Ween was the ultimate cosmic goof of the 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 band's razor-sharp satire cut to the inherently silly heart of rock 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 "Don't 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 1991's Greatest Hits [The Atlantic Years], another masterpiece of dementia recorded on four-track under the influence of inhaled Scotchgard; darker and more deranged than its predecessor, Greatest Hits [The Atlantic Years] 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 duo's mindset. 1992's 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 "Don't Get 2 Close (2 My Fantasy)" distilled the overblown excesses of Queen's "Bohemian Rhapsody" and Queensrÿche's "Silent Lucidity" into an epic rock portrait of child molestation.

Dedicated to the late comedic actor John Candy, 1994's Chocolate And Cheese DEMO -- its title a perfect summation of the duo's blend of r&b and schlock -- upped the ante yet again. Widening the net to ensnare cowboy songs ("Drifter in the Dark"), soul ("Freedom of '76"), Afro-Caribbean funk ("Voodoo Lady"), and Sergio Leone-inspired western epics ("Buenas Tardes Amigo"), Chocolate And Cheese DEMO 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 1996's 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 group's lyrical attitude had not altered one whit, the music was remarkably evocative of Nashville's 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 1997's The Mollusk, a concise, mock-progressive semi-concept album that proved to be one of Ween's 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 Stubb's -- 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 and Murderous in Chicago, a combination DVD/CD set, on Sanctuary, heading back into the studio to work on their ninth studio album. The resulting La Cucaracha arrived in October 2007 and was prefaced by the Viva La Vida Or Death And All His Friends EP earlier in the year. ~ Jason Ankeny, Rovi