Speaking of Ween

GodWeenSatan: The Oneness is thought of as a bad album by some of my closest friends and other people I respect. Do they hear the same things I hear? Sure it's incredibly obnoxious, but how can one deny the art and feeling behind the music? Criticize it for being too sprawling, but don't ignore the positives altogether. I was intrigued by this album right away, intrigued by the band's unparalleled ability to turn the stupidest songs in the world into the best. Moreover, the position that Ween would be better if they weren't fucking around all the time is the position of someone who should stop listening to Ween. If they weren't fucking around, they'd just be Paul McCartney. What matters is their ability to bring something new, something interesting to the 1990s, and I'm convinced they did that with this album.
As far as I'm concerned, the first 15 minutes of this album are flawless. The most famous track on the album might be "You Fucked Up." What other band opens their hearts to the world by deliriously screaming "You fucked up, you stupid Nazi whore?" The screams Gene Ween emits (or is it Dean?) actually convey the intensity dozens of rock bands have tried for and failed. The irony is that Ween is parodying hardcore music, but in so doing, their instinctive grasp of art turn their parody into something that eclipses the genre from which it comes. The songs that follow immediately are no let down, if bizarre. "Tick" alternates between a snappy pop number and more frenzied screaming. The result: the catchiest song I've ever heard. From there, Ween hit up bebop, grunge, and whatever the fuck they want ("I'm in the Mood to Move"). In so doing, they make me grateful that the guitar is their primary choice of rock instrument. No flashy solos, but the perfect supplementary parts are chosen in every case. See the ringing guitar that comes in halfway through "Cold and Wet."
Just when you don't know what to think, Ween gives a glimpse to the other side with "Don't Laugh (I Love You)." Sung in an annoying high-pitched voice, it also happens to be a perfect pop song, and when they reach the obligatory guitar solo, and instead sing the solo in a guitar-like style, what should be an annoying vocal effect reaches through to my soul. Ween may seem unfocused and juvenile, but through the entire record, they hold a few things constant, great songwriting, a mastery of form, and most importantly, heart. Ween have a better approximation of heart than most groups. They don't wear it on their sleeve, they keep it under their ribcage where it belongs.
I'll admit, the album isn't totally consistent, but I don't care all that much, since they would go on to make albums that were consistent. I could say a lot more about the album, since it features two 9-minute songs that show that you can use one musical idea for a long song and get away with it. All you need is a vocalist and guitarist who don't know how to repeat themselves. And oh yeah, a vocalist and guitarist who are the best melody-writers since the Beatles. See the devastating "Birthday Boy," featuring the rarity of rarities, a sincere vocal delivery. But maybe more importantly, it's got a melody that tore my heart in two the first time I heard it. I still haven't stopped crying inside. And I'll never stop loving this album.