo and Aaron Freeman adopted their respective fraternal aliases, Dean and Gene Ween, and cut the first of literally thousands of home recordings. At about the same time Freeman — working under the name Synthetic Socks — issued an eponymous 1987 solo cassette on the fledgling TeenBeat label, Ween released their own debut tape, The Crucial Squeegie Lip, on their own Bird O Pray imprint. After a pair of 1988 self-releases, titled Axis: Bold as Boognish and The Live Brain Wedgie/WAD LP, Ween signed to the Minneapolis-based independent label Twin/Tone, which in 1990 issued the double album GodWeenSatan: The Oneness, a sprawling, often brilliant release which careened from the headlong hardcore rush of the opening You Fucked Up to the helium pop of Dont Laugh I Love You to the Prince-Xeroxed funk of L.M.L.Y.P.
A move to the Shimmy Disc label followed prior to the release of 1991s The Pod, another masterpiece of dementia recorded on four-track under the influence of inhaled Scotchgard; darker and more deranged than its predecessor, The Pod expanded the Ween palette to include Beatlesque pop (the sublime Pork Roll Egg and Cheese), oddball folk (Oh My Dear [Falling in Love]), and mystic hard rock (Captain Fantasy). Against all odds, the record won the Weens a deal with major label Elektra; against even greater odds, the leap to the big leagues did nothing to alter the duos mindset. 1992s Pure Guava, their Elektra debut, was their most consistently weird and wonderful outing to date. Highlighted by the disturbingly infectious single Push th Little Daisies (a Top Ten hit in Australia), Pure Guava found the group as snarky as ever on self-explanatory workouts like Reggaejunkiejew, Hey Fat Boy (Asshole), and Flies on My Dick; Springtheme mocked love songs at their queasiest; while the climactic Dont Get 2 Close (2 My Fantasy) distilled the overblown excesses of Queens Bohemian Rhapsody and Queensrÿches Silent Lucidity into an epic art rock portrait of child molestation.
Dedicated to the late comedic actor John Candy, 1994s Chocolate and Cheese — its title a perfect summation of the duos blend of R&B and schlock — upped the ante yet again. Widening the net to ensnare cowboy songs (Drifter in the Dark), Philly soul (Freedom of 76), Afro-Caribbean funk (Voodoo Lady), and Sergio Leone-inspired spaghetti Western epics (Buenas Tardes Amigo), Chocolate and Cheese also featured Spinal Meningitis (Got Me Down) and Mister Would You Please Help My Pony, two of the creepiest tales of childhood trauma ever committed to vinyl. Having taken their anything-goes aesthetic to its logical extreme, Ween took a sharp left turn for 1996s 12 Golden Country Greats, a ten-track concept album recorded in Nashville with Music City session luminaries including the Jordanaires, Bobby Ogdin, Russ Hicks, Hargus Pig Robbins, and Charlie McCoy. While the song titles alone — among them Japanese Cowboy, Mister Richard Smoker, and Help Me Scrape the Mucus Off My Brain — served notice that the groups lyrical attitude had not altered one whit, the music was remarkably evocative of Nashvilles golden era, and performed with skill and affection.
A tour with Ogdin and a backing unit dubbed the Shit Creek Boys (which included steel guitarist Stuart Basore, guitarist Danny Parks, fiddler Hank Singer, and bassist Matt Kohut) followed prior to the release of 1997s The Mollusk, a concise, mock-progressive semi-concept album that proved to be one of Weens strongest efforts. The follow-up was a double-disc concert compilation, Paintin the Town Brown: Ween Live 90-98, issued in 1999. In the spring of 2000, the duo resurfaced with White Pepper, their first new studio effort in three years; it peaked at 121 on the Billboard charts, their highest placing to date.
In 2001, Ween began releasing a series of live albums through their Internet-based independent label, Chocodog. The first of these, Live in Toronto Canada, captured a show with the Shit Creek Boys. Around this time, the band and Elektra parted ways, and Ween was without a record label as they worked on their eighth studio album. After a wait of two years — during which time they released another live album, the triple-disc Live at Stubbs — they signed with Sanctuary Records in 2003, releasing Quebec in August of that year. It was the first Ween album to crack the Top 100, peaking at 81. A few months after the release of Quebec, another independent live album followed (Live by Request), and then in the spring of 2004 they released Live in Chicago, a combination DVD/CD set, on Sanctuary, heading back into the studio to work on their ninth studio album. The resulting Cucaracha arrived in October 2007 and was prefaced by the Friends EP earlier in the year.